HomeMy WebLinkAboutCS 05-24
Report to
Executive Committee
Report Number: CS 05-24 Date: April 2, 2024
From: Laura Gibbs
Director, Community Services
Subject: Whites & Kingston Road, Pickering – Artist Selection
-Commission of Public Art
-File: A-1440-001
Recommendation:
1. That Council endorse that the commission of public art at Kingston Road and Whites Road in Pickering be awarded to Javid Jah; 2. That Council authorize the Director, Finance & Treasurer to finance the net project cost of
$72,042.00 to be funded by a transfer from the Public Art Reserve as approved in the
2024 Current Budget; a) the sum of $20,000.00 to be funded from Development Charges and transferred to the Public Art Reserve;
b) the sum of $60,000.00 to be funded by the Public Art Reserve;
3. That the Mayor and the City Clerk be authorized to execute the Letter of Understanding, between Javid Jah Art & Design Inc. and the City of Pickering, set out in Attachment 1, subject to minor revisions acceptable to the Director, Community Services and the
Director, Corporate Services & City Solicitor; and,
4. That the appropriate officials of the City of Pickering be authorized to take the necessary actions as indicated in this report.
Executive Summary: The purpose of this report is to seek Council’s endorsement for the commission of public art, at Kingston Road and Whites Road in Pickering, to be awarded to Javid Jah. As per section 09.10 of the Purchasing Policy (PUR 010), Public Art Project purchases or Public Art projects with costs that exceed $25,000.00 are subject to Council
approval.
Kingston Road, also known as Highway 2, holds significant historical importance as one of the oldest travel and trade routes connecting Pickering to other cities along Lake Ontario. To commemorate this, Shell Canada Limited has partially funded the commission of this public art piece located at the North-West corner of Kingston Road and Whites Road. This public art
project and its location were included in the Public Art Plan 2023 – 2026 approved by Council
on November 27, 2023 through Resolution #328/23.
CS 05-24 April 2, 2024
Subject: Whites & Kingston Road, Pickering – Art Selection Page 2
As per the Public Art Policy (CUL 130), this purchase of artwork is being recommended following a publicly promoted Call to Artists with pre-qualification of artists. The proposal
“ayukwenodih” (They have found their voices), by artist Javid Jah received the highest juried
score, and was recommended and endorsed by the Public Art Jury and Cultural Advisory Committee.
Relationship to the Pickering Strategic Plan: The recommendations in this report respond to the Pickering Strategic Plan Priority of Advocate for an Inclusive, Welcoming, Safe & Healthy Community.
Financial Implications: The Public Art Project for Kingston Road and Whites Road is reflected in the approved 2024 Current Budget (Cultural Services 10207) in the amount of $80,000.00. The net project cost is to be funded from the public art reserve in the amount of $72,043.00.
1. Estimated Project Costing Summary
Fees set out in the Letter of Understanding $70,796.00
Total Project Cost $70,796.00
HST (13%) 9,204.00 Total Gross Project Costs $80,000.00 HST Rebate (11.24%) (7,958.00) Total Net Project Costs $72,043.00
2. Approved Source of Funds
Approved Code Source of Funds Budget Funds Required
10207.502520.9710 Development $20,0000.00 Charges (Shell Gas Contribution)
10207.502520.9710 Public Art Reserve $60,000.00
Total $80,000.00 $72,042.00
Project Cost under (over) approved funds by $7,958.00
The remaining funds of $7,957.00 will be used for signage, lighting, communications and an
unveiling event.
CS 05-24 April 2, 2024
Subject: Whites & Kingston Road, Pickering – Art Selection Page 3
Discussion: The purpose of this report is to seek Council’s endorsement for the commission of public art, at Kingston Road and Whites Road in Pickering, to be awarded to
Javid Jah. As per section 09.10 of the Purchasing Policy (PUR 010), Public Art Project
purchases or Public Art projects with costs that exceed $25,000.00 are subject to Council approval.
Shell Canada Limited has contributed $20,000.00 as Development Charges for the commission and installation execution of a piece of permanent public art at the North-West corner of Kingston Road and Whites Road.
As per Section 10.01 of the Public Art Policy (CUL 130), an Open Call was selected as the Method of Acquisition. A two-stage process was selected in which Stage 1 would pre-qualify a short list of three artists. The three selected artists would then be invited to participate in Phase 2 in which they submitted a detailed project proposal.
A Call to Artists was issued on September 28, 2023 (Attachment 2). The Call to Artists was
advertised through the City of Pickering website as well as Akimbo, PineRidge Arts Council (PRAC) newsletter, Community Services Distribution List, Creative Cities Network of Canada, DurhamRegion.com, and through social media.
As per Section 09.01 of the Policy, a Public Art Jury will be formed on an as-needed basis. The Public Art Jury evaluates the artist proposals in accordance with the Selection Considerations
in Section 11 of the Policy. In this case, a Public Art Jury was convened to judge the submissions based on criteria established in the Public Art Policy.
Thirty-nine artists responded to the Call to Artists with a conceptual design proposal. The Public Art Jury met on November 1, 2023, to confirm the results of the scoring and selected
the top three artists to move to Phase 2 as per the information set forth in the Call to Artists.
The Cultural Advisory Committee endorsed the top three artists as selected by the Public Art Jury at their meeting on November 21, 2023.
The Phase 2 proposals were received on February 5, 2024. Each artist presented their concept to the Public Art Jury on February 8, 2024. The Public Art Jury reviewed the judging criteria, scored each proposal and ranked the top three finalists following the artist’s
presentations.
Following scoring and discussion, the Jury recommended that Javid Jah be awarded the commission of public art at the North-West corner of Kingston Road and Whites Road. The recommendation was endorsed by the Cultural Advisory Committee on February 20, 2024.
The conceptual design proposal is set out in Schedule A of the Letter of Understanding. The
Artist made the following statement: “Inspired by the vehicular and historical crossroads of Highway 2 and Whites Road in Pickering, this public art proposal is inspired by the notion of finding our voice at a point of intersection.”
The Letter of Understanding (set out in Attachment 1) defines the relationship and responsibilities between the City and the Artist. Staff are requesting Council to authorize the
Mayor and City Clerk to execute the Letter of Understanding with Javid Jah Art & Design Inc.
CS 05-24 April 2, 2024
Subject: Whites & Kingston Road, Pickering – Art Selection Page 4
Subject to Council’s endorsement, the artists will begin fabrication with an estimated installation date of October 2024.
Attachments:
1. Letter of Understanding (Agreement)
2. Call to Artists – Kingston Road (EOI)
Prepared By: Approved/Endorsed By:
Original Signed By Original Signed By
Marilou Murray Laura Gibbs, MBA, MSc.
(Acting) Division Head, Director, Community Services
Culture & Community Programming
LG:sb
Recommended for the consideration of Pickering City Council
Original Signed By
Marisa Carpino, M.A. Chief Administrative Officer
Attachment 1 to Report CS 05-24
Letter of Understanding
Public Artwork Agreement
This agreement made the Day/Month/Year
BETWEEN: Javid Jah Art & Design Inc. (hereinafter called “the Artist”) AND
THE CORPORATION OF THE CITY OF PICKERING (hereinafter called “the City)
1. Introduction
This Letter of Understanding pertains to the artwork creation and installation of the artwork for the Kingston Road and Whites Road for the City of Pickering. This document defines the relationship and responsibilities between the City and the Artist. The final artwork is to be unveiled
October 2024.
This Letter of Understanding conforms to the City of Pickering Public Art Policy (CUL 130) and the City Of Pickering Standard Quotation Terms & Conditions.
2. Background
The Public Art Commission for Kingston and Whites Road public art project is operated and administered by the City.
The City issued a call to artists for Expressions of Interest dated September 28, 2023,with respect to the Public Art Commission for Kingston and Whites Road project. Applications were due October 30, 2023. Community Services received 39 submissions from artists around the world (Canada, USA, and
Australia). The collected submissions were reviewed and scored by the Public Art Jury based on the judging criteria outlined in the Call to Artists (Attachment 1). The jury shortlisted three finalists who
were asked to create a public art concept. The Public Art Jury reviewed the 3 concepts on February 8,
2024. Following scoring and discussion, the Jury recommended that Javid Jah be awarded the
commission of public art at the North-West corner of Kingston Road and Whites Road. The
recommendation was endorsed by the Cultural Advisory Committee on February 20, 2024.
The Artist submitted a proposal dated 02, 05, 2024, (“the Proposal”), a copy of which is attached as
Schedule “A” to this Agreement.
The Artist has been selected by the City to create, manufacture, install and deliver to the site, as
required for the different components, the Artwork titled ayukwenodih (They have found their voice) in accordance with the Conceptual Design, the Terms of Reference and the terms and conditions of this Agreement.
3. Definitions
Artwork -The “Artwork” means the final piece of artwork developed from the design, model, and specifications provided by the Artist and approved by the City, which Artwork is more particularly
specified in Schedule “A” attached hereto.
The Work -The “Work” means designing, producing and fabricating the Artwork as well as delivering and installing it at the Place of Installation.
Letter of Understanding
Public Artwork Agreement
Place of Installation -The “Place of Installation” is North- West corner of Kingston Road and Whites Road, Pickering, more specifically located as shown on the attached drawing Schedule “B” attached hereto.
4. Artist Fee: Compensation and Payment Schedule
a) The all-inclusive price to be paid by the City for the Artwork, completed and installed shall be
$80,000.00 CAD, inclusive of all applicable federal and provincial taxes including HST. b) Each stage of the payment shall be accompanied by a detailed summary of work completed by the Artist to date that includes updated drawings and images that states that the Work has
progressed and is proceeding according to schedule C and will be installed by the Delivery Date (as defined below). c) H.S.T. shall be enumerated as a separate item on each staged and scheduled payment pursuant to this Article.
Payment shall be structured in a payment schedule to the Artist as follows:
I. Phase 2: $26,666.66 including HST – after completion of Phase 2 which includes executing the Letter of Understanding, site visit, fabrication schedule and submission of an invoice from the
Artist;
II. Phase 4: $26,666.66 including HST – after completion of Phase 4 which includes the delivery of final drawings of all art work components and submission of an invoice from the Artist; and
III. Phase 6: $26,666.66 including HST – after completion of Phase 6 which includes installation of
the artwork at the Place of Installation and upon submission of an invoice from the Artist.
