THE CITY OF

Public Art and Wayfinding

ESPM 4041W - Problem Solving for Environmental Change

College of Food, Agricultural and Natural Resource Sciences University of Minnesota

Report #4/9

Prepared by:

Monika Mann, Leader | Gillian Tomasini, Liaison

| Wesley Whitfield | Daniel Yoder |

December 13th, 2017

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Table of Contents

List of Tables and Figures ..................................................................................................... ii

Acknowledgements ............................................................................................................... iii

Executive Summary .............................................................................................................. iv

Introduction ............................................................................................................................ 1Wayfinding ........................................................................................................................... 1Public Art ............................................................................................................................. 2Vision Statements ................................................................................................................. 4Goals ..................................................................................................................................... 5

Methods ................................................................................................................................... 5Site Description .................................................................................................................... 5Research Techniques .......................................................................................................... 11

Findings and Analysis .......................................................................................................... 13Wayfinding ......................................................................................................................... 13Public Art ........................................................................................................................... 14

Recommendations ................................................................................................................ 21Recommendation 1: Create opportunities for community feedback prior to wayfinding and public art program implementation .................................................................................... 21Recommendation 2: Build a core team of diverse volunteers that can assist Arts Roseville in establishing a strong public arts program. ...................................................................... 22Recommendation 3: Establish wayfinding and public art as priorities within the City of Roseville’s Comprehensive Plan ........................................................................................ 23Recommendation 4: Identify grant funding opportunities for public art and wayfinding . 24Recommendation 5: Implement wayfinding and public art programs on small-scale test sites ..................................................................................................................................... 26

Conclusion ............................................................................................................................ 27

References ............................................................................................................................. 28

Appendices ............................................................................................................................ 31

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List of Tables and Figures

Table 1. Comparing community values represented in public art, Roseville, Minnesota 2017………………………………………………………………………………..…17

Figure 1a-b Wayfinding examples in (a) Central Park and (b) Langton Lake Park, Roseville, Minnesota, 2017…………………………………..…………...………………...……2 Figure 2a-c. (a) Carved rock bench in Langton Lake Park; (b) Rocket ship playground in Central Park;(c) Bandshell in Central Park, Roseville, Minnesota, 2017…………….3 Figure 3. City of Roseville relative to Ramsey County and the State of Minnesota(Data Sources:LCC-GIS Office, 2007; RCGISAdmin, 2017)…………………………....... 6Figure 4. Map of Roseville, Minnesota, 2017 (City of Roseville, 2017)…………………….7Figure 5. Map of Roseville parks and open spaces. Acorn Park (right), the Central Park complex (center), and Langton Lake Park (left) and outlined, Roseville, Minnesota 2017 ...………………………………………………………….........……………….8 Figure 6. Disc golf course at Acorn Park, Roseville, Minnesota, 2017………………………9Figure 7. Natural area in Central Park, Roseville, Minnesota, 2017………………………. 10Figure 8. Shoreline restoration in Langton Lake Park, Roseville, Minnesota, 2017……… 11Figure 9. Examples of incorporating performing and visual art into public areas, Roseville, Minnesota 2017……………………………………………………………………...18Figure 10. Public art funding opportunities available for local artists and art programs, Roseville, Minnesota 2017………………………………………………………….19Figure 11. Public art process for local artists and program entry, Roseville, Minnesota 2017……………………………………………………………………………...….21

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Acknowledgements

This report on public art and wayfinding in Roseville would not have been possible without the passion, imagination and generosity of Julie Wearn, Chief Executive Officer of the Roseville Visitors Association, Dana Stevens, Engineering Technician for the city of Roseville, and Jill Anfang, Assistant Parks and Recreation Director. Thank you all for taking the time to share your dedication to Roseville as well as your enthusiasm for bringing public art, and an expanded wayfinding program, to the city with us. Each of you provided us with valuable insights into the city of Roseville, the people and culture that help make the city a unique and welcoming place to live. A warm thank you to all of the artists and key players in the worlds of public art and wayfinding who took the time to meet with us and share your expertise. Your input greatly helped to enrich our report and inform our recommendations. We are grateful to our professor and group advisor, Kristen Nelson, for providing us with guidance and for asking tough questions that encourage us to stretch our imaginations beyond what we thought was possible. A sincere thank you to Gary Johnson, professor, and Dan Wattenhofer, teaching assistant, for sharing your experience and technical abilities with our group as we worked our way towards completion of this project.

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Executive Summary

The City of Roseville has identified the need to add public art and wayfinding in the community to improve the life of current residents and visitors. Currently, both public art and wayfinding exist minimally in Central Park. However, the city has expressed its desire to expand these services into the rest of Roseville. A group of four senior students from the University of Minnesota’s Environmental Sciences, Policy and Management program took on the challenge of creating next step recommendations for the City of Roseville. The team worked with staff from the City of Roseville and the Roseville Visitors Association in order to greater understand the needs and desires shared by the Roseville community. This report provides information about other currently established public art and wayfinding programs in the United States. This information was used to create recommendations of actions for the City of Roseville to consider as next steps. The students conducted key stakeholder interviews with city planners, engineers, artists and art committee members from similar sized communities to better understand how these programs are implemented. In addition to interviews, the students used literature reviews to gain further information about implementing art and wayfinding into a city. This has produced the follow report and recommendations. The recommended next steps for the City of Roseville for public art and wayfinding include: Recommendation 1: Create opportunities for community feedback prior to

wayfinding and public art program implementation.

Recommendation 2: Build a core team of volunteers that can assist Arts Roseville in establishing a robust public arts program.

Recommendation 3: Establish wayfinding and public art as priorities within the

City of Roseville’s Comprehensive Plan

Recommendation 4: Identify grant funding opportunities for public art and wayfinding

Recommendation 5: Implement wayfinding and public art programs on small-

scale, test sites

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Introduction

The City of Roseville, a suburb of Saint Paul located just north of the Twin Cities in Minnesota, has taken an interest in further enriching the community experience by improving the city’s wayfinding and public art amenities. Roseville currently has minimal formal planning or infrastructure dedicated to wayfinding or public art. City officials and the Roseville Visitors Association have expressed interest in enhancing the wayfinding and public art that currently exists and finding opportunities to create new infrastructure. Additionally, the city is hoping to incorporate a method of wayfinding connecting new public art pieces in the surrounding spaces in Roseville. While Roseville does have a few well known art pieces such as the space shuttle statue in Central Park, the city would like to incorporate more public art into common spaces around the city. Currently, the city has a basic system of signage in the parks showing the direction of walking trails as well as which sections of the trail are designated to walkers and which sections are designated to bikers. However, information about where these trails go is lacking, resulting in a limited resident and visitor experience. The focus of this project is to provide the City of Roseville with multiple wayfinding and public art recommendations that can be implemented to improve the overall experience for Roseville residents and visitors. Roseville has multiple amenities suitable for wayfinding, such as parks, trails, natural features, and historical sites. There are also opportunities to include public art in wayfinding and expand the public art program in concert with wayfinding. By providing the City of Roseville with a variety of options to choose from, our hope is that city officials will be able to select a programming option that is appropriate to meet the needs of the community.

Wayfinding Wayfinding is defined as the ability to orient oneself in a given environment. The purpose of wayfinding in a community can range from providing directions to educating residents and visitors (Koo, 2017). Effective and appealing wayfinding infrastructure can provide several benefits to a community. These benefits can include easier navigability to community members and visitors, improved community health by providing outdoor activities in the community, increased economic activity through foot traffic to commercial center, and the potential for increased tourism (Koo, 2017). The City of Roseville has some wayfinding infrastructure, primarily in parks where trails and pathways intersect (Anfang, J., personal communication, September 12, 2017)(Figure 1a). Additionally, the city has a Heritage Trail program, where numbered signs mark out important historical sites in Roseville (Figure 1b). There is significant potential for an expansion and

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optimization of the current wayfinding infrastructure. The City of Roseville has a well-developed pathways system but does not have a formal wayfinding plan. City officials expressed interest in improving the consistency and branding of wayfinding in the city in order to create a wayfinding experience for residents and visitors that is unique to Roseville (Anfang, J., personal communication, September 12, 2017).

