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AgendaPacket CITY OF COMMUNITY DEVELOPMENT DEPARTMENT PLANNING DIVISION CITY HALL 10300 TORRE AVENUE • CUPERTINO, CA 95014-3255 TELEPHONE: (408) 777-3308 • FAX: (408) 777-3333 CUPERTINO CUPERTINO.ORG FINE ARTS COMMISSION STAFF REPORT Meeting Date: May 23, 2022 Subject Architectural and Site Approval to consider a public art installation for Apple Campus 2 (Apple Park)at 10600 N.Tantau Avenue(APN:316-06-062). The applicant is David Kang, Apple, Inc. Recommended Action Receive a presentation on a public art installation for Apple Campus 2 (Apple Park) at 10600 N. Tantau Avenue and approve public art application, subject to conditions of the draft resolution. Discussion Background =s , On October 5, 2013, City Council approved y Apple Campus 2 (Apple Park) via DP-2011- 04, ASA-2011-14, TR-2011-39,U-2011-11, and EA-2011-12. The artwork is required as a s condition of approval under DP-2011-04, Condition #28, Public Art: n•i +01 ] "The applicant shall provide public art in accordance with General Plan Policy 2-66. Public art shall be valued, at a minimum, one- quarter percent (114%) of the total projectPO budget, not to exceed $100,000. The applicant ` shall submit a public art plan to be reviewed by the Fine Arts Commission prior to installation of the public art." f � Figure 1:Apple Campus 2 28 ASA-2022-001 10600 N.Tantau Avenue May 23,2022 Page 2 The applicant is proposing to locate the artwork on one of the properties located within the project site. The property is located at 10600 N. Tantau Avenue and contains the Apple Visitor Center, parking lot, and underground parking structure and is part of Apple Park (Figure 2). The t property is bounded by �, k office buildings to the north, west, and south, and , single-family residential uses in the City of Santa Clara to the east. i Since the proposed project "'t - is limited to exterior = ?K} modifications to the site �. and landscaping. Municipal Code Chapters 19.12 and 19.168 requires that an Architectural and ` Site Approval Permit is T— obtained for such modifications. Figure 2:Apple Park Visitor Center(project site shaded in red) Artwork Location The proposed artwork location is situated in the northern half of the lot on which the Apple Park Visitor Center is located, in an existing olive tree grove. Of the 37 Olea europaea 'Swan Hill' olive trees onsite, 14 will be removed to allow this installation. The trees will be boxed and stored through the duration of construction and will be replanted upon project completion. The tree removals, along with site modifications (stormwater control and new like-for-like landscaping) to facilitate the artwork construction, was approved under separate permits, TR-2022-008 and DIR-2021-028, respectively, on May 9, 2022. The project area comprises a footprint of approximately 1,642 square feet and comprises the sculpture and a decomposed granite pathway that provides three access points to and through the art site. All existing fescue groundcover affected by construction will be restored like for like with the same grass plants, perennials, and bulbs post-construction as indicated in the landscape specifications in the plan set. 29 ASA-2022-001 10600 N.Tantau Avenue May 23,2022 Page 3 Design The proposed outdoor v sculpture for Apple Park, a °' created by Katie Paterson and (� o0 Zeller & Moye, consists of over / 400 cast-glass cylinders made from sand originating from 58 deserts around the world. d . .,. o o .... i h The cylinders measuring approximately 6 -7 tall from 1•� ;f't .1 grade are installed side-by-side o : _ _ Ie '°_= _ • . ❑❑ oodo o E e i� d and weave through the existing ¢ olive tree grove in a g meandering arrangement (Figure 3). Three accessible Figure 3:Artwork Site Plan pathways, with the primary pathway connecting to the pedestrian right-of-way along N. Tantau Avenue, direct visitors through the meandering pathways alongside the columns and create an interactive experience as visitors walk through the sculpture. Lighting and Bird Safe Design The distinctive sand characteristics from each of the 58 deserts are expressed through the color and texture .A. of the cast-glass cylinders. The artwork is designed to be experienced in the daytime under ambient daylight conditions and at nighttime under integrated artificial illumination similar in hue to ambient daylight. To achieve these nighttime conditions,low intensity lamps are proposed Figure 4:Artwork Rendering at Night below grade and under the cylinders. The cast-glass provides a filter for the lighting that creates a soft glow with no light spill at the sides or top of cylinders (Figure 4). The photometric plan provided by the applicant demonstrates that the installation meets the City's criteria of achieving zero-foot candles outside the glass installation. 30 ASA-2022-001 10600 N.Tantau Avenue May 23,2022 Page 4 As each cylinder expresses a subtle yet distinct color and texture,the illumination of each cast glass will vary slightly. The source of the low-voltage LED (145 lumens per fixture per cylinder)has a maximum color temperature of 4,000K(Kelvin),which is closer to that of natural sunlight. Since the sand used from different deserts generate a different color in the glass, the artist and applicants assert that 4000K is the best temperature which would provide the best expression for optimum illumination for the nighttime experience of the art installation to elicit the appropriate coloring in each of the glass cylinders. The City adopted Outdoor Lighting requirements in April 2021 to reduce light pollution and protect migrating avian population and Cupertino Municipal Code (CMC) Section 19.102.040 states that "all light sources shall have a maintained correlated color temperature of 3,000 Kelvin or less". However, the adopted regulations also allow applicants to propose alternative lighting standards in public artwork, subject to review and approval by the Fine Arts Commission under Cupertino Municipal Code (CMC) Section 19.102.040(B)(1)(c). Therefore, the project proposes an alternative lighting standard of a maximum of 4,000K for the proposed artwork. As part of Bird-Safe Design Requirements in CMC Section 19.102.030(D), projects shall avoid the use of highly reflective or transparent glass and not include freestanding walls made of untreated glass or other transparent materials. In a biological review prepared by �y Erika Walther, Senior Associate Wildlife Biologist with a -, A_ Environmental Science Associates 4 (ESA), the glass cylinders are manufactured in manner which allows the incorporation of bubbles, color variations, and other unique attributes that distinguish the glass from Figure 5:Sample glass cylinder demonstrating translucence and untreated glass. As a result, they variation due to materials and the manufacturing processes are minimally reflective and transparent, with distorted shapes and colors seen through the glass. Additionally, "the arrangement of the cylinders in rows creates a scalloped surface, rather than a flat, smooth surface conducive to high reflectance and or 31 ASA-2022-001 10600 N.Tantau Avenue May 23,2022 Page 5 transparency." The vertical junctions between each cylinder also mimics a treatment similar to fritting. The proposed artwork will be unique to the City of Cupertino and will be visible to visitors of the Apple Park Visitor Center, as well as motorists and pedestrians on N. Tantau Avenue. The artwork meets the intent of providing a lasting aesthetic value to the community by creating a public amenity, attraction, and gathering space. The sculpture will be made using innovative methods of glasswork to achieve the scale and a level of durability for a lasting product and incorporates a style that is compatible with the site by integrating its surrounding environment. The proposal meets the required findings in the draft resolution, included as Attachment A. Environmental Review This project is categorically exempt from the requirements of the California Environmental Quality Act(CEQA)per Section 15303-New Construction or Conversion of Small Structures and/or Section 15304 (Minor Alterations to Land). Other Department/Agency Review The City's Building Division, Environmental Programs Division, Public Works Department, and the Santa Clara County Fire Department have no objections to the project. Public Noticing & Community Outreach The following table is a brief summary of the noticing for this project: Notice of Public Hearing Agenda ■ Site Signage (at least 14 days prior to ■ Posted on the City's official notice hearing) bulletin board (five days prior to ■ 11 notices mailed to property owners hearing) adjacent to the project site (at least 10 ■ Posted on the City of Cupertino's days prior to the hearing) Web site (five days prior to hearing) No comments have been received at the time of production of this staff report. Conclusion Staff recommends approval of the Architectural and Site Approval Permit for the art installation as the proposed project will not create adverse impacts to the surrounding area. Additionally, all the findings for approval of the proposed project, consistent with Chapter 19.148 and 19.168 of the Cupertino Municipal Code, may be made as reflected in the draft resolutions. 32 ASA-2022-001 10600 N.Tantau Avenue May 23,2022 Page 6 With respect to Cupertino Municipal Code Section 19.148.060 Architectural and Site Approval and Section 19.148 Design Criteria and Artist Qualifications, the following findings may be made: 1. The proposal,at the proposed location,will not be detrimental or injurious to property or improvements in the vicinity, and will not be detrimental to the public health, safety, general welfare, or convenience: The proposal proposes public artwork at an existing visitor center. The proposal will activate the space by featuring accessible pedestrian pathways to and through the artwork and improve the useability of the site. No modifications are proposed for the existing buildings or remainder of the site. Further, the project will replant trees and reinstall native landscaping affected by construction in their original locations around the artwork. Therefore, the proposed artwork will not be detrimental or injurious to property or improvements in the vicinity, and will not be detrimental to the public health, safety, general welfare, or convenience. 2. The proposal is consistent with the purposes of Chapter 19.168, the General Plan, any specific plan,zoning ordinances,applicable planned development permit,conditional use permits, variances, subdivision maps or other entitlements to use which regulate the subject property including,but not limited to, adherence to the following specific criteria: a) Abrupt changes in building scale should be avoided. A gradual transition related to height and bulk should be achieved between new and existing buildings. The project scope does not include an increase in floor area or modifications to any of the buildings onsite. The artwork is proposed in an area onsite where there are currently no structures; however, the public artwork is by its nature intended to attract visitors and pedestrians to the site and encourage activation of space. Additionally, the design maintains a human scale and is relative to the surrounding olive trees within the grove. b) In order to preserve design harmony between new and existing buildings and in order to preserve and enhance property values, the materials, textures and colors of new building should harmonize with adjacent development by being consistent or compatible with design and color schemes with the future character of the neighborhoods and purposes of the zone in which they are situated. The location, height and materials of walls, fencing, hedges and screen planting should harmonize with adjacent development. Unsightly storage areas, utility installations and unsightly elements of parking lots should be concealed. The planting of ground cover or various types of pavements should be used to prevent dust and erosion, and the unnecessary destruction of existing healthy trees should be avoided. Lighting for development should be adequate to meet safety 33 ASA-2022-001 10600 N.Tantau Avenue May 23,2022 Page 7 requirements as specified by the engineering and building departments and provide shielding to prevent spill-over light to adjoining property owners. The proposed artwork is designed to be harmonious with the surrounding landscape and is compatible with the welcome center as well as other buildings within Apple Park due to its emphasis on glass design and construction. The proposed glass-cast cylinders and pedestrian pathways harmonize with the surrounding landscape and provide new ways to experience the site. Existing olive trees outside the construction area will be preserved, and those that are located within the path of construction will be removed, preserved, and replanted upon completion in their original locations. Existing landscaping disturbed by construction will also be replanted like for like. Lighting for the artwork are low-voltage LEDs and will be diffused through the cast-glass cylinders. Lighting standards have been conditioned to prevent intrusive effects on adjacent properties. c) The number, location, color, size, height, lighting and landscaping of outdoor advertising signs and structures have been designed to minimize traffic hazard, positively affect the general appearance of the neighborhood and harmonize with adjacent development. The artwork is identified by a total of three plaques at pathway entrances as required by CMC Section 19.148.060. They are made of durable, permanent materials and are integrated into the artwork design and overall site. d) With respect to new projects within existing residential neighborhoods, new development should be designed to protect residents from noise, traffic, light and visually intrusive effects by use of buffering, setbacks, landscaping, walls and other appropriate design measures. This application is not a new development project and the artwork itself maintains sufficient setback along the front setback, approximately 30 feet from the closest point of the sculpture and approximately 147'-7"from the closest residential property. 3. The artwork is of a nature specified in Section 19.148.030. Section 19.148.030 (A) identifies sculpture as a permitted artwork. 4. The artwork requirement is to be satisfied with one significant piece of artwork, except that the requirement may be met with several works of art when specifically found by the Fine Arts Commission to fulfill the intent of this chapter. The artwork shall be an integral part of the landscaping and/or architecture of the buildings. The artwork consists of one primary sculpture located along the front property line along N. Tantau Avenue. The location of the artwork at the front property line in an open area makes the artwork an integral component of the landscaping and site. 34 ASA-2022-001 10600 N.Tantau Avenue May 23,2022 Page 8 5. The artwork shall be easily visible from the public street and be located in an area specifically designated on the project site plan. Appropriate locations include, but are not limited to, entryways to the property, greenbelts, and building exteriors. The artwork must be in permanent view to motorists and pedestrians. Artwork located at the entrance to a development should make a major statement and be visible from the main parking lot, if any. When located in proximity to major traffic thoroughfares, the artwork should be at a motorist's scale and oriented toward the view corridor of the motorist. The artwork would be visible to both motorists and pedestrians who travel by the site because the artwork shall be located in an area along the street frontage of N. Tantau Avenue, a public street. 