 Welcome, everybody. Thank you for coming. I'm going to try and get some place. Well, there's no place for me to stand that the post isn't in the way, so for those of you. Now everybody can see a part of me. Welcome. My name is Paul Gamble. I work most of the time with the Community Engagement Lab. And I'm night lighting with this wonderful project, which is called Montpellier Arts Synergy Project, which I hope you've all heard of. It's been percolating along with a major goal of creating a master plan for public art from Montpellier. And we've been lucky enough to work with an exciting team out of Columbus, Ohio. And Amanda Golden is here, a lead consultant who is a specialist in creating public policy that advances public art. And the long term or the end goal of this project is to be submitting a set of policies that the city council will consider and adopt as formal policy on how the city wants to advance and fund going forward different funding mechanisms for public art in Montpellier. And so that's been an exciting process of community workshops that we've been having over the last several months and nothing like a competition to get the crowd to turn out. This is the biggest crowd we've had so far for an art synergy event. And we're running out of chairs, which is a wonderful problem to have. It takes me up here. So there are chairs up here. We can steal you guys who are coming in. We can squeeze you in or they're getting some mount back there. Thanks. We'll figure it out. There's another seat up front here. Two more up here. People want to? Don't these chairs as well? Yeah. I don't want to take this. Let's leave one for Sass. Oh, well, I don't think it would be sit there. Oh, you're going to move. That one's. Yeah. I got a call for you to take that one. Sorry. Let's see. We got one over here on the side. Just pausing for a second while we get everybody seated. Oh, they're pulling out the bleacher seats. Are there enough seats back there now? OK, thank you. OK, so just one last word about Arts Energy Project. And then I'm going to introduce Nathan Suda, who's the chair of the Artist Selection Committee. But this project has been funded by a $50,000 grant from the National Endowment for the Arts, which the city received a couple of years ago. And it was tied into the energy that the city has been generating around a lot of public planning efforts, including the new One Tailor Street project, which of course is the new transit center and apartments that's going in at One Tailor Street site. And it was out of that energy that the city council also allocated with the leadership of Mayor Holler to assign $50,000 from that project budget, much to this may of the architects. But we carved out $50,000 for a work of art. So this is really the result of that vision that the council had to use the Tailor Street project as really a catalyst for a discussion around how public art lives in Montpelier. And that's what inspired the National Endowment for the Arts to come in with us with a $50,000 match to that. And then we're also raising about $50,000 to finish off the planning and cultural design portion of the project. So this is really meant to be this piece that we'll be selecting out of these finalists. We'll be the celebration of that process, that planning process, and serve to really highlight the power of public art, significant public art that can be installed in a permanent basis and really bring vibrancy and a new way for Montpelier to come together and look at itself through art. So with that, I'm going to have handed off, there has been a committee form to help shepherd through this process of selecting an artist. And Nathan Souter has been the chair of that committee. So Nathan? Good evening. Welcome. My name is Nathan Souter. I was the chair of the artist selection committee. And I'm going to keep this really quick because the stars of the show are championed a bit to present. This has been a really great process. I'd like to ask Bob, Greg, Jill, and John to stand for just a moment please. So these four together with me were the artist selection committee. We had a really terrific process of pre-meeting to talk about process. And then two solid meetings where we went through the applicant pool and tried to select a range of artists who we thought had the caliber and the quality and the vision to pull something off. And from at least my perspective, this is high stakes. This is a $50,000 arts commission using the public money in the public space. It's going to live for a long time. I want 30 years from now. I want my children to look back on this as a seminal moment. And so no pressure, folks. But thanks to this committee. It's been a great committee. Kudos to Paul and Amanda and others in John Holler who have pushed this forward and said yes to $50,000 and done the work to get the NEA involved. This is how a community gains another facet of its identity or augments a facet of its identity. And so this is our community. We all have a say in this. And we all have a say in what's in the future. So let's keep whatever energy we have here in the room tonight and push it forward. So thanks for coming. So our process tonight is that each of the finalists, either individual artists or artist teams, will have 30 minutes to present. They're required within that 30 minutes. They can use that any way they want. I believe all of them have brought a PowerPoint presentation. And they're required to reserve at least 10 minutes of that for questions that will first go to the committee and then to the audience. And they may use more than 10 minutes of that time if they want for questions, but that's up to them. And so we've had a random drawing just to heighten the anticipation. To the last second, we had a random drawing of what order we're going to go in. And so we're going to start with Miles Chapin. And let's get at it. I'm going to dim the lights and we'll. Sounds great. Thanks. So hi, I'm Miles Chapin. I'm a granite sculptor living in Montpelier. Sorry, we're in Montpelier. I'm living in Westminster West, Vermont with my wife and two kids. This is the project. But before I really dig into this project, I want to kind of give you context to my work. So here we go. This is my studio that