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Figure 1a-b Wayfinding examples in (a) Central Park and (b) Langton Lake Park, Roseville, Minnesota, 2017.

Public Art Public art can take on many forms, from statues to park benches as well as theatrical productions and concerts. There are several benefits that public art can provide communities. At its most basic, public art provides free exposure to art for people in the community. Public art also creates spaces where people can gather, formally and informally, such as at bandshells and plazas (Green, 2012). Communities can use art to develop and enhance a sense of community identity and culture. Indeed, a recent McKnight Foundation study showed that citizens in 43 cities valued art, green spaces, and parks more than education, local economy, and public safety in creating a sense of attachment to a community (McKnight, 2010). The current public art infrastructure in the City of Roseville includes a few sculptures, unique playground facilities, performance art programs, and some community art events (Figure 2). While the 2030 Comprehensive Plan does not specifically discuss public art, city officials expressed interest in finding ways to incorporate public art more fully into the community

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(Anfang, J., personal communication, September 12, 2017). City officials were especially interested in unique ways to put art into the community and finding ways to use art as a participatory activity for community members. As with wayfinding, city officials want to enhance the Roseville community experience for residents and visitors (Anfang, J, personal communication, September 12, 2017).

2a 2b 2c Figure 2a-c. (a) Carved rock bench in Langton Lake Park; (b) Rocket ship playground in Central Park; (c) Bandshell in Central Park, Roseville, Minnesota, 2017.

City of Roseville Comprehensive Plan Roseville’s Comprehensive Plan for 2030 seeks to provide a framework through which the community can continue to flourish, while staying focused on their commitment to sustainable and responsible growth: “[Roseville] recognizes our responsibility to act as environmental stewards and provide a regulatory framework that fosters a sustainable community.” (City of Roseville, 2009). Roseville’s initiatives focus on improving the quality of lives for citizens, increasing Roseville’s reputation as a center for business and investment, and continuing to be a competitive force in Minnesota’s economy. Also included in the 2030 Comprehensive Plan are visions for improving transportation, strengthening programs that protect and improve the environmental health of the community, a plan to beautify public spaces such as parks and boulevards, maintain utilities like sewer, water, and sanitation as well as a continued effort to meet housing requirements of Roseville’s residents ( City of Roseville, 2009).

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Several of the goals outlined in the Roseville’s Comprehensive Plan could be further enriched by the implementation of a public arts and wayfinding program. First, an efficient and user-friendly wayfinding program will help community residents feel more connected to green spaces and economic centers within the city. A greater sense of community connectedness and agency will help Roseville draw people into their parks and public green spaces thereby fostering a desire amongst the populace to protect these areas. If people are able to find their way to natural spaces quickly and safely, they are more likely to develop an appreciation for those spaces and maybe more willing to spend money to protect them, or vote on initiatives to improve them. Additionally, public art often lends a sense of wonder and whimsy to outdoor spaces that can greatly improve the look and feel of Roseville’s neighborhoods and streets. Public art may act as a deterrent for graffiti and other forms of vandalism that can mark an area as undesirable or dangerous. In these ways, the introduction of public arts and improved wayfinding can go a long way in helping Roseville to achieve several of the initiatives outlined in their Comprehensive Plan. Vision Statements

The City of Roseville has provided this vision for the future of their city: “To provide ethical, efficient, and responsive local government, in support of community aspirations, guided by policies of the City Council, and implemented by professional staff, to ensure that Roseville remains strong, vibrant, and sustainable for current and future generations. (City of Roseville, 2009) “ Roseville’s vision has driven the class to strive towards providing projects that improve the wellbeing of all Roseville community members that will be sustainable and efficient for current and future generations to enjoy. Class Vision “ To work collaboratively with the City of Roseville to develop responsible management tools and provide proactive program recommendations that align with Roseville’s value and broader vision of enhancing the efficiency and sustainability of the community. To support the class vision statement, the following vision statement guides this team in its pursuits: To enhance the experience of Roseville’s visitors and residents through a user friendly and efficient navigation system that complements recommended public artwork to bring diversity and attraction to the city.

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Goals Roseville’s desire to enhance the experience of residents and visitors has led to the creation of a set of goals to guide the project. The goals for this project are as follow: ● Understand the City of Roseville’s desires in relation to public arts and wayfinding

programming ● Provide applicable information to city officials regarding implementation of

wayfinding and public art programs ● Create a list of wayfinding and public art recommendations for the City of Roseville

In order to meet these goals, objectives were created to keep these goals on task. The objectives are as follows: ● Review Roseville’s 2030 Comprehensive Plan, current wayfinding programs and

public are to understand the current state of these projects, ● Interview city officials from other communities to understand key attributes of

wayfinding implementation programs, ● Interview artists, art association staff, and city officials from other communities to

gather advice and ideas based on locally relevant public art programs, ● Work with an app designer to create a wayfinding app prototype, and ● Develop recommendations and outreach materials to support Roseville in their

implementation of wayfinding and public art programs.

Methods

Site Description Roseville is a first ring suburb in Ramsey County directly north of St. Paul and to the northeast of Minneapolis (Figure 3). Originally occupied by the Dakota and Ojibwe peoples, the first European settlers arrived in the 1840’s (City of Roseville, 2009). The area remained primarily agricultural until the 1930’s, when commercial development began to move into the area (City of Roseville, 2009). This development, combined with an significant jump in population and commercial development, resulted in the incorporation of Roseville in 1948 (City of Roseville, 2009). Continued growth and development throughout the last six decades has made Roseville an important commercial hub for the Twin Cities (City of Roseville, 2009).

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Figure 3. City of Roseville relative to Ramsey County and the State of Minnesota (Data Sources:LCC-GIS Office, 2007; RCGISAdmin, 2017).

Today, Roseville is a 13.84 square mile mixed-use community with a population of 33,660 people, 14,623 households, and a population density of 2,589 people per square mile (City of Roseville, 2010). Roseville’s ethnic makeup is 81.3% white, 6.2% African-American, 7.3% Asian-American, 4.6% Hispanic/Latino, 2.7% multi-ethnic, 2% other ethnicity, and 0.5% Native American (US Census Bureau, 2010). The median age for a citizen of Roseville is 42 years, with 18.6% of the population under 18, 10.8% is between 18-24, 23.7% is between 25-44, 26.6% is between 44-64, and is 20.2% 65 or older (US Census Bureau, 2010). Roseville consists primarily of residential and retail areas, with only 2% of land in the city remaining undeveloped (City of Roseville, 2010). Economic activity, especially retail businesses, are a critical component of Roseville’s economy. There is no single business district in Roseville, although a significant amount of business development is located in the Rosedale Mall area (City of Roseville, 2010). Roseville’s public lands include 30 parks, 679 acres of park and open space, and 67 miles of trails and walkways (City of Roseville, 2010) (Figure 4).

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Figure 4. Map of Roseville, Minnesota, 2017 (City of Roseville, 2017).

We selected three parks (Acorn Park, Central Park, Langton Lake Park) in the City of Roseville that represent three different types of public space where wayfinding infrastructure and public art could be implemented or expanded (Figure 5). Acorn and Central Parks currently have some external connectivity and are in close proximity to one another. Each of these parks already contain existing wayfinding and public art. Successful infrastructure in these locations can then be expanded to other parts of the community.

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Figure 5. Map of Roseville parks and open spaces. Acorn Park (right), the Central Park complex (center), and Langton Lake Park (left) and outlined, Roseville, Minnesota 2017.

Acorn Park Acorn Park, located in the east-central part of Roseville, is approximately 44 acres in size and is representative of several mixed-use, mixed-landscape parks in Roseville. The 2030 Comprehensive Plan identifies this park as a community park. These are parks that provide a diverse mix of uses for the community (City of Roseville, 2009). Acorn Park’s amenities include several sports fields, ice rinks, a disc golf course, walking paths and some woodland (Figure 6). Acorn Park is also one of several Roseville parks in the Natural Resources Restoration program. Acorn Park is currently part of the County Road C Pathway (City of Roseville, 2010).

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Figure 6. Disc golf course at Acorn Park, Roseville, Minnesota, 2017.