The City agrees:
a) to pay the Artist all funds due and as provided for herein.
5. Payments of Sub-Contractors
The Artist agrees:
a) to ensure that payments will be made to all suppliers and subcontractors that may be engaged by the Artist in regard to the design, fabrication, storage, delivery and installation of the Artwork. At the City’s request, the Artist shall provide evidence of such payment.
6. Performance
The Artist agrees:
a) to provide all work and materials necessary to create the Artwork and to fulfill all its obligations as set out in this Agreement; b) that the materials, methods and processes used to produce the Artwork shall be of first-class quality and expressive of the approved design as detailed in Schedule “A” attached hereto;
c) to use firstclass skills, diligence and workmanship as are normally found in the artistic profession,
and ensure that all materials incorporated into the Artwork are of the utmost quality and design
in accordance with Schedule “A”;
Letter of Understanding
Public Artwork Agreement
7. Timelines and Completion of Deliverables
The Artist agrees:
a) to complete the installation of the Artwork to the satisfaction of the City no later than October 31, 2024 “the Delivery Date”) or such later date as may be agreed upon by the Artist and the City in writing. The installation will include a maintenance/conservation plan submitted by the Artist;
b) during the design and production of the Artwork, to keep the City advised of the status of the production of the Artwork. If required by the City, the Artist shall allow representatives of the City
to view the Artwork during its various stages of production or provide progress photographs; c) to submit a progress report and invoice, with supporting receipts and invoices from sub-contractors, in the form specified by the City,prior to each payment date set out in Schedule “C”. d) to provide a conservation and maintenance plan ;
e) to provide to the City photographs of the Artwork during and after installation in accordance with Schedule “C”.
The City agrees:
a) to ensure that should the Artist require direction in any regard to the design, fabrication or installation of the Artwork, the City shall provide such direction in a prompt and timely fashion.
8. Detailed Design
The Artist agrees:
a) to evaluate all material and data relevant to the Artwork as provided by the City and shall facilitate production of the final design, working with the Cultural Services Unit and other City departments and design team members, as needed and, in order to finalize the detailed design and the exact
location of the Artwork within the Installation Site, to the satisfaction of the City.
9. Specifications
The Artist agrees:
a) to provide detailed drawings and specifications to the satisfaction of the City and shall advise the City, in writing, through the Coordinator, Public Art, of all factors relating to the Artwork’s theme, budget, critical path, location, size, materials, structural, mechanical and technological requirements, installation methods, and future maintenance requirements, to be determined by the Artist in consultation with the Coordinator, Public Art;
b) Substantive changes to the Artwork may be undertaken by the Artist only upon receipt of prior written authorization by the Manager, Cultural Services provided however, that the City’s objection to any feature of the Artwork which is reasonably attributable to the exercise of the
Artist’s aesthetic judgement during the progress of the development of the Artwork shall not be considered a substantive change and shall not be a basis for withholding acceptance or payment for the Artwork.
Letter of Understanding
Public Artwork Agreement
10. Permits and Engineers Stamp
The Artist agrees:
a) to obtain at the Artist's sole cost and expense, all permits necessary for the delivery and installation of the Artwork and prepare all materials, documents, reports, plans and drawings, required in order to obtain any Structural Engineers' stamps required in connection with the manufacture and installation of the Artwork at the Installation Site.
11. Delivery, Installation and Protective Measures
The Artist agrees:
a) to be solely responsible for all costs and supervision of the actual fabrication, production and installation of the Artwork including the cost of any site preparations or safety precautions that are required for the installation of the Artwork in its final location unless otherwise specified by the City. If protection during installation is required, then the Artist is to provide it.
b) to deliver the Artwork to the specific site as set out in Place of Installation, free from all defects
and in compliance with the specifications as outlined in Schedule “A” attached hereto;
c) The Artist shall coordinate the installation of the Artwork with the Coordinator, Public Art and
permit such inspections of the installation as the City may require. If any costs result from the
Artist failing to coordinate the Artist's work with that of [City divisions and contractors], all such costs shall be borne by the Artist. d) upon installation of the Artwork, to clean the Artwork to ensure that all dirt, imperfections and extraneous materials are removed from the Artwork;
e) that installation shall have been deemed to be complete when acceptance by the City or by its designated agent.
The City agrees:
a) to provide, at its expense, a permanent marker in keeping with the quality and type of the Artwork
which will identify the name of the Artist, the name of the Artwork and the year of the Artwork.
12.Damage to Artwork and Artist’s Property
The Artist agrees:
a) that in the event of physical loss or damage to the Artwork prior to completion of installation and acceptance of the Artwork by the City, the Artist shall immediately take all necessary steps to rectify the loss or damage by repair, restoration, replacement or other appropriate means as
soon as is reasonably possible at no additional expense to the City. Where necessary, the Artist
may collect insurance proceeds before rectifying the loss or damage and shall rectify the loss or
damage as soon as is reasonably possible after receipt of said funds. b) to be responsible for any loss or damage whatsoever to any of the Artist's materials, goods, equipment or supplies and will maintain all-risk coverage as required by this Agreement and as
any prudent owner of such materials, goods, supplies and equipment would maintain. The Artist shall have no claim against the City or the City’s insurers for any damage or loss to the Artist's property and shall require his insurers to waive any right of subrogation against the City.
Letter of Understanding
Public Artwork Agreement
The City agrees:
a) that following acceptance of the Artwork, the City will use its best efforts to maintain and repair any damage done to the Artwork by vandalism or other means substantially in accordance with the conservation and maintenance plan to be provided by the Artist. The City will make reasonable efforts to inform the Artist of such damage and to offer the Artist the opportunity to
consult with the City on the proposed repairs.
13. Warranty, Repair and Maintenance
The Artist agrees:
a) that upon receipt of the Artwork, should the City find any deficiencies in the Artwork, it will advise the Artist in writing and the Artist must rectify such deficiency within ten (10) days of receipt of such notice. Should it not be possible to complete rectifying the deficiencies within
ten (10) days, the Artist shall provide a Schedule to the City that is acceptable to the City indicating when completion will occur. b) in the event that the Artwork shall require repairs subsequent to the date of completion arising
from normal weathering and “wear and tear”; then in such event the City shall advise the Artist
in writing as to the nature of such repair and offer the Artist first right of refusal to carry out such
repair within times and consideration as mutually agreed upon by the City and the Artist. Should the Artist fail to advise the City within thirty (30) days of receipt by the Artist of the written offer, or should the Artist and the City fail to agree on times and consideration,then in any such event the City, or a third party hired by the City, shall be at liberty to carry out any and all repairs. In determining the time and consideration for such repairs, both parties agree to act reasonably. c) notwithstanding the foregoing and with the exclusion of the maintenance criteria set out in the conservation and maintenance plan submitted by the Artist, during the first three (3) years after installation and acceptance by the City, the Artist agrees to repair any defects or deficiencies
(normal weathering and “wear and tear” excepted) in the Artwork without any charge to the City.
The City agrees:
a) to keep the Artwork in a clean condition, free of debris or banners or signage which defaces the Artwork, all to the level which the City considers to be appropriate and in accordance with the
conservation and maintenance plan to be approved by the City and that will be provided by the Artist.
14. Removal and Relocation of Artwork
The City agrees:
a) to endeavor to exhibit the Artwork in the original location and in its original and complete format subject to the City’s right to decommission or remove the Artwork or a particular piece thereof
for reasons which may include, but are not limited to, the structural integrity of the Artwork, expiry of the expected lifespan of the Artwork, extensive or irreparable damage or vandalism or by
reason of the necessity to accommodate the effective operation of the site.
Letter of Understanding
Public Artwork Agreement
b) to consult, where possible, on the restoration or removal of public art, but shall retain the right to
restore, relocate, or archive a work of public art without the artist's and/or donor's consent.
15. Insurance
The Artist agrees:
a) that upon request by the City, the Artist shall take out and keep in force a policy of liability
insurance in the amount of $2,000,000 inclusive each occurrence (or such larger amount as
may be required), and not less than two million ($2,000,000.00) automotive liability insurance coverage. Certificate(s) of insurance shall be provided upon request by the City. i. The policy shall include The Corporation of the City of Pickering, as additional named
insured without subrogation in respect of all operations performed by or on behalf of the Company, a certificate of insurance shall be completed by the Company’s agent, broker or insurer. ii. The policy shall not be altered, cancelled or allowed to expire or lapse, without thirty
(30) days prior written notice to the City. iii. If the City is not provided with a renewal of the policy at least thirty (30) days prior to its
expiration date, then the City may arrange a public liability policy insuring the City in the amount of $2,000,000.00 and an automotive liability policy insuring the City in the
amount of two million ($2,000,000) at the expense of the Company, which may be recovered from amounts owed to the Company or from any form of security still in the City's possession.
16. Indemnification
The Artist agrees:
a) to indemnify and hold harmless the City, its Mayor and Councillors, employees and agents for any and all losses, claims, demands, suits, actions, judgments, or costs which may arise from any physical deficiencies or deformities or structural failures of the Work which render the
Artwork inconsistent with the approved design. The Artist agrees that this indemnity shall survive the period of time required to fulfill this contract and extend to the useful life of the Artwork and
shall be binding upon the Artists’ personal representatives, administrators, executors and assigns. b) to indemnify the City, its Mayor and Councillors, employees and agents from and against all liens, all builders liens, claims, actions, costs and damages which may arise during installation
of the Work on the Place of Installation. No finding of negligence, whether joint or several, as against the City in favour of any third party shall operate to relieve or shall be deemed to relieve the Artist in any manner from any liability to the City, whether such liability arises under this
Agreement or otherwise.
c) to warrant that the Artwork is original to the Artist and does not violate any copyright of any other
person. The Artist shall indemnify and hold harmless the City, its Mayor and Councillors, employees and agents for any and all losses, claims, demands, suits, actions, judgements or costs that may arise from the allegation that the Artwork is not original to the Artist.