6. The composition of the artwork shall be of permanent materials requiring a low level of maintenance. Materials used shall be durable and resistant to graffiti and the effects of weather. The materials are permanent materials requiring a low level of maintenance due to robust solid- cast glass. The textured glass surface allows for a degree of water staining and dust to be imperceptible. Glass posts withstand weather and minor physical impact. The concealed LED lighting is integrated below grade, with the control units located indoors in a nearby service building with cabling below ground. The lights have an approximate 20-year durability. A preliminary care and maintenance plan was approved under DIR-2021-022 and will be provided as part of the building permit submittal. 7. The nature and style of the artwork shall be considered in the context of other artwork in the surrounding area in order to encourage a wide range of art styles and materials, and to create a balanced and interesting aesthetic appearance. The developer is encouraged to give preference to artists living or working in the San Francisco Bay area, and to avoid using artists whose work is already displayed as public art within the City of Cupertino boundaries. The artwork meets the minimum requirements because the proposal adds to the wide range of styles and materials currently represented in Cupertino's catalog of public art. Although the artist is not local to the San Francisco Bay Area, she draws from her experience as an international artist based out of the United Kingdom and has not been previously commissioned for other works in Cupertino or the Bay Area and therefore adds to the diversity of artists. 8. Artwork shall be identified by an appropriate plaque or monument measuring not less than eight inches by eight inches. The plaque shall be made of a durable, permanent material and shall be placed near the artwork, and shall list the date of installation,title and artist, and medium. 35 ASA-2022-001 10600 N.Tantau Avenue May 23,2022 Page 9 The artwork is identified by three plaques on elevated stainless steel clad cylinder podiums, one at each entry pathway. The plaques measure approximately 12"in diameter and are made from steel with a powder coating matte finish. 9. The proposed artwork shall meet the criteria for review as set forth in the City of Cupertino Public Art Program Guidelines for Selection of Public Art, as originally adopted by the City Council Resolution No. 05-040, or as later amended. The art program meets the criteria stated within City of Cupertino Public Art Program Guidelines for Selection of Public Art, which are incorporated into the findings stated above in Sections II 1-5 and/or incorporated into the conditions of approval in Section III of this resolution. Next Stel2s The permit will become effective 14 calendar days from the date of the hearing. The decision of the Fine Arts Commission is final, unless appealed within 14 calendar days from the date of the hearing. The applicant team may apply for building and/or other permits with the City at the end of the appeal period (June 6, 2022 at 5:00pm). This approval is valid until May 23, 2024. The applicant team may apply for a one-time two-year extension before the approval expires. Prepared bL. Jeffrey Tsumura, Associate Planner Reviewed and Approved for submission by: Piu Ghosh, Planning Manager ATTACHMENTS 1. Draft Resolution ASA-2022-001 2. Fine Arts Application 3. Eligible Costs Worksheet 4. Artist Biography and Projects 5. Statement of Design Intent 6. Art and Site Design Drawings 7. Art Title Plaque Drawing 8. HGA Memorandum on Light Temperature 9. Biological Review on Glass and Lighting Standards 10. ESA Memorandum Addendum to Biological Review on Lighting Standards 36 ASA-2022-001 CITY OF CUPERTINO 10300 Torre Avenue Cupertino, California 95014 DRAFT RESOLUTION OF THE FINE ARTS COMMISSION OF THE CITY OF CUPERTINO APPROVING THE PROPOSED ART AT THE APPLE PARK VISITOR CENTER LOCATED AT 10600 N. TANTAU AVENUE SECTION I: PROTECT DESCRIPTION Application No.: Public Art (ASA-2022-001) Applicant: David Kang (Apple, Inc.) Location: 10600 N. Tantau Avenue (APN: 316-06-062) SECTION II: FINDINGS WHEREAS, the Fine Arts Commission of the City of Cupertino received an application for an Architectural and Site Approval to consider public art at the Apple Park Visitor Center; and WHEREAS, artwork in private developments is required per Cupertino Municipal Code 19.148; and WHEREAS, the necessary public notices have been given as required by the Procedural Ordinance of the City of Cupertino, and the Fine Arts Commission has held at least one public meeting with regard to the application; and WHEREAS, pursuant to the provisions of the California Environmental Quality Act of 1970 (Public Resources Code section 21000 et seq.) ("CEQA"), together with the State CEQA Guidelines (California Code of Regulations, Title 14, Section 15000 et seq.) (hereinafter, "CEQA Guidelines"), the City staff has independently studied the proposed Project and has determined that the Project is exempt from environmental review pursuant to the categorical exemption in CEQA Guidelines section 15303 (New Construction or Conversion of Small Structures) and/or Section 15304 (Minor Alterations to Land); and WHEREAS, the applicant has met the burden of proof required to support said application; and 37 Draft Resolution No. ASA-2022-001 May 23,2022 Page 2 WHEREAS, pursuant to Cupertino Municipal Code Section 19.148.060 Design Criteria and Artist Qualifications and Section 19.148.060 Architectural and Site Approval,the Fine Arts Commission finds as follows with regard to this application: 1. The artwork is of a nature specified in Section 19.148.030. Section 19.148.030 (A) identifies sculpture as a permitted artwork. 2. The artwork requirement is to be satisfied with one significant piece of artwork, except that the requirement may be met with several works of art when specifically found by the Fine Arts Commission to fulfill the intent of this chapter. The artwork shall be an integral part of the landscaping and/or architecture of the buildings. The artwork consists of one primary sculpture located along the front property line along N. Tantau Avenue. The location of the artwork at the front property line in an open area makes the artwork an integral component of the landscaping and site. 3. The artwork shall be easily visible from the public street and be located in an area specifically designated on the project site plan. Appropriate locations include,but are not limited to, entryways to the property, greenbelts, and building exteriors. The artwork must be in permanent view to motorists and pedestrians. Artwork located at the entrance to a development should make a major statement and be visible from the main parking lot,if any.When located in proximity to major traffic thoroughfares,the artwork should be at a motorist's scale and oriented toward the view corridor of the motorist. The artwork would be visible to both motorists and pedestrians who travel by the site because the artwork shall be located in an area along the street frontage of N. Tantau Avenue, a public street. 4. The composition of the artwork shall be of permanent materials requiring a low level of maintenance. Materials used shall be durable and resistant to graffiti and the effects of weather. The materials are permanent materials requiring a low level of maintenance due to robust solid-cast glass. The textured glass surface allows for a degree of water staining and dust to be imperceptible. Glass posts withstand weather and minor physical impact. The concealed LED lighting is integrated below grade, with the control units located indoors in a nearby service building with cabling below ground. The lights have an approximate 20-year durability. A preliminary care and maintenance plan was approved under DIR-2021-022 and will be provided as part of the building permit submittal. 5. The nature and style of the artwork shall be considered in the context of other artwork in the surrounding area in order to encourage a wide range of art styles and materials, 38 Draft Resolution No. ASA-2022-001 May 23,2022 Page 3 and to create a balanced and interesting aesthetic appearance. The developer is encouraged to give preference to artists living or working in the San Francisco Bay area, and to avoid using artists whose work is already displayed as public art within the City of Cupertino boundaries. The artwork meets the minimum requirements because the proposal adds to the wide range of styles and materials currently represented in Cupertino's catalog of public art. Although the artist is not local to the San Francisco Bay Area, she draws from her experience as an international artist based out of the United Kingdom and has not been previously commissioned for other works in Cupertino or the Bay Area and therefore adds to the diversity of artists. 6. Artwork shall be identified by an appropriate plaque or monument measuring not less than eight inches by eight inches. The plaque shall be made of a durable, permanent material and shall be placed near the artwork, and shall list the date of installation, title and artist, and medium. The artwork is identified by three plaques on elevated stainless steel clad cylinder podiums, one at each entry pathway. The plaques measure approximately 12"in diameter and are made from steel with a powder coating matte finish. 7. The proposed artwork shall meet the criteria for review as set forth in the City of Cupertino Public Art Program Guidelines for Selection of Public Art, as originally adopted by the City Council Resolution No. 05-040, or as later amended. The art program meets the criteria stated within City of Cupertino Public Art Program Guidelines for Selection of Public Art, which are incorporated into the findings stated above in Sections II 1-5 and/or incorporated into the conditions of approval in Section III of this resolution. 8. The proposal,at the proposed location,will not be detrimental or injurious to property or improvements in the vicinity, and will not be detrimental to the public health, safety, general welfare, or convenience: The proposal proposes public artwork at an existing visitor center. The proposal will activate the space by featuring accessible pedestrian pathways to and through the artwork and improve the useability of the site. No modifications are proposed for the existing buildings or remainder of the site. Further, the project will replant trees and reinstall native landscaping affected by construction in their original locations around the artwork. Therefore, the proposed artwork will not be detrimental or injurious to property or improvements in the vicinity, and will not be detrimental to the public health, safety, general welfare, or convenience. 39 Draft Resolution No. ASA-2022-001 May 23,2022 Page 4 9. The proposal is consistent with the purposes of Chapter 19.168, the General Plan, any specific plan,zoning ordinances,applicable planned development permit,conditional use permits, variances, subdivision maps or other entitlements to use which regulate the subject property including,but not limited to, adherence to the following specific criteria: a) Abrupt changes in building scale should be avoided. A gradual transition related to height and bulk should be achieved between new and existing buildings. The project scope does not include an increase in floor area or modifications to any of the buildings onsite. The artwork is proposed in an area onsite where there are currently no structures; however, the public artwork is by its nature intended to attract visitors and pedestrians to the site and encourage activation of space. Additionally, the design maintains a human scale and is relative to the surrounding olive trees within the grove. b) In order to preserve design harmony between new and existing buildings and in order to preserve and enhance property values, the materials, textures and colors of new building should harmonize with adjacent development by being consistent or compatible with design and color schemes with the future character of the neighborhoods and purposes of the zone in which they are situated. The location, height and materials of walls, fencing, hedges and screen planting should harmonize with adjacent development. Unsightly storage areas, utility installations and unsightly elements of parking lots should be concealed. The planting of ground cover or various types of pavements should be used to prevent dust and erosion, and the unnecessary destruction of existing healthy trees should be avoided. Lighting for development should be adequate to meet safety requirements as specified by the engineering and building departments and provide shielding to prevent spill-over light to adjoining property owners. The proposed artwork is designed to be harmonious with the surrounding landscape and is compatible with the welcome center as well as other buildings within Apple Park due to its emphasis on glass design and construction. The proposed glass-cast cylinders and pedestrian pathways harmonize with the surrounding landscape and provide new ways to experience the site. Existing olive trees outside the construction area will be preserved, and those that are located within the path of construction will be removed, preserved, and replanted upon completion in their original locations. Existing landscaping disturbed by construction will also be replanted like for like. Lighting for the artwork are low-voltage LEDs and will be diffused through the cast-glass cylinders. Lighting standards have been conditioned to prevent intrusive effects on adjacent properties. 40 Draft Resolution No. ASA-2022-001 May 23,2022 Page 5 c) The number, location, color, size, height, lighting and landscaping of outdoor advertising signs and structures have been designed to minimize traffic hazard, positively affect the general appearance of the neighborhood and harmonize with adjacent development. The artwork is identified by a total of three plaques at pathway entrances as required by CMC Section 19.148.060. They are made of durable, permanent materials and are integrated into the artwork design and overall site. d) With respect to new projects within existing residential neighborhoods, new development should be designed to protect residents from noise, traffic, light and visually intrusive effects by use of buffering, setbacks, landscaping, walls and other appropriate design measures. This application is not a new development project and the artwork itself maintains sufficient setback along the front setback, approximately 30 feet from the closest point of the sculpture and approximately 147 -7"from the closest residential property. NOW, THEREFORE, BE IT RESOLVED: That after careful consideration of the maps, facts, exhibits, testimony, staff's report and presentation, and other evidence submitted in this matter,subject to the conditions which are enumerated in this Resolution beginning on PAGE 4 thereof, The application for an Architectural and Site Approval, Application no. ASA-2022-001 for Public Artwork is hereby approved and that the subconclusions upon which the findings and conditions specified in this resolution are based and contained in the Public Meeting record concerning Application no. ASA-2022-001 as set forth in the Minutes of the Fine Arts Commission Meeting of May 23, 2022 and are incorporated by reference as though fully set forth herein. SECTION III:CONDITIONS ADMINISTERED BY THE COMMUNITY DEVELOPMENT DEPARTMENT 1. APPROVED EXHIBITS Approval is based on the Fine Arts application prepared by Apple, Inc., titled "Project Mirage Fine Arts Commission Submission Compiled Set" consisting of 53 pages, except as may be amended by conditions in this resolution. 