Central Park Central Park is Roseville’s largest park. Located in north-central Roseville, it is considered the crown jewel of the city’s parks system. The 2030 Comprehensive Plan identifies Central Park primarily as an Urban Park, but certain sections of the park fall under the Trail Park and Conservancy Park classifications. Urban Parks provide the greatest diversity of amenities and activities, Trail Parks offer multi-use trails through natural areas, and Conservancy Parks are dedicated to preserving natural areas, with some recreational activities allowed (City of Roseville, 2009). Divided into 6 units, this 225 acre park complex contains several significant public spaces, including the Harriet Alexander Nature Center (Figure 7), the Muriel Sahlin Arboretum, Lake Bennett, and the Frank Rog Amphitheatre, as well as traditional park amenities such as sporting fields and shelters. Central Park has substantial and heavily used trail infrastructure, as well as being connected to the County Road C Pathway. Central Park also contains public art pieces and is a hub for performing arts in the community (City of Roseville, 2010).

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Figure 7. Natural area in Central Park, Roseville, Minnesota, 2017.

Langton Lake Park Langton Lake is another Urban Park as classified in the 2030 Comprehensive Plan (City of Roseville, 2009). At 53 acres, the park surrounds Langton Lake. This park is situated in the northwestern part of Roseville, very close to I-35W, Rosedale Shopping Center, and several hotels. Langton Lake Parks offers a variety of amenities, including athletic fields, mixed-use trails, fishing, and canoeing/kayaking. The shoreline and natural features of this park are also being enhanced (Figure 8). This park has been specifically identified by the City of Roseville as a park that could have a higher profile for visitors to Roseville, given its proximity to hotels and shopping. Currently, Langton Lake Park remains isolated from the wider pathways and trails system in Roseville. The City of Roseville is also concerned that the park is not easier to access for visitors from out of town (Anfang, J., personal communication, September 12, 2017).

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Figure 8. Shoreline restoration in Langton Lake Park, Roseville, Minnesota, 2017.

Research Techniques The research that provides the foundation for this report was gathered through interviews with key informants. Interviews were chosen because they provide clear evidence provided about what does and does not work. A mixture of structured and semi-structured interviews were used based on the circumstances of the interview. Cities of comparable size or in close proximity to Roseville were focused on when considered what communities to interview. City liaisons from Stillwater, St. Louis Park and Hopkins were interviewed (Appendices A-D) to gain further insight into the process of creating successful public art programs from the ground up. Key informants were chosen based on the cultures they had established in their public art program. At the same time, interviews were conducted with city planners from Eau Claire, Wisconsin, St. Paul, Minnesota, Novato, California and Urbana, Illinois about public wayfinding. These interview were used to understand the ins and outs of creating a comprehensive and efficient public wayfinding system (Appendix E).

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After the interviews were completed, interview content was coded for common themes and synthesized, along with information gained from secondary sources, to produce a comprehensive list of recommendations for the City of Roseville. These recommendations will act as a reference for the City of Roseville as they make strides towards creating a unique public arts and wayfinding program. Information about the foundational structure that generates a need for wayfinding, how a wayfinding process is implemented, the amount of time required and other key points that appear across multiple interviews were analyzed to create a series of recommendations. When interviewing key informants in the realm of public art specifically, the interview questions were designed to pinpoint potential benefits and costs to a community that decides to integrate public arts into their city. The questions also sought to outline the processes that several different communities have followed in order to create a unique and sustainable public arts program. The purpose of focusing on these two areas of interest was to not only create concrete recommendations for the City of Roseville, but also to identify real world examples of thriving local public arts programs that Roseville can look to as guides in future endeavors. Information that we were unable to obtain through interviews were supplemented through secondary source reviews. Secondary sources for wayfinding were found through MNCAT. “Wayfinding” was searched for in MNCAT. This brought up articles such A Positioning and Mapping Methodology Using Bluetooth and Smartphone Technologies to Support Situation Awareness and Wayfinding for the Visually Impaired (Liao 2014), and Wayfinding and Signage Systems for Communities (Koo 2017). One additional source, the Urban Wayfinding Planning and Implementation Manual (International Signage Foundation 2013), was found through a google search after it was referenced by an MNCAT search. Secondary source information (Appendix F) regarding public art was found through Google Scholar with access made possible by the University of Minnesota as cited by Taylor & Francis Online journal. This literature exams Landscape Research Public Art and Urban Regeneration: Advocacy, claims and critical debates. Public Art and Urban Regeneration: Advocacy, claims and critical debates by Tim Hall, and Iain Robertson.

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Findings and Analysis

Wayfinding While few of the city representatives we interviewed reported implementing a wayfinding program themselves, they were happy to share the successes and struggles with the process of creating wayfinding program. One overlapping factor in all the cities that were attempting to successfully implement a wayfinding system was that these cities all included wayfinding in their comprehensive plan. This required a city to start working towards implementing a wayfinding system. If there were any questions about the wayfinding program in terms of goals and objectives, an official, staff member or resident could refer to the comprehensive plan to answer these questions. Including wayfinding in the comprehensive plan was a first step all cities took. This acted as a guiding resource for the rest of the implementation process. For the cities that had implemented a wayfinding program, the next step was to create a committee responsible for coordinating the project. Depending on the city, this committee was responsible for ensuring funding, filling out an residual support plan (RSP) and/or solidifying planning measures. From here, the cities had to decide if they wanted to make this process internal or external. For cities that chose to do this project externally, they searched for a company to design signage for them. Once a company had been chosen and a design solidified, the city identified a contractor to install the signage for them (Hanlon 2017). All of the city representatives interviewed mentioned that it was crucial to have a funding source throughout the project. Sources of funding included grants, tax incremental financing, and/ or budget line items. For cities that had wayfinding done externally, the design and contracting companies were chosen based on the fees. All cities went with the cheapest option. Problems in implementing the wayfinding program occurred at different parts. One city had a problem after they formed the committee because there were too many members on the committee which lead to the process taking twice as long to complete. All of the city representatives interviewed found the most problematic part of implementing wayfinding was funding. Some cities started with a solid funding source while other less certain about their funding from the start. Regardless, all of the cities ran into problems with funding at one point during implementation. Conflicts also arise about signage design in multiple cities. Secondary sources provided recommendations regarding how to set up wayfinding so that it is user friendly. Scholar found that while maps were useful, there was a need for more distinct landmarks in parks to aid in understanding current orientation in an environment. Trail signs, for example, can be used as landmarks for wayfinding if the sign confirms the current location and helps the user orient themselves (Soh & Smith-Jackson, 2003). A study done at the

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University of Minnesota suggested using an app available on smartphone for users that may be visually impaired (Liao 2014). Literature provided by the International Sign Association about creating wayfinding in cities echoed much of the information gain during the city representative interview. The document strongly recommends including wayfinding in planning documents and creating a committee or task force of 5 - 8 people including stakeholders to focus on the wayfinding development process. A city should expect the initially planning cost to be between $10,000 and $50,000 (International Signage Foundation 2013). This money is usually paid for by grants, donations or comes directly from the organization’s budget. Tax incremental funding (TIF) is another option that can be used for financing projects. Once a committee is established, having clear goals will help to keep the project on task. Designing the signage will likely have two phases: one concept design and the second being the design development (International Signage Foundation 2013). A concept design is an animated design of what a product could look like. A design development explains all the important parts of a project such a measurement, color, etc. During the implementation phase, it is important to trust your engineers and their recommendations. Finally, after the signage is installed, the city should have a management plan for maintaining the signs into the future (International Signage Foundation 2013). This whole process will likely take between 12 month to 2 years from start to finish.