I recently built. It's allowed me to work on larger and larger scale pieces right here from my studio. This is Haven, a recent public artwork that I've created for a visitor and transportation center. This piece is three strands woven together with openings in between. And it was really meant to represent the community all moving together and the connections there. This is the public art piece I'm currently working on. This site is near a river and walking path. And I wanted to look at a river for this project as a community and look at the connections within that. So again, it's three strands weaving together with openings to look through and for kids to climb on next to the walking path. And there's this mill wheel that I'll hand point as there's milling many mill buildings in that area to relate to the history. For this project, I interpreted the design challenge for one tail street as a way to bring people together to create a centerpiece for this building and to create a gateway to the city. So I've identified the front ring garden of this property as a site that will best achieve these goals and get the most bang for your buck, if you will. So here's the design set into the space. I wanted two elements flowing together to create the message of coming together and to represent the Winouski and the North Branch coming together. The taller piece will be very gray. The shorter piece will be that the white. And the base stone will be from Woodbury, Vermont. This is also under the scupper. So the ring water from the roof will be able to come and flow between the two elements. Here's the design giving a little more context to the front of the building and showing how it's under the ring under the roof for the ring. Here's the dimensions. The very gray block will be 10 and 1 half feet tall. And the Bethelwhite block will be 9 feet tall with an overall height of 12 to 12 and 1 half feet depending on the thickness of the base, which will depend on the installation. I wanted to leave the outside of the blocks as they are, as quarry blocks, to really give that beginning of the story and to give that sense of history of this area of quarrying. I'll then split large pieces off of the sides to give apparent movement in the rough stone. And then the center pieces will be polished and carved, kind of separating and coming together. Here's a map showing the three locations of the quarries and how their proximity to Montpellier. I really wanted to use these materials as an exposition of Vermont's granite. And for this project to really stand as that history, to represent that history of quarrying and really give a sense of place. I want to show the top to give you a little more sense of how the water will flow over the design. This scooped out section is where the water will flow and will act as a picture to flow in between the two. So it will flow onto the second piece and given surface tension will also flow down. This is a side view. And this is the view you can see coming from the south over the bridge. And that flat surface will be the quarry block that I'll leave as a quarry block. And then you see the large scoops will be split from the side. And this is to give you more of a sense of the two colors. The splitting technique I used requires no drilling. So there'll be minimal tool marks. So you really get the movement of the material. And you aren't stuck to a drill hole. So it really can just be the split surface along that edge. A large part of this design is the negative area. Both the negative space between the two separate blocks but also the negative space within each block. I want to polish the scooped out sections, so the edge of each block that creates its own space. So it reflects the light. And this is also where the water will flow. But the outer part of the carved section, I want to have much more texture with bushing hammer. So it really holds onto the light and have a softness to it. Again, it'll feel like the carved pieces are departing from the split blocks and moving together. This is a piece I recently created. And I wanted to put it in to give you a sense of those textures. As you can see inside, it's bushing hammered, which really holds the light like I was saying. And I polished the lip of this piece. You'll also notice in the bottom left of the sculpture the tool marks that are left from splitting. So really not much. Here's the sculpture. As you will see it from within the lobby, I really wanted to create an asymmetrical design. So as you walk around the design, it has a very different composition. Here's another view. As water and through the seasons, water will freeze and snow will build up and really integrate into the landscape. I really want to go embrace this fact. Here's an example of what my piece is landing in with the snow sweeping through the pieces. I want to talk about community involvement. I'm really excited to involve the community in this process and would like to start that process with sitting down with the community and talking over the design and this project. And then involve the community working in fairy. So I got this idea from working with sculptural symposiums where a few artists or several artists are selected and come together to work in public. This is a really nice process as it gets to involve the community from the beginning so that once the sculpture is installed, there's a real sense of ownership. So what I'm proposing is instead of bringing the block directly to my studio, keeping it in Bury and doing the initial rough out process over a few days, maybe a week span, to split and do those initial cuts so that the community can really be involved. This would give opportunity for school trips to come or people to really get involved and ask questions. And I can demonstrate, especially in the splitting technique, which gives for a good ship. So here's multiple views of the piece splitting, but I wanted to give a view of it spinning here, but I guess it's not going to work. I'd like to open up discussion really with the group from this point and kind of dig into this project further if we can turn on the lights. Is that good? So for our process, we'll have any of the committee members who want to ask questions first. And then when we