2. ACCURACY OF PROTECT PLANS The applicant/property owner is responsible to verify all pertinent property data including but not limited to property boundary locations, building setbacks, property size, building square footage, any relevant easements and/or 41 Draft Resolution No. ASA-2022-001 May 23,2022 Page 6 construction records. Any misrepresentation of any property data may invalidate this approval and may require additional review. 3. ANNOTATION OF THE CONDITIONS OF APPROVAL The conditions of approval set forth shall be incorporated into and annotated on the first page of the building plans. 4. BUILDING AND FIRE CODE The applicant shall apply for and obtain building permits to allow the construction of the approved project. The applicant shall provide information and plans to allow the Building Official and the Fire Marshall, or their designee, to determine that the proposed plans comply with Building and Fire Codes in effect at the time of application for a building permit. 5. CONSULTATION WITH OTHER DEPARTMENTS The applicant is responsible to consult with other departments and/or agencies with regard to the proposed project for additional conditions and requirements. Any misrepresentation of any submitted data may invalidate an approval by the Community Development Department. 6. DEMOLITION REQUIREMENTS All demolished building and site materials shall be recycled to the maximum extent feasible subject to the Building Official. The applicant shall provide evidence that materials were recycled prior to occupancy. 7. DUST CONTROL The following construction practices shall be implemented during all phases of construction for the proposed project to prevent visible dust emissions from leaving the site: a. Water all exposed surfaces areas (e.g., parking areas, staging areas, soil piles, graded areas, and unpaved access roads) at least twice daily and more often during windy periods to prevent visible dust from leaving the site; active areas adjacent to windy periods; active areas adjacent to existing land uses shall be kept damp at all times, or shall be treated with non-toxic stabilizers or dust palliatives. b. All haul trucks transporting soil, sand, or other loose material off-site shall be covered. c. All visible mud or dirt track-out onto adjacent public roads shall be removed using wet power vacuum street sweepers at least once per day. The use of dry power sweeping is prohibited. d. All vehicle speeds on unpaved roads shall be limited to 15 mph. 42 Draft Resolution No. ASA-2022-001 May 23,2022 Page 7 e. All roadways, driveways, and sidewalks to be paved shall be completed as soon as possible. Building pads shall be laid as soon as possible after grading unless seeding or soil binders are used. f. Idling times shall be minimized either by shutting equipment off when not in use or reducing the maximum idling time to 5 minutes (as required by the California airborne toxics control measure Title 13, Section 2485 of California Code of Regulations [CCR]). Clear signage shall be provided for construction workers at all access points. g. All construction equipment shall be maintained and properly tuned in accordance with manufacturer's specifications.All equipment shall be checked by a certified mechanic and determined to be running in proper condition prior to operation. h. Post a publicly visible sign with the telephone number and person to contact at the Lead Agency regarding dust complaints. This person shall respond and take corrective action within 48 hours. The Air District's phone number shall also be visible to ensure compliance with applicable regulations. The applicant shall incorporate the City's construction best management practices into the building permit plan set prior to any grading, excavation, foundation or building permit issuance. 8. EXTERIOR BUILDING MATERIALS/TREATMENTS The final building exterior plan shall closely resemble the details shown on the original approved plans. Final building exterior treatment plan (including but not limited to details on exterior color, materials, architectural treatments, doors, windows, lighting fixtures, and/or embellishments) shall be reviewed and approved by the Director of Community Development prior to issuance of building permits to ensure quality and consistency. Any exterior changes determined to be substantial by the Director of Community Development shall either require a modification to this permit or a new permit based on the extent of the change. 9. ARTWORK IDENTIFICATION Artwork shall be identified by an appropriate plaque or monument measuring not less than eight inches by eight inches. The plaque shall be made of a durable, permanent material and shall be placed near the artwork, and shall list the date of installation, title and artist, and medium. 10. PERMANENT INSTALLATION The artwork shall be a permanent, maintained fixed asset of the property, and statements to this fact shall be attached or recorded to the existing CC&R's or 43 Draft Resolution No. ASA-2022-001 May 23,2022 Page 8 otherwise recorded on the property deed, to advise subsequent property owners of their obligations to maintain the artwork. Artwork may not be removed without replacement with all necessary City Permits or the express written approval from the Fine Arts Commission or body governing such matters in the future. 11. MAINTENANCE Materials used shall be durable and resistant to graffiti and the effects of weather. 12. DUPLICATION To assure that the art work will not be duplicated, the artist shall be asked to warrant that the art work is unique and an edition of one, unless stated to the contrary in the contract and disclosed to the Fine Arts Commission. Multiples shall be considered for selection at the discretion of the Fine Arts Commission. 13. LIGHTING PLAN Applicant shall provide to staff the proposed lighting plan for the art program. The plan shall include, but is not limited to, lighting specifications such as location, size, type, color, controls, timers, and appropriate illumination levels. The Director of Community Development, or staff designee, shall review and approve the lighting plan. 14. DARK SKY COMPLIANCE Alternative lighting standards for increased color temperature (no more than 4,000K) are approved pursuant to review and approval by the Fine Arts Commission. Prior to the issuance of Building Permits, the applicant shall provide to staff the lighting plan for the art program to comply with the remaining development standards of Cupertino Municipal Code (CMC) Section 19.102.040 Outdoor Lighting Requirements, including project lighting to be fully extinguished or motion sensor operated after 11:00 p.m., pursuant to CMC Section 19.102(B)(4). In the event changes are proposed from the approved plans, said changes must be reviewed and approved by the Director of Community Development or their designee. The applicant shall provide all documentation required to determine compliance with the Municipal Code. 15. PUBLIC ACCESS TO ARTWORK The artwork shall remain in permanent view to pedestrians and motorists and remain accessible to both pedestrians in the public right-of-way and to visitors of Apple Park. No fencing or closing off the public artwork is permitted that would 44 Draft Resolution No. ASA-2022-001 May 23,2022 Page 9 prohibit the visibility and/or access to the artwork as intended by the artist and described in this application. 16. GRADING AND CONSTRUCTION HOURS AND NOISE LIMITS a. All grading activities shall be limited to the dry season (April 15 to October 1), unless permitted otherwise by the Director of Public works. b. Construction hours and noise limits shall be compliant with all requirements of Chapter 10.48 of the Cupertino Municipal Code. c. Grading, street construction, underground utility and demolition hours for work done more than 750 feet away from residential areas shall be limited to Monday through Friday, 7 a.m. to 8 p.m. and Saturday and Sunday, 9 a.m. to 6 p.m. Grading, street construction, demolition or underground utility work within 750 feet of residential areas shall not occur on Saturdays, Sundays, holidays, and during the nighttime period as defined in Section 10.48.053(b) of the Municipal Code. d. Construction activities shall be limited to Monday through Friday, 7 a.m. to 8 p.m. and Saturday and Sunday, 9 a.m. to 6 p.m. Construction activities are not allowed on holidays as defined in Chapter 10.48 of the Municipal Code. Nighttime construction is allowed if compliant with nighttime standards of Section 10.48 of the Cupertino Municipal Code. e. Rules and regulations pertaining to all construction activities and limitations identified in this permit, along with the name and telephone number of an applicant appointed disturbance coordinator, shall be posted in a prominent location at the entrance to the job site. f. The applicant shall be responsible for educating all contractors and subcontractors of said construction restrictions. The applicant shall comply with the above grading and construction hours and noise limit requirements unless otherwise indicated. 17. LANDSCAPE PROTECT SUBMITTAL Prior to issuance of building permits, the applicant shall submit a full Landscape Documentation Package, per sections 14.15.050 A, B, C, and D of the Landscape Ordinance, for projects with landscape area 500 square feet or more or elect to submit a Prescriptive Compliance Application per sections 14.15.040 A, B, and C for projects with landscape area between 500 square feet and 2,500 square feet. The Landscape Documentation Package or Prescriptive Compliance Application shall be reviewed and approved to the satisfaction of the Director of Community Development prior to issuance of building permits, and additional requirements per sections 14.15.040 D, E, F, and G or 14.15.050 E, F, G, H, and I will be required to be reviewed and approved prior to final inspections. 45 Draft Resolution No. ASA-2022-001 May 23,2022 Page 10 18. LANDSCAPE INSTALLATION REPORT The project is subject to all provisions delineated in the Landscape Ordinance (CMC, Chapter 14.15). A landscape installation audit shall be conducted by a certified landscape professional after the landscaping and irrigation system have been installed. The findings of the assessment shall be consolidated into a landscape installation report. The landscape installation report shall include, but is not limited to: inspection to confirm that the landscaping and irrigation system are installed as specified in the landscape and irrigation design plan, system tune-up, system test with distribution uniformity, reporting overspray or run-off that causes overland flow, and preparation of an irrigation schedule. The landscape installation report shall include the following statement: "The landscape and irrigation system have been installed as specified in the landscape and irrigation design plan and complies with the criteria of the ordinance and the permit." 19. LANDSCAPE AND IRRIGATION MAINTENANCE Per the Landscape Ordinance (CMC, Chapter 14.15), a maintenance schedule shall be established and submitted to the Director of Community Development or his/her designee, either with the landscape application package, with the landscape installation report, or any time before the landscape installation report is submitted. a. Schedules should take into account water requirements for the plant establishment period and water requirements for established landscapes. b. Maintenance shall include, but not be limited to the following: routine inspection; pressure testing, adjustment, and repair of the irrigation system; aerating and de-thatching turf areas; replenishing mulch; fertilizing; pruning; replanting of failed plants; weeding; pest control; and removing obstructions to emission devices. c. Failed plants shall be replaced with the same or functionally equivalent plants that may be size-adjusted as appropriate for the stage of growth of the overall installation. Failing plants shall either be replaced or be revived through appropriate adjustments in water, nutrients, pest control or other factors as recommended by a landscaping professional. 20. NESTING BIRDS Nests of raptors and other birds shall be protected when in active use, as required by the federal Migratory Bird Treaty Act and the California Department of Fish and Game Code. 46 Draft Resolution No. ASA-2022-001 May 23,2022 Page 11 a. Construction and tree removal/pruning activities shall be scheduled to avoid the nesting season to the extent feasible. If feasible, tree removal and/or pruning shall be completed before the start of the nesting season to help preclude nesting. The nesting season for most birds and raptors in the San Francisco Bay area extends from February 1 through August 31. Preconstruction surveys(described below) are not required for tree removal or construction activities outside the nesting period. b. If construction activities and any required tree removal occur during the nesting season (February 1 and August 31), a qualified ornithologist shall be required to conduct surveys prior to tree removal or construction activities. Preconstruction surveys shall be conducted no more than 14 days prior to the start of tree removal, pruning or construction.Preconstruction surveys shall be repeated at 14-day intervals until construction has been initiated in the area after which surveys can be stopped. During this survey, the ornithologist shall inspect all trees and other possible nesting habitats in and immediately adjacent to the construction areas for nests. c. If the survey does not identify any nesting birds that would be affected by construction activities, no further mitigation is required. If an active nest containing viable eggs or young birds is found sufficiently close to work areas to be disturbed by these activities, their locations shall be documented, and protective measures implemented under the direction of the qualified ornithologist until the nests no longer contain eggs or young birds. d. Protective measures shall include establishment of clearly delineated exclusion zones (i.e., demarcated by identifiable fencing, such as orange construction fencing or equivalent)around each nest location as determined by the qualified ornithologist, taking into account the species of birds nesting, their tolerance for disturbance and proximity to existing development. In general, exclusion zones shall be a minimum of 300 feet for raptors and 75 feet for passerines and other birds. The active nest within an exclusion zone shall be monitored on a weekly basis throughout the nesting season to identify signs of disturbance and confirm nesting status. The radius of an exclusion zone may be increased by the qualified biologist, if project activities are determined to be adversely affecting the nesting birds. Exclusion zones may be reduced by the qualified biologist only in consultation with California Department of Fish and Wildlife. The protection measures and buffers shall remain in effect until the young have left the nest and are foraging independently or the nest is no longer active. e. A final report on nesting birds and raptors, including survey methodology, survey date(s), map of identified active nests (if any), and protection measures (if required), shall be submitted to the Planning Manager,through the building 47 Draft Resolution No. ASA-2022-001 May 23,2022 Page 12 permit review process, and be completed to the satisfaction of the Community Development Director prior to the start of grading. 21. TREE AND LANDSCAPE MAINTENANCE The property owner shall be responsible for ensuring that the existing trees and newly planted trees are properly maintained including but not limited to ensuring that there is adequate soil drainage, that the soil is well-aerated, and irrigation systems are thoroughly tested to provide sufficient water to landscaped areas while reducing water waste. 