Loading...
HomeMy WebLinkAboutGeneral Plan - Urban Design Element � • y� cLo�, �v/.Z/9� CITY OF HUNTINGTON BEACH CITY COUNCIL COMMUNICATION TO: Connie Brockway, City Clerk FROM: Shirley Dettloff, Mayor Pro Tempore DATE: May 12, 1997 SUBJECT: H ITEM FOR 5119197 RE: GENERAL PLAN would like to place on the Council Agenda for May 19, 1997, under my H Item section, the following: "Direct staff to amend the zoning code as an implementation measure to the General Plan to include provisions for design guidelines." This will allow for clear direction to architects that quality and creativity are to be a part of the design of every project. This will also include entry nodes, downtown, and all major arterials. Public art will be a part of this direction. SD:P a' J i xc: Honorable Mayor and City Council Mike Uberuaga, City Administrator Melanie Fallon, Director of Community Development Ray Silver, Deputy City Administrator Z z Ln n 7 �•d c• i r trC -n f7 err ntroduction 4o = ' W FYI A growing number of city and = f• ?` i' county governments,local arts agencies,and other agencies charged with revitalizing urban areas are encouraging developers to include _. public art in private development projects.Out of 130 local arts agen- cies surveyed,one third of the respondents currently have a public _ art in private development program in place or are developing one. Among those without programs, there is great interest in developing one. --- Public Art in Private Development is '. intended to help local arts agencies, city and county governments,and redevelopment agencies find the 1 '• �� most appropriate methods of en- - ---- + couraging developers to integrate public art into projects. It includes suggestions for designing a pro- .aU gram,case studies of successful programs,a list of cities with current YVi' 'K. or evolving programs and Iiterature and organizational resources. Readers are encour- aged to contact the cities discussed in this report for copies of specific ordinances and guidelines. Terry Schoonhoven,ceiling of entrance to a Public Art in Private Development supplements the in- Metro Station,Home Savings of America, formation on working with private developers found Los Angeles,CA,Commnmity Redevelopment in Going Public:A Field Guide to Developments in Art in Agency(CRA)of the City of Los Angeles,1989. Public Places.Going Public is an essential source book Photography by CRA. for any organization interested in the issues,policies and processes of public art. A Cuide for Local Arty A•�,,n,1I-,;and Municipalitics Page 1 Designing a Public Art in Private Development Program Knowing Your Community The case studies in this report illustrate the importance of understanding many different compo- nents of your community.Developing a successful strategy which will result in high-quality, well-integrated art is based on this understanding. Portland,OR,and Montgomery County(Bethesda),MD,have strong planning departments and staff with the willingness and skills to integrate the arts into the physical development of these communities.Strategies based around the planning departments and incentive systems offering developers a trade-off of increased project floor space in exchange for public art are successful in these communities. In the same way,private percent-for-art ordinances are appropriate in several California commu- nities including Concord,Brea,Beverly Hills,Culver City and Palm Desert. Local economies are strong,land values are high,and much can be required from developers who are competing for land and development opportunities.Such an ordinance would not be feasible in communities where development proceeds at a slower pace. One should understand the following when developing a public art in private development program: ■ the physical community and its neighborhoods,land values and land use policies; ■ the community's economic history,development patterns,trends and forecast; ■ local developers and architects and their reasons for and against addi- tional public involvement in the development process; ■ city staff in planning, redevelopment and building agencies and their policies and programs; ■ the local arts community (artists,art consultants,art advocates,etc.)and vdiether or not these people and their organizations will support the program, ■ public sentiment on arts support in general,and specifically on public art; and ■ lo.al politic, including elected officials and their staffs,and hot"' to "11((v�sfully pa,.a proi;ram_ A hn l v(al Ail, A.