Public Art A common thread that arose from interviews with key informants in the area of public art was the usefulness of a formal toolkit to as a guide to creating a public arts program. Friends of the Arts in St. Louis Park is an arts non-profit created over 20 years ago by a group of parents who were concerned about cuts in local school music program. The organization arose organically, and over the years, was guided by a common vision of preserving and bolstering the arts in public schools (J. Marshall, personal communication, October 11, 2017). Although Friends of the Arts in St. Louis Park was established independently from a formal “public arts toolkit”, an interview with Friends of the Arts Executive Director, Jamie Marshall, revealed that as Friends of the Arts continues to develop their approach to public art in St. Louis Park, they have relied heavily on the public arts toolkit and guidance found through consultants at Forecast Public Art (J. Marshall, personal communication, October 11 , 2017). Forecast Public Art is a non-profit arts organization based in St. Paul that serves to link artists and communities for the purpose of advancing public art. Jamie Marshall at Friends of the Arts in St. Louis Park noted that Forecast was able to offer structure and years of experience working with communities and public artists. The expertise that Forecast offered helped FOA- STLP bring their goals for public art into greater focus as well as show them areas of untapped potential for public art, for example integrating public art into new residential and commercial developments going up all over the city (J. Marshall, personal communication, October 11 , 2017).

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Jack Becker, founder and current Director of Community Services of Forecast Public Art, emphasized the idea that, when creating a public arts program, “every case is different. There may not be standardization but there is overlap” (J. Becker, personal communication, October 6, 2017). With this in mind, Forecast created a toolkit for communities to use either independently, or in conjunction with consulting from Forecast, to forge their own, unique public arts programs. Other such public arts toolkits are available from organizations such as Americans for the Arts, a nonprofit based in New York City, and from the Citizens’ Institute on Rural Design, a project made possible by the National Endowment for the Arts. These public arts toolkits are extremely helpful in that they help communities and organizations refine their vision of public art and thus channel their energies into specific and impactful areas of focus. Since no two communities are exactly alike in demographics, economic needs, cultural values et. it can be helpful to draw inspiration from a variety of public art toolkits (Appendix F). Another strong theme that arose from interviewees was the need for a shift in the way local governments and artists interact. Rather than viewing public art as a luxury or an afterthought, Jack Becker argued that public art should be integrated into a city’s comprehensive plan from the very start. Rather than viewing art as an expensive and frivolous luxury, artists should be viewed as “creative problem solvers” who, if welcomed to the table alongside engineers, architects and city planners, can help add economic, cultural and social value to a community of any shape or size ( J. Becker, personal communication, October 6, 2017). Adding a strong commitment to public art into a city’s comprehensive plan will help ensure that public art stays at the forefront of the city’s mission and values. Heather Rutledge, Executive Director of ArtReach St. Croix, strongly recommended gathering ideas from community members directly about what kinds of public art they would most like to see in their community. Placing an emphasis on the process of creating public art rather than focusing solely on the cranking out a product gives community members ample opportunity to engage with the art and with one another (H. Rutledge, personal communication, October 12, 2017). Allowing residents to choose public art projects that have personal meaning to themselves and their families can go a long way towards improving a community’s sense of pride and unity. To highlight this point, Rutledge pointed to the Art Bench Trail project in the St. Croix river valley as one example of a successful public arts project that relied heavily on community input from start to finish. The Art Bench Trail features 8 benches, each designed by local youth in partnership with artists and various community partners (Art Bench Trail, 2014). The benches are arranged along the St. Croix river valley and are meant to highlight various historical and natural sites along the river. Visitors and residents alike are encouraged to

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explore the river valley and visit neighboring towns in order to view the benches. Through creating a series of unique and deeply personal pieces of functional public art, the community has engaged in an activity that reinforces their connection to the land and to each other (Art Bench Trail, 2014). In 1984, the Roseville Arts Council was created to act as a hub of resources and support for artists and art initiatives in the Roseville area (C. Lee, personal communication, November 11, 2017). After a period of inactivity, the Roseville Arts Council reemerged in March of 2017 as Arts Roseville. Vice President of Arts Roseville, Cynthia Lee, says that the new organization will focus largely on expanding the diversity and inclusivity of its arts programs (C. Lee, personal communication, November 11, 2017). Arts Roseville acknowledges that the city of Roseville is becoming more and more diverse with each passing year, welcoming immigrants from countries all around the globe. Lee stressed that in order for Arts Roseville to succeed in becoming a lasting and consistently relevant asset to the community, they must create an arts organization that is “by the people and for the people” (C. Lee, personal communication, November 11, 2017). That is, the voice of every Roseville resident, no matter their country of birth, religion, socioeconomic status, etc. must be included in order to drive the arts in Roseville forward. In addition to capturing a sense of community pride, there are several concrete benefits that public art can bring to a community. Public art aims to bring social reform and economic gains for communities. “It has been argued that public art can contribute to the resolution of a range of broader physical, environmental and economic problems (Hall & Robertson, 2001).” Urban regeneration and economic uplift in communities, particularly small communities have benefited from public art projects that boost economic gain as well as aid in social reform. Social activists are committed to improving their neighborhoods, and cities by introducing art into their communities. “Arts advocates have argued that public art can intervene and help rejuvenate severed social connections, both by promoting community discovery and awareness and by directly enhancing social connections” (Hall & Robertson, 2001). As communities struggle to meet economic goals and battle mounting social concerns, public art can support struggling communities by infusing a sense of wonder into everyday objects and common spaces. In this way, art can be more than visual. Art can act as a uniting factor that eloquently expresses the hopes, fears, or desires of the community itself. Residents walking by a piece of public art can see the stories behind the art and ask how does the artwork reflect our community? The state? The nation as an entirety? Public art can market the community’s identity, culture, and values. “It has been argued that public art can act as a vehicle through which a ‘sense of community’ can be developed and promoted” (Hall & Robertson, 2001). Furthermore, public art can draw attention to underserved and marginalized communities (Henderson, 1988). Educational efforts are

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significant in correlation with the public arts. Public art programs branch into educational sectors providing adequate learning opportunities to youths, tourists, and organizations. There are many educational public art programs that focus on critical issues i.e. (environmental conservation, public health, economic development, sexuality, etc). Artists integrate their artworks to address a range of issues including protests and/or oppositional events (Hall & Robertson, 2001). Art can be limitless in its form and content. Public art can be expressed through several forms including restoring abandoned buildings, lots, empty spaces, etc. Public art aims to bring communities together, as well as fitting the landscape within communities. Communities are the forefront of public art programs and feel a sense of responsibility by marketing new public art. The City of Hopkins’ artist Kyle Fokken stated “With public art commissions, the community is making a long-term investment in adding art and more attention needs to be placed on getting the right ‘fit’. These commissions are about a communal ‘sense of place’ and the work becomes a symbol or ‘brand’ for the community.” Public art is branding a community, as it attracts residents and nonresidents. There are certain values that lie within different communities that are sowed into the livelihoods of residents (Table 1). In rural communities, residents appeal more likely to find appealing traditional values (ie. family, faith, heritage etc.), and natural art design (ie. scenic, animals, etc.). Urban communities are more likely to find appealing progressive and liberal values (ie. social injustice, political reforms, economic equality, cultural standards and abstract design) in likelihood tends to favor a more abstract design approach in public art.

Table 1. Comparing community values represented in public art, Roseville, Minnesota 2017.

Art takes many forms, including both performing and visual (Figure 9). With the various forms of art, public art programs have several options to choose from. Performing arts incorporates a vast number of choices. These subgroups include participatory art which allows the individuals in the community to partake in the art design, examples includes musical instruments where individuals can be a musician, and perform music freely of their own accord in a public area that is made available for scheduled use by artists. Other examples of performing arts include musical concerts, theatrical plays and amphitheater performances, poetry nights, children's literature involving puppetry and role-playing, each of these can be intended for educational purposes.

Public Appeal Values Design

Rural Communities Traditional Natural Urban Communities Progressive Abstract

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Visual Arts incorporates the public viewing of artworks. Examples of visual art subgroups include sculptural art, wall murals, literature marketing, street chalk and design, metal design, wood design, painting, and calligraphy are just some of the examples that can be used in public visual arts. Local artists vary in their skills and talents as showing their art. It’s important to consider choosing diversity, and creativity when deciding what type of art should be implemented in the community. The two types of public art, performing and visual, combine to form public art. Public art is multifarious and ultimately expressed through the resident’s values and the artist’s creativity. Public art is iconic, and therefore a symbol of the community. The art that is portrayed to the public can act as a driving force for nonresidents to continue to visit that art, and its location. Public art can teach visitors about the city itself including its rich history, and focal areas that make the city unique. In addition, public art unites the community by allowing residents to appreciate and enjoy their art together. Many public art programs host events/celebrations in which residents can come together and take part in that event that is centralized around the public art.