22. TREE PROTECTION As part of the demolition or building permit drawings, a tree protection plan shall be prepared by a certified arborist for the trees to be retained. In addition, the following measures shall be added to the protection plan: ■ For trees to be retained, chain link fencing and other root protection shall be installed around the dripline of the tree prior to any project site work. ■ No parking or vehicle traffic shall be allowed under root zones, unless using buffers approved by the Project Arborist. ■ No trenching within the critical root zone area is allowed. If trenching is needed in the vicinity of trees to be retained,the City's consulting arborist shall be consulted before any trenching or root cutting beneath the dripline of the tree. ■ Wood chip mulch shall be evenly spread inside the tree projection fence to a four-inch depth. ■ Tree protection conditions shall be posted on the tree protection barriers. ■ Retained trees shall be watered to maintain them in good health. ■ A covenant on the property shall be recorded that identifies all the protected trees, prior to final occupancy. The tree protection measures shall be inspected and approved by the certified arborist prior to issuance of building permits. The City's consulting arborist shall inspect the trees to be retained and shall provide reviews prior to issuance of demolition, grading or building permits. A report ascertaining the good health of the trees mentioned above shall be provided prior to issuance of final occupancy. 23. INDEMNIFICATION As part of the application,to the fullest extent permitted by law,the applicant shall agree to indemnify, defend with the attorneys of the City's choice, and hold harmless the City, its City Council, and its officers, employees, and agents (collectively, the "indemnified parties") from and against any liability, claim, action, cause of action, suit, damages, judgment, lien, levy, or proceeding 48 Draft Resolution No. ASA-2022-001 May 23,2022 Page 13 (collectively referred to as "proceeding") brought by a third party against one or more of the indemnified parties or one or more of the indemnified parties and the applicant related to any Ordinance, Resolution, or action approving the project, the related entitlements, environmental review documents, finding or determinations, or any other permit or approval authorized for the project. The indemnification shall include but not be limited to damages, fees, and costs awarded against the City, if any, and cost of suit, attorneys' fees, and other costs, liabilities, and expenses incurred in connection with such proceeding whether incurred by the Applicant, the City, or the parties initiating or bringing such proceeding. The applicant shall agree to (without limitation) reimburse the City its actual attorneys' fees and costs incurred in defense of the litigation. Such attorneys' fees and costs shall include amounts paid to the City's outside counsel and shall include City Attorney time and overhead costs and other City staff overhead costs and any costs directly related to the litigation reasonably incurred by City. The applicant shall likewise agree to indemnify, defend, and hold harmless the indemnified parties from and against any damages, attorneys' fees, or costs awards, including attorneys' fees awarded under Code of Civil Procedure section 1021.5, assessed or awarded against the indemnified parties. The Applicant shall cooperate with the City to enter a Reimbursement Agreement to govern any such reimbursement. The Applicant shall agree to (without limitation) reimburse the City for all costs incurred in additional investigation or study of, or for supplementing, redrafting, revising, or amending, any document (such as an Environmental Impact Report, negative declaration, specific plan, or general plan amendment)if made necessary by proceedings challenging the project approvals and related environmental review, if the applicant desires to continue to pursue the project. The Applicant shall agree that the City shall have no liability to the Applicant for business interruption, punitive, speculative, or consequential damages. 24. NOTICE OF FEES, DEDICATIONS, RESERVATIONS, OR OTHER EXACTIONS The Conditions of Project Approval set forth herein may include certain fees, dedication requirements, reservation requirements, and other exactions. SECTION IV: CONDITIONS ADMINISTERED BY THE PUBLIC WORKS DEPARTMENT 25. C.3 REQUIREMENTS 49 Draft Resolution No. ASA-2022-001 May 23,2022 Page 14 Project shall stratify C.3 stormwater treatment requirements. At building permit application stage, the following items will need to be addressed: a. Provided revised Stormwater Management Plan, including revised stormwater treatment/BMP plan for the entire project site, revised stormwater calculations, engineer's and 3rd party certifications, and revised civil and landscape plans. b. Amendment to the Stormwater Facilities Operation,Maintenance and Easement Agreement as required. PASSED AND ADOPTED this 23rd day of May 2022 at a noticed Public Meeting of the Fine Arts Commission of the City of Cupertino, State of California,by the following vote: AYES: COMMISSIONERS: NOES: COMMISSIONERS: ABSTAIN: COMMISSIONERS: ABSENT: COMMISSIONERS: ATTEST: APPROVED: Jeffrey Tsumura Sudha Kasamsetty Associate Planner Chair 50 Application 51 I MJ Cupertino Public Art CUPERTINO Application Form Development Project Previously Approved AP Campus See attached statement Project Name: Application No: Address and/or Location: Acreage: Lot size: Bldg. Sq. Ft. No. of stories: Arch. Style: Bldg. Usage: : Date of PC approval: D �OfCproval Planner Name: Estimated occupancy date: Detailed project description: Public Art Overall project budget (from Pro Forma, et al) .25%for Art: $ Artwork Budget: $ 3,945,000 Artwork Name: Mirage Brief description: Glass Sculpture Materials: Glass,Steel,Grass and Decomposed Granite Dimensions: Approximately 78'x 57'x 7'tall Lighted?Y/N Yes Estimated installation date: Detailed description of art (location, materials, function, landscaping, lighting, pedestal, etc.): Mirage is a curvilinear installation of vertical cast art glass cylinders from deserts around the world set in a olive tree grove with meadow grass. Detailed description of identifying plaque (location, materials):Stainless Steel with powder coating and white lettering on angled plaque, 12" diameter. Located at each entry on 12" S.S. bollard with angled top. Cupertino Public Art Application Form Page 2 52 Project Name: Mirage Application No: Contacts Developer: Apple, Inc. Address: One Apple Park Way, Cupertino, CA 95014 Phone (office): 1-201-320-9850 (primary) Phone (cell):1-408-621-7158 (secondary) Fax: Email: dkang@apple.com Artist: Katie Paterson Address:6 Saltpans, Dunfermline, KY113EB, Scotland, United Kingdon Phone (office): Phone (cell): Fax: Email: mail@ katiepaterson.org Submitted by: -�)� February 25, 2022 Signature Date Dave Kang Printed name IMPORTANT: ATTACH SITE PLANS, ELEVATIONS, AND A LIST OF ANY OTHER PERTINENT INFORMATION 53 Eligible Costs Worksheet 54 Cupertino Public Art CUPERTINO Eligible Costs Worksheet ITEM ESTIMATED ACTUAL COST DATE COST VERIFIED Artwork price $ $ • materials $ 1,500,000 $ • fabrication $ in above $ • engineering fees $ 170,000 $ Art Consultant's fees $ 350,000 $ Lighting Consultant's fees $ 50,000 $ Transportation of artwork $ $ • shipping $ 15,000 $ • crating $ 45,000 $ • truck rental $ 500,000 $ Installation of artwork $ $ • site preparation* $ 80,000 $ • labor $ 500,000 $ • professional fees $ 420,000 $ • equipment rental $ 60,000 $ • special hardware/tools $ 40,000 $ Pedestal or display costs** $ NA $ Lighting for artwork $ 200,000 $ Identification plaque $ 15,000 $ *Directly related to the installation of the artwork (ie: trenching for lighting conduit, piping for water if water was not previously included in the project, concrete footings, etc.) **If not already included in the artwork price. APPLICANT MUST ATTACH THE PRO FORMA (OR EQUIVALENT) TO ILLUSTRATE TOTAL PROJECT COSTS. 55 The proposed Mirage artwork is budgeted to cost $3, 00,000. This estimate exceeds the $100,000 maximum required by the Public Art General Plan. Citation of the resolution indicating condition of approval is pasted below. The budget has been submitted with the project application and eligible costs orksheet form. Therefore, we are in compliance with the public art valuation requirement, 28. PUBLIC,.DIRT The applicant shall provide public art m accordance with General Plan policy 2-66. Public Resolution Na 3-N4 ASA-20t1-1.4,DP-2011.04,TR-2011-39,U-2W141 October I5,2M3 11 1-7 R art shall be installed on the project site prior to final occupancy of the first phase. The public art shall be valued, at a minimum, one-quarter percent (1/4%) of the total project budge,nat to exceed S1 0.000.The applicant shall submit a public art pIan to be reviewed by the Fite Arts Commission prior to installation of the public art, 56 Artist Biography & Projects 57 Scottish artist Katie Paterson is known for her multi-disciplinary and conceptually-driven work with an emphasis on nature, ecology, geology and cosmology. Collaborating with scientists and researchers across the world, Paterson's projects consider our place on Earth in the context of geological time and change. Her artworks make use of sophisticated technologies and specialist expertise to stage intimate, poetic and philosophical engagements between people and their natural environment. Combining a Romantic sensibility with a research-based approach, conceptual rigor and coolly minimalist presentation, her work collapses the distance between the viewer and the most distant edges of time and the cosmos. Among the artist's best known works are: The Future Library Project, an ambitious, one- hundred year endeavor commissioned by the City of Oslo and the National Library of Oslo that will culminate in an one-hundred text anthology by leading authors, poets and thinkers of the twenty-first century; Ideas, a lifelong series started by the artist in 2015, of short, haiku-like sentences rendered in sterling silver or bronze; Totality (2016), a mirrorball reflecting every solar eclipse seen from earth; Hollow (2016), an immersive piece of architecture that brings together over 10,000 unique tree species, commissioned by the University of Bristol, made in collaboration with architects Zeller & Moye and permanently installed in the historic Royal Fort Gardens; Fossil Necklace (2013), a necklace made up of 170 carved, spherical fossils, spanning geological time; Second Moon (2013), a work that tracks the cyclical journey of a fragment of the moon as it circles the Earth, via airfreight courier, on a man-made year-long commercial orbit; All the Dead Stars (2009), a large map documenting the locations of 27,000 dead stars known to humanity; Light bulb to Simulate 58 Moonlight (2009), an incandescent bulb designed to transmit wavelength properties identical to those of moonlight; and History of Darkness (ongoing), a slide archive of darkness captured at different times and places throughout the universe and spanning billions of years. Katie Paterson (born 1981, Glasgow, Scotland) received her BA from Edinburgh College of Art, Edinburgh, United Kingdom in 2004 and her MFA from the Slade School of Fine Art in London, United Kingdom in 2007. She has since been the subject of solo exhibitions at institutions including The Scottish National Gallery of Modern Art, Edinburgh, Scotland (2021); Turner Contemporary, Margate, UK (2019); Utah Museum of Fine Art, Salt Lake City, UT (2017): Somerset House, London, UK (2016); FRAC Frache Comte, Besancon, France (2015); the Ingleby Gallery, Edinburgh, UK (2014); Mead Gallery at the University of Warwick, Coventry, UK and at Kettle's Yard at the University of Cambridge, Cambridge UK (2013); the Modern Art Museum of Fort Worth, Fort Worth, Texas, and BAWAG Contemporary, Vienna, Austria (2012); and Modern Art Oxford, Oxford, UK (2008). Paterson has participated in group exhibitions at the Kunsthal Charlottenborg, Germany (2021); Kunsthaus Zurich, Switzerland (2021); Hayward Gallery, Southbank Centre, London, UK (2020); UCCA Dune, Beidaihe, China (2020); Royal Museums Greenwich, London, UK (2019); the Columbus Museum of Art, Columbus, OH and the Louisiana Museum of Modern Art, Humlebaek, Denmark (2018); the Wexner Center for the Arts, Columbus, OH (2017); the Henry Moore Institute, Leeds, UK and OCAT, Shanghai, China (2016); the Guggenheim Museum, New York, NY (2015); among many others. Her work has also been featured in the 2017 Yokohama Triennale, Japan; 11th Gwangju Biennale, 59 Gwangju, South Korea, 2016; Whitstable Biennial 2010, Whitstable, UK; PERFORMA 09, New York, NY; and Altermodern: Tate Triennial 2009, Tate Britain, London, UK. Paterson was the recipient of the John Florent Stone Fellowship at Edinburgh College of Art, and was the Leverhulme Artist in Residence in the Astrophysics Group at the University College London for the academic year 2010-2011. Her work can be found in public collections including the Art Institute of Chicago, Chicago, IL; the Art Gallery of New South Wales, Australia; Berkeley Art Museum, Berkeley, CA; Frac Bretagne, France; FRAC, Franche-Comte, France; Musee D'Art Classique de Mougins, France; Philadelphia Museum of Art, Philadelphia, PA; Princeton University Art Museum, Princeton, NJ; Redtory Museum of Contemporary Art, Guanghzhou, China; Solomon R. Guggenheim Museum, New York, NY; Utah Museum of Fine Arts, Salt Lake City, UT; and the National Galleries of Scotland, Edinburgh, UK. Katie Paterson lives and works in Fife, Scotland. 