%ym it-,mid Afitmi ilallilic, Deciding on the Kind of Program The following are the most common types of public art in private development programs. The Private Percent-for-Art Ordinance A private percent-for-art ordinance requires that developers set aside a percentage of project construction costs(generally.5-2%)for on-site art,cultural programming,a cultural facility,or a contribution to a public art fund.Many times these programs are linked to the revitalization of a certain area of the city,such as the downtown core.Most programs specify a minimum budget size for construction projects.Programs generally exempt some development projects,such as re- habilitation of historically significant buildings,low-or moderate-income housing,facilities for nonprofit social service or cultural organizations,and single-family residences. A problem of the private percent-for-art ordinance is that it is politically difficult to pass in many communities.And,an ordinance does not always result in substantial artwork in the short term. Because of restrictions on office development and a decline in construction,the I%ordinance passed as part of the 1986 San Francisco Downtown Plan has been slow to result in artwork.If the ordinance had been in place in the early 1980's,prior to the restrictions on office development and decline in development,San Francisco's downtown would have many more public artworks. The new ordinance has resulted in two public art in private development projects,with others in various stages of planning and installation. Density Bonus or Design Review System A density bonus system offers a developer additional floor area ratio(F.A.R.) in exchange for including public art or other public amenities in a project.F.A.R.describes the ratio between the area of permitted floor space in a structure to the area of the lot on which it is situated. In brief, increased F.A.R.generally allows a developer to build a taller or otherwise larger building in exchange for including public amenities in the project. Amenities can include public art,theatres and arts spaces,cultural programming,landscaping,parks,plazas,day care facilities,and residential or retail development. For the density bonus system to successfully result in public art, the incentive of increased project density(additional floor space or height)must be valuable to developers. To make the Portland, OR,density bonus system valuable to developers, the original F.A.R. limits were decreased. Now, in order to build to greater F.A.R. limits,developers must offer public amenities. An obvious limitation with the bonus program is the possibility of allowing over-building.The Portland zoning ordinance clearly specifies ultimate height restrictions so that buildings do not block views of Mount Hood and so that height step-downs to the river and historic districts are preserved. Other programs associated with planning departments use the design review process to require or encourage developers to include art in projects. Density bonus systems and design review systems are based on strong and carefully administered land use plans and policies,a planning staff to promote the program,and sound procedures to back it up. In several cases,local arts agency staff have developed program procedures in conjunction with city planning staff.The de- velopers must gain an arts sign-off just as they must gain a fire and safety sign-off before they can proceed in the planning process. Redevelopment Agencies Many communities have redevelopment agencies charged with the revitalization of key proper- ties. Redevelopment agencies are often powerful organizations which have the ear of developers and can offer incentives such as public funding and low-interest loans. Page 4 PNblic Art in Private Develoinnent • • Several cities in the United States,including Philadelphia,Los Angeles,Sacramento,San Diego, Tucson and New York City(Battery Park City Authority),have programs which require or en- courage the integration of public art in projects on redevelopment property.The Los Angeles and Sacramento programs are well known as model programs.They require developers to commit 1%and 2%,respectively,to public art.A percentage of Sacramento project funds are set aside for administration of the program by the Sacramento Arts Commission. Other redevelopment agencies have created alternative mechanisms for negotiating with devel- opers for the inclusion of art.Staff members of the Center City Development Corporation,San Diego's redevelopment agency,negotiate with developers through a"disposition and develop- ment agreement."The Downtown Development Corporation in Phoenix has offered matching funds as an incentive for developers to include public art in projects. Public Art Funds Any of the programs discussed above can make use of a mechanism for pooling funds.A public art fund creates P_ a way to support other projects or c. ' programs besides site-specific artworks associated with private development. Of the cases detailed later in this report, Los Angeles,CA,Portland,OR,and 3y ti Concord,CA,have public art funds. �n In Los Angeles,the public art fund sup- ports a wide variety of cultural pro- yam- gramming,facilities and artwork.In Concord,it is being used primarily to develop a series of gateways for the city. Barbara Neijna,Independence Place,Independence Place Asso- The Portland fund,which is composed ciaes,Philadelphia,PA,Redevelopment Authority of the City of of monies from developers and city Philadelphia,1988.Photography