Letter of Understanding
Public Artwork Agreement
17. Occupational Health and Safety Act
The Artist agrees:
a) to conform to and enforce strict compliance with the requirements of the Occupational Health and Safety Act,R.S.O.,1990 c.0.1 and all regulations thereunder, as amended from time to time (collectively the "OHSA"). b) that nothing in this Agreement shall be construed as making the City the "employer" (as defined in the OHSA) of any workers employed or engaged by the Artist either instead of or jointly with
the Artist. c) that it will ensure that all subcontractors engaged by it are qualified to perform the services and that the employees of the Artist and of all subcontractors are trained in the health and safety hazards expected to be encountered in the Services.
18. Workplace Safety & Insurance
The Artist agrees:
a) that all of the Company’s personnel must be covered by the Workplace Safety & Insurance Board at the Company’s expense. The Company shall provide the City with a Clearance Certificate
from the Workplace Safety & Insurance Board prior to the commencement of work, certifying that all assessments and liabilities payable to the Board have been paid, and that the bidder is in good standing with the Board. b) to provide the City with a Clearance Certificate prior to final payment certifying all payments by
the Company to the Board in conjunction with the subject Contract have been made and that the City will not be liable to the Board for future payments in connection with the Company’s
completion of the project. c) That a Company deemed to be an Independent Operator by the Workplace Safety & Insurance Board will provide a copy of such letter to the City containing the Independent Operator identification number issued by the Board. An Independent Operator must be covered by WSIB
optional insurance and provide proof of this coverage upon request.
19.Delays
The Artist and the City agree that:
a) neither party shall be responsible for any failure to comply with or for any delay in performance
of the terms of this Agreement including but not limited to delays in delivery, where such failure or delay is directly or indirectly caused by or results from events of force majeure beyond the control of the party sought to be charged. These events shall include, but not be limited to fire, earthquake, accident, civil disturbances, war, rationing, allocation of embargoes, strikes or
labour problems or delays in transportation, inability to secure necessary materials, parts or components, delay or failure of performance of any supplier or subcontractor, acts of Nature or acts of Government.
Letter of Understanding
Public Artwork Agreement
20. Early Termination
The Artist and the City agree that:
a) notwithstanding any other provision of this Agreement, the City may, at any time and without cause, prior to completion of the Artwork, terminate this Agreement by providing sixty (60) days'
notice in writing to the Artist. In the event of such termination, the City shall not incur any liability to the Artist other than work completed to the date of termination in accordance with the payment
schedule and reimburse the Artist for the demonstrable, reasonable actual costs to the Artist incurred in connection with the Artwork, to the date of termination, as well as any demonstrable,
reasonable outstanding liability owed by the Artist to the Artist's contractors, subcontractors, or employees incurred in connection with such termination; b) failure of the Artist to perform its obligations under the Agreement shall entitle the City to terminate the Agreement upon ten (10) calendar days’ written notice to the Artist if a breach
which is remediable is not rectified by the Artist to the City's satisfaction and within the timeframe set out in the City's notice of breach. In the event of such termination, the City shall not incur any liability to the Artist other than work completed to the date of termination in accordance with
the payment schedule and reimburse the Artist for the demonstrable, reasonable actual costs
to the Artist incurred in connection with the Artwork, to the date of termination, as well as any
demonstrable, reasonable outstanding liability owed by the Artist to the Artist's contractors, subcontractors, or employees incurred in connection with such termination; c) all rights and remedies of the City for any breach of the Artist's obligations under the Agreement
shall be cumulative and not exclusive or mutually exclusive alternatives and may be exercised
singularly, jointly or in combination and shall not be deemed to be in exclusion of any other
rights or remedies available to the City under the Agreement or otherwise at law; d) no delay or omission by the City in exercising any right or remedy shall operate as a waiver of them or of any other right or remedy, and no single or partial exercise of a right or remedy shall
preclude any other or further exercise of them or the exercise of any other right or remedy; and e) upon termination, all work and material of the Artist pertaining to the Artwork shall be delivered to or retained by the City at no further cost or liability to the City.
21.Ownership
The Artist and the City agree:
a) ownership of the Artwork, the model/maquette and all documentation supplied to the City in connection with the Artwork, will vest in the City upon final payment for same.
22.Copyright
The Artist and the City agree that:
a) copyright in the Artwork shall remain with the Artist.
The Artist agrees:
a) to hereby grant the sole, perpetual and royalty free license to exhibit the Artwork in public and
to use photographs, drawings, film, video, and other mechanical reproductions of the Artwork throughout the world to the City for publicity purposes only.
Letter of Understanding
Public Artwork Agreement
b) to authorize the City to use the Artist’s name in connection with the Artwork and in the promotion and advertising of the City. c) not to replicate the Artwork for any other client or purchaser. d) to use best efforts to give credit to the City as the owner of the Artwork.
The City agrees:
a) to use its best efforts to have the Artist’s name associated with the Artwork in photographs,
drawings or other reproductions of the Artwork except where the Artwork is not the primary subject of the said reproduction.
23. Death or Incapacity of Artist
The Artist and the City agree that:
a) in the event of a death or incapacity of the Artist before the complete installation of the Artwork, the City shall be vested with title to the unfinished Artwork upon paying the Artist, their personal
representatives, administrators, executors or executrix a sum in the direct proportion of the percent of the Artwork completed to that date as determined by the City and shall be permitted
to complete the Artwork in a manner generally consistent with the original design of the Artist.
24. Mediation
The Artist and the City agree:
a) that all disputes pertaining to the interpretation or implementation of this Agreement shall be resolved first by good faith negotiation between the parties. In the event that a dispute cannot be resolved by negotiation between the parties, the parties agree to use the services of a mediator to attempt to resolve their differences and failing agreement on the procedure to be
followed, it shall be conducted in accordance with the “Rules of Procedure for the Conduct of Mediation” of the ADR Institute of Ontario. In the event that the mediation does not result in a settlement of the dispute, any unresolved issues may be taken to any other appropriate dispute resolution process agreed to by the parties, including arbitration or an appropriate court process.
Should arbitration be chosen, it will be conducted in accordance with the “Rules of Procedures for the Conduct of Arbitration” of the ADR Institute of Ontario pursuant to the Arbitrations Act.
Any claim or action brought pursuant to this Agreement shall only be brought in the courts of the Province of Ontario.
This Agreement forms the entire agreement between parties and no other representations either oral or written shall form part of this Agreement.
The rights and remedies of the City under this Agreement are cumulative and in addition to any rights
and remedies provided by law or equity.
Letter of Understanding
Public Artwork Agreement
To the City at:
The City of Pickering
One the Esplanade
Pickering , Ontario
The City’s Representative for the purpose of this Agreement will be
Laura Gibbs
lgibbs@pickering.ca
To the Artist at:
Javid Alibhai
Javid Jah Art & Design Inc.
peace@javidjah.xyz
javidjah.com
Or to such other address or person as the parties may designate to each other in writing.
Letter of Understanding
Public Artwork Agreement
It is deemed that notice is received five (5) days after the mailing of any notice or upon delivery, if personally delivered.
IN WITNESS WHEREOF the parties hereto have had this Letter of Understanding executed.
Javid Jah, Artist Date
Kevin Ashe, Mayor Date City of Pickering
Susan Cassel, City Clerk Date City of Pickering
Letter of Understanding
Public Artwork Agreement
GENERAL
Schedule A: The Artwork (Artist’s Concept proposal document attached)
Schedule B: Place of Installation
Schedule C: Detailed Fabrication Schedule
Schedule D: Terms of Reference
SCHEDULE A
ayukwenodih
'They have found their voice'
JAH QUBE X TAMMARO
2024
A PUBLIC ART RFP PROPOSAL | CITY OF PICKERING
ayukwenodih
'They have found their voice'
Inspired by the vehicular and historical crossroads
of Highway 2 and Whites Road in Pickering,
this public art proposal is inspired by the notion of
finding our voice at a point of intersection.
Wyandot term courtesy of Dr. Craig Kopris, Iroquoian Languages specialist
contents
STATEMENT
CONCEPT
DRAWINGS
RENDERINGS
BUDGET
MAINTENANCE
TEAM
statement
ayukwenodih is a site-specific story of the continuous evolution of trade. This
trade is beyond economic terms - it encompasses the exchange of ideas and an
openness to education. In our public art practice, we use geometry as a lens to
feature the main characters of the stories we tell. For us, this notion of a trade
route is best expressed through the movement of a spiral. The “goods” or fruits
of the trade are like a crystal, expressing openness through a void in its 3D
geometry. The intersection of these geometric forces creates a balance between
the curved and the linear, between presence and absence, between history and
a projection of the future. To achieve this end, I have invited Wyandot Elder
Catherine Tammaro to be a collaborative artist on the project, sharing her expe-
rience and perspective on how this sculpture is a representation of finding our
voice.
THE WINDING ROAD
The sculpture proposes a spiral as an Ancestral symbol equated with finding
voices imbued in the land. The Spiral is akin to the inner apparatus of the ear
as in hearing of voices latent within the land. In Wyandot culture, special indi-
viduals were understood to be able to hear the voices of the natural world. The
layers of significance embedded in this form make it a dynamic symbol for the
historic presence of the indigenous pathway that was colonized and trans-
formed into Hwy 2. We want to create space to reflect on this important history
through this piece.
The spiral also moves energy on site that helps to achieve a sense of balance.
Its implied movement counteracts the lopsided placement of the artwork on the
gravel bed. In addition, by massaging the spiral, we create a form that
responds to the morphology of the intersection, as expressed in the diagram to
the right. These thoughtful yet subtle changes invite pedestrians to sit and reflect
on the presence of the artwork that is aligned to the built forms and the history
of the site. Upon reflection, some may recognize the prevalence of copper in
spiral forms used in the healing arts, such as crystal grids. They may
understand that the reason for this is that copper is an excellent conductor of
electricity, supporting the efficient movement of energy. Some may recognize
that the spiral also expresses the notion of resistance - that it won’t conform
easily -aptly representing the legacy and longevity of traditions that have
stewarded this land for generations which musn’t be forgotten despite our
secular, economically-oriented priorities.