60 James Cohan KATIE PATERSON 1981 Born in Glasgow, Scotland Lives and works in London and Berlin EDUCATION 2007 M.F.A., Slade School of Fine Art, UCL,London,United Kingdom 2004 B.A., (Hons) Tapestry, Edinburgh College of Art, Edinburgh, Scotland SOLO EXHIBITIONS 2022 Katie Paterson—Evergreen, Galleri F15,Moss,Norway 2021 Punkt O, Galleri F 15 &MOMENTUM,Moss,Norway 2019 A place that exists only in moonlight: Katie Paterson &JMWI Turner, Turner Contemporary,Margate, Kent, United Kingdom First There is a Mountain,Touring Commission,25 Avenues,United Kingdom NOW I Katie Paterson, the Scottish National Gallery of Modern Art, Edinburgh, Scotland 2018 Earth Moon-Earth, St. Cecilia's Hall, University of Edinburgh, Edinburgh, Scotland, United Kingdom 2017 SALT, Utah Museum of Fine Art, Salt Lake City,UT 2016 From Earth into a Black Hole James Cohan, New York,NY CentrePasquArt, Biel, Switzerland Totality, Somerset House,London,United Kingdom Sy.rvgy,The Lowry,Manchester, England 2015 Katie Paterson:Field of the Sky/ Le Champ du Ciel, FRAC Frache Comte, Besancon, France 2014 After finitude, La Casa Encendida,Madrid, Spain Earth Moon-Earth,Jupiter Ardand, Edinburgh, United Kingdom Cine Dreams, Planetarium of the City of Milan,Trussardi Foundation, Italy Eveningness, Kunstverein& Stiftung SPRINGHORNHOF,Neuenkirchen, Germany Katie Paterson:Ideas, Ingleby Gallery, Edinburgh, Scotland 2013 In another time,Mead Gallery,University of Warwick, Coventry,United Kingdom Katie Paterson, Kettle's Yard and St. Peter's Church, Cambridge United Kingdom 2012 Katie Paterson:Inside this desert, BAWAG Contemporary,Vienna,Austria 100 Billion Suns, Haunch of Venison,London,United Kingdom FOCUS:Katie Paterson,Modern Art Museum of Fort Worth,TX 2011 Continuum,James Cohan Gallery,New York, NY Katie Paterson,PKM, Seoul, Korea 2009 Streetlight Storm,Turner Contemporary,Margate, United Kingdom 2008 Katie Paterson,Albion,London,United Kingdom (exhibited alongside Ai Weiwei) Encounters:Katie Paterson,Modern Art Oxford, Oxford, United Kingdom (exhibited alongside Ansel Adams and Mircea Cantor) Langlo'kull, Sncefell jo'kull, Solheimaji'kull, R O O M,London, United Kingdom 48 Walker St 2007 Katie Paterson,Matthew Bown Gallery,London, United Kingdom 52 Walker St 2nd FI New York NY 10013 212 714 9500 jamescohan,com 61 2 GROUP EXHIBITIONS 2021 Infinitude,Northeastern University,Boston,MA All That Wlas Solid Melts Auckland,New Zealand Letter for the Future:EKO Triennial 8 (International Triennial of Art and Ecology,Maribor, Slovakia The Wlorld is in You, Kunsthal Charlottenborg, Germany Earth C2&ats, Kunsthaus Zurich, Switzerland KU[N]ST Leuven Big Bang 2021,University Library Galleries,Leuven,Belgium Bubble:A Matter of Time,Auckland Art Gallery,Auckland,New Zealand Light and Language, Lismore Castle Arts,Lismore, Ireland The Earth Has Many Keys,NYLO -The Living Art Museum,Reykjavik,Iceland 2020 WlinterLight, Hayward Gallery, Southbank Centre,London, United Kingdom Resistance of the Sleepers,UCCA Dune,Beidaihe, China To Bough and To Bend, Bridge Projects,Los Angeles, CA 2019 James Cohan: Twenty Years,James Cohan,New York,NY 2417.A wake-up call for our non-stop world, Somerset House,London,United Kingdom Moonstruck,Royal Museums Greenwich,London, United Kingdom Wlelcome Additions:Selected Acquisitions 2012-18, Ellen and Leonard Milberg Gallery, Princeton University Library,Princeton,NJ Borders,James Cohan,New York,NY 2018 Astronomy Victorious: Understanding Our Universe, Main Library,University of Edinburgh, George Square, Edinburgh, Scotland,United Kingdom Jacob's Ladder, Ingleby Gallery, Edinburgh, Scotland,United Kingdom In Pursuit of Elusive Horizons, Parafin,London, United Kingdom A Measure of Humanity, Columbus Museum of Art, Columbus, OH The Moon:From Inner Wlorlds to Outer Space,Louisiana Museum of Modern Art, Humlebaek,Denmark 2017 Islands, Constellations and Galapagos,Yokohama Triennale,Japan Gray Matters,The Wexner Center for the Arts, Ohio,USA I Wlanti I Want.;Thinktank Science Museum,Birmingham, United Kingdom Paysages reveles,Musee de Jouet,Moirans-en-Montagne, France and per se and, Part III,Ingleby Gallery, Edinburgh, United Kingdom A Certain Kind of Light,Towner Art Gallery, Eastbourne, United Kingdom Between Poles and Tides,Talbot Rice Gallery, Edinburgh, United Kingdom Slow Violence, University of Hertfordshire,Hatfield, United Kingdom 2016 A Lesson in Scupture with John Latham, Henry Moore Institute,Leeds,United Kingdom Utopia Season, Somerset House,London, United Kingdom The Eighth Climate (Wlhat Does Art Do?), Gwangju Biennale, South Korea The Distant Unknown, OCAT, Shanghai, China Stacy Skies of Art, Serlachius Museum,Mantta; Finland The Scottish Endarkenment.•Art and Unreason 1945 to the Present, Dovecot Gallery, Edinburgh,United Kingdom Oeuvres. On precision, repetition and obsession, Slewe Gallery,Amsterdam,Netherlands Real Time,Arts Santa Monica, Barcelona, Spain Setting Out,Apexart, New York, USA 62 3 2015 The Forces behind the Forms, touring show: Galerie im Taxispalais, Innsbruck,Austria; Museen Haus Lange Und Haus Esters, Krefeld, Germany; Kunstmuseum Thun, Switzerland Hemelbestormers, Garage Rotterdam,Netherlands Threads:A Fantasmagoria about Distance, The 10`' Kaunas Biennial, curated by Nicolas Bourriaud,Lithuania Night Begins the Day:Rethinking Space, Time, and Beauty, Contemporary Jewish Museum, San Francisco, CA 2014 Whorled Explorations, Kochi-Muziris Biennale 2014, Fort Kochi, India Outer Space, Bundeskunsthalle,Bonn, Germany Listening, Hayward Touring,Baltic39,Newcastle, United Kingdom 2013 Curiosity:Art and the Pleasures of Knowing Turner Contemporary,Margate, United Kingdom Tipping Point,Wolverhampton Art Gallery,Wolverhampton, United Kingdom Light Show,Hayward Gallery,London, United Kingdom 2012 Expanded Drawing, CasalSolleric,Palma, Spain Metaphoria, Guimaraes,Portugal Nuit Blanche,Toronto, Canada The Unseen, Guangzhou Triennial, Guangzhou, China Welcome to our Future,Vecteur Interface,Nantes, France 2012 Exhibition ROAD SHOW, Commission for the Olympic Games,London, United Kingdom Light and Landscape, Storm King Art Center,New Windsor,NY Marking Time,Museum of Contemporary Art, Sydney,Australia 2011 Expose:Matt Keegan, Katie Paterson, Heather Rasmussen, The Art Institute of Chicago, Chicago, IL Meerlcht(More Light,Museum de Fundatie, Zwolle,The Netherlands Outrageous Fortune:Artists Remake the Tarot, Hayward Touring/Focal Point Gallery, Essex,United Kingdom Seeing is Knowing: The Universe,Weitz Center for Creativity,Northfield,MN Incheon Woman Artist's Biennale,Incheon, South Korea Nuit Blanche, Paris, France As the Wlorld Turns,Anna Schwartz Gallery, Sydney,Australia Mystics or Rationalists? Ingleby Gallery, Edinburgh, Scotland Wild Sky, Edith Russ Haus, Oldenberg, Germany Constellations, Cornerhouse,Manchester, United Kingdom Space.About a Dream, Kunsthalle Wien,Vienna,Austria 2010 Transmission, Haunch of Venison,London, United Kingdom Cage Mix,BALTIC, Gateshead, United Kingdom Systematic, 176,London,United Kingdom Whitstable Biennale,Whitstable, United Kingdom Wouldn't a Title Just Make It Wlorse?, Central Reservation,Bristol, United Kingdom noire etpourtant lumineuse,Matthew Bown Gallery,Berlin 2009 PERFORMA 09,New York,NY Life forms,BonniersKonsthall, Stockholm, Sweden Universal Code,The Power Plant,Toronto, Ontario, Canada Earth Moon-Earth,Lakeside,Nottingham, United Kingdom (exhibited alongside David Lamelas) Altermodern: Tate Triennial2009,Tate Britain,London, United Kingdom 63 4 Dead Air, FRAC Collection Aquitaine,Bordeaux, France 2008 ZOO Art Fair,London,United Kingdom Flow, CCAndratx,Mallorca, Spain Ausencia de Presente, Can Marques,Mallorca, Spain ARTfutures,Bloomberg Space,London, United Kingdom RADIO 2017 BBC Radio 4, Wlireless Nights:Megahertz with Jarvis Cocker,March 2017 2016 BBC Radio Scotland, The Janice Foryth Show, September 2016 BBC Radio 4, Front Row,May 2016 2015 BBC Radio 4,Front Row,July 2015 CBC News, Canada,May 2015 ABC Radio,Australia,May 2015 BBC Radio 4, Today Programme,May 2015 NPR Radio,May 2015 NPK Radio,May 2015 BBC World Service,May 2015 2014 BBC Radio Scotland, The Janice Forsyth Show,December 2014, September 2014 ABC Radio National Australia,Books and Arts Daily, September 2014 BBC Radio Scotland, The Culture Show, September 2014 BBC Radio4, Open Book, September 2014 BBC World Service,Newshour, September 2014 BBC Radio4,Front Row,July 2014 2013 Radio 4 extra, the 4 O'Clock show,April 2013 2011 BBC World Service, Outlook,May 2011 BBC Radio 4,Front Row,May 2011 2009 CBC Radio 1,June 2009 2008 BBC Radio 4,Questions questions, 11 September 2008 CBC Radio 1, 02 April 2008 2007 National Public Radio, 27 July 2007 BBC Radio Scotland, 18 June 2007 BBC Radio Arabic, 12 June 2007 BBC World Service, 09 June 2007 BBC Radio 4,Front Row, 08 June 2007 BBC Radio 2, The Weekender-Meltdown, 08 June 2007 SHORT FILMS 2014 Paterson &Atwood.-Future Library,Louisiana Channel, Earth Moon Earth, Cine Dreams, Fondazione Nicola Trussardi Civic Planetarium Milan, Earth Moon-Earth,Jupiter Artland, Wellcome Trust,Fossil Necklace, Katie Paterson 2013 Campo del Cielo, Field of the Sky 2011 When art meets astronomy,produced with University College London Katie Paterson: 100 Billion Suns,produced with Haunch of Venison 2010 Tateshots, produced with Tate Britain 64 5 PUBLIC COLLECTIONS Art Institute of Chicago,IL Artist Council Collection,United Kingdom Artium Collection, Spain Art Gallery of New South Wales,Australia Artsonje Center, Seoul, South Korea AT&T Dallas Cowboys Stadium,Dallas,TX Berkley Art Museum,University of California,Berkley, CA Concordia College,Bronxville,NY Edinburgh University, Edinburgh, United Kingdom Exploratorium, San Francisco, CA FRAC Bretagne, France FRAC Franche-Comte, France FRAC Lorraine, France IBM Collection,New York,NY LaBel,Paris, France Musee D'Art Classique de Mougins, France Norwegian Royal Collection,Norway Philadelphia Museum of Art,Philadelphia,PA Princeton University Library,Princeton,NJ Redtory Museum of Contemporary Art, Guanghzhou, China Scottish National Gallery of Modern Art, Edinburgh Solomon R. Guggenheim Museum,New York,NY Spencer Museum of Art,Lawrence, KS Stanford University Libraries, Stanford, CA University of Alberta, Canada University of Sterling,United Kingdom University of Warwick, United Kingdom Utah Museum of Fine Arts, Salt Lake City,UT Zabludowicz Collection,London,United Kingdom AWARDS, RESIDENCIES AND COMMISSIONS 2021 Apple Park Commission,in collaboration with Zeller&Moye, Cupertino, CA Ideas,The King's Building Art Commission, University of Edinburgh, Edinburgh, Scotland To Burn, Forest, Fire, IMHE Helsinki 2021 commission,Helsinki, Finland 2016 Hollow, University of Bristol,Royal Fort Gardens,Bristol,England 2015 The South Bank Sky Arts Award,UK,Visual Art category Artist in Residence, CCA Andratx,Mallorca, Spain 2014 Future Library, Oslo,Norway (2014-2114) 2014 Visual Artist of the Year, South Bank Sky Arts Awards 2014 2012 Artist in Residence, Sanger Institute, Cambridge, United Kingdom,in association with Kettle's Yard Exhibition Road, commission for the Olympics,London,United Kingdom 2012 Es Baluard commission,Museum of Contemporary Art,Palma,Mallorca, Spain 2011 Joanna Drew Travel Bursary,Hayward Gallery,London, United Kingdom Residency KINO KINO, Sandnes,Norway 65 6 2010 John Florent Stone Fellow, Edinburgh College of Art, Edinburgh, Scotland (2010-2011) Leverhulme Artist in Residence Award, Physics &Astronomy Department,UCL, London,United Kingdom 2010 Whitstable Biennale commission,Whitstable, United Kingdom Vauxhall Collective commission,London, United Kingdom 2009 Darwin Now Award,British Council 2008 Creative 30,Vice/Yahoo/Independent 2007 Julian Sullivan Award, Slade School of Fine Art,London, United Kingdom Dolbey Travel Scholarship, Slade School of Fine Art,London,United Kingdom 2006 Graduate School Masters Award, UCL,London,United Kingdom TALKS AND TEACHING 2016 Edinburgh University,UK, International Society for the Study of Time Bristol University, UK,panel discussion with Zeller&Moye 2015 Deichmanske Bibliotek, Oslo,Norway,panel discussion with Margaret Atwood and David Mitchell Lillehammer Literature Festival,Norway Arnolfini,Bristol, UK Tate Modern,London,UK,Are we darkened by light? panel discussion Newcastle University,UK 2014 In Conversation with Ion Trewin, Chair of the Booker Prize, Oslo,Norway 2013 Hayward London, UK,Art and Light,panel discussion with David Batchelor,Nancy Holt,Anthony McCall,Ivan Navarro, Conrad Shawcross Turner Contemporary,Margate,UK 2012 The Sanger Institute, Cambridge, UK The Modern Art Museum of Fort Worth,Texas,USA Art Institute of Chicago,USA 2011 Slow Days, Oslo,Norway Edinburgh College of Art, Edinburgh, Scotland Royal College of Art,London, United Kingdom Your Universe, University College London,London,United Kingdom 2010-11John Florence Stone Fellow, Edinburgh College of Art, Edinburgh, Scotland 2010 Art and Environment,Tate Britain,London, United Kingdom Sotheby's MA Fine Art,London, United Kingdom 2009 Camberwell College of Art,London, United Kingdom (Now here) Dialogues among art,land and technology, Fundacion Joan Miro, Mallorca,Mallorca, Spain The Lawful Universe?The Power Plant,Toronto, Canada Judge for Saatchi's Best of British, and the Red Mansion Prize,London,United Kingdom Global Modernities Symposium,Tate Britain,London, United Kingdom Late at Tate,Tate Britain,London, United Kingdom (with Professor OferLahav) Middlesex University School of Arts,London,United Kingdom Leeds College of Art,Leeds,United Kingdom Edinburgh College of Art, Edinburgh, Scotland 66 7 2008 Land Art Network,Woburn Research Studios,London,United Kingdom ARTfutures,Bloomberg Space,London,United Kingdom SELECTED PUBLICATIONS 2019 Paterson, Katie,A place that exists only in moonlight, Berlin: Kerber Verlag, 2019. 2016 Tarbuck,Jonty and Jon Bewley (eds.),Katie Paterson:Monograph,London: Locus+/Kerberg Verlag,2016 Braekman,Johan,Man made:contemporary art about the relationshp between mankind and earth, Hannibal Publishing, 2016 2015 Pritikin,Renny and Lily Siegel (eds). Night Begins the Day:Rethinking Space, Time, and Beauty, San Francisco, CA: The Contemporary Jewish Museum, 2015. 2012 Ilfeld, Etan Jonathan. Beyond Contemporary Art. London: Vivays Publishing, 2012. Museu de Arqueologi.Metaphoria. Portugal: Guimaraes 2012 (exh cat).. 2011 Wild Sky, Edith-Rul3-HausfurMedienkunst,HatjeCantz, 2011. Gerald A. Matt, Catherine Hug,Weltraum Kunsthalle Wien, die Kunst and ein Traum = Space, about a dream,Nurnberg : Verlag fur Moderne Kunst;Wien : Kunsthalle Wien, 2011. 2009 Cornell,Lauren,Massimiliano Gioni,Laura Hoptman (eds).Younger Than Jesus: Artist Directory: the essential handbook to a new generation of artists. Phaidon Press Ltd, 2009. Bourriaud,Nicolas.Altermodern:Tate Triennial 2009. London: Tate Publishing,2009. 2008 Earth Moon-Earth:Moonlight Sonata Reflected from the Surface of the Moon, Oxford: Modern Art Oxford, 2008. SELECTED BIBLIOGRAPHY 2022 Carter, Dom, "Artist Katie Paterson tells the story of our planet with dust from pre- solar times," Creative Boom, February 21, 2022. 2021 "University of Edinburgh: Artwork Celebrates King's Building's Centenary," India Education Diary,December 14, 2021. Riding,Jacqueline, "An expert's guide to Land Art: five must-read books on art and the environment," The Art Newspaper, November 2, 2021. Ramjug, Peter, "New Campus Art Exhibition Tackles Human Rights,Justice, and Privilege Through the Prism of Outer Space,"News at Northeastern, October 26, 2021. Mazingaizo, Sharon, "Zim's Dangarembga joins club of top authors to write `time capsule,"' Sunday Times Daily, September 5, 2021. Saeed, Saeed, "Why have Margaret Atwood and Tsitsi Dangarembga written books you can't read until 2114?," The National News,August 26, 2021. Flood,Alison, "Tsitsi Dangarembga's next work won't be read by anyone until 2114," The Guardian,August 25, 2021. Storrar, Krissy, "Apple commissions Scots artist Katie Paterson to turn world's deserts into spectacular sculpture for HQ," The Sunday Post,July 26, 2021. Peterson,Mike, "Apple Park sculpture made with sand from global deserts coming in 2022", ai,July 23, 2021 Steeber,Michael, "Public sculpture coming to Apple Park Visitor Center next year invites you to tour the world's deserts," 9To5Mac,July 23, 2021. Farber,Tom "Katie Paterson,"Kinfolk, Issue 40. 67 8 Lloyd-Smith, Harriet, "Contemporary artists pay homage to land art legend Nancy Holt," Wlallpaper,June 24, 2021. Toldedo,Aldo, "Cupertino: Apple unveils plans for sculpture using sand from the world's 58 deserts," The Mercury News,June 16, 2021. "Catching Up on Important Art Exhibitions Won't Be Difficult in This `Phygital Era,"'Prestige Online,April 24, 2021. Harris, Gareth, "Miss an exhibition at Tate or the Hayward Gallery? Catch up on shows from the past on new digital platform for the 'phygital era'," The Art Newspaper,April 14, 2021. Shurvell,Joanne, "`Winter Light' Open Air Exhibition Features 20 Stunning Digital Artworks,"Forbes, February 4, 2021. 2020 Davies,Ashley, "NOW: Katie Paterson—cosmic show shoots for the moon," The Times, September 12, 2020. Joyce, Emma, "This Exhibition Will Give You a New Perspective on the Night Sky and Our Shared Place Within It," Concrete Playground,August 13, 2020. Harris, Gareth, "Artist Katie Paterson raises money for domestic abuse victims at risk during coronavirus outbreak," The Art Newspaper,April 14, 2020. Sharratt, Chris, "Katie Paterson," Scu pture Magazine,April 8, 2020 Sayej,Nadja, "5 New York Galleries Showcase Women Artists in Online Exhibitions,"Forbes,April 9, 2020. 