get a sense that they're set for a while, we'll open up to the audience for questions. So any committee members want to invite questions or ask questions? I'm intrigued by your proposal to involve the community in your process. So you'd keep the block and bury for a while and you'd invite people to come and watch you do it? Yeah, so I've spoken with a granite shop that would be willing to let me work outside. And then I have a few other ideas for locations. So the community, so I can work on that case and the community can come and see and participate how they'd like, but really as a kind of a demonstration of this process. Yeah, it's going to be a really nice way to get open. Yeah, anybody who's welcome to answer that question. So anybody else on any thoughts for a moment? Yes, sir. I don't know if I should ask this, but what's the ability of that rock to recover from vandalism? Yeah, so I usually use a sealer, especially with the water. So spray paint and something like that can be how pressure washed off and isn't really an issue. Where'd you get the idea? I was playing with multiple ideas and wanted to incorporate the water element and then really realized that I wanted this stone to feel like it was flowing together and the water to be just a separate element. So I played, I was really where the idea came from, was the confluence of the Winooski and the French and really representing that as the two rivers coming together. Yes? So I'm not really familiar with the design of the building. The water's only going to be coming down onto the sculpture during rainstorms, or is it? Yeah, right, for rainwater. And then is there a holding pool or a reflection pool? Yeah, so yeah, I'm glad you asked that. I'm not sure I explained that properly. So the base will be scooped out. So as the water comes down the sculpture, it'll be collected into the base stone where it can flow off to the sides for the rain. Yes, to anticipate any lighting? Yeah, I would love to underlight the sculpture. I think that would make it, as you saw on some of these, dramatically lit. I think that would create a really dramatic and nice composition. So I definitely would hope to do that. Yeah? All right, can you tell us more about the splitting process that you were talking about? Yeah, absolutely. So it's actually a Japanese technique of car splitting. So I guess to start from the beginning, the typical way to split is you drill a series of holes and you stethers and wedges into those holes. So instead of drilling the holes, you carve pockets into the stone. This enables you to split on a kind of three-dimensional as you don't have holes to set your path. So you can set it at an angle and scoop, or you can set it on a curve and scoop that way. And this way, you have really very little tool marks. That's a really nice way to very control your split. Yes? I'm not sure exactly the location, but can you actually walk all the way around it? And is it meant to interface with it? Can I go touch it? Absolutely, yeah. So there's a ramp behind it, as well as the walkways right next to it. And it's five feet wide in a six-foot rain garden. So it'll be very much so touchable and interactable. I'd also like to propose splitting the split pieces that I extract from this sculpture could be with additional funding used as benches for the interior of the space, which I thought would be a really nice way, depending on how the funds work. Yes? That's what it seems, and I know it seems like you can see the building from one angle. And what are some of the other angles? What are you going to be seeing through? Yeah, so as you look from the lobby, which there's quite a bit of glass there, you'll be able to look through the sculpture. Yeah, and then from the other way, you'll be able to look through. But there's also negative space. As you're coming from the south, you get some negative space. I don't know if I can show that. But you get some negative space coming from that other from the south with a vertical piece in front. There's negative space in that way as well. But there'll be buildings in the background. Yes? I will make the risk would be if there was a fracture already. But since we have such beautiful quarries here, it should be no problem to get a nice, clean block. Yes? Could you go back to one of the earlier images that has the building in it and describe a little bit more about how the rain garden is designed into the building already and how the piece integrates into that? Absolutely. Can you make it the light? Just that front one set, thanks. It's probably over here. There we go. Give us the. OK, so this is this roof line here is where the water will collect. And there'll be a scupper depositing the water on top of this top piece, which will collect and act as a pitcher to really spout the water to the next piece, where it'll flow down that inner curve section to where the base collects. And then given surface tension, and I've actually played with the model a little bit, it pours down the face that you cannot see on the taller piece. So it flows down both sides as it comes down. And the way I understand it, you really want to break the water's flow to be able to collect it. So this piece will do that, break the water's movement, collect it in the base, and then let it spill off the sides. Can you explain what this view is, like where we're standing right now when we look at this? Yeah, sure. So this is Taylor Street, just coming into the city, looking at the front of the building. To the south is the bridge, and to the north, as I understand it, is the coming into the city. And so buses will pull up right in front of here and get off. And you'll be able to see it kind of as you come in and as you're leaving. Can I just, please? Hey, Greg Gosling, just to give me a few. So I'm Taylor Street. The bridge is here. Yes. State Street is over here. Capital Plaza is right this side. The railroad tracks to our left of this building. The river is to the right. So buses will come. Some buses will come in along the left side of the building, come underneath, and come out the right side. Some will simply pull up right up here to help people. Is that right, Greg? The main entry to the transit center are those dark colored doors to the