by Redevelopment Authority agencies with capital construction of the City of Philadelphia. projects, has a number of restrictions. The portion of funds from developers will support only special projects in the central city area. Many of the funds from city agencies carry legal restrictions which prevent their being combined with other program funds. Informal Ways of Working with Developers Developers are often inexperienced in working with artists.Consulting on art options and selection procedures,offering the resource of a slide registry,and helping to identify an art consultant are all ways to help developers,with or without the establishment of a formal pro- gram.Such assistance can set the groundwork for a future relationship and possibly a public art in private development program.The staff of the Arlington Arts Center in Arlington,VA(see case study), has provided strong technical assistance to developers encouraged by the Arlington County Department of Community Resources and Planning to include art in projects. CityART in Jacksonville, FL, a nonprofit group dedicated to promoting public art, is considering creating a resource packet for developers.The packet may include guidelines on the public art pro- cess, examples of successful projects,and a list of art consultants. Portland Oregon's Percent for Art Bonus Program, Procedures and Guidelines for Private Developers is a similar resource for developers. A Guide for l-ocal Arts Agencies and Municipalities Page 5 Building a Rationale for Public Art The following is a summary of the rationale underlying most public art in private development programs. Increasing the Value of a Project and its Income Producing Potential Developers who gain additional project floor space through integrating public art with the project'have directly increased the income potential of the project.Some developers also feel strongly that works of art increase the value of the property itself. Developer Joseph Kaempfer commissioned a sculpture of two dancers,Anna and David(front cover photo)by Miriam Schapiro,to be sited in the plaza in front of his company's building in Arlington,VA.This building was 50% leased in four months,much faster than other buildings in this market.Tenants like the artwork and the identity it has given the building and the area. While leasing the building was not his motivation for commissioning the artwork,he says it was a great bonus. Enhancing the Corporate Image I Developer Jim Casey in Working with Artists:A Developer's Guide for Commissioning Artwork,listed in Appendix B,says that"spending money on public art will generate as much press as a public relations campaign,and garner more good will."The work of art may directly symbolize the mission of the corporation or show a connection between the corporation and its community. Integration with Cultural Tourism Strategies Enhancing the identity and character of communities through public art directly supports cultural tourism and economic development strategies.Public art gives a city a character and identity that makes it appealing to residents and visitors. Giving an Amenity Back to the Community Supporting the arts through private development is a way to give back to the community in return for the ability to build. This is the motivation underlying most public art in private devel- opment programs. A Chance to be Creative While developers at first may be reticent about working with artists,the experience can be enjoyable for them. It is a chance for the developer to be a part of a creative process. Beverly Schroeder,Associate Planner at San Diego's Center City Development Corporation,mentions that most developers enjoy the process of interacting with artists. She stresses how important it is for the artist to be involved with the developer early on in the project. The Business Committee for the Arts (BCA),listed in Appendix C,is a resource for developing a rationale for public art in private development. BCA has the names of developers who have successfully integrated art in projects and literature on the associated benefits to developers. Artist Stephen Knapp's Working With Artists:A Developer's Guide for Commissioning Artwork,listed in Appendix B,also provides rationale for public art in private development. Page 6 Public Art irr Private Development Community Education Organizers of public art in private development programs should consider how to inform the key players and decision makers who influence how programs are shaped through the political process.These key people include planning and development staff,city council members and their aides,developers,architects,and other community leaders.One way to reach these people is through an invitation to serve on a selection committee for the art itself. Informal contact with these people is also a way to find out about upcoming construction projects. To reach the interested public,the Metropolitan Arts Commission in Portland,OR,has distrib- uted 20,000 