MAIN ROADS WA

Freeway Extension Burns Beach Road to Hester Avenue

Public Art Strategy May 2014

Mitchell Freeway Extension Concept Plan

Mitchell Freeway Extension – Burns Beach Road to Hester Avenue

• This document is a the first draft of the Public Art Strategy for the Freeway Extension. It details:

• The vision for public art ;• The thematic approach to public art;• The commission;• Potential sites• Examples of relevant previous artworks with estimated or known budgets;• Commissioning processes; • Design Development; and• Maintenance and Safety requirements.

The purpose is to present options to the community and encourage community responses and ideas to be incorporated into the final strategy.

Public Art Strategy: Overview

1. Vision

• The public art will be the best of contemporary West Australian art and of a standardthat the local community will be proud of. It will be visually pleasing and inspiring.

• Public art will enhance the built infrastructure of the Public Shared Path (PSP)adjacent to the Freeway. Options for this include: pedestrian bridges; underpasses;noise walls; screens; bridge abutments; and pathways.

• The artworks will enhance community use of the PSP and enrich the journeyexperience along it.

• The thematic approach to the artwork will be determined as a result of communityinput.

• Although there will only be one commission there may be more than one outcome, forexample: screens + balustrades; or ceramic designs in the pathways + wall artwork onunderpasses.

2. Themes

The thematic approach to the public art will be determined from community input, but the following could be considered:• Journey and travel;• Local stories of cultural significance; or• The flora and fauna of the nearby National Park;

Only an Aboriginal artist or team of artists including an Aboriginal artist or cultural advisermay approach the above or any other theme from an Aboriginal perspective.

Having no theme is also a valid approach, leaving the artist to develop the artwork inresponse to the surroundings, built and natural.

3. The Commission

• There will only be one commission but the outcome may be for a series of artworks.• The commission is valued at $210,000 + GST, however there may be opportunities

for value addition to existing infrastructure, such as the railings on the pedestrian bridge.

• The commission will be publicly advertised. This is a requirement for all State Government projects over a value of $100,000 + GST.

• Only professional artists with experience in public art will be commissioned, but the brief could suggest that the artist work with specific community groups at the developmental stage of the artwork.

• Community response to the preferred locations will help determine the final site(s).• The artworks may be integrated into the urban infrastructure: balustrades; fences;

noisewalls; underpasses; pathway or in the green edge of the PSP.

4. Potential Sites

A number of potential sites have been identified for for the artwork. The artwork may be inmore than one site, but the budget will not cover all the identified sites:

• Bridge abutments

• Pedestrian underpass at Neerabup Bridge;

• Pedestrian underpass at Hester Road Bridge;

• Pedestrian Bridge over Burns Beach Road eg. metal screens; and

• The PSP pathway Burns Beach Road to Hester Avenue

5. Examples of existing artworks

Following is a series of existing public art projects by Western Australian artists. They have been selected to give some idea of the different ways that artists can integrate art into built infrastructure.

They do not in any way indicate the final outcome of your project.

Tony Panikw. Batavia Coast Marina. Galvanized steel. Approx 0.5m x 6m. Estimated cost $50,000

Tony Pankiw. Fence, Acacia Prison. Galvanized Steel. 8 panels each 2m long x 80cm high x 30cm depth. Estimated cost $80,000

Tony Panikw. Design for commission for Smirk Road Primary School.Double sided, painted, jet cut aluminium images affixed to both sides ofthe fence. Cost: $80,000 for 12 images each approx. 1m high

Mark Datodi. Exmouth District High School. Artwork is a value addition to an existing screen. Laser cut aluminiumgraphic based on water. $75,000

Mark Datodi. Roe Highway Stage 6. Laser cut painted aluminium.Est. $60,000

Mark Datodi. Kings Park. Bronze gates – commission also includedwalls works, total cost $75,000

Mark Datodi. Noise walls Reid Highway. Cast and coloured concrete.$165,000

Mark Datodi. Melville Aquatic Centre. Screen print on aluminium. 3m high x 14m long. Est. $140,000

Anne Neil. Private Commission. Cat bronze butterflies. Price variable but assume $1500 = 4 butterflies.