right of the car. Yeah, the main entrance. Yes, exactly. With that, could you go back to the bigger image of the whole building you had earlier? Yeah. Here. Yeah. OK, so that circle is where the sculpture will be placed. And this view is kind of coming. I mean, you can see the Taylor Street from here. And the buses, the bus turn around is coming under, coming around the building here. This view is from the river. What, was that? I think this view is from the river. Yeah, this is from the river. Yeah, let's take a look. This is from the river. Yes, this is looking at the north. This is looking at the north. So his sculpture, the circle, is at the main entrance, which is Taylor Street is going alongside that left side of the interchange. Yes. So he says like you're at the shell station, looking across the river. OK, any other questions, ideas, thoughts, feelings? Yes. You mentioned the ramp here. Would that mean that if people would use wheelchairs, your other boys have mobility limitations? Yeah, behind. So behind the sculpture here is a ramp to access the building. And you can see the clock there. The ramp followed the tidal rain road. Yeah. And how far away is the white path? The white path? Yeah. Quarter of a block away. The white path is right alongside the river. So it's on the other side of the building. Yeah, that large view that was showing just before this, that was about standing at the white path, looking back at the building. Any other questions, thoughts? Thank you, ma'am. We're coming. I'd like to give some special thanks to folks in the audience. But first, let me introduce our team. Michael Singer and I are the team leaders. Michael is in the box. Say hello to Michael. Hello, everyone. Michael. I'm here. I'm in the box. Sarah Hoffmeyer here is our horticulturist. Meg Ostrom and Erica Hyman are our sound engineers and audio experts here. And Steve Liddy is representing the River Conservancy, our river keepers. So I'd also like to thank Paul for doing such a good job tracking us down and keeping us in order. And a big thanks to Tim Turway for helping us visualize our ideas. Thank you, Tim. So on with our proposal, we have a young man here that we watched come out of the bank building at our first site visit. And he negotiated several large parking lots, the railroad, a couple of snow fences to get down to this barren space on Taylor Street, where he could sit on the guard rail overlooking the Winooski and eat his lunch while listening to the river and warming in the sun. This young man became our poster boy. And he became the person who represents all those longing to face the river. We call this place the Confluence because it's where the North Branch and the Winooski rivers meet. But it's also a Confluence where there is a flow of people. Over the centuries, we've met to use the river for commerce, for recreation, for transportation. With this project, we hope to make the Confluence a place where travelers along the path or through the transit center flow, the flow of visitors from the capital, seniors, dog walkers on their daily outings, joggers, inline skaters, families on bikes, come together to understand the nature of the river, the ways that we can benefit from its meanderings, and ways that we can help protect it. Can you all hear me? Good. If you can't, let me know. At the moment, this place is a blank canvas. And we have an opportunity yet to be realized. Still, its unadorned, undeveloped place has a lot going for it. It's got sun coming in on the south. It has more river frontage than any other property per acre in the town. In the downtown, we have a situation where there's more parking lots backing up to these riverfront properties than we would care to see. But now, the time has come for this former parking lot, this former brownfield granite landing to be born again. So we have a diverse and curious team. And we studied the site and noted that the architecture is solid and the site is solid and the river is meandering down to the lake. And we've asked, how can we create an experience up above the flood plain of the river, which lies below? How can we bring that river up to the site? How can we bring some fluidity to the rigidity of the architecture and the site? Michael? Yes. We're hoping you might have some reflection on that. OK. Have you are you showing a slide from the gas station? We are. And we're showing how the river might be meandering on down through there. Are you meandering along with it? Yes, I am. And I'd like to just start, Elizabeth, by first of all telling everyone what an honor and a delight it's been to engage with this outstanding team. I know many of you in Montpelier, you know, these are folks who you've known for years, many of you. And you're very fortunate to have them working on this. And I feel very fortunate to be connected to them. I moved to Vermont in 1971. And I want to just also say it's wonderful for me to be considered for this project, to be working with my colleagues on this. And we sure hope we can move it forward. I've known Elizabeth for many years. I've known Meg for many years. So we date back to projects back into the 1980s and with Meg and with Elizabeth from the 90s on. So I just want to say this is very special for me. It's very special. I would also say for the city to have a team like this coming together. And as the team, we're approaching this public art request by thinking systematically about the site and the site's opportunities to make connections that lead to socially responsive, sustainable, and aesthetic solutions. Our process as a team began questioning. A question that reframe the challenges most would assume to be related to public art, you know, what are we doing as a team coming forward for a public art project? And we explore the questions. We have lots of good answers, I would also say. And we explore these questions as an interdisciplinary team, which is most exciting, bringing about a wonderful collaboration that's opened up possible solutions. And we hope you'll agree that these are beneficial solutions as well for what public art can mean for Montpelier and also what this project can bring to the community. Can you go on to the next slide, Elizabeth? Yes. OK, so it's a photo turning to