Figure 9. Examples of incorporating performing and visual art into public areas, Roseville, Minnesota 2017.

Funding for a public art program in a community requires various techniques to gain sustainable financial support for local artists and programs (Figure 10). The art budget is not limited to one source. To construct artwork for public view and participation, and wayfinding for trail users, funding sources include city programs, community fundraising, churches, institutions, research grants, and art program stipends. In the case of public art, many artists

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who were/are involved in art programs receive funding mainly through the city where they are installing the artwork. Temporary art installations are less costly, whereas permanent art installations require more funding. Accessibility to grants typically requires artists to apply and submit their previous artworks and qualifications to the city organization, then the city art jury decides which artist(s) work will be used for the desired space. The public spaces used for public art include, but not limited to murals in community libraries, park sculptures, courtyard fountains, statues near buildings, street designs, building architecture, etc. In some cases, cities may face challenges identifying funds for public art or wayfinding due to a limited budget. Many cities rely on fundraising within the community to provide designated financial aid for public art and wayfinding purposes.

Figure 10. Public art funding opportunities available for local artists and art programs, Roseville, Minnesota 2017.

St. Paul public artist Caprice Glaser indicated numerous approaches in selecting public art installations in a community. The process of acquiring public art for a community requires a step-by-step approach (Figure 11). As with any community, the process selection of artworks involves cooperation between the community’s art jury and local artists. Community art juries tend to consist of city volunteers who collectively and proficiently plan, organize, and market artworks in their communities. The selection process is as listed:

1. Artists submit their qualifications and previous artworks to the community art jury for review. Artworks can be a previous temporary installation from previous public art showcases in other communities or artworks specifically for the community for which they are submitting. Many artists will use photo submissions on the planned site to build or create existing artwork(s) to manifest to the community art jury. Qualifications consist of artist's skills, techniques, specializations, and previous projects. It’s important to consider community values importance as community art juries will factor its values into the selection process.

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2. As submission processes are completed, the next step is to review what is received from the artists. This will require precise analysis and critique of various artworks from artists as the judging process may vary in time, funding, and community values.

3. Selecting the best candidate(s) for their artworks to be displayed in the community should be a representation of the community itself. The brand within the community stems from the candidates that are selected. These candidates will act as a marketing agent, advertising and selling the focal points of the community. In collaboration, selected candidates and the community art jury must adjudicate funding purposes i.e. site installation, materials, equipment, etc. Candidates and the community art jury must also adjudicate time preferences for installations i.e. temporary, seasonal, permanent.

4. Endorsing candidates’ artworks defines the boundaries at which the quality and quantity of artwork are exhibited. Endorsements can come from an array of sources within the local community as well as state, and federal (Figure 10). Many local communities are willing to create fundraising events and donations for candidates’ artworks. Communities and candidates should cooperate with each party to meet funding needs.

5. Once each step has been fulfilled (submission, review, selection, endorsements), the final step suggests a celebration for incoming artwork and honorary candidates. The celebration is determined by the community organizers, and candidates themselves, and can consist of art venues, a grand opening of the artwork installation(s), artist party, and other celebratory events. It should be mentioned in local media the time, date, and location of installation(s), as well as candidates’ information regarding the name of the candidate(s), and importance of artwork in order to attract residents and nonresidents to view the art installation(s).

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Figure 11. Public art process for local artists and program entry, Roseville, Minnesota 2017.

Recommendations

Recommendation 1: Create opportunities for community feedback prior to wayfinding and public art program implementation

One key component of planning is creating stakeholder engagement. Roseville’s strong community can provide valuable insight to create the best possible product for Roseville residents and visitors. Public engagement can come in many forms. One option would be to design a survey (Appendix G) which will allow residents to provide input about what they would like to see from these program. The survey example that is included in Appendix G of this report asks questions that aim to gather insight into the values and opinion of Roseville residents regarding public art. What kinds of art do Roseville residents most appreciate? Where do they most want to see art? Who wants to be included in the creation and implementation of a public arts program? The survey also contains a space for general comments, questions, and concerns that will help to add dimension and depth to the

5. Grand Celebration

4. Endorsement

3. Selection

2. Review

1. Application and previous artwork submission, and qualifications.

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conversation. Residents should be able to access the survey easily in order to remove as many barriers to participation as possible. One ideal location for the survey could be the City of Roseville webpage. The survey could also be posted on the Arts Roseville webpage and on the City of Roseville, and Arts Roseville Facebook pages. The survey can be modified in many different ways to change the focus to wayfinding, or to target any specific sub-group of Roseville residents. Advertising the survey on the City of Roseville webpage for a certain amount of time, a few weeks for example, would give residents enough time to access the survey and include their opinions. At the end of the survey period, the responses can be collected and analyzed to parse out common questions, concerns, and areas of interest held by the community as a whole. The responses gathered from the survey data can be used to guide the next part of this recommendation, the town hall meeting to discuss public art and wayfinding. After collecting and analyzing the responses from the public arts and wayfinding survey, the City of Roseville can gather further community input through hosting a series of town hall style meetings where residents are encouraged to attend and voice their opinions about public art and wayfinding in person. The common themes that arose during the survey response period can be used to guide the conversation towards areas of main concern and interest. The purpose of holding the town hall style meeting, in addition to the public survey, is that many residents might not know what wayfinding or public art programs actually entail and may feel more comfortable asking questions to city officials in person rather than online. These meetings would allow residents, city officials and other stakeholders to have a discussion about wayfinding and public art and to generate ideas and enthusiasm for each program.

Recommendation 2: Build a core team of diverse volunteers that can assist Arts Roseville in establishing a strong public arts program. The development of a local volunteer based art committee is an important first step in determining what type of public will be integrated into their communities. In figure 12, the selection process is decided on the art committee’s review on the applicant's submissions of their previous artworks and artistic background history. Artist applications can be submitted via Roseville art committee website or by mail. The next step involves selecting the artworks that the art committee wishes to implement. This stage must include community members’ feedback (i.e. values, types of artworks figure 10, locations for art, and any other general comments or concerns), and funding availability. Funding availability is a critical factor when selecting art works. Based on funding availability, the art committee must decide whether the art piece(s) should be permanent or temporary installations. Temporary installations are less costly which can be a benefit to selecting the art piece, however temporary installations may not represent the communities’ wishes as there is a possibility to have a installation that’s permanent and homegrown. Careful considerations are to be made for Roseville art committee

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when deciding on art installation preferences. After selecting art pieces, the Roseville art committee should cooperate with community members and local organizations/institutions for endorsement purposes. The City of Roseville should provide a percent for art that they wish to use to dedicate to public art programs. Additional funds and endorsements can stem from community organization fundraisers such as church fundraisers, public library donors/advertisements, school donations, etc. Endorsements can be flexible, and feasible as the funding will provide materials for the artist(s), installation, and site costs. In the final stage of the public art process, Roseville art committee should hold a celebratory event for the artist(s) and their new work as this is a special occasion and meaningful for the City of Roseville as a whole. Event planning can vary based on Roseville art committee needs, however the event should acknowledge the introduced artwork and the artist(s) involved. Roseville art committee should welcome the public to join the celebration, and this can be done through advertisements, and announcements on the City of Roseville’s website, newspaper, news stations, public libraries, or any other mediums. The re-emergence of the Roseville Arts Council, now called Arts Roseville, can serve as the central hub for all public and fine arts projects in Roseville. Harnessing the enthusiasm and diversity of talents that volunteers contribute can go a long way towards helping the City of Roseville implement public art projects that might not otherwise be possible due to lack of person power or funds. In that same vein, the City of Roseville can create a wide variety of internships to help tackle public art projects large and small within the community. Internships might last a few months to a year, and could focus on various aspects of public art from designing arts education classes for children, to managing volunteers, to handling administrative work, to leading public arts events for community members or even physically helping to design, build and install a piece of public artwork. Internships would benefit not only the intern by providing hands on experience in the realm of public art as well as countless other opportunities to gain skills in the aforementioned areas, but would also serve the community of Roseville by using the talents and energies of community members to create and grow the arts in Roseville.