pamphlets describing self-guided walking tours of public art in downtown.The project was sponsored by Avia Walking Shoes.The Arts Commission also sponsors the Metro- politan Center for Public Art,a permanent exhibition detailing the history,roles,and processes involved with public art. Carl Worth,Curator of the Civic Arts Gallery in Walnut Creek,CA,feels that his work with developers is actually community outreach and education.The Gallery's 1989 summer temporary sculpture show in Heather Farm Community Park is a part of this community outreach.He wants people to react to and discuss public art in their everyday environment. Politics and Organizing Advocates for public art in private development programs should be cognizant of issues in the community and know when the time is right to act.Joanne Rees,Public Art Planner for the Department of Cultural Affairs in New Haven,CT,is working with individual developers in New Haven to best determine the services they need and in turn trying to integrate public art with projects.She is proceeding slowly with a formal program because the Board of Aldermen is urgently concerned with social programs. Strong leadership is essential in the beginning phases of planning a program. Leaders must be competent at making the case for public art,knowledgeable of local politics and understanding of when to take action. Vivian Zoe,Director of the Hartford,CT,Office of Cultural Affairs,describes leaders as needing "tough skin,savvy,and political clout." A successful track record in local arts development is also helpful. Getting the mayor,city council,and planning and development agencies on your side is essential. But,once a program is on the books it will not be successful until staff and developers are con- vinced of its worth and realistic guidelines and procedures are in place. Organizers should not forget to involve developers. Deborah Whitehurst, Executive Director of the Phoenix Arts Commission,is adamant about including developers and those who may initially oppose program ideas.She suggests involving the developers early on in order to gain valuable community input and work with resistance in the early stages of program planning. Selecting the Right Art Consultant Public art consultants are often needed to work with developers and, in some cases, they are critical to the success of a project.The right consultant can: ■ educate the developer on art options; ■ foster good communication by translating among people with differing backgrounds and perspectives; ■ manage selection, fabrication,and installation processes; A Guide for Local Arts Agencies arld Municipalities Page 7 ■ advocate for the artist; ■ promote complete integration of art with the development; ■ keep the process on track,on time and on budget;and ■ facilitate the entire process. Not all artists work with public art and not all art consultants have experience or skills in work- ing with public art and private development.The following qualities are offered for consideration in the selection of an art consultant: ■ experience in the coordination of public art projects; ■ experience with the processes and tasks associated with private development project planning and construction; ■ experience in managing projects involving several design professionals,including the ability to communicate well with urban designers; ■ understanding of the trends in public art; ■ sensitivity to the opportunities and restrictions of specific sites for public art; ■ knowledge of local,regional,and national artists skilled in public art; ■ ability to identify artists having the skills to approach each project and its oppor- tunities and limitations as a unique set of issues to be addressed; ■ understanding of the role of the government agency,and the mission and goals of its art program,including its urban design role;and ■ the ability and commitment to lead an art project through to a successful comple- tion. Some local and state arts agencies maintain lists of art consultants,and making these lists avail- able to developers is an important service.The Association of Professional Art Advisors(listed in Appendix Q can also help to identify appropriate art consultants. Selecting the Right Artists and Artwork Going Public:A Field Guide to Developments in Art in Public Places provides strong advice on selection procedures. Procedures for most public art in private development programs resemble the public percent-for-art programs. However, private sector programs have typically left the ul- timate aesthetic decisions to the project developer.The public body in charge of the program is there to ensure that the developer has met the intent of the program. However,programs around the country are encouraging greater involvement of arts professionals and the public in the selec- tion process in order to gain artists and artwork which will speak to both a site and its commu- nity. Most public art in private development programs have a review committee to work with the developer