the east of the dam and Main Street Bridge. Our collaborative challenge is to conceive of opportunities and solutions that are unique to this particular place and this particular community. And we see our public art approach and what it addresses leading to precedence for other sites along the river. So we're not just seeing this. I mean, of course, we want this to happen here, but we also see that it can happen beyond this and be a model for other communities as well. The next slide is the confluence from Taylor Street Bridge. Our hope is for this proposal to become the catalyst, not only for how Montpelier addresses its riverfront, but also for how the city sees the role public art can have. And I hope that the results here will also create future opportunities that the public arts committee sees that expand on this concept for other projects as you move forward. So the next slide is a project of mine that's this is the Ecotarium and Worcester Mass as part of the design team, as the artist on the team. And this slide will give you an idea of how some of the items, the ideas, the structure that we're considering for this site as well. And some may ask, so where's the piece of art? Well, among several goals, this public art project that we're talking about from Montpelier will advance the community's interactions and understanding. Our team considers a primary outcome of this public art project resulting in the positive reinvigoration of a stormwater system. Yes, it's art with a functional program. And we see this project setting a precedent for public art policies in the city. It's a powerful example that can expand artists and the general public's understanding of interactions, benefits, and opportunities for public art, not only for our project with you, but for future ones. And I hope you'll agree. Can we go to the next slide, the Seminoles? This is a slide of a project that is for the Seminoles tribe. It's a project done in South Florida and this particular project. Public art is actually treating 150 gallons of stormwater that's coming from retention ponds in the area. There's a relationship here to what we're proposing as well. What we propose is a demonstration of public art's ability to engage in multifunctional problem solving. Wow, art that solves problems. And it can demonstrate crucial environmental regeneration and it can also meet infrastructure needs as well as provide community awareness and understanding. And of course our work will also provide a beautiful, inspiring aesthetic experience. I hope you'll agree with us that it's doing. So it's excellent, the landscape architects and the architects for the project for this site have designed a series of rain gardens that will gather pollutants before they get to the rivers. We're building on that, that's really excellent. And we embrace these elements in our design and we're grateful that they're part of the underlying structure of the One Taylor Street Transit Center project. So the next slide is a closeup of one of the benches at the Seminole Project, the water wall. So there's the water wall and then there's a seating area. There's also an educational panel so people can understand the aesthetic, the art of this is also what it's actually doing and what it's addressing in terms of the infrastructure of the site. So you're seeing a closeup of the bench. This is a seating possibility that we would like to see in this site as well. I'll let you go forward Elizabeth, thank you. Thank you Michael. And now let's hear it from the river. So as we seek a new connection to the Winooski River that flows just as stones throw away, we can consider enhancing water quality by treating stormwater runoff from the parking areas and the rooftops of the new transit center in a new and innovative way. A first step along that path is the vertical column that connects the rain garden to the roof of the transit center. During a rainstorm this column will come to life with a gentle cascade of water from the roof and direct that water through the roots and soils of the rain garden cleansing and purifying before it flows into the Winooski River. This small example of stormwater cleansing can be both an aesthetic experience but also an educational opportunity to show visitors of the transit center the potential of urban spaces to be strong ecological partners with their rivers. Great, great. Now I'm gonna run through some rapid fire slides here just to say that we began at the front door of the transit center and you saw with Chapin, Miles Chapin's site, we picked the same site to work with and Chapin, I don't know if you're still here. We've created a home for you. So we begin at the front door and you see the column there that we envision as water falling down through a canister, if you will, of mesh. And the plan further towards us shows a very generous 40 foot long rectangular rain garden with a relatively narrow corridor on either side. There is a drawing of it. And we were intrigued with this idea of angularity and geometry in the architecture and the potential for something less rigid when we invited the presence of the metaphorical river in the form of the meander. And you can see when the meander is introduced to the architecture, we got a couple of little spaces in there where we can put the seating and have people gather and then that looks more like that. And we envision the meander starting at the front door traveling over to the outlook over the river and back again. So our project is shown in the meander from the front door to the turnabout at the bike racks, if you will. And the purple and red extension on down the bike path is in our dreams, maybe someday, maybe some other plan to introduce the meander to the bike path. So we return to the front door and there is a garden that we want to explore and we'll ask our horticulturists to take us in a walk down the 40 foot length of a now curvilinear rain garden at the front door of the center. Plants, my favorite. So the two beds that we created, which you'll see in just a moment, have a diverse amount of native Vermont plants. These ones that you see here are part of the wetland garden which has the column of water that comes down. There's also the rain garden that's a little bit