2019 Street,Julia, "Margaret Atwood wrote a book for the Future Library, but you won't be able to read it until 2114,"ABC News, December 16, 2019. Huddleston,Yvette, "How do artists portray time?Take a look at the new exhibition at Sheffield's Millennium Gallery," Yorkshire Post,November 18, 2019. Mansfield, Susan, "Art review: NOW I Katie Paterson,Darren Almond, Shona Macnaughton and Lucy Raven, Scottish National Gallery of Modern Art, Edinburgh," The Scotsman,November 6, 2019. Jay, Sarah, "Review: The Time is Now at Millennium Gallery,"Forge Today, October 19, 2019. "Galleries: NOW at the Scottish National Gallery of Modern Art," The Herald, October 19, 2019. Baker,Tora, "Explosive art that responds to the modern struggle to switch off from our non-stop world," Creative Boom, October 8, 2019. Allardice,Lisa, "Margret Atwood: `For a long time we were moving away from Gilead. Then we started going back towards,' " The Guardian, September 20, 2019 Muller, Clara, "To Boldly Smell What No Man Has Smelled Before," ClotMaga�ine, July 20, 2019. Paterson, Katie, "Message To the Moon: Katie Paterson's Life In Astronomy," Frie.Ze,June 06, 2019. Da Silva,Jose, "How to future-proof a work of art that will not be completed for 100 Years," The Art Newspaper,April 2019. Barkham, Patrick, "`I've breathed in some crazy things from outer space'—Katie Paterson's cosmic art," The Guardian,January 28, 2019. Durrant,Nancy, "Exhibition review: Katie Paterson—A place that exists only in moonlight,Turner Contemporary,Margate," The Times,January 25, 2019. Mansfield, Susan, "Ones to watch in 2019: Katie Paterson, artist," The Scotsman, January 8, 2019. 2018 Emre,Merve, "This Library Has New Books by Major Authors,but They Can't Be Read Until 2114," T.•The New York Times Style Magazine, November 1, 2018. 68 9 Westall,Mark, "Katie Paterson: First There is a Mountain,"FAD Magazine, October 17, 2018. Drysdale,Neil, "Mountains of sand build art projects across north and north-east," The Press and Journal, October 10, 2018. Dickson,Andrew, "The Meaning of the Moon, From the Incas to the Space Race," The New York Times, September 12, 2018. Flood,Alison, "Han Kang to bury next book for almost 100 years in Norwegian forest," The Guardian, August 31, 2018. Gilson,Nancy, "Artists quantify human behavior and identity in the new exhibit at Columbus Museum of Art," The Columbus Dispatch,July 15, 2018. 2017 Hinojosa,Lucia, "Future Library," The Brooklyn Rail,July 14, 2017. Woody, Gabby, "Untold Stories of a Norwegian wood," The Telegraph Cumming,Laura, "A Certain Kinf of Light review—let there be mirrior balls, The Guardian,Janurary 29, 2017. 2016 "Katie Paterson: The Poetry of Scale,"Aesthetica,November 5, 2016. Bennett, Katie, "The Library-100 Years From Now," OUPblog October 21,2016. Sjon"Why Future Library is a fairy tale come true," The Guardian, October 14,2016. Day, Karen, "CH Global Spin: Hollow,Bristol," Cool Hunting, September 27,2016. Allan,Vicky, " Inside the Weird World of Scotland's Coolest and Craziest Artists,"The Herald Scotland, September 25, 2016. "Datebook: Katie Paterson at James Cohan Gallery,New York,"Blouin Artlnfo, September 21, 2016. Flood,Alison, "Sjon is Future Library's next recruit to become a 22"d century author," The Guardian, October 14, 2016. Hugill,Alison, "Katie Paterson Harnesses the Mysteries of the Universe in Masterful, Scientific Art,"Arty, September 12, 2016. "The 15 New York Gallery Shows You Need to See This September,"Artg, September 1, 2016. Nguyen, Clinton. "A century-long art project will keep 100 unpublished books secret until 2114," Tech Insider,June 2, 2016. Schaub,Michael, "David Mitchell has a new book,but you'll have to wait 98 years to read it," The Los Angeles Times,May 31, 2016. Vanderbrouck,Melanie, "Fitting the entire universe into an art gallery,"Apollo,May 26, 2016. Dunne, Carey, "A Sculptural Forest Made from 10,000 Species of Trees," Hyperallergic,May 20, 2016. Rogers, Sam, "Touch wood: Katie Paterson and Zeller&Moye unveil Hollow installation in Bristol," Wlallpaper,May 17, 2016. "Katie Poaterson and Zeller&Moye,Hollow, Situations, Bristol,"Aesthetica,May 16, 2016 Raven, Paul Graham. "Syzygy exhibition squeezes cosmic wonders into everyday objects,"New Scientist,May 4th, 2016. Walters, Sarah. "Want to see a giant mirrorball made from solar eclipses and a record made of ice?"Manchester Evening News, April 30, 2016. 2015 Pardo,Tara, "Witness an artwork in the making as 10,000 tree species come to Bristol's Arnolfini,"Bristol Post,December 1, 2015. Roberson, Sussanah, "You Can't Read These Books, But Your Great-Great- Grandchildren Can," Global Voices,July 18, 2015. 69 10 Kessler, Sarah, "Margaret Atwood's Latest Work Will Set You Back$1,000...and Won't Be Published Until 2114,"Fast Company,July 22, 2015. Roberson, Susannah, "You can't read these books,but your great-great- grandchildren can,"Public Radio International,July 16, 2015. Morton, Ella, "How to Harvest a Library in Just 100 Years,"Atlas Obscura,July 14, 2015 "Katie Paterson: The Science of Art," The Inisght,June 2015. Ballard,Paige, "Getting Excited for a Book You'll Never Read," The Huffington Post, June 4, 2015. "Mitchell's new book will be ready in 100 years," Princeton University: Graphic Arts Collection,May 29, 2015. Mumford,Tracy, "A library that won't be read for 100 years,"MPR News,May 29, 2015 Quackenbush, Casey, "Scottish Artist Taps David Mitchell to Write a Book for a 100-Year Time Capsule,"New York Observer, May 29, 2015. Feitelberg, Rosemary, "'The Bone Clocks'Author David Mitchell Named Next Donor to The Future Library," WWD,May 28, 2015. Flood,Alison, "Into the woods: Margaret Atwood reveals her Future Library book, Scribbler Moon," The Guardian,May 27, 2015. Shea, Christopher D., "Margaret Atwood Delivers Work to be Published in 2114," The New York Times, May 26, 2015. Haynes,Natalie, "Grand Theft Author: I'd wait 100 years to read Margaret Atwood —but many wouldn't," The Guardian,May 26, 2015. "VIDEO: Margaret Atwood becomes 1 st author to add secret story to Future Library," CBC News,May 26, 2015. "Margaret Atwood puts unseen manuscript in `Future Library'," BBC News,May 26, 2015. Miller,Phil, "Revealed: The 100 greatest masterpieces in Scotland's national galleries, according to its director," The Herald Scotland,May 25, 2015. 2014 Reuter,Alicia, "From cosmology to jewellery: Interview with Katie Paterson," Vitra, November 12, 2014. Bang Larsen,Lars, "Katie Paterson and Margaret Atwood,"Artforum, November 2014. Reiman,Joshua, "Dark Matter: A Conversation with Katie Paterson," Scu pture Magazine,November 2014. Frizzell,Nell, "An artist is growing a forest that'll become a library of books in 100 years," Vice, October 22,2014. Bennes, Crystal, "Looking ahead: Katie Paterson discusses her`Future Library'," Apollo Magazine, October 11, 2014. Murphy, Kate, "Katie Paterson," The New York Times, September 20, 2014. "2114: A Library Project," The New York Times Sunday Review, September 13, 2014. Schuessler,Jennifer, "New Margaret Atwood Work Coming in ... 2114?" The New York Times ArtsBeat, September 8, 2014. Kinsella, Eileen, "Margaret Atwood Is First Writer Chosen for Katie Paterson Project,"ArtnetNews, September 6, 2014. Hay Newman,Lily, "No One Will Read Margaret Atwood's Newest Work For 100 Years," Slate, September 5, 2014. Miller,M.H., "Margaret Atwood joins Katie Paterson's public art project, `Future Library,"'ARTnews, September 5, 2014. 70 11 Flood,Alison, "Margaret Atwood's new work will remain unseen for a century," The Guardian, September 4, 2014. Steinhauer,Jilhan, "Artist's 100-Year Project Will Grow Books from Saplings," Hyperallergic,August 6, 2014. Wright, Karen, "Katie Paterson, artist: `I do not want to re-create. I want to be doing the next thing.'," The Independent,July 31, 2014. "Katie Paterson Will Send Artwork to the International Space Station,"ARTnews, July 28, 2014. Indrisek, Scott, "Katie Paterson to Launch Meteorite Into Orbit,"Blouin Arlinfo,July 28, 2014. Cascone, Sarah, "Meteorite Sculpture Will Be International Space Station's First Artwork,"artnet News,July 28, 2014. Wright, Karen, "Katie Paterson, artist: `I do not want to re-create. I want to be doing the next thing.',"The Independent,July 31, 2014. Wade,Mike, "The Turner-tipped artist who's literally out of this world," The Times, June 26, 2014. Piepenbring, Dan, "Future Library," The Paris Review,June 26, 2014. Indrisek, Scott, "Katie Paterson Takes the Very Long View,"Artinfo,June 19, 2014. "Laisser les sons aller ou ils vont (Let sounds go wherever they would go),"E flux, June 2014. 2013 Chattopadhyay, Pallavi, "Sounds of Fury," The Indian Express,November 25, 2013. Clark,Nick, "Necklace made from 3 billion year old fossil goes on show at Wellcome Collection," The Independent, November 5, 2013. Westin,Monica, "Suicide Narcissus,"Artforum, November 12, 2013. "Katie Paterson, Second Moon,A new moon goes into orbit for one year,"FAD, August 1, 2013. Nuckles,Brett, "Space-Age Art: Artist to Send Crash-Landed Meteorite Back to Space,"Design&Trend,July 26, 2013. Kramer,Miriam, "Artist Katie Paterson Aims to Send Meteorite Back Into Space," The Hufngton Post,July 25, 2013. Kramer,Miriam, "Artist Wants to Launch Meteorite Back Into Space," Space.com, July 23, 2013. Clark,Liat, "ESA wants to help artist return meteorite sculpture to space in 2014," 1Vired,July 23, 2013. 2012 Choksi,Neha, "On Starlight and Celestial Darkness: Human Vision and Cosmic Revision, as Seen in the Recent Works of Zoe Leonard and Katie Paterson,"XT A, Winter 2012. Paterson, Katie, "The Artists'Artists,"Artforum, December 2012. Rubin, Edward, "`Light and Landscape': Storm King Art Center," Scupture, November 2012. Thorpe,Vanessa, "When a young artist meets an ancient meteorite," The Guardian, July 21, 2012. Milliard, Coline, "Staring into Space: Katie Paterson Shoots for the Heavens," Modern Painters,June 2012: 56-59. Dillon,Brian, "Katie Paterson, the cosmicomical artist," The Guardian,April 6,2012. Schultz,Michelle, "Katie Paterson: 100 Billion Suns," Daiyl Serving,April 5, 2012. Frediani, Francesca, "100 Billion Suns,"Artists Insight,March 26, 2012. Stone, Kelly, "An Interview with Katie Paterson,"MCA, March 24, 2012. Meehan,Margaret, "Katie Paterson: Focus in Fort Worth," Glasstire, March 2012. 71 12 "In Pictures: Katie Paterson at Haunch of Venison Launch,"AnOther, March 2012. "Modern Art Museum of Fort Worth presents FOCUS: Katie Paterson,"Art Daily, March 2012. 2011 Robinson, Gaile, "Paterson's simple artworks come bearing big messages," Star- Telegram,March 2012. Sherwin, Skye, "Artist of the Week 149: Katie Paterson,"guardian.co.uk,August 4, 2011. Davies,Lucia, "Art Talks: Katie Paterson,"AnOtherMaga.Zine,March 21, 2011. Martin, Penny, "Modern Astronomy," The Gentlewoman, Spring-Summer 2011. 2010 Kellaway, Kate, "Meet the best new artists in Britain," The Observer New Review, October 2010. Behrman,Pryle, "Profile: Katie Paterson,"Art Monthly,July-August 2010. Januszczak,Waldemar, "Pearls Amongst Oysters," The Sunday Times Culture,June 2010. Moss, Ceci, "Interview with Katie Paterson,"Rhizome,June 2010. Cansell, Gary, "The universe's official artist," Wlired, May 2010. "The Ancient, Distant and Dead," Seed Magazine, March 2010. 2009 Cohen,Louise, "End-of-the-pier show," The Times, December 2009. "Big Picture,"A-NMaga�ine, December 2009. Fordham,Michael, "Luminescence,"POKMaga�ine, October 2009. Duguid,Hannah, "Women at Work,"Independent,August 2009. O'Reilly, Sally, "Katie Paterson,"Modern Painters, March 2009. Richardson,Jay, The Scotsman, February 2009. "Katie Paterson," Contemporary,January 2009. "New Work: Katie Paterson,"Art Wlorld,January 2009. 2008 Egere-Cooper,Matilda, "Generation Next,"Independent, December 2008. Januszczak,Waldemar, The Sunday Times Culture, November 2008. Bound,Robert, "Light bulb Moment,"Monocle, November 2008. Higgins,Mike, "The New Review, Close-up, Katie Paterson,"Independent, October 2008.2008 Yarish, Karla, "Student Shows,"Art Wlorld, May 2008. Macdonald, Fiona, "It's the call of the wild,"Metro, March 2008. Cooper,Tim, "Heard the one about the icecap calling?" The Sunday Times.Culture, February 2008. 2007 Martin, Francesca, "Morse-code moon mission," The Guardian, November 2007. Steele, Francesca, "Did You See?" The Times,June 2007. Morrison, Richard, "Access all arias," The Times,June 2007. Kennedy,Maev, "Glacier Death: Callers Take Part in Art," The Guardian,June 2007. "Artist Records Coolest Sounds," The Scotsman,June 2007. 72 Lightbulb to Simulate Moonlight, Katie Paterson Spectral measurements of moonlight were applied to create a light bulb. Each set of 289 bulbs provides a lifetime's supply of moonlight, based on the average lifespan of a Human being. 4' Exibition View 73 ti B %® a® Oqlwep ®p too (WO allooiaelr000Y0► ' ® a Goo Goo GNP �� ®� �Y �►� '� 41 Goo Op &Poo sob Goo sb so ® CbQ 0a U, a ®bep ®p 00 00 0e Gar Goo Goo ONY40 �® ' 42 �bqjO © 049p ®p46p00 GOP appopeir000Y ®Y60 ►® . a ion lap go GOP or 3: ® Spa pa0a0 ()p40p49p Goo alsobGOr Goo Goo Goo so .4w O 41041049 bop 00400 p ID00 obCOP e ® Y i Q oQ ® (3pap' dipapOp ®wepCo® GooSooGo► so '0 ' L73 :40(3 & (3004904010 (Do, COO amPoo ► �r �► �►�r '� end ® � �b �� � �� �� �• �rt� �a �'e► '� ' Streetlight Storm, Katie Paterson For one month on Deal Pier in Kent, UK, during the hours of darkness, the pier lamps flickered in time with lighting strikes happening live in different parts of the world. Lightning signals from as far as the North Pole to North Africa were received by an antenna on the pier. As the pattern of lightning strikes changed, the pier lights flashed in response. x z 75 The Future Library, Katie Paterson The Future Library Project is a 100 year-long project, which commenced in 2014 and will continue through the year 2114. Each year, one author from across the globe is invited to write a piece of writing (anything from a poem, short story, to a full-length book) which will be held in trust, unread and unpublished until the year 2114. In 2114, one full anthology of all 100 texts by 100 authors will be published. A project that will outlive its founder, and most of the authors and participants, The Future Library Project serves somewhat as a time capsule and an optimistic view for the future, where literature and printed books are still printed, read and cherished. To date, seven authors have been invited to take part in the Future Library 2014: Margaret Atwood, 2015: David Mitchell, 2016: Sj6n, 2017: Han Kang, 2018: Elif Shafak, 2019: Karl Ove Knausgaard, 2020: Ocean Vuong Katie Paterson was commissioned by the city of Oslo and the National Library of Oslo. In conjunction with the authors who are writing the stories year after year, the project has a physical counterpoint through the growth of 1000 trees in protected lands in forest outside of Oslo. In 100 years, these trees will be fully grown and felled to be turned into the paper for the pages of the books. A dedicated room for the project will be housed within the National Library of Oslo, opening in the fall of 2019. A trust has been set up to secure the longevity of this project, long after the artist has passed. s- — t �s Katie Paterson with Han Kang in the growing forest 76 Y WJ i f.. Interior, illustrating manuscript drawers in the National Library Future Library Project Room 77 Totality, Katie Paterson Nearly every image of solar eclipses ever documented are brought together in a mirror ball. The images span drawings dating from hundreds of years ago through nineteenth- century photography and up to the most advanced telescopic technologies. Over 10,000 images reflect the progression of a solar eclipse across the room — from partial to total — mirroring the sequence of the Sun eclipsed by the Moon. 78 Novo V , Vatnajokull (the sound of), Katie Paterson A live phone line was created to an Icelandic glacier, via an underwater microphone submerged in Mkulsarlon lagoon, an outlet of Vatnajokull. The number 07757001122 could be called from any telephone in the world, and the listener would hear the sound of the glacier melting. ,��.. y 80 Hollow, Katie Paterson and Zeller and Moye Spanning millions of years, Hollow is a miniature forest of all the world's forests, telling the history of the planet through the immensity of tree specimens in microcosm. The sculpture brings together over 10,000 unique tree species, from petrified wood fossils of the earliest forests that emerged 390 million years ago to the most recent emergent species. Forming the inside in all directions, the untreated wooden pieces are organized in an organic yet precise manner specific to the origins, types and characteristics of the wood. Shifted and staggered to each other, thousands of blocks conjoin to form one immense cosmos of wood producing textures, apertures and stalactites. Openings in the vaulted top let in natural light through the otherwise dense structure, allowing just enough light to see, as if under the dappled light of a forest canopy. • www.hollow.org.uk Public artwork • Royal Fort Gardens, Bristol, UK • Completion 2016 l r r r I 81 Statement of Design Intent 82 "1► Y. _ i .mot. .g r••., ., - - .