in the selection process.Some developers will opt to purchase artwork directly from a known artist or artists;others will run an open or invitational selection process. Art consultant Francoise Yohalem advises developers to use a seven-member selection panel composed of the developer,architect,landscape architect,neighborhood representative,and three experts who are knowledgeable in public art.She prefers to run a competition,if time permits,as this process is educational for all involved with the project. The trend among private programs is to encourage the earliest possible involvement of artists with developers,architects and landscape architects. Developers,architects and landscape architects all benefit when the artist participates from the beginning as a full member of the de- sign team.This can save time and money and provide important design direction for the project. The Phoenix case study provided later in this report describes an example of developers who Pale 8 Public Art in Private Development RP Howard Ben Tre,cast glass and copper columns,Artery Plaza, Bethesda,MD,Montgomery County Planning Department,1987. — * " Photography by Bill Flood. commissioned the artist after project construction had already begun.Once the developers realized what the artist's vision entailed,they redesigned the development project at considerable additional expense. The public art task force of the Los Angeles Community Redevelopment Agency is considering requiring developers to hire a lead artist at the same time,or shortly after,the project architect is hired.The lead artist's task would be to work with the developer,architect and other design team members in the earliest conceptual stages of the project.The lead artist would be an equal team thinker and designer and would facilitate the creation of art options which could lead to the selection of additional artists to join the project and implement artworks. Creating a Public Art Plan One way to develop a public art in private development program is through a public art plan- ning process.Such a process involves a range of artists,citizens,and others in planning the future of public art in a community. A public art plan can be an educational.and organizing tool as well as a policy,program and site guide.The following public art plans offer strong models for consideration. Dallas Office of Cultural Affairs, Visual Dallas (1987) Los Angeles Mayor's Office,Task Force on the Arts Report(1988) Metropolitan Arts Commission of Portland,Oregon,Following a River:A Public Art Plan for Central City Portland(1986) Seattle Arts Commission,Artwork Network(1984,updated yearly) State laws Some public art advocates in California are concerned that recent state legislation will give opponents a way to block public art in private development programs.AB 1600,a bill passed by the California State Legislature in 1987, went into effect on January 1, 1989. It specifically requires a city or county to establish a reasonable relationship between a development project and the public improvement for which the fee is charged. Developers using this argument could claim, for example,that contributing a fee to a public art fund to site art elsewhere in the city is not reasonably related to the development project. Experience in California points out the need to gain the assistance of city and county attorneys early on in program planning. ' A Guide for Local Arts Agencies and Municipalities Page 9 ��er.•.v gz4t, Council/Agency Meeting Held:9 4-5� Deferred/Continued to: P'Approved ❑ Conditionally Approved 0 Denied City Clerk's gignatdFe ro Council Meeting Date: 9/16/96 Department ID Number: CD96-42 CITY OF HUNTINGTON BEACH REQUEST FOR COUNCIL ACTION SUBMITTED TO: HONORABLE MAYOR AND CITY COUNCIL MEMBERS SUBMITTED BY: MICHAEL T. UBERUAGA, City Admini PREPARED BY: MELANIE S. FALCON, Community Development Director SUBJECT: STATUS OF CITY-WIDE URBAN DESIGN ISSUES (C NTINUED FROM THE AUGUST 19, 1996, CITY COUNCIL MEETING) Statement of Issue,Funding Source,Recommended Action,Alternative Action(s),Analysis,Environmental Status,Attachment(s) Statement of Issue: On May 13, 1996, the City Council directed staff to develop a work program to address urban design issues throughout the City. With the adoption of the new General Plan, the Urban Design Element does create a variety of policies and programs to enhance the City's visual character. However, the implementation programs also call for more specific criteria to be developed. The staff has prepared the following work program which is intended to serve as a guide for enhancing urban design city-wide. Funding Source: Not applicable. Recommended Action: Motion to: "Accept the Work Program for addressing Urban Design issues city-wide and authorize staff to solicit proposals from qualified architects or urban designers to assist staff in implementing the Work Program." Alternative Action(s): The City Council may make the following motion: A. "Modify the Urban Design Work Program