Anne Neil. Cancer Centre QEII Medical Centre. Screens provision of DXF files 0nly $20,000

Anne Neil. Coal Dam Park, Midland. Rose Arch, Laser cut Steel. Each panel 3 m x 1.5m. Cost approx. $30,000

Jenny Dawson and Sandra Hill. Hand-made ceramic pavement mosaic. Rokeby Road, Subiaco. Assume $15,000 per sq metre made and installed.

Jenny Dawson with Jilalga Murray and Rosie Dann. Port Hedland. Hand made ceramic sundial with some images created by the local community. Total budget $220,000

Jenny Dawson, Sandra Hill and Tony Pankiw. Melville Primary School. Corten Steel and hand made ceramic tiles. Est. $60,000

Leanne Bray. Esplanade Bus Port. 11 panels total 400 sq metres. Paint.Budget $59,000

Paula Hart with children from Bayswater Primary School. Workshops through Artsedge 2010

Paula Hart. Bayswater Primary School. Laser cut and painted screens with designs taken from previous workshops. 2 m high x 8m long. $40,000

Paula Hart. Community montage artwork painted on underpass Roe Highway Stage 6.

6. Commissioning Procedure

6.1 Overview

Only professional artists will be eligible for the commissions.

Commissioning procedures for all projects will follow the process used for the StateGovernment Percent for Art Scheme, which is in keeping with State Supply Commissionrequirements.

Calls for Expressions of Interest will be publicly advertised within Western Australia.

6. Commissioning Procedure

6.2 The Expression of Interest Document

The Art Coordinator will write the Expression of Interest (EOI) document, which will contain:

• An outline of the artwork concept;• Expectations of the artist with regard to consultation and collaboration;• The time line for designing the work;• Requirements of the design development and documentation including provision of

digital files and/or engineering specifications;• Expectation of the artist with regard to fabrication and installation of artwork;• The time line for installing the artwork; and• Selection criteria.

The EOI document will be approved by MRWA before being issued.

6.0 Commissioning Procedure

6.3 Process

• Calls for Expressions of Interest (EOI) will be publicly advertised by direct mail out to ArtSourcemembers * and placement on the Tenders WA web site;

• The EOI will be assessed by the Art Selection Committee, which will comprise members fromMRWA, the Art Coordinator; and local representation;

• From the EOI a short list of 3 artists will be invited to develop Concept Proposals, for which theywill be paid a nominal fee;

• For their Concept Proposal, shortlisted artists will be to provide:o Detailed drawings of their design idea;o Details of materials and fabrication techniques;o Detailed budget breakdown for labour, materials, fabrication, and installation.

• Artists will be asked to present their proposals in an interview with the selection panel, who willassess the proposals and commission one artist on the basis of their response to therequirements of the Concept Proposal;

• The selection panel may to make suggestions to the artist to refine the concept in any way as partof the first stage of their contract.

*ArtSource is a Western Australian member ship organization for visual artists and has a membership of about 900 artists. They advertise allstate government and many private public art commissions to their membership. The service is free.

7. Design Development and Documentation

The first stage of the contract for the commissioned artist is called Design Development and Documentation (DD). During that phase they will:

• Refine the design of the artwork, including incorporating any feedback from the Section Committee;

• Finalise materials selection, including colour and materials samples;• Detail any fabrication techniques;• Provide structural engineer’s drawings and certification for any structures, fixtures or

footings;• Provide a plan and time line for making and installing the artwork;• Submit a final maintenance schedule; and• Submit a final cost breakdown.

At the end of DD, MRWA will be completely satisfied that the artwork can be built andinstalled within the budget and to meet public safety standards. Only after MRWA havesigned off DD will the artist will able to start making the work.

8. Maintenance and Safety

• No artwork is 100% maintenance free, however the artist will be expected to makethe artworks with low maintenance materials and finishes with a lifespan of at least 10years;

• At the end of the project, the artist will be required to provide a maintenance scheduledetailing all materials and finishes, the names and contact details of any subcontacted fabricators, suitable methods for cleaning and maintaining the artworks;and removal of graffiti and ‘tagging’.

• The artwork must be made from materials suitable for external use in busy publicthoroughfares;

• The artwork must not have any sharp points, be able to trap limbs, be a trip hazard,or be climbable over a height of 1m.

QUESTIONS?