further to the north, which you'll see in just a second from the plan view. And all of these species that were chosen have tons of color, it's year-round interest. There are berries, they, like I said, they're all natives and so one of the big benefits of natives is that they're meant to be here. They're indigenous to Vermont. So they're found in our forests, along our rivers and our meadows and they're best able to support the wildlife as well. So looking at, this is looking down onto the garden so the very bottom of it is the entrance to the transit center. Another great benefit of natives is that visitors that are coming from all over Vermont can take this combination of plants and replicate them in their own gardens if they have the same site conditions. Something else that's so important to us is being able to slow the storm water and to filter out contaminants, which these plants also do. And finally, oh, the other thing was we've created these gardens as a quiet respite from the busy transit center but there's a lot of activity going on. With the pollinators, the amphibians, the different animals and creatures, we're hoping that the visitors that are sitting on these benches are getting a small taste of river wildlife up close. Could be a hummingbird that's coming by or maybe a monarch butterfly and they're able to pick up one of those QR codes that's on the bench and Meg's gonna talk further about what those QR codes can do. Okay, so simple signage would kill you to a set of audio postcards accessible via QR codes embedded within the bench. Think of these audio postcards as mini documentaries, combining stories and interview clips, featuring commentaries by experts and everyday people, a mix of voices with ambient sounds or music. So you might choose to listen to a segment about what this place looked like 500 years ago or 200 years ago and 100 years ago or to a segment about how plants and vegetation clean the river or to a sound tapestry featuring high school volunteers talking about their experience, participating in the annual Friends of the Wanooski September Clean Up the River event. Because these audio postcards are accessed via the web, you might decide to listen on the spot or to wait until after you've left the site perhaps while you're riding the bus to your destination. We envision starting with a collection of five to seven imaginatively produced pieces two to five minutes long that will entertain, educate and engage listeners. The content of these segments would be developed with input from community focus groups and the collection would live on a webpage on the Vermont River Conservancy website. In conclusion. Okay, thank you. I just would like to add that this is a living design. Designed to help people understand how art is infrastructure and infrastructure So we have 10 minutes for questions. Does the committee want to start or shall we open it right up? Committee members. You have a question. So this intended to be a permanent structure. Of course. So how would you envision the particularly, so the maintenance of the, of the, of the, of the horticultural going to there? The plants. The plants. We'll have our horticulturists answer that question. I think what I'm looking to is that this is a great opportunity to use the master gardener program. I know they need volunteer hours every, every year master composters, but then also as an educational opportunity for students that it's a living, breathing stormwater infrastructure. And we're hoping that we can get some other community members to help us with maintenance. But, but also, I mean, we've thought about, well, I don't want to go into too many details. Yes. The audio portions, the audio, many documentaries or sound tapestries that one can listen to there or anywhere. Will there be an opportunity if one does not have a smartphone to access those in a moment? Oh, that's a good question. Yeah. That's wonderful. He asked if the QR, if the info on the QR codes could be accessed without a smartphone. The audio portion. Since these documents would have a life in the website at the River Conservancy, yes, if you have access to a computer, you would have access to this information. And the signage could indicate that if you go to the website, you can hear it. The, your idea about the, the bustle of the transit center and then the bustle of the wildlife, including pollinators and amphibians, which I love that vision. I'm struck by the sort of, that this is an island surrounded by concrete. So pollinators, sure, and hummingbirds possibly and maybe a few amphibians. So I'm just wondering how you see that interaction. For example, I don't want to entice things to try to transit between this garden and the river and become. Must. Can you hear the question? Yes. He asked how the, the connection between the living elements of the piece might be maintained and they didn't want to inspire the living elements to be. I don't know where it is. Okay. Transitioning between that installation and the river and how it might not work. I think how we're envisioning this portion of it is, it's a small sampling. It's such a micro ecosystem. And I don't think the goal is to get as much wildlife as possible, but to show the possibilities here. And then hopefully around the corner where the true unfragmented riparian buffer is, that's where like the zoo of wildlife is. So there's fragmentation everywhere in a city. And I think if you can, if you can show people even just a small bit of the river wildlife, I don't think it's going to be a mass migration of turtles or anything like that. I think we'll get a really small sampling and they're going to be hanging out where they're most happy, which is by the river. Yeah. In the back, Nancy. What happens when it's very cold and the water coming off the roof is ice? Can we have an ice sculpture? Well, you saw one of the pictures, the Echotarium in Worcester that Michael worked on. Michael, are you still with us? Yeah, I am. I didn't hear the question though, but go for it, I'll follow it. The question has to do with the ice formation potential. How did you deal with it at the Echotarium? Okay, well, what we did with the, I mean, in this particular case, the water is really about storm water