as determined by the City Council." R%UEST FOR COUNCIL ACTIU MEETING DATE: 9/16/96 DEPARTMENT ID NUMBER: CD96-42 Analysis: Staff believes that a phased approach to addressing design issues is the most appropriate way to proceed in implementing the Urban Design Element of the General Plan. We suggest a three phase strategy: Phase I- The Downtown Review the Downtown Design Guidelines and where appropriate, recommend changes that would encourage creativity and flexibility. This process would be a joint effort between the downtown merchants, land owners, residents and City staff. As part of the Phase I process, the staff will include recommendations for enhancing the 5 Points Shopping area, the City Hall compound and entry nodes on Pacific Coast Highway. Currently City staff is analyzing the Downtown Design Guidelines in preparation for a workshop with downtown merchants and residents. We are expecting that an update of the Downtown Design Guidelines will take approximately six months. Phase 11- Edinger Corridor The Redevelopment Agency in cooperation with City Planning staff are beginning a joint effort to prepare a Specific Plan for the Edinger Avenue corridor (Goldenwest Street to Beach Boulevard). An integral part of the Specific Plan will be an urban design component to link public and private improvements. Because this will involve creating new development standards that are beyond the additional Urban Design Guidelines, we expect a one year process for completion. Phase Ill- Beach Boulevard and City Entry Nodes City staff has been discussing with the automobile dealers over the past several years various alternatives to improve the image of Beach Boulevard and attract greater interest to the businesses along the boulevard. The City in cooperation with the Automobile Dealers Association is considering hiring an urban designer to implement the policies of the General Plan. The goal is to improve Beach Boulevard visually and economically. Changing the visual character of the City is a challenging and complex task. It is an assignment that will be time consuming but rewarding if pursued properly. Educating the staff members and the various commissions who work on public and private projects about the fundamentals of urban design will help to improve the awareness of how important good urban design is to the City. Part of the education process could involve the assistance of a urban desinger with a proven track record in communicating the basics of urban design. It is the staffs recommendation to approach the entire assignment by breaking it into discrete manageable tasks. It is anticipated the entire process will take 18-24 months to complete. CD96-42.DOC -2- 09/05/96 2:14 PM R16UEST FOR COUNCIL ACTS MEETING DATE: 9/16/96 DEPARTMENT ID NUMBER: CD96-42 Attachment(s): NumberCity Clerk's Page CD96-42.DOC -3- 09/05/96 11:41 AM REQUEST FOR LATE SUBMITTAL OF RCA El" Department: RCA C D 7i '4 mor +O, Council Meeting Date: ::] [Date of This Request: ON Mis this RCA being submitted late?): - r EXPLANATION is this RCA necessary to this agenda?): CONSEQUENCES How shall delay of this RCA adversely impact the City?): Si nature: O Approved O Denied O Approved O Denied Initials Required a ent d Ram Silver Michael Uberua a l Request for Late Submittal R T- Requests for Council Action (RCA's) are due and considered late after the City Administrat&s deadline which is 5:00 P.M. Wednesday ten days prior to the Council meeting at which the item is to be heard. This deadline reflects the time needed prior to Agenda Review for Administration staff and the City Administrator to review all RCA's and their support material prior to forwarding them to the City Clerk for __ placement on the preliminary agenda. It also provides time for the City -fs*:f-- Clerk's office to review the item and add proper wording for the item to d the preliminary agenda for discussion at Agenda Review the following Monday. r 3 _ = The Request for Lade Submittal form provides a vehicle for RCA's to be submitted after the Wednesday, deadline when there are extenuating circumstances which delayed the item and when action on the item is t- I-.- necessary at the upcoming Council meeting. Aw Late items can agendized only with signed authorization on the Request for Late Submittal form by the Assistant City Administrator or the City .f_ -A Administrator. n 1 TE �rAwr'e"" I Council/Agency Meeting Held: ko )46 Deferre ontinue ❑ Approved ❑ Conditionally Approved ❑ Denied City Clerk's SignatureO Council Meeting Date: 8/19/96 Department ID Number: CD96-42 CITY OF HUNTINGTON BEACH REQUEST FOR COUNCIL ACTION SUBMITTED TO: HONORABLE MAYOR AND CITY COUNCIL MEMBERS SUBMITTED BY: MICHAEL T. UBERUAGA, City Admini r —7�� PREPARED BY: MELANIE S. FALLON, Community Development Director SUBJECT: STATUS OF CITY-WIDE URBAN DESIGN ISSUES Statement of Issue,Funding Source,Recommended Action,Alternative Action(s),Analysis,Environmental Status,Attachment Statement of Issue: On May 13, 1996, the City Council directed