Recommendation 3: Establish wayfinding and public art as priorities within the City of Roseville’s Comprehensive Plan

The City of Roseville would gain substantial ground towards implementing a wayfinding and public arts program by making the need for these programs understood by the city council. Because these programs are intended to benefit the community in a variety of ways, it is important that the city is fully aware of the benefits to the community. It is also important that funds, personal attention and time are set aside accordingly. In order to begin the wayfinding program process, the City of Roseville will want to include a wayfinding proposal in their

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upcoming comprehensive plan as recommended by the International Signage Association. Once wayfinding and public art programs are established in the comprehensive plan, clear goals and intentions each must be established so there is no confusion about the programs or their potential benefits. Working with artists as “creative problem solvers” and using art as a necessary part of community development, in addition to implementing a cohesive wayfinding program will go a long way towards improving resident life. The usage of comprehensive plans to implementing a program is particularly useful when the program is one with high interest. Adding a wayfinding and public arts program to the city’s comprehensive plan would send a bold message that the city intends to have this program in place in the next 10 years. Comprehensive plans also lay out the tools and provide structure for the up and coming programs. In order of the City of Roseville to decide whether or not this program was a success, the comprehensive plan should have measurable goals and specific targets for the project. For the wayfinding project, implementing wayfinding into Central Park, Acorn Park and Langton Lakes park would be a good standard. The standard could also be followed by a timeline such as 10 years. For public art, the City of Roseville should incorporate a Percent for Art, as designed by the Minnesota State Arts Board. The Percent for Art requires artwork to be exhibited in and around public infrastructure and in public spaces. Percent for Art works by purchasing existing artwork, or allowing artists to create new artwork for the given site. Art that is being considered for installation in a public space exhibit a range of values including social, historical, cultural, and environmental. The artwork has to be appropriate for the location, as well as meet the social, historical, cultural, and environmental values that are presented.

Recommendation 4: Identify grant funding opportunities for public art and wayfinding For the City of Roseville to successfully implement a wayfinding system and public art program, a funding source must be established. However, the city has a variety of options for finding a funding source. Almost all of the city staff interviewed mentioned funding was one of the main issues for their project unless they had a designated funding source. In order for the City of Roseville to successful implement a wayfinding system, a funding source must be established. However, the city has a variety of options for finding a funding source. One option for a wayfinding grants would be the Local Trail Connection Grant through the Parks and Trails Council for Minnesota. Grant from this program can range from $5,000 to

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$15,000. Twenty five percent of cost share is required for the amount awarded. The grant can be used for permanent trailside improvements, Americans with Disabilities Act compliant projects or contacted maintenance. This grant has no limit on how long the money can be used for. If the City of Roseville were to use this grant, the wayfinding signage must be used for connecting trails or public spaces as opposed to providing information about major landmarks or transportation. Another wayfinding grant opportunity is available through the Sign Research Foundation. Grants of up to $50,000 are available and wayfinding is one of the eligible subjects for the grant. To receive this grant, the City of Roseville would need to partner with a university, nonprofit or consultant to develop signage innovation, a new user experience with signage or strategies that apply to the design, regulation, placement or perception of signage. This project could provide opportunities to foster relationships with schools or consulting firms within the surrounding community. If the City of Roseville is interested in exploring new and innovative methods of wayfinding, the Sign Research Foundation grant is an excellent opportunity to explore. While obtaining grants for wayfinding will require some outside the box thinking, unding for the public arts is diverse and plentiful. Two Minnesota programs that would be appropriate for Roseville are the Minnesota Regional Arts Commission (MRAC) State Grants and grants provided through Minnesota State Arts Board. It is important to note that arts funding is given out or prioritized for non-profit organizations that are art-focused. This underscores the importance of developing a non-profit art committee infrastructure that is separate from the city government. The MRAC State Grant program provides funding for various art programs, with grants ranging from $1,000-$10,000. The MRAC grants cover a diverse array of art programming and education, allowing organizations to fine-tune art project programming for specific funding. For projects that require large funding sources, The Minnesota State Arts Board has grants that range from $5,000-$150,000 in awards. Each grant type has different requirements, but in general, Minnesota State Arts Board grants are available to artists and organizations who support artists. More information can be found at their website http://www.arts.state.mn.us/ There are many other funding opportunities for both wayfinding and public art, some of which could be utilized for both purposes. The funding opportunities above illustrate concrete examples of potential funding sources available to Roseville. Funding from any of these organizations would help to reduce the cost burden on the city when working to improve the overall experience for Roseville residents and visitors.

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Recommendation 5: Implement wayfinding and public art programs on small-scale test sites Creating and testing out new wayfinding and public art programs on small-scale sites before installing a new system allows for a minimization of risk for the City of Roseville over the long-term, while still allowing the city to explore and integrate options that are appropriate for Roseville. This report has identified three parks in Roseville that provide a good diversity of amenities and characteristics suitable for testing wayfinding and public art infrastructure. The three parks are located in different parts of Roseville and all have distinct uses, making these parks ideal sites to test out new programs. Roseville will then be able to assess infrastructure opportunities for residential, business, industrial, and recreational areas on a manageable scale and provide a platform on which to scale up suitable wayfinding and public art infrastructure on a community-wide basis. Acorn Park Acorn Park, as a mixed-use residential park, provides an opportunity to explore ways of connecting residential infrastructure into the wider city. Parks such as these, dispersed throughout Roseville can operate as directional hubs to other points of interest throughout the city. Residential parks such as Acorn Park are also excellent places to test appealing public art approaches that can foster park and neighborhood identity. Playgrounds, benches, and statues, and other objects that are unique to the park and provide both art and functionality are examples. Central Park The Central Park complex, with its diversity of uses and infrastructure, is an ideal place to test thematic wayfinding using points of interest related to themes such as natural features, public art, and historical markers. The well-developed trail system in Central Park can serve as a way of testing different wayfinding features. Central Park also provides opportunities to experiment with different types of public art that entities in the city wish to pursue. The popularity and high visibility of Central Park allow to serve as a type of gallery that is accessible and appealing to community members. This also makes Central Park a great place to incorporate art, wayfinding, and physical infrastructure by making wayfinding a piece of public art and adding artistic appeal to other objects such as bike racks and benches. Langton Lake Park Langton Lake Park is in close proximity to shopping and hotels, yet is not well-connected to those areas. This park is an opportunity to test wayfinding infrastructure that gets people from hotels and malls to the park. Many of these people are visitors to the city and will most likely not have any idea a park is nearby. Given the amount of people who visit Roseville every year, finding ways to introduce people to what Roseville has to offer is important. Wayfinding and

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public art within the park can also reflect that “introductory” experience to Roseville. Langton Lake Park can reflect the brand and the values of Roseville through public art and signage and act as a wayfinding anchor to direct visitors to other areas of interest in the Roseville. All three of these parks provide Roseville the opportunity to create a new public art or wayfinding program on a micro level to check the feasibility and public response to these programs before a full new program is implemented. With each site holding unique characteristics, the benefits and limits of new programs will be revealed which will allow the City to create the best possible project to enhance the resident and visitor experience in Roseville.

Conclusion

This report provides recommendations for the City of Roseville in their future evaluation of wayfinding and public art programs project for the city. The project as a whole was designed with the intention of enriching the community experience of Roseville residents and visitors. Given the amenities that Roseville has, public art and wayfinding would be excellent additions to the current amenities. They would greatly increase the experience provided by Roseville, both socially and economically. With these ideas and values in mind, Roseville will be able to meet their community goal to “support the aspirations of ensuring that Roseville remain strong, vibrant and sustainable for current and future generations”.