and it's being run off the roof when there is a rain event. So that's a seasonal piece, but it could certainly also, and what we did at the Echotarium, we created a mist system, a drip system, which basically collected ice. So it created an ice wall. And if you go back to that photo, you can see that wall in the distance. So it just forms wonderful icicles. That's a possibility. That's something we would want to explore with the architect and understand how that might be able to actually become part of this. But it is a possibility. John. Yeah, Elizabeth, I wasn't sure of your flowing connection between the garden and the walking path. Yes, there is, you'll notice the blue line on the, that blue line is the symbol of the meandering river. So it was actually brought in the pavement? Yes, it would be an inlay in the pavement of a different material. Yeah. And you saw an indication of that in one of Michael's pieces that the paving beneath the bench was in two different colors. And the invitation that we would make is for the person arriving at the front door at the garden to follow the yellow brick road as it were down to the river, down to the bike path. And it is our hope that someday that meandering could take you right down the entire length of the site along the bike path, either causing the bike path to meandering or being an overlay in the bike path. Thank you. In the back? So the first couple slides were, it looked like there were these benches, kind of wild looking benches, and I thought that was the project, but I need some clarification. I don't know if I ever saw the bench or are people gonna be sitting somewhere on this wall or what, if you could just clarify kind of what, where people are gonna be hanging out? Yeah, they'll be hanging out here. There's a bench right there. And you'll notice the little orange squares along the bench. No? I'm trying to see if I can see it. I haven't been close up at the end. See those little orange dots? Yeah, I can see them just right now. So they're the QR code, located on the bench. Or within the bench. Or within the bench. That are very much like the Michael Singer Seminole bench, which we could pull up also. And does the bench need a brand or something or what? Materials are up for discussion. We hope to involve people in that discussion. Michael can speak to it. It could be a locally fabricated concrete. So it could be granite, the ecotarium, I think, was granite, the seminal is concrete. Right, and if we, you know, I've got experience working with granite importers in Barrie for many, many years. There's an opportunity for them to do the fabrication. If we work on the bench, there's also, Elizabeth has been doing some research for casting facilities for concrete in the area as well. And we, the studio, would provide all the molds and the patterning and the rubber for which those pieces could be cast from. Jill? Just the material is also for the mesh, the curved mesh. What are the human vision? Is that going to be metal? Is that going to be the rain? The rain. Is that part of the installation? Yes. Michael, the... I'm sorry, I didn't hear the question. The question is materials for the mesh around the rain. The rain curtain. Yeah, I mean, there's many different kinds of mesh that's available. We work, we've done this in other projects. So I mean, I just, we haven't gone that far to do construction drawings for this design. So I couldn't tell you the exact, but there are meshes that are available depending on what the water flow is and how you want that water to flow. There's various mesh material that's available. I also want to say, if we do the cast concrete for the benches, that concrete can also have cast into it granite. So it can be a combination of granite and concrete. Of course, we want to work with the local granite that's very common too and known and make a statement about that as well. Barry, that's a Barry Gray. Nathan, 10 seconds. Curious again about the audio piece. Would the content in the audio documentation, documentaries evolve and change? Or we get what we get? Or? Our hope is that actually it's the beginning of a collection. It's one of the things like the meandering path that extends. We hope that the collection could grow. We hope there's life after life here. And we hope to make this place a gathering place for the high school students to hang out after school, to enjoy nature, and to meet your friends. Michael, we're out of time. Thank you for being on the line. Thank you, everybody. Bye-bye. Bye-bye. Bye-bye. Nature park. This is nature. I wasn't going to talk to you. I'm sorry. We were touches. I know. Greg and Rodrigo. The samples here that will show us after. Let's go back and on. It's a theme of the period. We're doing everyone's off? Yes. Yes, please. Turn this off as well. Thank you. I'm Rodrigo Mada. I'm Gregory Gomez. We want to thank Paul and Greg and the committee for having us here. We welcome everyone to our proposal. We start off a little bit of history in our context of what we're interested in. We, in this collaboration, we come together and we really like the idea of sculpture that's interactive. Sometimes that's not intentional. This is John Harvard's sculpture at Harvard where everyone touches John Harvard's foot for good luck to get into Harvard. It doesn't always work though. There's sort of an intrinsic human nature to want to touch things people have touched or touch things that attract you. Somehow you can hear things that are sharp, things that are shiny, things, you know, there's an intrinsic human nature to want to touch. Compelled to touch. This is the National Gallery in Washington, D.C., the I.M. Pay East Wing, and it has this very sharp edge of stone and people are compelled to touch that corner as you go around there. It's a physical contact with the building that everyone goes by and used to touch it and leaves them are. Oil stains. So we have a lot of text here which I'll let you read, but we're very interested. Pardon? Oh, okay, okay, I'll read it then if you want. Our two-part sculpture for the new one Taylor Street Tranton Center, counter-rotation, that's a working title. Honors, Montpelier's relationship to the river and a history of smaller economies in the state. I think