Finally, a foundation of my art practice as well as Catherine’s is the connection
public art engenders with larger cosmic phenomena. Reflected in the way
beans grow up the cornstalk, nature moves in spirallic forms as expressed in
many geo-spiritual sites all over the world. It echoes movement in celestial
spaces as well as visualized as orbital. Often honoring the feminine in contrast
to the linear symbolizing masculine, the spiral is an opportunity to connect the
site with marginalized yet universal voices of the underlying, often hidden
nature of reality.
CUBIC PROPORTIONS
In contrast, the spiral hosts a linear crystalline form known as the cube. In the
world of sacred geometry which is foundational of our symbolic art practices,
the cube is often association with the element of earth - its is a building block
of human and natural development. Its three axes imply the dimensionality of
terrestrial life - height, length and width - and its 90 degree angles speak to
the modern ethos of building, science and technology. In this way it offers a
reminder of the modernizing approach that transformed the site into a node
along Highway 2, the enterprising work of John Graves Simcoe.
We invite the cube to transform from a heavy, rigid crystal into an open, light
and airy presence. In effect, the spiral is creating this transformation - the exis-
tence of trade gives new interpretations to processes and products. Its separa-
tion into eight tetrahedrons seems to defy gravity in its new order, its dynamic
position representing the notion of progress and movement forward. This is
further reflected in the choice of stainless steel, brushed or polished, giving a
sleek architectural edge to the crystalline form.
FINDING THE VOID
The voided cube is a space of openness and silence. This new space allows
traditional lifeways to inspire modernity instead of erasing them. The organic
materiality is an expression of grassroots creativity and traditional craft in con-
trast to the metallic exterior faces of the cube. Cast in concrete in-laid with
bronze, the surfaces along the void allow us to see our open journey clearly -
we see the spiral through the geometry of the cube. It speaks of transparency,
the unseen, the Great Mystery holding within it equality and order - a bal-
ancing of priorities (not duality) through harmonic proportion and flow.
LAYERS WITHIN
The surfaces of the void are a site of symbolic language expressed through
bronze in-lays embedded in the concrete. These symbolic reflections speak to
physical alignments and understandings of the interplay between the cosmic
elements. Symbols used universally and understood in diverse cultural spaces
speak to the community within Pickering and those outside - it is a point of
connection that is both boundary-less and timeless. Originating in alchemical
diagram, these symbols activate and change dross into gold, bringing forth
deeper understandings of the nature of the multiverse. This aspect of the
project is of special purview of Elder Catherine, who summons the traditional
knowledge of her indigenous ancestry in her art practice.
THE NATURE OF NATURE
ayukwenodih is about the nature of intersections - one may even say, the nature
of nature. It is a reflection on how diverse communities that have settled in
Canada can celebrate shared principles from global traditions through the lens
of Indigenous communities, stabilizing a paradigm of unity. The search for our
voice is not just about what to say, but about listening to others - this is what is
emphasized through the concept of the void - and the void itself. The jewel-like
presence on a site dominated by vehicular traffic is designed to create an echo
through its visual presence - as if emanating a healing frequency throughout
the intersection. The shapes in space become talismanic perhaps; an energetic
signature created by the interaction of positive and negative spaces.
Its play between machined reflection and hand crafted mosaic stone suggest
the balance between industrial and natural presences - the importance of our
individual creativity as well as innovation in engineering/design. This is a
connection that is emblematic for Pickering - a city invested in nuclear
technology and creative spaces for diverse populations. It is about the search
through various layers to find oneself - one’s voice/one voice/many voices and
the presence of absence/silence/observation and beauty.
drawings
3'-11"
0'-
1
1
"
3'
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1
0
"
9'-0"
8'-
1
0
"
Ø2'-6"
Ø12'-2"
1
4
2
5
5
6
3
BENCH
BY OTHERS
FOUNDATION
EXSITING POURED CONCRETE
1
2
FENCE
EXISTING FENCE 3
TRAJECTORY
ALIGN WITH SOUTH EAST CORNER 4
RINGS
SPIRALLING FORM AROUND CUBE
SITE PLAN
5
ARTWORK ZONE
APPROXIMATE EXTENT OF ARTWORK 6
0 5’
4'-9
"
2'-11"
6'-
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Ø2'-6"
7'
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°
Ø12'-2"
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6
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2
2
2
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3
BASE PLATE
1/2” ALUM WELDED TO RINGS
MIN 4 X 3/4” DIA ANCHORS
RINGS 3.5”X1.5” FORMED ALUM ANODIZED
1
2
GUSSETS
UNDER SIDE OF BASEPLATE;
BOLT TO EXISTING FOUNDATION
3
POST
3.5” DIA WELDED TO BASE PLATE
TO SECURE CUBE
4
CONC FOUNDATION
EXISTING POURED PIER
FOUNDATION PLAN
5
BENCH
EXISTING SITE CONDITION 6
0 5’
7'-10
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3'
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1
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2
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°
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2'-10"
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877 7
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6'
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8
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2
6
1 BASE PLATE
1/2” ALUM WELDED TO RINGS
MIN 4 X 3/4” DIA ANCHORS
2 RINGS 3.5”X1.5” FORMED ALUM ANODIZED
3 GUSSETS
UNDER SIDE OF BASEPLATE;
BOLT TO EXISTING FOUNDATION
4 POST
3.5” DIA WELDED TO BASE PLATE
TO SECURE CUBE
5 CONC FOUNDATION
EXISTING POURED PIER
6 BENCH
EXISTING SITE CONDITION
7 INTERNAL STRUCTURE
DOWEL CONNECTIONS FOR CUBETO RINGS/SPIRAL
8 EXTERNAL FACES
3/16” THICK POLISHED STAINLESS
STEEL (OUTSIDE OF CUBE)
9 INTERNAL FACES
CAST CONCRETE WITH BRONZE
IN-LAY
TOP OF SCULPTURE PLAN
0 5’
5'
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4
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8'
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6
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7
8
7
2
29 9
88 7
1
3 3
5
2'-3" 2'-6" 2'-3" 2'-10"2'-11"
6'-11" 2'-10"2'-11"
12'-8"
1 BASE PLATE
1/2” ALUM WELDED TO RINGS
MIN 4 X 3/4” DIA ANCHORS
2 RINGS 3.5”X1.5” FORMED ALUM ANODIZED
3 GUSSETS
UNDER SIDE OF BASEPLATE;
BOLT TO EXISTING FOUNDATION
4 POST
3.5” DIA WELDED TO BASE PLATE
TO SECURE CUBE
5 CONC FOUNDATION
EXISTING POURED PIER
6 BENCH
EXISTING SITE CONDITION
7 INTERNAL STRUCTURE
DOWEL CONNECTIONS FOR CUBE TO RINGS/SPIRAL
8 EXTERNAL FACES
3/16” THICK POLISHED STAINLESS
STEEL (OUTSIDE OF CUBE)
9 INTERNAL FACES
CAST CONCRETE WITH BRONZE
IN-LAY
FRONT ELEVATION
0 2’-6”
5'
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4
"
8'
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6
"
7
8
7
2
2
9 889 7
1
3 3
5
2'-3" 2'-6" 2'-3" 2'-10"2'-11"
6'-11" 2'-10"2'-11"
12'-8"
1 BASE PLATE
1/2” ALUM WELDED TO RINGS
MIN 4 X 3/4” DIA ANCHORS
2 RINGS 3.5”X1.5” FORMED ALUM ANODIZED
3 GUSSETS
UNDER SIDE OF BASEPLATE;
BOLT TO EXISTING FOUNDATION
4 POST
3.5” DIA WELDED TO BASE PLATE
TO SECURE CUBE
5 CONC FOUNDATION
EXISTING POURED PIER
6 BENCH
EXISTING SITE CONDITION
7 INTERNAL STRUCTURE
DOWEL CONNECTIONS FOR CUBE TO RINGS/SPIRAL
8 EXTERNAL FACES
3/16” THICK POLISHED STAINLESS
STEEL (OUTSIDE OF CUBE)
9 INTERNAL FACES
CAST CONCRETE WITH BRONZE
IN-LAY
REAR ELEVATION
0 2’-6”
5'
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4
"
8'
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6
"
7
8
7
2
2 8
8
8
7
6 4
1
3
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8'-2"
1 BASE PLATE
1/2” ALUM WELDED TO RINGS
MIN 4 X 3/4” DIA ANCHORS
2 RINGS 3.5”X1.5” FORMED ALUM ANODIZED
3 GUSSETS
UNDER SIDE OF BASEPLATE;
BOLT TO EXISTING FOUNDATION
4 POST
3.5” DIA WELDED TO BASE PLATE
TO SECURE CUBE
5 CONC FOUNDATION
EXISTING POURED PIER
6 BENCH
EXISTING SITE CONDITION
7 INTERNAL STRUCTURE
DOWEL CONNECTIONS FOR CUBE TO RINGS/SPIRAL
8 EXTERNAL FACES
3/16” THICK POLISHED STAINLESS
STEEL (OUTSIDE OF CUBE)
9 INTERNAL FACES
CAST CONCRETE WITH BRONZE
IN-LAY
SIDE ELEVATION
0 2’-6”
8
7
8 8
7
9
9
9
8 7
8 7
2
8
4
STRUCTURE
The structure of the sculpture can be divided into two main
areas: the spiralling rings and the cube.