staff to develop a work program to address urban design issues throughout the City. With the adoption of the new General Plan, the Urban Design Element does create a variety of policies and programs to enhance the City's visual character. However, the implementation programs also call for more specific criteria to be developed. The staff has prepared the following work program which is intended to serve as a guide for enhancing urban design city-wide. Funding Source: Not applicable. Recommended Action: Motion to: "Accept the Work Program for addressing Urban Design issues city-wide and direct staff to begin its implementation." Alternative Action(s): The City Council may make the following motion: A. "Modify the Urban Design Work Program as determined by the City Council." J � C RQQUEST FOR COUNCIL ACT* MEETING DATE: 8/19/96 DEPARTMENT ID NUMBER: CD96-42 Analysis: Staff believes that a phased approach to addressing design issues is the most appropriate way to proceed in implementing the Urban Design Element of the General Plan. We suggest a three phase strategy: Phase /- The Downtown Review the Downtown Design Guidelines and where appropriate, recommend changes that would encourage creativity and flexibility. This process would be a joint effort between the downtown merchants, residents and City staff. Currently City staff is analyzing the guidelines in preparation for a workshop with downtown merchants and residents. We are expecting that an update of the Downtown Design Guidelines will take approximately six months. Phase 11- Edinger Corridor The Redevelopment Agency in cooperation with City Planning staff are beginning a joint effort to prepare a Specific Plan for the Edinger Avenue corridor (Goldenwest Street to Beach Boulevard). An integral part of the Specific Plan will be an urban design component to link public and private improvements. Because this will involve creating new development standards that are beyond the additional Urban Design Guidelines, we expect a one year process for completion. Phase 111- Beach Boulevard and City Entry Nodes City staff has been discussing with the automobile dealers over the past several years various alternatives to improve the image of Beach Boulevard and attract greater interest to the businesses along the boulevard. The City in cooperation with the Automobile Dealers Association is considering hiring an urban designer to implement the policies of the General Plan. The goal is to improve Beach Boulevard visually and economically. Changing the visual character of the City is a challenging and complex task. It is an assignment that will be time consuming but rewarding if pursued properly. Educating the staff members who work on public and private projects about the fundamentals of urban design will help to improve the awareness of how important good urban design is to the City. It is the staffs recommendation to approach the entire assignment by breaking it into discrete manageable tasks. It is anticipated the entire process will take 18-24 months to complete. Environmental Status: C096-42.DOC -2- 08/08/96 9:07 AM I R QUEST FOR COUNCIL ACTS MEETING DATE: 8/19/96 DEPARTMENT ID NUMBER: CD96-42 Attachment(s): NumberCity Clerk's Page CD96-42.DOC -3- 08/08/96 9:07 AM • CITY OF HUNTINGTON BEACH J� INTER-DEPARTMENT COMMUNICATION HUNT INGTON BEACH TO: Honorable Mayor and City Councilmembers FROM: Shirley Dettloff, Councilmember DATE: May 10, 1996 SUBJECT: Implementation of the General Plan Urban Design tLement Since the General Plan is intended to serve as the City's constitution for development as well as its vision for the next 20 years, it is extremely important that many of the implementation policies and programs be pursued by the staff. How our City is perceived by others is often determined by the City's visual appearance. This is usually the first impression a visitor has'of the City. Whether it is a business person looking to relocate to our City, a family looking to purchase a new home, or a car shopper driving Beach Boulevard. Our public and private spaces draw an initial picture of our City. I think many of our major thoroughfares (Beach Blvd., Edinger Ave., Pacific Coast Highway) can be visually improved. The development of the properties on these highways can be improved to help business be more successful. Downtown has become the emotional focus of this community especially for visitors, and should reflect the best in architecture, public art, and public enhancements. We have an opportunity to ensure that what is built or rehabilitated reflects creativity and uniqueness. These are the elements that set us apart from the ordinary and from mediocrity, and make citizens and visitors what to return. It is for this reason I am recommending that the staff consider the issue of urban design as a high priority for follow up. I would like the staff to report back in 60 days on how they believe we should proceed and what resources are necessary to ensure good urban design. g:\niles\gp\sdgph.doc