>« 7 ram;' �.► w < .fir.. j .ti�., a�,t5, '3: Y'• S -'1 _11'" MM MW � ��.� p\�,� }i� '� �'` �•`G+_� � � Sze •y TY- 4 0 T t Wk _ QP I • I I • I • I `�� '� t, 6 'c3Fa, r '•.. --, t � t� � � �� - ` � fr t� • - I {•-` ,,� 3fZ``�'�a#, R'3t,. i ,�s�a Y'4#r .��-q�" 1 "" r _ �4 ;:, r F �: r �� � � •_��.. '�~ �:3e.� ° �,, . � � t,' ��. s 1 ;� �1��.1; , +� ,f :,��+ yam:: • • • I • • I • • • .�,' N•- -'i', T.'��,r '�)'i _ �� 1. lGyy� �y� q _� r�+?4-q'4 �' � � '�- � -.' - ` •�a tag:R , �Z`>s_t.� �•+� ,. ��"Pi,^.3,��" �} I • I • • I I • ��.'�..' #`;, +rr y: - '.r..a�z�- fie S>,�r..�, . 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'+'(Y���r..s j'i• �{��pk �+ �;,�i "- . � J,+nI �Ci,.' -� -�`. r,�I�1�1 ,�+'��•�y'i'�� ���' 4 `,. •+ � •',' L A i �4y1 - Jam' � �1: �'�. �i, �`�' ✓� :/ r ..t, }p9, - .a iy .._�►�t,A� {; r l� - �°'� �'a- P: - `.:•�'[• ��U- .� ,�1�\: i�:�lv la �j ,'f••� (`111r .+�, �� -�`%r, L-'.�I�r,..,,yr ' 'f �i��-sy:�.�'!.: .vi / �vi�A '�(• �1 '. ':y.. r. - �a". 1 s 1 {��i,'A`�.A .��� i�'; (1+r� 1 ,M�ti,AI ;•'�r'^ ..n- %,"+ •��y +•pI •'^• '4 - ..- .��• '„� _. � ;{� ,=14'Rri;•tif',rt't,, T., r,,�o-�+'C�, r'If!'i1..��,�.ft+s •�' _�`P:. .+,- �, � l.•f.,, - �.t. # Mirageill , • monolithicly ,and � ••, ,,r .i..:. :•[ •�� .. ,'� •i' ,r-, ,1ti 'La/� /A.�..• ,.r,. r ' YSSa' ..m��'s,JJ r_. �.,-•'`, .L� •�,- R� rooted antiquity , • �\ experience,contemporary creating ,beyond. Only glass will be visible, focusing i ,� - - >. i•' - -a dip for contemplation, and a connection to the rn attention to the purity and authenticity of the material. The i .ram E it \\ .I artwork willbe ly !�1 ��'7`+s,1_.y'���'J`��'f�, J�1''- 1 - _ - _ -®. ,� 'aid. � . TAT r.�j�.,y - •` `' 'sp ;_;•� r.L �rli• . ...;r.. f!- '� � �tti, - \• - - i �►`f ��. r .. �t.+ � ! ..L '�-c� At-.' ^}f _ � _ sir ��yfr •T •1_� ,(� - �e�•`.j� � � �� � -sue- � �'- integrated with its surroundings, with every detail considered. 7The glass columns can be seen through the ems- _ `� -�/<• r _ '1'i A•rC � trees from the visitor center, Tantau avenue �'• +T - I -G• al'• !-f- !• _ S:' * and beyond, evoking a sense of curiosity / t- >Y Yam' i, tourists from across the globe can touch the and discovery. Local residents, staff, and -�`,'�•7�i'!?"i j�P..r ":s' „ti'rr: .. J-� � >�_ ;7... ",� -f�. .•., �� -� _ I i.'i� �,.�! .i e; ,•"4' artwork. ,ctile, sensory experience •! "A '7 d �- _df�-x1•:f'�r ignite theimagination , • generations, I j,�';;"��' _ .+�'i ¢�yr'��r8i'4�i;'As1saC.'xr; -♦ - I^}' // 3ytR°A :Ie•ms+�i?'S @ - / /i, _ .is,{k�V/ . � ?Y 1's tom- • _ -,v° each piece of glass acting as a portal to otherworldly landscapes. The practice of i watching the light fall through the columns will encourage • WP .'7<t. v/�; •ts�,,,, >,1 -.r �i,„c,,r r• _ f� - ` I � :i ° 1 YI I •`" �I ' ,p ,. •t ,pThe desert is often experienced as sublime, a. d endless, and harsh. In this sculpture the I I f desert expansetransformed Lai" like a I I I into liquid-like, translucent material, flowing _ � j ' r ;�� I , I 1 f' '� IV��I�'� k,' '� I ; � � l �,' n+l ��r• hui I r �, t, i I dune shaped by • . The cast1-71 �� INS � � �! � 'f� �. � II � •r�£�Il '�,_t �' ' I,I I I I Ir glass will be smooth, with characteristic light The unique desert mixes will create pillars 94 bubbling marked by the hand of the maker. I I • • • tinted • I� i J LI , I a I � artwork appears , apparition: • • I. I II the I visible . • invisible, • - , • outside, 3 i r 1 I near , • far. It combinesgreat weight lightness, • , - depth, • melts • its environment. daylight sculptureM 9 • - and in the evening the sculpturegently glow. � I M Art & Site Design 4 \F \F- p line �� Corner o sty ess isbtinck�Utilit Easement '-V r �_ �o�h Taotau Parking building below --_- _-- __- ` y El T f `• I � sA Visitor Center 7\� O - o o0000 Access to Undergro nu d Parking 21 /L - 4+ 4 _ ]A] 711A] Parkin ® ® Parkin g g � L ��� Parkrgbuilding lbeow t� ���LL[ftP.rk,,ng �Iel.. v„ bo Site Information 2 01 *OV, �O� �O� �O� a), Existing _ Corner lot-street @tb�a k _ U Site Area 3,559 acres I��\ Site Net Area 3,452 acres Site Coverage 14% Property Line Total Hardscape Area 2.28 acres Total Softscape Area 1.27 acres Total Existing Parking Spaces 800 Surface Parking 116 Basement 684 L> Mirage / Existing Site Plan, 1 :750 O © KPZM Ltd 0 10 5o iooft . 10.09.21 87 4 \F \F- p line �� Corner o sty ess isbtinck�Utilit Easement "V r �_ �o�h Taotau Parking building below m [> Y � O� i 9 93'-3" o� Visitor Center '-. 0 356' Access to Undergroun I Parking HHHHH CO Parking v Parking > > I I I I I I I I IL Paring b�1.1o, Site Information d j j t t t t I t HT t t t r Parking building bel P O O01 *OV, Existing y{ T\- _ Corner lot-street @tb�a k . Site Area 3,559 acres Site Net Area 3,452 acres � Property Line Site Coverage 14% Total Hardscape Area 2.28 acres Total Softscape Area 1.27 acres Total Existing Parking Spaces 800 Surface Parking 116 Basement 684 Proposed Artwork Walls Area 124 ft2 Permeable pathway Area 1,518 ft2 Total walls and pathways Area 1,642 ft2 Parking No change Mirage / Site Plan, 1 :750 G © KPZM Ltd. 10.09.21 0 10 50 100 ftle 88 , • • v • I • Existin 3 % O ' Bench j ♦ • o I L , : I o ' Existing m •'J 7 �)+ • • ide at • •0 5 in Existing 41 Iwc • N Sidewalk I.� % F I .� I ❑ 0 tin9 ease j Existing I ' 68-4" • Sidewal • op s d • • ath}va j xIi Ya'„,♦y It ' - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - &E I I • 13 •Proposed - - - - - - - - - - - - - - - r� - Existin • Artwork v Bench a la �f m a1 I f yy Proposed Artwork 0 c Proposed, / o O fr 6 9 O Existing Pathwa • Sidewalk • Proposed I o M I • A' Pathway41 6 8 S Ir" I _ N 1?�° O 4 • N ♦ • I O 0 ED I ' . t�o9 a `t�'J' • ❑ I ase nt •o o 17'-2" I _ I ' wheelchair user I t2 • • + • Existing � +• � • rest area Existin Proposed� Sidewalk t� Bench•/ •/ Artwork .Cm Iyc •tp - - - - - - - - - - I Proposed � •m IWm • 3 Pathway QoQ o I O ° Id a ,COJ ♦ _ � N q N Iy •\ IJ •�p1 • • \ % •v`j i i /; , �O ❑ ❑ O ❑ � ❑ ❑ � I 15 Symbols: -- TR-XXX Tree i- ------ Electrolier I o IDUtility box i I o Area drain a I �+-• Double detector check valve ♦ _ 7 na Water valve rn I x 0*0 Backflow prevention device 9 easement I a --r Sign ♦ I Drive aisle into parking lot Notes: I • - All existing trees are to remain. I r _ Areas: • I Proposed Artwork I - Walls Area 124 ft2 • I Permeable pathway Area 1,518 ft2 I Total walls and pathways Area 1,642 r • —J r r————— © KPZM Ltd. Mirage / Floor Plan, 1 :200 O 89 10.09.21 0 5 15 30 ft Visitor Center \ Parking T— E ing Existing opo e 'tioch Sidewalk Aft k Side T au Avenue i� —,o ro o IF 4.0 L, �•.• Artwork's material: Pure cast glass cylinders made out of sand, collected from deserts across the earth. Color: Translucent, with a slight coloration is expected as a result of the variation of sands. Mirage / Site Elevation North, 1 :200 © KPZM Ltd. 10.09.21 0 5 15 30 ft F'90 Visitor Drive aisle into Proposed — ndsca Center parking lot Artwork i� ro 1, �•.• Artwork's material: Pure cast glass cylinders made out of sand, collected from deserts across the earth. Color: Translucent, with a slight coloration is expected as a result of the variation of sands. 4 Mirage / Site Elevation East, 1 :200 © KPZM Ltd. 10.09.21 0 5 15 30 ft 11 N rth stin pos is i ItE Parking T ntau ewalk Artwork ,%OAW Sidewalk ch Av nue io Artwork's material: .f Pure cast glass cylinders made out of sand, collected from deserts across the earth. Color: Translucent, with a slight coloration is expected as a result of the variation of sands. Mirage / Site Elevation South, 1 :200 © KPZM Ltd. 10.09.21 0 5 15 30 ft £92 i cc sting xis' roposed— xistin Drive aisle' s m Vi i Be nder�jre Bench ench Artwork Bench parking lotR Bench Center Parking i� zo ;i �•.• Artwork's material: Pure cast glass cylinders made out of sand, collected from deserts across the earth. Color: Translucent, with a slight coloration is expected . - as a result of the variation of sands. �r Mirage / Site Elevation West, 1 :200 © KPZM Ltd. 10.09.21 0 5 15 30 ft C% 93 1 Title Sign (from Visitor Center) / I Content: 'Mirage, 2022 A glass sculpture made from deserts around the world by Katie Paterson and Zeller&Moye' 7 Information of the Artwork 7' + Content in braille Material: Q° Steel, powder coating matt finish, dark gray color \ "To match pathway material and finish,TBD by samples Text: matt finish,white color Height: / 3.3' (1 m)center of plate(angled plate) Dimensions: 12" (30 cm x 30 cm) 2 2 Title Sign Content: 'Mirage, 2022 A lass sculpture made from deserts around the world 9 p by Katie Paterson and Zeller&Moye' O Information of the Artwork 3 3 + Content in braille Material: Steel, powder coating matt finish, dark gray color "To match pathway material and finish, TBD by samples < 3 Text: matt finish,white color Height: 61 3.3'(1 m)center of plate(angled plate) Dimensions: / 12"x 12" (30 cm x 30 cm) 3 Exit Sign Content: Exit' ' + Content in braille 0 Material: � 0 Transparent adhesive plastic TBD by samples � Text: black color ll \\ Braille as relief on the plastic Height: 3.3' (1 m)glued to glass column Dimensions: 5"x 4" (13 cm x 10 cm) — Walls Area: 124 ft2 ��0000000000000000� Permeable pathway Area: 1 ,518 ft2 Total walls and pathways Area: 1,642 © KPZM Ltd/29.09.21 Signage 94 95 Art Title Plaque 96 Mirage 3649-188-00 Exibit D Art Title Plaque ANGLED PLAQUE TOP AT 15 DEGREES FROM LEVEL STAINLESS STEEL 00 CLAD CYLINDER Lo m M 12" 2 POWDER COAT ON STEEL PLATE 309 DARK GREY, MATTE FINISH 1 PLA9�1 PODIUM - ELEVATION 2 TEXT IN WHITE, MATTE FINISH, 1/2" = TYP. j/MIRAGE 02 BRAILLE,TYP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A GLASS SCULPTURE MADE FROM DESERTS 1 .. .... .. .. .. ...... .. .. .. .. .. .. .. .. .. .. .. .. .. 309 AROUND THE WORLD BY KATIE PATERSON .. .. .. .. .. .. .. .. .... .... .... .... .... .... .. .. .... .. .. .. .. .... .. .. .. .. .. ...... .. .. .. .... .. .. .. .. .... .. AND ZELLER& TEXT IN WHITE, MATTE FINISH, TYP. - — BRAILLE,TYP. 2 PLA9�1 PODIUM - ELEVATION 1 3 ENLARGED FLOOR PLAN - TITLE PLAQUE 1/2 - -0 3 - 1 -0 HGA February 25, 2022 As indicated 97 1 Title Sign (from Visitor Center) / I Content: 'Mirage, 2022 A glass sculpture made from deserts around the world by Katie Paterson and Zeller&Moye' 7 Information of the Artwork 7' + Content in braille Material: Q° Steel, powder coating matt finish, dark gray color \ "To match pathway material and finish,TBD by samples Text: matt finish,white color Height: / 3.3' (1 m)center of plate(angled plate) Dimensions: 12" (30 cm x 30 cm) 2 2 Title Sign Content: 'Mirage, 2022 A lass sculpture made from deserts around the world 9 p by Katie Paterson and Zeller&Moye' O Information of the Artwork 3 3 + Content in braille Material: Steel, powder coating matt finish, dark gray color "To match pathway material and finish, TBD by samples < 3 Text: matt finish,white color Height: 61 3.3'(1 m)center of plate(angled plate) Dimensions: / 12"x 12" (30 cm x 30 cm) 3 Exit Sign Content: Exit' ' + Content in braille 0 Material: � 0 Transparent adhesive plastic TBD by samples � Text: black color ll \\ Braille as relief on the plastic Height: 3.3' (1 m)glued to glass column Dimensions: 5"x 4" (13 cm x 10 cm) — Walls Area: 124 ft2 ��0000000000000000� Permeable pathway Area: 1 ,518 ft2 Total walls and pathways Area: 1,642 © KPZM Ltd/29.09.21 Signage 98 HGA MEMO TO: Fine Arts Commission, Cupertino, CA FROM: Christina Stevens Writer's Direct Dial 408-213-8242 DATE: April 20, 2022 SUBJECT: Mirage Art Installation Light Temperature HGA Commission Number 3649-188-00 The Mirage art installation is a self-illuminated series of cast glass cylinders that embody the natural characteristics of native desert sand (Silica) compositions found throughout the world. These distinctive sand characteristics are expressed through the color and texture of the cast glass cylinders. The artwork is designed to be experienced in the daytime under ambient daylight conditions and at nighttime under integral artificial illumination similar in hue to ambient daylight. To achieve this, low intensity lamps are used and placed beneath the cylinders. The cast glass provides a filter for the lighting that creates an appealing soft glow without night sky spillage beyond the art piece itself. There is no light overspill at the sides or top of the cylinders. This is demonstrated by the attached photometric plans showing zero-foot candles outside the glass. Each cylinder of the artwork expresses its composing sands as a distinct color and texture; therefore, each cylinder will illuminate slightly differently. The Mirage design team analyzed the light fixture (low voltage LED, 145 Im per fixture per cylinder, 4000K color temperature) proposed for the integral illumination and its effect on the cast glass cylinders. The color temperature of the illuminated artwork will minimally vary across the entire installation because of the individual color of the cast glass. This variation of the light color temperature expressed through the artwork is a chief characteristic of the artwork; the 4000K source, being closer to that of natural sunlight, provides the best expression therein as it is a neutral light color. A 3000K source is less neutral on the warm spectrum, casting an overall yellow effect on the art. For the optimum artificial illumination source temperature for the nighttime experience of the art installation, the project proposes to utilize the 4,000K source as an alternative lighting standard as allowed per Section 19.102.040.B.1.c of the Cupertino Municipal Code which reads, "Alternative lighting standards may be used to illuminate public art or serve as public art subject to the review and approval by the Fine Arts Commission." 84 W Santa Clara St,Suite 200 I San Jose,CA 95113 1408.288.7833 HGA.COM 99 Because the light fixtures in the artwork provide self-illumination (not area lighting), utilize low intensity lamps located beneath the cylinders, filter light through the cast glass to create a soft glow, and support the nature of the expression of the artwork itself, the proposed installation is consistent with the intent of Section 19.102.040 of the Cupertino, CA Municipal Code. Sincerely, Christina Stevens Senior Project Manager I Associate Vice President Attachments Photometric Study t:\3600\3649\188-00\5.bidding-permits\fac submission\working\20220318-cs-hga memorandum on lighting edit 04192022.docx 100 Attachment C — Photometric Study for Mirage Showing No Light Spillage (0 Foot-candles) —i— —i— —i— —i— —i— —i— —i— —i— —i— —i— —i— —i —i —i— —i— —i— —i— —i— —i— —i— i�-.—i Q-1-h.a!_.1L.J.a. I!L,.a_ .aI_.Uz—J.a._!b,.Q— II.Q_I t a!_.11Q_.10._1 .a_!- I 1 r I 1 70i— �i- �_ c�7t b,o! b �.o !b.o ! 6.c! b. a 15.0 -!-b.! to !b.o ! b.o! b.Io b.o !b.o ! b.o!-b io to _1 o i- :' I 1 I I I I I I I I I I I I I I I I I I I I I I i-.—i-,—i—.—j—. —i_._i_._i_._j_._i_.—i_.—i_.—i_.—i_.—i_.—i_._j—._j ._j_ a j b.oi p t},o- ib.0 i b.ci �.0 ib.0 'j b.o b.i. .o jb.o j 9.oj b.p 1�.a ib.o i b.ai b.io -- --- -i ;_i_._i_ _i_ ...... _i_ _i_ _i_ _i_._i- _i_ _i_ _i_._i_....... �! 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'Oh 1.0 -. a i- I I I I I I I I I I I 1 I I I I I I I I I 1 I I I I i i i i i i i i i i i i i i i i i i i i � i � —i—. i—,—i— --- • --- --- --- —i--i----— --- --- —!