The aluminum rings, which may ultimately be a rolled tube
or a rectangular section, are welded to a triangular base 1
plate which is secured with gussets and anchors to the CONC FOUNDATION 1 BASE PLATE 5 existing concrete foundation. It provides three points of EXISTING POURED PIER 1/2” ALUM WELDED TO RINGS
connection to the cube. The base plate also hosts a snub MIN 4 X 3/4” DIA ANCHORS 6 BENCH post which penetrates the bottom tetrahedron of the cube. 3 2 RINGS EXISTING SITE CONDITION
3.5”X1.5” FORMED ALUM ANODIZED 7 INTERNAL STRUCTURE The cube is a composition of external and internal faces. 3 GUSSETS DOWEL CONNECTIONS FOR CUBE
The external faces are 3/16” or similar thickness of folded TO RINGS/SPIRAL UNDER SIDE OF BASEPLATE;
BOLT TO EXISTING FOUNDATION stainless steel (polished or brushed TBD). They host cast EXTERNAL F5 8 ACES
concrete embossed to allow for a bronze in-lay of the 3/16” THICK POLISHED STAINLESS 4 POST STEEL (OUTSIDE OF CUBE) selected symbols. Four of the eight tetrahedrons forming 3.5” DIA WELDED TO BASE PLATE
TO SECURE CUBE the cube are secured with an internal plate and dowel 9 INTERNAL FACES
which have bolted connections to the spiralling rings. CAST CONCRETE WITH BRONZE
IN-LAY
renderings
SOUND WAVES
The implied movement of the spirals
act like a visual representation of a
voice amplifying from the center of
the crystal like cube.
INTERSECTIONS
The intersection of the linear cube
with the curved spiral draws interest
and appeal at the intersection of
Kingtson and Whites roads.
LAYERS WITHIN
The internal faces of the cube radiate
through the void, inviting reflection
on the symbolic, universal language
within the sculpture.
360 EXPERIENCE
The sculpture is designed to be engaging from all angles, its dynamic
spiral and voided cube creating layers of interest at various scales.
ILLUMINATED
A single exterior wash light hidden behind the bench gives the sculpture a
new voice in the evening, illuminating the intersection at Whites and Kings-
ton Road.
As we are interested in a contrast between the exterior and interior of the cube
created by the void, we wanted to show iterations of various material combi-
nations. Our goal is that the exterior reads as machined - either brushed or
polished stainless steel - that feels sharp, crisp and in a sense, futuristic. The
internal surfaces however should read as softer, warmer, organic in texture
and hand-crafted for an intimate feeling. The following four options offer
potential combinations that express our desired intention:
LIGHT & BRIGHT
RAW RIVERSTONE
CLASSICAL ALCHEMICAL
ROSE HORIZON
A note about the Copper Spiral:
We chose copper for the spiral for each iteration because of the connection
between copper as a metal of conductivity. Often used as a binding metal for
crystal grids, there is an association with healing born out of copper which we
feel gives color and life to the site which is dominated by greys. In addition, we
propose to anodize the aluminum spiral with copper so it will not be subject to
patina/oxidation over time; it will remain with a copper sheen as opposed to
pure copper which would turn teal.
An example of copper spirals used as a material to generate movement of energy
centered on a crystal
material options
LIGHT & BRIGHT
POLISHED STAINLESS STEEL EXTERIOR X
PAINTED WHITE PORCELAIN MOSAIC
WITH A DARK GROUT
A clean and airy combination with sufficient
contrast. White mosaic could be discarded
porcelain and ceramic outdoor tiles, or
could be arrange to form patterns.
RAW RIVERSTONE
POLISHED STAINLESS STEEL EXTERIOR X
ASSORTED RIVER STONES
A refreshing natural palette of local river
stones echoing gravel bed below which
offers charm of nature’s graceful aging.
CLASSICAL ALCHEMICAL
POLISHED STAINLESS STEEL X
BRONZE IN-LAY ON WHITE CONCRETE
An opportunity to have a symbol expressed
on each interior face by cutting out bronze
pieces and in-laying them into embossed
concrete forms.
ROSE HORIZON
ROSE QUARTZ INTERIOR,
POLISHED STAINLESS EXTERIOR
The Rose Quartz is a local stone that
is durable and cozy, creating warm
reflections and inviting contemplation.
budget & maintenance
# CATEGORY ITEM DESCRIPTION UNIT # OF UNITS $/UNIT ESTIMATE WHO
1 ARTIST FEES
LEAD ARTIST 10% JAVID JAH PERCENTAGE $8,000.00 JAH
CONSULTING ARTIST 5% ELDER CATHERINE TAMMARO PERCENTAGE $4,000.00 D.D.D.
2 DESIGN
DETAILED DRAFTING INCLUDING SHOPS DWGS, INSTALLATION DOCUMENTS, TECH REVIEWS, DESIGN DEVELOPMENT MEETINGS; RENDERING AS REQUIRED HRS 30 $100.00 $3,000.00 JAH
ASSISTANT DESIGNER HRS 20 $60.00 $1,200.00 CAROL ANN
STAMPED SET FOR PERMIT, SHOP DWG REVIEW, STRUC ENGINEERING SITE VISITS AS REQUIRED ESTIMATE $2,000.00 BLACKWELL
3 PERMITTING
FEES TBD LUMP SUM $500.00 CITY
4 MATERIALS
ALUM BASE PLATE, GUSSETS, INTERNAL PLATES AS STRUCTURE REQUIRED ESTIMATE $1,500.00 WESSMARK
BRUSHED OR POLISHED STAINLESS STEEL CLADDING EXTERNAL SURFACES OF CUBE ESTIMATE $7,000.00 CNC PROFILES
FORM AND CAST LIGHT CONCRETE WITH EMBOSS FOR INLAYS ESTIMATE $5,000.00 QUBE INC
BRONZE INLAYS FOR SYMBOLS IN CONCRETE ESTIMATE $6,000.00 CNC PROFILES
ALUM AND STEEL PARTS, FORMED FOR BRACKETS, MISC COMPONENTRY ANGLES, AS REQUIRED; ESTIMATE $1,500.00 QUBE INC
FASTENERS AS REQUIRED FINAL SPEC TBD ESTIMATE $500.00 FASTENAL
Exterior Wash 110, 10°, US, ALU, QUAD RGBW LEDs LIGHTING (90513545) [SPECIALIZED LENS FOR PROJECTION] PER UNIT 1 $1,200.00 $1,200.00 HARMAN PRO
5 FABRICATION
TOWARDS PORTION OF EXISTING STUDIO RENTAL STUDIO RENTAL 66% APPROX REQUIRED SPACE PER MONTH 4 $1,200.00 $4,800.00 MAWG
ALEX AKBARI, QUBE INC OVERSEE ALL ASPECTS OF FABRICATION INCL WELDING, CONNECTION DETAILS; LIGHTING, PREP FOR SHIPPING, AND SITE LEAD FABRICATOR DIRECTION AS REQUIRED; 10% OF BUDGET PERCENTAGE $8,000.00 QUBE INC
ARGON & FILLER RODS AS REQUIRED FRAMES, COMPONENTRY, BRACKETING, ANCHORING WELDING SUPPLY CONNECTIONS, ETC ESTIMATE $300.00 JOSEFGAS
BRUSHING/POLISHING & COATING OF ALUM/STEEL FINISHING FINAL SPEC TBD ESTIMATE $3,000.00 QUBE INC
6 SHIPPING
DELIVERY TO SITE TRUCKING SPEC TBD ESTIMATE $1,500.00 RELOCATION ENGINEERS
CRATING PACKAGING AS REQUIRED FOR SAFE TRANSPORT ESTIMATE $1,200.00 RELOCATION ENGINEERS
7 INSTALLATION
FOUNDATION CONCRETE PIER SUPPLIED PER UNIT $0.00 TBD
EQUIPMENT (SCISSORLIFT, TELEHANDLER AND OR ERECTION CRANE TBD) + SCAFFOLDING ESTIMATE $2,000.00 UNITED
CLADDING COMPONENTS, DETAILING, MISC SITE ASSEMBLY TROUBLESHOOTING, SITE LABOUR ESTIMATE $1,500.00 QUBE INC
ELECTRICAL PANEL AT SUPPLY, CIRCUITS FOR FIXTURES, ESA ESTIMATE $1,000.00 QUBE INC
8 INSURANCE
CGL $2M POLICY IN EFFECT ESTIMATE $340.62 CJB
SUBTOTAL $65,040.62
HST $8,455.28
CONTINGENCY 10% $6,504.06
TOTAL $80,000.00
This public art work is designed to have the most minimal require-
ments for maintenance. A seasonal powerwash may be the only
requirement to remove dust and debris that may accumulate after
winter, especially given proximity of the major road ways. The follow-
ing is an overview of the material selections which enable this sculp-
ture to be maintenance free:
COPPER ANODIZED ALUMINUM
As opposed to using real copper, the anodized option prevents oxida-
tion and patina over time. It is a resilient finish that can also receive
an anti-graffiti coating if deemed necessary.
STAINLESS STEEL
The external faces of the cube are stainless steel which is a robust and
resilient, unchanging material. This may be brushed or polished
depending on the final decision of all consulting parties (there may be
issues with polished reflective surfaces at a vehicular intersection).
Again an anti-graffiti coating can be applied if deemed necessary.
CONCRETE WITH BRONZE IN-LAYS
The concrete will certainly be resilient over-time as well as the bronze.
This is a classic proven combination of materials designed to last
through years of difficult Canadian winters. An anti-graffiti proofing
could be used if required.
LIGHTING
While we understand the risk of having exposed lights that could be
smashed, we recommend having one exterior grade wash light
hidden behind the bench close to grade that illuminates the piece at
night. This will give the work presence and make it a locus of interest
year-round when the days get shorter.
team
ARTIST TEAM
JAVID ALIBHAI • JAH CATHERINE TAMMARO ALEX AKBARI
LEAD ARTIST & DESIGNER COLLABORATING MULTIDISCIPLINARY ARTIST FABRICATION & INSTALLATION
CAROL ANN APILADO MICHAEL HOPKINS TOM LOACH
GRAPHIC DESIGN & DRAFTING STRUCTURAL ENGINEERING CNC PROFILES INC. (SUPPLY & CUTTING)
thank you.
Letter of Understanding
Public Artwork Agreement
SCHEDULE B
Place of Installation
Letter of Understanding
Public Artwork Agreement
SCHEDULE C
Detailed Fabrication Schedule
WORK PLAN
The completion dates for each phase of the project as set out below shall be finalized upon final determination of the construction commencement date and prior to commencement of the Phase 2 services.