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References Americans for the Arts. (2015).Public Art Resource Center: Tools and resources for

Professionals Working in the Public Art Field. Washington, DC

Art Bench Trail. (2014). Artbenchtrail.org Becker, Jack. (2017, October 6, 2017). Telephone Interview Brigham, Jonee. (2017). Full Spring Studio, llc. http://www.fullspringstudio.com/. Telephone interview. City of Roseville. (2008). Pathway Master Plan. Retrieved from http://mn-roseville2.civicplus.com/DocumentCenter/View/2213 City of Roseville. (2009). 2030 Comprehensive Plan. Retrieved from https://www.cityofroseville.com/544/2030-Comprehensive-Plan City of Roseville. (2010). Parks and Recreation System Master Plan. Retrieved from https://www.cityofroseville.com/DocumentCenter/Home/View/4843 City of Roseville. (2017). Parks and Open Spaces. [Map]. Retrieved from http://www.cityofroseville.com/DocumentCenter/View/594 City of Roseville. (2017). 2017 City Street Map. [Map]. Retreived from http://www.cityofroseville.com/DocumentCenter/View/196

Clarke, Jim. Telephone interview Donatelli, L., Piechocki, R. (2010). Add Value, Add Art: A public art resource guide for developers. The Urban Redevelopment Authority of Pittsburgh. Fokken, Kyle. Telephone interview. “Forecast Public Art Connects the Energies and Talents of Artists with the Needs and Opportunities of Communities.” Forecast Public Art, forecastpublicart.org/. Grant opportunities available through Forecast Public Art. Glaser, Caprice. (2017). Caprice Glaser Studios Connections. http://capriceglaser.com/. Telephone interview.

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“Grants.” Metropolitan Regional Arts Council, 17 Aug. 2017, mrac.org/grants/. Grant opportunities available through Metropolitan Regional Arts Council. Green, J. (2012). Why Public Art is Important. The Dirt, (online). Retrieved from https://dirt.asla.org/2012/10/15/why-public-art-is-important/ Hall, T., & Robertson, I. (2001). Public Art and Urban Regeneration: Advocacy, claims and critical debates. Landscape Research, 5-25. Retrieved Nov. & dec., 2017, from http://www.tandfonline.com/doi/pdf/10.1080/01426390120024457?needAccess=true Hanlon, M. (2017, October 24). Telephone Interview Holak, A. (2017, October 11). Email Interview. Horwitz, L. (2017, October 6th). Telephone Interview Houz, Inc. (2017). Local Artists and Artisans in Minneapolis finder. https://www.houzz.com/professionals/artist-and-artisan/minneapolis International Signage Foundation. (2013). Urban Wayfinding Planning and Implementation Manual. Retrieved from http://ww.signs.org/pdf2013/Wayfinding_Manual_2013.pdf Liao, Chen-Fu,. (2014) A Positioning and Mapping Methodology Using Bluetooth and Smartphone Technologies to Support Situation Awareness and Wayfinding for the Visually Impaired. University of Minnesota Roadway Safety Institute. Koo, J. (2017). Wayfinding and Signage Systems for Communities. University of Kentucky Extension Publication LA-4. University of Kentucky. http://www2.ca.uky.edu/agcomm/pubs/LA/LA4/LA4.pdf Marshall, Jamie. (2017, October 11). Telephone Interview The McKnight Foundation. (2010). Soul of the Community. Minneapolis, MN “Minnesota State Arts Board.” Minnesota State Arts Board, www.arts.state.mn.us/. Grant opportunity available through Minnesota State Arts Board. Morocoima-Black, R. (2017, October 10). Telephone Interview

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Ramsey County. MNDOT Municipality Maps. Cities.shp [Shapefile geospatial data] Ramsey County Municipal Boundaries. Created by RCGISAdmin. Updated May 2017. <http://openramsey-ramseygis.opendata.arcgis.com/datasets/1d885379344b4bd9b98beb6ba70f1175_1> Rutledge, Heather. (2017, October 12). Telephone Interview Soh, Boon Kee., Smith-Jackson, Tonya L. (2003) Designing cues for recreation parks to support wayfinding behavior. Virginia Polytechnic Institute and State University. United States Census Bureau (2010). Profile of General Population and Housing Characteristics: 2010. Retrieved from https://www.cityofroseville.com/DocumentCenter/View/5017. United States Census Bureau. 2000 U.S. Census. Minn_County.shp [Shapefile geospatial data] Minnesota County Boundaries. Created by LCC-GIS Office. Updated April 2007. <http://www.mngeo.state.mn.us/chouse/metadata/counties.html> Yang, Cheeneng. (2017, October 30). Email Interview.

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Appendices

Appendix A: Informant Interview Questions: Public Art……………..…………………1 Appendix B: Key Informant Interview Questions: Wayfinding…………………....…….2 Appendix C: Key Informant Interview Questions: Local Artist……………….…………3 Appendix D: List of Key Informants: Public Art / Local Artist……………….…………4 Appendix E: List of Key Informants: Wayfinding………………………………….……..5 Appendix F: Public Arts Toolkit Reference Guide……………………………………..….6 Appendix G: Example of Potential Resident Survey for Public Arts……………………7 Appendix H: Funding availability for Public Art programs………………………………8 Appendix I: Literature Review...………………………………………………………….11

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Appendix A: Key Informant Interview Questions: Public Art

Question 1.) What inspired the city of _______ (i.e. Stillwater, Hopkins, St. louis park..) to create a public art program? Question 2.) What did the process of initiating a public art program entail?

a. Describe any major successes of the program. b. How long did the project take? c. Any major obstacles or setbacks to note?

Question 3.) How has your city’s public art program influenced residential life? Question 4.) What is the direction of your public art program?

a. What does the city want the program to look like in 5 years? 10 years? 20 years? Question 5.) What advice would you give to another community that is trying to get their public arts program off the ground?

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Appendix B: Key Informant Interview Questions: Wayfinding Question 1.) What was the process like for implementing wayfinding into your city? How did this project come about? Question 2.) What obstacles did you encounter during implementation? Question 3.) If you had to start over, what aspects of your current wayfinding program would you keep? Question 4.) What improvements would you add to your current wayfinding system? Question 5.) What was the timeline like for designing and implementing your current wayfinding system?

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Appendix C: Key Informant Interview Questions: Local Artist Question 1.) Which type of art do you focus on? Question 2.) In what ways do you know what type of art will be the most effective in different scenarios? Amongst different communities? Question 3.) Are you affiliated with any city public art programs or organizations? Question 4.) How do you draw people to your artwork? What do people want to see? Question 5.) (For city public art programs) Do you receive any funding or grants to create your pieces? Question 6.) What inspires you to create art?

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Appendix D: List of Key Informants: Public Art / Local Artist

● Jack Becker, Founder and Director of Community Services for Forecast Public Art

● Jonee Brigham, University of Minnesota Program Faculty and Full Spring Studio

● Jim Clarke, Visual Arts Manager of Hopkins Art Center

● Kyle Fokken, local artist in partnership with Hopkins Public Art Program

● Caprice Glaser, local artist and founder of Caprice art studios

● Cynthia Lee, Vice President of Arts Roseville

● Jamie Marshall, Executive Director of Friends of the Arts in St. Louis Park

● Heather Rutledge, Executive Director of ArtReach St. Croix

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Appendix E: List of Key Informants: Wayfinding ● Andy Holak, Trails Coordinator with the City of Duluth Department of Parks and

Recreation

● Elizabeth Horwitz, Economic Development Specialist for the City of Urbana

● Rita Morocoima-Black, Planning and Community Development Director for the City of Urbana

● Interview to be conducted with a planner from the City of Minneapolis

● Cheeneng Yang, Project Manager for the City of St. Paul Parks and Recreation Department

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Appendix F: Public Arts Toolkit Reference Guide

Organization Toolkit Link Key Features

· http://forecastpublicart.org/toolkit/ ● Step-by-step guide to establishing a public arts program

● Able to consult on projects ● Local, St. Paul based

organization ● Nationally recognized

organization in field of public art

https://www.americansforthearts.org/by-program/networks-and-councils/public-art-network/public-art-resource-center

● Specific examples of incorporating public art into trails and parks

● Strong social justice lense ● Grants and funding available to

individual artists and nonprofits

http://2vu7r51wf6it1bb04v1tratk.wpengine.netdna-cdn.com/wp-content/uploads/2012/12/Places-of-possiblity-public-art-toolkit.pdf