•--- --- --- --- — ---------�— — —•i— —1 —�- 101 Exhibit F Glass & Lighting Standards A wildlife biologist (Environmental Science Associates) has provided a review of Project Mirage to confirm that the artwork meet Cupertino's bird safe development requirements. See the following pages for ESA memo. The project design will comply with Cupertino's lighting requirements. A photometric will be provided for review prior to building permit issuance. 102 rPIA r 787 The Alameda esassoc.com ` YEARS Suite 250 J --1969.2019 San Jose,CA 95126 408.660.4000 phone 408.660.4001 fax September 9, 2021 David Kang Apple Real Estate and Development Sent via email Subject: Biological Review of the Mirage Sculpture Environmental Science Associates(ESA) is providing this biologist report in support of Apple's proposed public glass sculpture,Mirage, at the Apple Park Visitor Center at 10600 North Tantau Avenue in the City of Cupertino. ESA avian biologist,Erika Walther,reviewed the architectural plans, description and artist renderings of Mirage and evaluated its bird-strike potential in the context of current science and local policies and guidelines related to reduction of bird strikes. Ms. Walther is familiar with bird-safe building ordinances, design guidelines, and standards published by the American Bird Conservancy(ABC) and San Francisco Planning Department,and the cities of Cupertino, San Josh, Sunnyvale,Mountain View,Richmond, Oakland, and Alameda. She also has extensive experience analyzing the potential impacts of,and writing mitigation measures for,bird collision hazards under the California Environmental Quality Act. Urban Birds and Glass Collision Hazards The San Francisco Bay Area is an important stopover point along the Pacific Flyway bird migration route. Most birds on migration are flying at approximately 1,000 feet in elevation,often at night,but descend to rest, forage, and escape inclement weather.1,2 Migratory birds may also fly short distances at lower elevations to correct their migration path. The San Francisco Bay Area is also home to many bird species that winter,breed, or live here year-round. These birds primarily move at lower elevations while accessing sites for perching,nesting, and foraging. The potential for bird collisions with windows and glass building facades is well-documented; 3,4,5 however, ESA is not aware of any documentation of bird strikes with outdoor glass installations other than windows and building facades. For the purposes of this report,we assume that the primary indicators for bird strike potential are the same for all outdoor glass: degree of reflectivity and/or transparency,and overall surface area. 1 Standards for Bird-Safe Buildings.San Francisco Planning Department.Adopted July 14,2011. 2 Building Collisions are a Greater Danger for Some Birds Than Others.July 9,2020.National Audubon Society. https://www.audubon.org/news/building-collisions-are-greater-danger-some-birds-others.Accessed September 7,2021. 3 Christine Sheppard and Glenn Phillips.Bird-Friendly Building Design,2"d Ed.(The Plains,VA:American Brid Conservancy,2015). 4 Klem,Jr.,Daniel.2017.Collisions Between Birds and Windows:Mortality and Prevention.Journal of Field Ornithology,61(1):120-128. 5 Banks 1979;Ogden 1996;Hager et al.2008;Klem 2009;Gelb and Delacretaz 2009 cited in Standards for Bird-Safe Buildings.San Francisco Planning Department.Adopted July 14,2011. 103 r ESA v�R5 J1969-2019 September 9,2021 Page 2 The presence of glass that is highly reflective or transparent presents a strike hazard for birds in flight. Bird strikes with reflective glass are primarily associated with glass building facades and building windows. Glass facades that clearly reflect the surrounding natural environment can be mistaken by birds to be an extension of the natural environment(e.g.,trees, shrubs, sky). Transparent glass that is used for balcony railings,building corners, courtyards,walkways between buildings or other structures through which the natural environment can be seen are mistaken by birds as an unobstructed pathway to the vegetation and sky on the opposite side of the glass. In general,the total area of glass,rather than the height of the glass or cardinal direction of the glass,is the strongest predictor of bird collision hazard.6 In addition,the hazard is exacerbated if the glass is located within 300 feet of open space of two or more acres that is dominated by vegetation,whether natural or landscaped/ornamental. Project Understanding and Setting Mirage entails installing 464 glass cylinders, each 6-ft-7-inch-tall and 6-inches in diameter. The cylinders will be arranged in three undulating rows of 132, 151, and 181 cylinders in an olive tree grove north of the Apple Park Visitor Center. Mirage will be fully accessible to the public via three access paths from the Visitor Center and from the Tantau Avenue sidewalk. The total area of glass will be approximately 1,527 square feet. f n G W 'I < 3 S 7 Figure 1.Layout of Mirage in olive orchard. Rows of undulating glass cylinders are shown in red; olive trees are shown in gray. 6 Christine Sheppard and Glenn Phillips.Bird-Friendly Building Design,2nd Ed.(The Plains,VA:American Brid Conservancy,2015). 104 r ESA rr- J YEARS J 1969-2019 September 9,2021 Page 3 The glass cylinders are produced using sand from 58 deserts,representing every desert on earth. By design,the glass cylinders are manufactured to allow for bubbles, variation in color, and other unique attributes. The glass cylinders are minimally reflective and transparent,with the grass,trees, and sky that are seen through the glass appearing as blurry and distorted colored shapes. In addition,the arrangement of these cylinders in rows creates a scalloped surface,rather than a flat, smooth surface conducive to high reflectance or transparency. Lastly,the vertical lines created by the junction of each 6-inch cylinder with the next creates similar visual"noise"to bird- safe glass treatments, such as the vertical lines created by fritting and ultraviolet-reflective coatings, and vertical interior blinds. Mirage f Figure 2. Close-up of glass cylinders to be used for Mirage, showing blurry and distorted images reflected in, and seen through,the cylinders. 105 r ESA rr- J YEARS J 1969-2019 September 9,2021 Page 4 M jy . ' yy ITV `�T Mt�' i { i i Figure 3.Photo of sample glass cylinder at the project site illustrating the low transparency expected due to the distortions in the glass. In addition,the glass sculpture will be publicly accessible,visible from the Apple Park Visitor Center as well as Tantau Avenue. This human activity may decrease bird activity in the immediate vicinity of the glass cylinders. 106 r ESA rr- J YEARS J 1969-2019 September 9,2021 Page 5 7. t + i r } y I r F #fr �n Y. Figure 4.Artist rendering of completed installation of Mirage, showing vertical stripes that break up the glass, similar to bird-safe glass treatments. Conclusion In summary,Mirage does not pose a potential bird-strike hazard. Although Mirage will be installed within a natural,vegetated area,the inherent qualities of the glass,combined with the vertical lines created by placement of adjacent cylinders,minimizes glass reflectance and transparency that could lure birds into perceiving safe access to the natural environment where there is none. Importantly,the vertical pattern will be visible from greater than 10 feet away and will make the glass installation visible to birds,which ABC recommends to minimize bird collision hazards. In terms of comparable building products and bird-safe solutions,the Mirage cylinders are similar in design to Bendheim Channel Glass: Moire Fluted, a textured channel glass that is ABC- approved and meets ABC's"bird friendly"guidance.?The similar transparency and appearance of this product 7 https:Habcbirds.org/glass-collisions/products-database/?_paged=9 107 r ESA rr- J YEARS J 1969-2019 September 9,2021 Page 6 relative to Mirage leads ESA to conclude that the Mirage glass,if tested,would also meet ABC standards as "bird friendly". Please feel free to contact me if you have any questions or need additional information. Sincerely, Erika Walther Senior Associate Wildlife Biologist (510) 557-4539 108 rESA 180 Grand Avenue esassoc.com Suite 1050 JOakland,CA 94612 510.839.5066 phone 510.839.5825 fax memorandum date March 31,2022 to Dave Kang,Project Manager,Apple from Erika Walther,Wildlife Biologist; Leonard Liu,Wildlife Biologist subject Addendum Regarding Lighting to Biological Review of Project Mirage This memorandum supplements ESA's September 9,2021, "Biological Review of the Mirage Sculpture"which found the artwork installation to be bird-friendly based on the inherent qualities of the glass and vertical design and placement of the cylinders. Specifically,this addendum evaluates the proposed lighting for the artwork, and concludes it is highly unlikely to pose a hazard to birds flying at night. Most bird collisions occur during daylight hours and are largely a function of glass reflectance and transparency. A minority of bird collisions are caused by artificial light interfering with birds' navigation at night;thereby, impacting nocturnal migrants.I Migrating birds are thought to orient to Earth's magnetic field under monochromatic blue or green light,but are not able to do so under lights that lack those wavelengths,for example,monochromatic yellow or red.2 However,it is not known what light level and distance is sufficient to interfere substantially with bird navigation.3 Scientific studies addressing the risk to birds posed by night lighting are generally focused on large commercial installations, such as commercial buildings and oil drilling rigs. ESA is unaware of any scientific studies addressing the response by birds flying near ground-level to night lighting at the scale of Mirage. Project Setting The San Francisco Bay Area is within the Pacific Flyway, a major bird migration route,through which migrants fly at elevations of hundreds to thousands of feet in the sky. Migrating birds at night may also fly at lower elevations to avoid inclement weather,make corrections to their migration path,or descend in early morning to feed and rest. Mirage is located in the southern half of a roughly 1/3-acre olive orchard with landscape grass. This non-native habitat has very low plant diversity and limited value to wildlife,including limited nesting and foraging opportunities for birds.No portion of the Mirage project area is greater than 50 feet from a pedestrian path or the driveway. The orchard is bordered by North Tantau Avenue to the west,the Apple Park Visitor Center 1 Christine Sheppard and Glenn Phillips.Bird-Friendly Building Design,2nd Ed.(The Plains,VA:American Bird Conservancy,2015). 2 Longcore,T.,and C.Rich.2016.Artificial night lighting and protected lands:ecological effects and management approaches(revised August 2017).Natural Resource Report NPS/NRSS/NSNS/NRR-2017/1493.National Park Service,Fort Collins,Colorado. 3 Christine Sheppard and Glenn Phillips.Bird-Friendly Building Design,2nd Ed.(The Plains,VA:American Bird Conservancy,2015). 109 Addendum Regarding Lighting to Biological Review of Project Mirage to the south, and parking lots to the east and north. Baseline conditions for existing lighting include appropriate illumination for safe passage of pedestrians,bicycles, and cars on all sides of the olive orchard. Lampposts are present along the border of the parking area nearest the olive orchard and streetlighting is present along the east edge of North Tantau Avenue adjacent to the olive orchard(Attachment A). The Apple Park Visitor Center has a glass fagade and is illuminated from within until 6:00 pm every day. The walkway and driveway between the Visitor Center and olive orchard are also illuminated. Mirage is less than 7 feet high and is located in an urban area that already includes nighttime lighting. As discussed below,Mirage's lighting design with respect to lamp intensity, light spillage, and duration of use would,in ESA's professional opinion,have limited to no effect on birds flying near ground-level at night. For the same reasons,Mirage is not expected to attract or disorient nighttime migrants passing over the San Franciso Bay Area. Mitigating Factors Lamp Intensity.Low intensity lamps that emit fewer lumens are less likely to impact birds flying at night than high intensity lamps. The lamps proposed to illuminate Mirage are of low intensity—there will be single 145- lumen lamp installed under each cylinder. For comparison,200 lumens are equivalent to a 25-watt incandescent bulb. In addition, lamps will be fitted with lenses and placed underneath the base of each cylinder;therefore,the perceived luminosity will be filtered and diminished by the cylinder glass (Attachment B). Direction.Light that is targeted to its intended use and minimizes light spillage decreases impacts to birds flying at night. The lamps for Mirage will be placed directly under each glass cylinder,illuminating the glass from within,thereby minimizing light spillage. Photometric modeling of Mirage shows that there will be zero foot- candles4 of light spillage lateral to the cylinders (Attachment C) and would not add to existing light levels at the project site(Attachment A). Photometric modeling above Mirage has not been done but would be fewer foot- candles than from the sides of the columns since the light must travel through seven feet of glass before exiting the top of the column. Duration.Decreasing the duration of nighttime illumination decreases impacts to birds flying at night. The lighting for Mirage will be on a timer that shuts off lights at 11:00 pm,thereby having no potential to impact birds flying through the area from 11:00 pm through dawn. The 11:00 pm shutoff is also consistent with the City of Cupertino's Bird-safe Ordinance, 19.102.030—C. Non-residential Indoor Lighting Requirements. Location. Mirage is proposed within a developed envelope that provides reduced habitat values for resident and migrating birds. The site is not a major feeding ground or stopover for avian species and new lighting at the site would not disrupt or diminish avian use of the surrounding urbanized area. Conclusion Due to Mirage's low height, low lamp intensity, lack of light spillage,limited illumination(not past 11:00 pm), and location within a largely urbanized area with existing nighttime lighting,the project is not expected to attract 4 One foot-candle is equivalent to one lumen per square foot. 2 110 Addendum Regarding Lighting to Biological Review of Project Mirage or disorient migrating birds passing over the area at night and is highly unlikely to pose a risk to birds flying close to ground level at night. This finding, combined with ESA's prior analysis, is consistent with the conclusion of the September 9, 2021, report that the Mirage artwork would not pose a hazard to birds. Erika Walther,Wildlife Biologist,ESA Attachment A - Photometric Study Showing Existing Light Levels (Foot-candles) at the Project Site (Pre-project) 0. .2o a.6 .s� 0 .7 .s .� .9 .1 a.9 o.e b.s 1.1 .4 1.5 0. :4 1.D 3.1 2.8 0.8 0.5 0.9 0.4 0.4 0.3 D.4 0.6 1.5 .3 1.9 5 0.8 Q-?+O-A 0-7 0.7 D.5 +0.7 0.5 0.5 0.6 0.6 +1.4 .3 8.s D. D.B 2.4 L.7 2.0 1.7 3 1 0 .7 I.0 6.6 1.6 6 0.5 .2 0.6 2.1 1.1 0.5 0.8 .2 0.4 1.5 3.0 2.7 4 9 1.7 0.6 0.3 6.1 .2 0.4 0.7 0.7 1.1 1 1.3 +1.4 1.3 +1.3 1.6 9 2 1. .3 8 I 0.2 0.3 0.3 0.30 0.5 0.5 0.5 0.7 1.5 7 2 0 g 3 2 6 0.1 0.1 0.1 0 0.2 0.2 0.2 0.3 0.B 7 2.1 0.7 0.4 3.3 1 0.1 1 0. -.0.1 D. 1 0.1 0.3 1.4 1 3.8 1.2 0.8 .3 0 ❑. 0.1 +�.� 0.1 + 0.1 1 0. 2 0.7 5II 1.9 0.6 } 2.5 0 0. 0.0 .0 0.0 0.1 0. 4 2.0 0.7 .7 0.5 0. 0.0 + 0 0. 0.1 0.5 1.2 0 8 0. 1 0.1 b.6 0 0.1 .3 0.4 b 3 0.1 1 0.0 D .2 0.2 0. 0 1� 1 +0.1 0.0 0. +0.0 ' .a 0.0 0 3 111 k7. t Or V � ::- ,%` ( a a• • _ ��.-psi. 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