Phase 1 – July 8, 2024
• Agreement signed by all parties
• Proof of insurance and WSIB provided to the satisfaction of the City
Phase 2 -To be completed by July 29, 2024 to the satisfaction the City
(PAYMENT)
• Preliminary Drawings of all components and connections
• Preliminary fabrication schedule and Pricing
Phase 3 -To be completed by August 12, 2024 to the satisfaction of the City
• Final design and pricing
This phase will include the following approvals by the client:
• Preliminary engineer review
• Design drawings, including all components and connections.
Phase 4 -To be completed by August 26, 2024 to the satisfaction of the City
(PAYMENT)
• Completion of detail design.
This phase will include the following approvals by the client:
• Final sign-off of shop drawings for production
• Shipping & installation plan completed, in cooperation with stakeholders and other
relevant contractors, and to the satisfaction of the City.
Letter of Understanding
Public Artwork Agreement
Phase 5 -To be completed by October 21, 2024 to the satisfaction of the City
• Complete off-site fabrication of Artwork and all its components, to the satisfaction of the City. All permits and approvals acquired.
Phase 6 – To be completed by October 31, 2024 to the satisfaction of the City
(PAYMENT)
• Complete on-site installation of the Artwork and all its components, to the satisfaction of the City.
• Delivery of maintenance manual, including Photographic documentation, Artist statement,
Biography
• Attendance at the unveiling event in October, 2024.
• Final acceptance of Artwork to the satisfaction of the City.
SCHEDULE D
Terms of Reference
Kingston Road and Whites Road, Pickering
December 11, 2023
Land Acknowledgment
The City of Pickering resides on land within the Treaty and traditional territory of the
Mississaugas of Scugog Island First Nation and Williams Treaties signatories of the
Mississauga and Chippewa Nations. Pickering is also home to many Indigenous persons
and communities who represent other diverse, distinct, and autonomous Indigenous nations.
This acknowledgement reminds us of our responsibilities to our relationships with the First
Peoples of Canada, and to the ancestral lands on which we learn, share, work, and live.
Public Art in the City of Pickering
The City of Pickering is committed to and supportive of the benefits of public art and
recognizes that art in public spaces is a valuable asset that enhances the social/cultural, built
heritage and natural environments. Through public art, we beautify our environment; engage
the community in Creative Place-Making; and, celebrate our values, stories, culture, heritage,
and diversity while defining our unique identity. Public Art enhances quality of life for citizens
and visitors; and, strengthens community pride, tourism and economic growth.
Project Description: Public Art Commission for Kingston Road and Whites Road,
Pickering
The City of Pickering’s Cultural Strategic Plan (2014) outlines the City’s commitment to
collaborate with the community to celebrate our cultural diversity, heritage and the arts; to
sustain our natural environment; to foster a creative economy; and to strengthen our vibrant
neighbourhoods.
The artwork will be located at the North-West corner of Kingston Road and Whites Road,
Pickering. The City has already designated the location and has installed the surface onto
which the work can be secured. Photos below:
Photo of the location including the base for the artwork
1
Terms of Reference
Kingston Road and Whites Road, Pickering
Ariel image of Kingston Road and Whites Road with artwork location
View from Whites Road facing the base of the sculpture
2
Terms of Reference
Kingston Road and Whites Road, Pickering
Base for sculpture located on the planter area
This permanent public art piece is to be created by a professional artist/team. The work is to
be highly durable. The material used to be resistant to damage caused by rocks, paint, and
other vandalism. There are rocks at the base of the foundation so they are readily available
and could encourage vandals. For example, steering clear of an installation that utilizes
exposed lights or glass will be important. When creating your proposal consider your
dimensions carefully as the work should not act as a barrier for visibility and ensure there are
no potential obstructions to the site and/or traffic. Please refrain from incorporating images
and text that are vulgar, aligned with controversial themes, religious themes etc.
Site History and Neighbourhood Context:
Kingston Road, also known as Highway 2, holds significant historical importance as one of the
oldest travel and trade routes connecting Toronto to eastern Ontario.
Before Kingston Road became a colonial route under John Graves Simcoe, it existed as a trail
3
Terms of Reference
RFBWP
used by Indigenous peoples, likely for thousands of years. The trail played a vital role in
connecting Indigenous communities and was used as a significant travel route by First Nations
peoples long before European settlement.
The trail served as a crucial link between Lake Ontario and Lake Simcoe, enabling Indigenous
peoples to access important resources, such as fish, game, and plants, in different seasons. It
also facilitated trade networks, allowing for the exchange of goods, knowledge, and cultural
practices between Indigenous communities.
In the late 18th century, John Graves Simcoe incorporated the existing trail when establishing
a colonial route between Toronto and Kingston in order to foster trade, settlement, and military
connections within Upper Canada.
Today, Kingston Road continues to connect people and facilitate trade across Ontario.
Artist Selection Process: Commission
Per the City of Pickering Public Art Policy (CUL 130) section 09.01, a Public Art Jury must be
established to evaluate artist proposals and artwork donations in accordance with the Artist
Evaluation Criteria in Section 9.04 and Acquisition Criteria in Section 10.0 of this Policy.
Additionally, as per the Purchasing Policy (PUR 010) Public Art Project purchases or Public
Art projects with costs that exceed $25,000 are subject to Council approval.
While the ultimate objective of the Public Art Jury is to reach an unanimous decision, members
may be divided in their evaluations and as such, a Public Art Jury will consist of uneven numbers
to enable a majority vote.
Appointees to a Public Art Jury may consist of:
• A minimum of two resident members from the Cultural Advisory Committee. • A minimum of one professional artist or curator.
• Stakeholders of the project. This may include program participants that are related to the
project, architects, designers or consultants associated with a project, community group
representation, or other relevant representatives.
• A minimum of 5 and maximum of 9 people on the Jury. These members can be
stakeholders in the projects, and are not required to be residents.
City Staff will not be voting members of the Jury. The
Public Art Jury will: • Evaluate and select artwork, in accordance with the Artist Evaluation Criteria in Section 9.04 and Acquisition Criteria in Section 10.0 of this Policy.
• Advise on the development and implementation of selection, acquisition,
maintenance, and deaccession of artistic works to which this Policy applies.
4
Terms of Reference
RFBWP
• Advise and or review to the City, on proposed gifts, donations and bequests to the
City in accordance with established guidelines.
• Review and put forward a recommendation to acquire for endorsement of the
Cultural Advisory Committee to acquire the proposal with the best marks, or put
forward for community consultation.
The Jury will be subject to City policies to ensure fair and equitable treatment of all participants in
the process and to ensure their recommendations are without bias.
All decisions made by the Public Art Jury shall be endorsed by the Cultural Advisory Committee.
Artist Evaluation Criteria
When evaluating specific artwork proposals, the Public Art Jury will consider the vision, mandate
and objectives of the Public Art Policy and the specific aims in the project brief. The Public Art
Jury (as per section 09.01) will also consider the artist’s: • artistic excellence of previous work;
• ability to achieve the highest quality of contemporary artistic excellence and
innovation;
• professional qualifications and relevant working experience as related to the public art
project brief;
• ability to manage a project and experience working with a design team, project team
and/or community group, as appropriate;
• potential to comprehend, access and interpret relevant technical requirements; and,
• interest in and understanding of the public art opportunity and the context.
Selection Considerations
Artwork being considered for acquisition regardless of the acquisition method should take into
account the following:
Community Relevance and Impact
• Suitability for display in a public space
• Reflects the City’s heritage, and/or history, culture and diversity, and/or natural elements
and landscapes • Builds appreciation for public art
Overall Quality and Authenticity
• Originality of design • Intrigues viewers and stimulates imagination • Artist reputation, demonstrated and related experience
• Condition of the artwork
5
Terms of Reference
RFBWP
Location
• Site suitability • Response to or complements the location’s uses and users
Economic Value
• Short and long term costs • Tourism potential
Installation Maintenance & Conservation • City’s ability to accommodate installation requirements
• City’s ability to safely display, maintain and conserve the work
• Long-term maintenance cost • Longevity of the artwork • Environmental impact
Submission
• Compliance with guidelines outline in the Public Art Policy and accompanying “Call to
Artist”
• Quality of the approach/work plan and methodology • Ability to meet budgetary estimates and timelines
Additionally, the City will not purchase or display art that:
• Violates any City policy;
• Conveys a negative message that might be deemed prejudicial;
• Promotes alcohol and other addictive substances;
Ppresents demeaning or derogatory portrayals of individuals or groups or contains
anything, which in light of generally prevailing community standards, is likely to cause
deep or widespread offence; and,
• Is in direct competition with City of Pickering services, programs or initiatives.
The finalist artist (artist team) will work closely with City Staff to refine their concept proposal to
the requirements of the site and other conditions for project realization.
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Terms of Reference
RFBWP
Overall Project Timeline
Date* Project Phase
September 25, 2023 Issue Call to Artists: EOI
October 30, 2023 Call to Artists: EOI Submissions due
Week of November 6, 2023 Shortlisted Artists notified
December 11, 2023 Issue of Terms of References (RFP)
December 30, 2023 Submit Initial Concept
February 5, 2024 Final Conceptual Presentation Proposals due
Week of February 5, 2024 Artists presentations
Week of March 1, 2024 Deadline to notify selected Artist
Project Contract signed and executed for project
Week of April 1, 2024 deliverables*.
*Subject to Council approval of the project
Technical Review with project staff. This meeting
will provide the selected Artist with further
Second week of April 2024 technical specifications and feedback on the
submitted conceptual artwork from lead project
staff from the City
September 2024 Anticipated installation date
*Schedule is subject to change
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Terms of Reference
RFBWP
Budget
Budget: $80,000 CAD (maximum) including HST. This is the total amount available for all
related expenses of this public art project including, but not limited to: artist fees, all applicable
taxes, detailed renderings, materials, technical consultations and approvals or other expertise
as required, fabrication, installation, insurance, equipment, travel to meetings and to the site,
and an artist statement for completed work.
The selected artist will enter into a written agreement with the City of Pickering following the
approval of the acquisition of the public art. This agreement will address the artist's
obligations, which include, but are not limited to:
• Materials • Time lines
• Installation • Maintenance and/or conservation plans • Warranty
• Copyright, Intellectual Property and Moral Rights
• Payments to sub-contractors
Conceptual Design Considerations
Please consider the following in developing your concept proposal:
Site Specific Parameters: The space allocated for the artwork is as shared above.