● Emphasis on placemaking for smaller communities

● Simple, step-by-step guide to create a cohesive and inclusive public arts program

https://www.creativecity.ca/database/files/library/Public_Art_Toolkit(2).pdf

● Strong examples of international case studies in public art

● Further reading and resources for establishing a public arts program

http://artsandplanning.mapc.org/ ● Public arts toolkit for urban developers and city planners

● Specific to Massachusetts but applicable nationwide

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Appendix G: Example of Potential Resident Survey for Public Arts Public Arts Survey for the Citizens of Roseville Q1.) How familiar are you with public art? A- very familiar, B-sort of familiar, C- not familiar at all Q2.) Do you believe that introducing a dedicated public arts program to Roseville would be add to the quality of life you experience as a Roseville citizen? A- Yes, absolutely!, B-Maybe, C-Nope, D- Don’t know Q3.) What types of public art would you most like to see in Roseville? A- Sculptures, B- Murals, C- Functional art (benches, birdhouses, fountains etc…), D- Other, E- Don’t know Q4.) Where would you most like to see public art? A- in commercial areas, B-in the parks, C- in residential neighborhoods, D- don’t know Q5.) Would you be interested in volunteering with the City of Roseville to help implement public art? A- Yes, absolutely! Here’s the best way to reach me: __________________________________ B- Maybe, C- Nope, D- Not sure yet, need more information Q6.) Do you have any suggestions, concerns or questions regarding implementation of a public arts program in Roseville? ____________________________________________________________________________ ____________________________________________________________________________ ____________________________________________________________________________

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Appendix H: Funding availability for Public Art programs There are many grants that are available for applying including the Regional Arts Council State Grant MRAC (Region 11), Minneapolis State Arts Board (Non-profit art program to fund local artists artworks), and National Endowment for the Arts. The Minnesota Regional Arts Council offers eight grant programs to fund art projects or programs. Grants range from $1,000-$10,000 and are ranked by artists and art professionals in an open meeting for funding recommendations are presented to the MRAC Board of Directors for approval. Grant programs provided by MRAC are available to non-profit organizations and art programs. These include, Art Activities Support, Arts Learning, Capital, Community Arts, Management Consulting Fund, Management Training Fund, and Organizational Development. Eligibility for MRAC Art Activities Support, Arts Learning, Capital, Community Arts, Management Consulting Fund, Management Training Fund, and Organizational Development grant programs requires: ● Art program(s) must be located within the MN seven-county metropolitan area. ● Yearly art programming expenses must be less than $400,000. ● Informal groups must have a board of directors or art committees that provides input

on the project and oversights grant funds. Other eligibility requirements for the MRAC requires the following for Management Training Fund grant program: ● Funds must be requested and approved before the applicant attends the class or

workshop. ● Person attending the training must have management or administrative responsibilities

in the applicant group. The Minnesota State Arts Board provides financial support to artists and organizations allowing the opportunity for all to participate in the arts. The Minnesota State Arts Board offers a variety of grant programs for organizations, and artists, these programs include the Art Access, Arts Tour Minnesota, Partners in Arts Participation, Arts Learning, Community Arts Education Support, Folk and Traditional Arts, and Minnesota Festival Support. Minnesota State Arts Board grant programs ranges from $5,000-$150,000. Eligibility requirements for the Minnesota State Arts Board requires the following for Art Access, Arts Learning, Arts Tour Minnesota, Cultural Community Partnership, Folk and Traditional Arts, Minnesota Festival Support, and Partners in Arts Participation grant programs requires one of the following for art organizations: ● A Minnesota 501(c) tax-exempt art producing, art presenting, or artist service

organization dedicated solely to the arts: ● An affiliated arts presenting, or arts producing organization hosted within a Minnesota

501(c) tax-exempt institution (or public) that meets all requirements of an arts affiliates:

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● An unincorporated Minnesota Arts producing organization or presenting group that has a formal written agreement with the Minnesota 501(c) tax-exempt or governmental unit fiscal sponsor.

Eligibility requirements for the Minnesota State Arts Board grant programs must meet the following conditions: ● Be located and operated within the state of Minnesota, ● Employ at least one individual, in a contract or salary position, to provide

administrative and/or artistic oversight of the project. In addition, other eligibility requirements for the Minnesota State Arts Board must meet the following conditions for Arts Tour Minnesota grant program: ● Be either an arts producing organization that proposes to tour its artistic work and has

previous experience producing similar work; or an organization that proposes to present the following work of touring artists.

In addition, other eligibility requirements for the Minnesota State Arts Board must meet the following conditions for Partners in Arts Participation grant program: ● Provide service to underserved populations.

In addition, other eligibility requirements for the Minnesota State Arts Board must meet the following conditions for Minnesota Festival Support grant program: ● Have presented the proposed festival at least once prior to the date of the application.

Other eligibility requirements for the Minnesota State Arts Board requires the following for Community Arts Education Support grant program: ● Which is a nonprofit organization, with a 501(c)(3) designation from the Internal

Revenue Service, ● Which has a community arts education focused mission, ● For whom arts education programming represents at least 60 percent of its annual

operating expenses. General eligibility requirements for the Minnesota State Arts Board requires the following for Operating Support grant program: Must be one of the following:

● An arts producing organization, ● An arts presenting organization, ● A community arts school or conservatory, or ● An artist service organization

AND must: ● Be physically located in Minnesota, with the majority of its arts programming,

services, or activities taking place in Minnesota, and must primarily serve and engage Minnesota audiences and participants;

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● Have been in existence and actively providing arts programming in Minnesota for two consecutive full years before applying to the Operating Support grant program for the first time;

● Have two-year qualifying expenses, averaged over fiscal years 2015 and 2016, of $166,000 or more;

● Receive at least ten percent of its total unrestricted revenue from charitable arts support, averaged over fiscal years 2015 and 2016;

● Have at least one paid, professional, administrative staff person in a contract or salaried position.

National Endowment for the Arts provides grant programs to support the creation of arts, public engagement with the arts, lifelong learning in the arts, and strengthening communities through the arts. Grants ranges from $10,000-$100,000 with a minimum cost/share match equal to grant amount required. National Endowment for the Arts grant programs include Art Works, Challenge America, Our Town, and Research: Art Works. Eligibility requirements for the National Endowment for the Arts requires the following for Art Works, Creativity Connects Projects, Challenge America, Our Town, and Research: Art Works grant programs: ● Meet the National Endowment for the Arts legal requirements following the the

nonprofit, tax-exempt status at the time of the application (applications through a fiscal sponsor is not allowed.)

● Have a three-year history of programming prior to the application deadline. ● Have submitted acceptable Final Report packages by the due date(s) for all National

Endowment for the Arts grants previously received. Other eligibility requirements for the National Endowment for the Arts requires the following for Our Town grant programs: ● Non-profit tax-exempt 501(c)(3) U.S. organizations with a documented three-year

history of programming. Other funding opportunities are available through Forecast Public Art providing grants and stipends to beginning and mid-career artists in Minnesota. A host of internal funding through community involvement and fundraising includes church groups, school organizations, universities/institutions, volunteer charities, private donors, and investors.

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Appendix I: Literature Review Hall Tim, Iain Robertson. Landscape Research Public Art and Urban Regeneration: Advocacy, claims and critical debates. Public Art and Urban Regeneration: Advocacy, claims and critical debates ● Public art projects have sought to articulate and communicate what some have seen as

four values fundamental to community development: shared history, identity, needs and aspirations (Swales, 1992b, p. 71)

● The aim of public art in this context is to articulate and strengthen the bonds between people and place and, in so doing, to strengthen the bonds between people (Hall & Robertson 13)

Literature used for wayfinding: ● Soh, Boon Kee., Smith-Jackson, Tonya L. (2003) Designing cues for recreation parks

to support wayfinding behavior. Virginia Polytechnic Institute and State University ● Liao, Chen-Fu,. (2014) A Positioning and Mapping Methodology Using Bluetooth and

Smartphone Technologies to Support Situation Awareness and Wayfinding for the Visually Impaired. University of Minnesota Roadway Safety Institute.

● International Signage Foundation. (2013). Urban Wayfinding Planning and Impl-meentation Manual. Retrieved from http://ww.signs.orgpdf2013/Wayfinding_Manu-al_2013.pdf