• The work is to be highly durable. The material used to be resistant to damage caused
by rocks, paint, and other vandalism.
• There are rocks at the base of the foundation so they are readily available and could
encourage vandals. For example, steering clear of an installation that utilizes exposed
lights or glass will be important. When creating your proposal consider your dimensions
carefully as the work should not act as a barrier for visibility and ensure there are no
potential obstructions to the site and/or traffic. • Please refrain from incorporating images and text that are vulgar, aligned with
controversial themes, religious themes etc.
If the artwork has an overhead element, it should have a minimum clear height of 3m to permit
people to pass underneath.
• The work will be installed on the concrete base which is located in a bed of rocks
hence the work should not promote direct interaction. • Must be mounted onto the concrete base. • Currently, DRPS is performing examination of the location as the roads are scheduled for
construction and upgrades from 2024 to 2026 which will affect the unveiling of artwork.
The work’s official unveiling might be postponed as well the work may be covered until
the road work is completed for safety and preservation purposes.
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Terms of Reference
RFBWP
Artwork Materials, Maintenance and Public Safety
• Digital, multi-media and 2 dimensional artworks are not being considered for this
project. • Artwork materials should be suitable for a lasting public, outdoor sculptural artwork. • Artwork that incorporates live plants, water source or fountain will not be considered. • Artwork that relies on digital projections or light fixtures will not be considered.
• Materials selected can make a significant difference regarding the life span of a permanent artwork in an outdoor environment. However, material selection alone is not
the only determining factor, quality of workmanship, fabrication, and design details all
play a significant role in an artwork’s durability. • Materials recommended must be available locally and adhere to safety standards.
• Artwork construction of any freestanding sculptural artwork must conform to the
Ontario Building Code. Municipal codes and by-laws are available on the City of
Pickering’s webpage: https://www.pickering.ca/en/city-hall/zoning-by-laws.aspx
• All artwork components must be able to shed water (avoiding problems of water build up
and infiltration), be durable and constructed of materials resistant to oxidation and
corrosion.
• Wintertime salt spray should be taken into account. • The artwork should be designed to minimize the potential for defacement, graffiti,
vandalism, skateboarding, etc. Most materials will require an anti-graffiti coating.
• The artwork must not have components that are sharp, easily climbable or encourage climbing.
• The artwork must not interfere with site maintenance, including snow removal during
winter months. • The artwork should not create a situation where a lack of visibility creates a securityrisk or perceived security risk.
Access and Views
• The artwork must be designed to be barrier-free and accessible to maintenance staff, in
all seasons • The artwork shall be designed to be viewed from all sides and not be one sided • The artwork should not interfere with pedestrian flow and traffic.
• Artists (artist teams) should take into account that the site is a public space
frequented by people of all ages. • Viewers of the artwork will be primarily users who travel the route, as well as passing
pedestrians and residents of the area.
All public art submissions must include a detailed manual from the artist outlining the
maintenance and/or conservation plan.
The selected artist will be required to submit drawings certified by a structural engineer licensed
to operate in Ontario, at their own expense.
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Terms of Reference
RFBWP
Artist Proposal Requirements
The short-listed artists are invited to submit and present in-person their conceptual design
proposal in a PowerPoint presentation. Short-listed artists will be paid a fee of $1,500.00
(including HST) for their submission of a complete conceptual design proposal.
Short-listed artists must attend an interview and present their proposals (online presentations may
be accommodated) to the public art jury the week of February 5, 2024.
Design proposals must include: • Written Project Description and Artist Statement.
• Proposal concept sketches, renderings, design details, and a plan to show location.
• Details on proposed materials and any other relevant information to explain the proposed project.
• A preliminary budget outlining critical costs such as production/fabrication, professional
fees, such as engineering drawings, etc., transportation and installation including
proposed payment timeline. • Preliminary list of sub-contractors, fabricators, collaborators for the project
• Preliminary Conservation or Maintenance Plan and projected maintenance costs for
25 years
Deadline for submissions is February 5, 2024 at 4 pm, EDT.
Email submissions to: sbarakov@pickering.ca
Post Competition Procedure
Final Recommendation and Awarding of the Commission
• The Public Art Jury will select one finalist artist (artist team) and make its
recommendation to the City. • No appeals from artists (artist teams) are permitted.
• The Public Art Jury may offer suggestions as to ways the design concept could be
refined. • The Public Art Jury may elect not to choose a finalist artist (artist team).
• No official winner of the competition may be made public until the agreement between
the City of Pickering and the finalist artist (artist team) has been determined.
Ownership, Use of the Artwork by the Finalist Artist (Artist Team) and Copyright
Artwork acquired for the Public Art Collection shall become the property of the City of Pickering
except those artworks subject to the parameters for Temporary Public Art as outlined in CUL
130 Public Art Policy.
The City will respect the artist's right of authorship and the integrity of the public art. Except in
very rare circumstances, the Artist(s) shall own all Intellectual Property in the work developed.
Following best practice in North American Public Art Programs, they will not be asked to waive
their Artist Moral Rights or assign their copyrights.
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Terms of Reference
RFBWP
Artist(s) will be asked to provide a royalty-free non-commercial license to the City of Pickering
for images of their work in perpetuity.
Artist(s) must attend the unveiling event and give a short speech regarding their work.
Basic Conditions – Future Agreement(s) between the Finalist Artist (Artist Team) and
City of Pickering
The finalist artist (artist team) and the City of Pickering will enter into an Agreement, which will
include the identification of the scope of work to be performed by the artist, payments and
performance schedules to be followed.
Questions & Contact
Artists may submit questions about any aspect of this competition by email to the following
address: sbarakov@pickering.ca
Stoyan Barakov
Coordinator, Public Art
Community Services M:
289.200.7829
T: 905.420.4660 ext.1097
sbarakov@pickering.ca
Attachment 1: Site drawings of the base for the sculpture
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S102-0
3-15MCONT TOP 300 10ML-BAR@ 300 o/c
NOTCHTBD 25 CHAMFERCORNER
TYP
XA 10MTIES @ 300 o/c M
05 4-15MT&B OF FTG 4
T/O GRADE 2
NS102-0 IM
003 NOTES:
1. REFER TO CIVIL FORLOCATION
600 & ELEVATIONOF CONCRETE.
TR NOTES: UE
NORTH 1. PROVIDECONSTRUCTIONJOINT AT A MAXIMUMOF 18mc/c UNO. SUBMIT LOCATIONSTO CONSULTANT FOR REVIEW.
P
R
O 2. PROVIDE38x89VERTICALKEYWAYATCONSTRUCTION JOINT LOCATIONS. N
O
J
E
R C
T BENCH 3. REFER TO ARCHITECTURAL DRAWINGSFORLOCATION ANDEXTENT OF BENCHWALL.T
H
1 2 BENCHSECTION
S102-0 S102-0SCALE: 1 : 50 SCALE: 1 : 20
ALTERNATE ORIENTATION
OF BLOCKS EACHCOURSE 2300
10MSTIRRUPS @ 200CONFIRM w/ ARCH
6
S102-0
J JCC
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HEIGHT OF PILASTER
(1-EACHCORE)
4
C L
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5 BIKE SHELTER
MASONRYPILASTER
REFERTO LANDSCAPE DWGS S102-0 SCALE: 1 : 20
PRECAST MASONRY CAP ANCHORBIKE SHELTER TO REFER TO ARCH FOUNDATIONINACCORDANCE CJ CJ w/ MANUFACTURER'S
RECOMMENDATIONS 15M250 EPOXY COATEDDOWEL
EXTEND150 INTOPILASTER& 15MU-BAREQUALLY EPOXIEDINTO CAP 10MTIES @250 o/c SPACEDE/W TOP TOP 3 @ 50 o/c SIM 5 190 CMUPILASTER RE REFER TO 5/ S102-0 R S101-0 T/O GRADE UT FOR LAYOUT
CAFUN 4-15M1300 DOWELS H A 40 C M 0 EMBED600 (MIN)INTO R 0AR7/CONCFOUNDATION E3w8T 16-20MDOWELS EXTEND
3 5 CJ CJ
0 M L6E53 TO TOP OF PILASTER 50 CHAMFER RI HFS TYP N E 150 THK CONCRETE SLAB-ON-GRADE
O KCI r/w15M@ 300 o/c E/WMID-DEPTHON 0B
/w MIN150 THK GRANULARMEETING REQUIREMENTS OF OPSS
020 T/O GRADE
M COMPACTEDTO A MIN100% SPMDD
03RIFOVERPREPAREDSUBGRADE AS PER 400 NO GEOTECHNICAL REPORT 1375x1375x700 DP 5CSIZE & LOC'NTO BE CONFIRMED w/ ARCH CONCPILASTER 7
TYP 6-15M@ 300 o/c E/WBOT NOTE:
SLAB REINFORCEMENT NOT SHOWNFORCLARITY.
20Ø THREADEDRODS EPOXY ANCHORED 10MTIES @300 o/c
INTO PILASTERINACCORDANCE w/ BIKERACKSECTION NI TOP-3 @100 o/c 4 CJ CJ MMANUFACTURER'S RECOMMENDATION 0S102-0 0COORDINATE LAYOUT OF ANCHORRODS w/
SCALE: 1 : 20 51BIKE SHELTER MANUFACTURER
TYP
12-15MVERT BARS
75 (4-EACH SIDE)
COVER NOTES:
1. REFER TO ARCHITECTURAL & LANDSCAPE
C L
DRAWINGS FORLOCATIONS. 1700x1700x300 DP
CONCFOOTING 740 x740 PIER TYP 6-19Ø x 600 LG STAINLESS
760 STEEL HOOKEDANCHORS 6 MASONRYPILLARSECTION AT 500Ø CIRCLE PATTERN
S102-0 SCALE: 1 : 20
J J R 0CCFINISHED G ADE 01
PROJECT
NORTH
E UR H POUREDCONCBASE FOR PUBLIC T TRON ART INSTALLATIONr/w8-15MVERT
3 BIKESHELTERFOUNDATIONPLAN CAGE & 10MTIES @300 o/c
S102-0 SCALE: 1 : 20
00
81
NOTES:
1. FOUNDATION HAS BEEN DESIGNED FORA MAX
2500mmHIGHx 1000mmWIDE ART INSTALLATION
WITHA MAX WEIGHT OF 1500 kg.
2. Mf AT TOP OF PIER= 3.5 kNm
3. Vf AT TOP OF PIER= 2.5 kN
7 ART INSTALLATIONFOUNDATION
S102-0 SCALE: 1 : 20
Shell Canada Products
HEAD OFFICE
400, 4th Avenue SW, Calgary, Alberta
3292 Production Way, Burnaby, BC V5A 4R4
604.444.6400 T 640.294.8597 F
300, 134 11 Avenue SE, Calgary, AB T2G 0X5
403 245 5501 T 403 229 0504 F
ISSUED FOR
0 2022.04.25 CONSTRUCTION DOCUMENTS
1 2022.07.06 CRS002
METRIC
THIS DRAWING IS COPYRIGHTED AND MUST NOT BE USED,
REPRODUCED, OR REVISED WITHOUT WRITTEN PERMISSION.
ALL DIMENSIONS ARE IN MILLIMETERS UNLESS OTHERWISE NOTED.
VERIFY DIMENSIONS.
DO NOT SCALE THIS DRAWING.
REPORT INCONSISTENCIES AND OMISSIONS TO THE CONSULTANT
FOR CLARIFICATION BEFORE COMMENCING WITH THE WORK.
DEVIATIONS FROM THE CONTRACT DOCUMENTS WITHOUT
WRITTEN APPROVAL FROM THE CONSULTANT ARE SUBJECT TO
CORRECTION AT THE CONTRACTOR'S EXPENSE.
SEAL
KINGSTON & WHITES
KDR
690 KINGSTON ROAD
PICKERING, ONTARIO
LOT 29, PLAN 40R-5414, PART 1
SITE DETAILS
DRAWN: MDB CHECKED: DL
PLOT DATE: 7/6/2022 8:24:15 AM
102-0
AECOM FILE NAME
S102-0-DET-KRW-IFBP
ON100021 - 2002350
C:\Revit\Local
Files\DLG_2002350_ST_Site_BHermann@dialogdesign.ca.rvt
S
Attachment 2 to Report 05-24
Call to Artists – Expression of Interest (EOI)
Public Art Commission for Kingston Road and Whites Road, Pickering Deadline: October 30, 2023 at 4 pm EDT.
Photo from the North-West corner of Kingston Road and Whites Road where the artwork is to be located.
Artist Opportunity
The City of Pickering invites artists or artist teams to respond to this Call for Artists
to create a permanent outdoor public artwork to be installed at the North-West
corner of Kingston Road and Whites Road, Pickering.
As per the City of Pickering’s Public Art Policy (CUL 130) an artist is defined as the designer/creator of an artistic work and can include, but is not limited to, a professional artist, graphic designer, collaborative team, architect, or landscape
designer.
The total budget for the project, including artist fees, materials, and installation is $80,000 (including HST).
The successful artist/ artist team will be selected through a two-stage process.
One (1) artist/ artist team will be awarded the opportunity*. *This project and budget is subject to Council approval in 2024.
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Site Background
The City of Pickering resides on land within the Treaty and traditional territory of the Mississaugas of Scugog Island First Nation and Williams Treaties signatories of the Mississauga and Chippewa Nations.
Kingston Road, also known as Highway 2, holds significant historical importance as one of the oldest travel and trade routes connecting Toronto to eastern Ontario.
Before Kingston Road became a colonial route under John Graves Simcoe, it
existed as a trail used by Indigenous peoples, likely for thousands of years. The
trail played a vital role in connecting Indigenous communities and was used as a significant travel route by First Nations peoples long before European settlement.
The trail served as a crucial link between Lake Ontario and Lake Simcoe, enabling
Indigenous peoples to access important resources, such as fish, game, and plants, in different seasons. It also facilitated trade networks, allowing for the exchange of goods, knowledge, and cultural practices between Indigenous communities.
In the late 18th century, John Graves Simcoe incorporated the existing trail when
establishing a colonial route between Toronto and Kingston in order to foster trade, settlement, and military connections within Upper Canada.
Today, Kingston Road continues to connect people and facilitate trade across
Ontario.
Project Brief
The City of Pickering’s Cultural Strategic Plan (2014) outlines the City’s commitment to collaborate with the community to celebrate our cultural diversity,
heritage and the arts; to sustain our natural environment; to foster a creative economy; and to strengthen our vibrant neighborhoods.
The artwork will be located at the North-West corner of Kingston Road and Whites
Road, Pickering. The City has already designated the location and has installed
the surface onto which the work can be secured. Detailed Terms of Reference will be provided to the shortlisted artist/ artists teams to help them prepare their concept.
Budget
$80,000 CAD including HST (maximum)*. This is the total amount available for all related expenses of this public art project including, but not limited to: artist
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fees, all applicable taxes, detailed renderings, materials, technical consultations
and approvals or other expertise as required, fabrication, installation, insurance, equipment, travel to meetings and to the site, and an artist statement for completed work.
*Subject to Council approval.
The selected artist will enter into a written agreement with the City of Pickering following the approval of the acquisition of the public art outlined in the City’s Public Art Policy.
This agreement will address the artist's obligations, which include, but are not limited to:
•Materials
•Timelines •Installation • Maintenance and/or conservation plans •Warranty •Copyright, Intellectual Property and Moral Rights
•Payments to sub-contractors
Selection Process
Stage 1: Call to Artists – Expression of Interest (EOI)
A public art jury comprised of city staff, practicing arts professionals, and community members will be established for the evaluation of the Stage 1 submissions.
EXPRESSION OF INTEREST (EOI) SUBMISSIONSArtists/ Artist teams are invited to respond to this EOI by submitting a single pdf document including:
• CV: Professional resume (3-pages max). If submitting as a team, an individual resume should be submitted for each team member.
• Artist statement: describe your interest in this project and share your
experience in the field. You can submit a written document (1-page max) or record an audio or video message (MP3 or MP4 file, max 20 MB).
• Portfolio of past work: Examples of relevant work. You may include
multiple images per project on 1 page of a maximum to 10 projects (10-
pages). Add tittle, year, scope, budget and a short description.
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• References: A list of at least two professional references familiar with your work and working methods. The list must include name, title, complete e-mail addresses and telephone numbers.
Submissions must be sent by email to: sbarakov@pickering.ca Subject: LastName_EOI:KingstonRDDeadline: October 30, 2023 at 4 pm EDT.
If the submissions exceed 20 MB, artists should contact Stoyan Barakov,
Coordinator, Public Art who will provide a link to an external file share program.
Incomplete submissions or submissions received after the deadline will notbe juried.
Stage 2: Request for Proposal (RFP)
The Public Art Jury will review all submissions and identify a short-list based on artistic excellence and demonstrated or perceived ability to create and execute an innovative, engaging public artwork that is complementary to the overall design
scheme and community context.
The Jury will select a short-list of three (3) artists/artist teams for Stage 2 – Request for Proposal (RFP). Each of the three (3) artists/artist teams will be compensated $1,500 CAD plus HST for their time and the creation of concept for
Stage 2.
The short-listed artists will be notified by Week of November 6, 2023 and invited to submit a conceptual design proposal to the Public Art Jury and City of Pickering staff. As part of the process, short-listed artists must attend an in-person interview
and present their proposals (online presentations may be accommodated) to the public art jury during the week of December 18, 2023.
A detailed Terms of Reference project document will be provided to help short-listed artists prepare their proposals.
When evaluating specific artwork proposals, the Public Art Jury will consider the vision, mandate and objectives of the Public Art Program and the objectives listed in the Public Art Opportunity outlined on Page 1 of this Call to Artists. The Public Art Jury (as per section 07.02 of the City of Pickering Public Art Policy (CUL 130)
will also consider the artist's:
• Artistic excellence of previous work;
• Ability to achieve the highest quality of contemporary artistic excellence and
innovation;
4
• Professional qualifications and relevant working experience as related to the public art project brief;
• Ability to manage a project and experience working with a design team,
project team and/or community group, as appropriate;
• Potential to comprehend, access and interpret relevant technical requirements; and,
• Interest in and understanding of the public art opportunity and the context.
The proposals may be used by the city of Pickering in meetings with stakeholders and staff.
Anticipated Schedule
It is expected that the commissioned artist(s) will comply with the project’s general timeline dates, as stated below:
Date* Project Phase
September 25, 2023 Issue Call to Artists: EOI
October 30, 2023 Call to Artists: EOI Submissions due
Week of November 6, 2023 Shortlisted Artists notified
Week of December 4, 2023 Conceptual Proposals due
Week of December 18, 2023 Artists presentations
February, 2024 Deadline to notify selected Artist
Technical Review with project staff. This meeting
will provide the selected Artist with further March, 2024 technical specifications and feedback on the submitted conceptual artwork from lead project staff from the City Project Contract signed and executed for project March, 2024 deliverables*. *Subject to Council approval of the project
September 2024 Anticipated installation date
*Schedule is subject to change
5
Accessibility
The City will provide accommodations throughout the selection process to applicants with disabilities. Please notify Stoyan Barakov, Coordinator, Public Art at 289.200.7829 or sbarakov@pickering.ca of the nature of any accommodation(s)
that you may require in respect of any materials or processes used to ensure your equal participation.
Reserved Rights of the City of Pickering
The City of Pickering, at its sole discretion, may request clarification or request
additional information, as deemed necessary to evaluate the submissions. The City retains the sole discretion to determine whether a submission is responsive and if the prospective Artist or Artist Team is capable of performing the Work. The
City reserves the right, at it sole discretion, to determine the number of pre-
qualified Artists or Artist Teams. The City reserve the right to not proceed with awarding a contract.
Publication of Information
The City of Pickering shall have the exclusive rights to issue all public announcements regarding the competition.
Additional Information
For any additional information or questions please contact: Stoyan Barakov, Coordinator, Public Art at 289.200.7829 or sbarakov@pickering.ca.
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