you've seen this one before. This is this early rendering. Early as the late 1700s, grist mills were located on and powered by the North Branch River. There are three locations, two mills on Winooski and then the upper red circle is the flower storage. In the 1850s, a dam on the Winooski powered a flowering mill that extended to the Bridge Street now, Taylor Street. E.W. Bayland Company had a grist mill on the north bank of the Winooski. The current location of the Shaw Supermarket, if any of you are familiar with that, here's an ad and a newspaper for the E.C. Dewey. The milling of flower and grain continued through the 1800s along the rivers at various sites with E.C. Dewey flower warehouse in the vicinity of the One Taylor Street. Vermont Central Railroad arrived in Montpelier in 1849 and became an integral part of both commerce and passenger transport to the state capitol. It really changed everything when the railroad came in. Here's a picture of one of the early trains. This is a train that was manufactured in DeSiller, the first train that came to Montpelier. The passenger depot and freight house were located across Taylor Street from the future site of the transit center with various railroad car houses also located in the vicinity. Here's that depot, which was obviously was a, both for passenger and for freight. Processing the stone, cord and berry and moved by train became a main industry of Montpelier by 1914, 41 granite related businesses were recorded in the area. And many saw this as an addition to the mills or in the vicinity, but there was almost a transition from the milling to another small to what the railroad brought and ultimately a lot of granite working is just a map of the Black Central Railroad. Our design is for an interactive sculpture made up of two separate equal parts. And it's important that these pieces are balanced, the two elements are balanced. So here's the locations, you can, I don't know if everybody can see sort of where they are here on the floor plan. B and A is the interior of the transit center. Right there where it says transit center, right above that's where the desk is. Durable rotating cast concrete, we've also been playing with the idea of granite, bench evoking a millstone as well as primal structures from nature. So this is a model of our bench, we have it up here, but we'll show it to you here if it plays. The bench would be seven feet, you've either cast concrete or granite, probably local granite. It has seven places for people to sit, it would be comfortable but not too comfortable. So it would also fill the seating need in that area. The bench would rotate when pushed by two or more visitors to the transit center. So people might be sitting there, they might get together to push the bench around, the bench would only go counter-clockwise. The idea is that the bench is heavy, it's not so heavy, it cannot be moved, but it's heavy that you need two people to really move this bench, so you need to work together. It would be more than just the way it would, there would be an internal governor in the underneath that would limit the pace of it. So go back, you did move the last piece. Each rotation past north would trigger a hard-wired split-flap counter located high on the wall. So there's a little brass circle, bronze, a brass circle you can see there, that when that goes, passes north counter-clockwise. And north is the meeting of Taylor Street wall and the long northeast wall. So it would also function as a compass. So split-flap signs are something that people are very familiar with in train stations, bus stations, and it would be hard-wired, so it would be a very simple connection so I can illustrate. It takes a while for this to load, I think. This is forward, we're in the sculpture. Train stations, many people still use this, but that's just a three-row version. Them numbers at the bottom, grab them, grab them. This gives you some context. This is the rendering of, sort of a rough rendering of the interior of the space, just so you can see the relationship in the space. This is a blue print, so it's rather dark. It'll be a much lighter space than this. The bench would be visible from the ticket counter. This gives a approximation of what it would look like in the space. This is not the actual space, just so it's clear to everybody, but this is just so you have the feeling of the idea. So the split-flap counter is what has places for 50 letters, each of the cylinders, and we only need 26. So the extra letters, extra slots, would allow us to put other information there, and that's something we really wanna work with the community to see what we might put in there. It could be one idea is to put in, use number systems from other languages to interspers, so occasionally you get to a not recognizable letter, not a western Arabic number system. You might have other numbers visible that would come in and be part of a learning experience. This is a 16-place single row split-flap that we've been working mostly. And whenever it flips over, it doesn't just have to flip one number, it could again go through the full cycle in order to move to the last number. And really to add that auditory quality to the work. So that was a Babylonian number two. Babylonians are the people who invented our clocks, our basic system that our clocks work by. This is a Japanese number four. Counter-rotation would orient and invest participants in their past, present, and future in their community. The other thing I wanna say about this split-flap is that we could bury messages in there. It could be something that could have information that's pertinent to Montpelier. We could have it be educational, like every time it comes to a prime number, it could let you know that, things like that. We think that's really a rich place to play with this. Form must have content and that content must be linked with nature. That's Elvar Alto, the art and designer. So we also recognize that this is relating to other forms in nature. This is a diatom, which is a phytoplankton. What whales eat, I think. One of the things. And it's that phytoplankton. That symmetry that is sort of nature's paintbrush. Jellyfish, sea urchin. Our two-part sculpture, counter-rotation, for the new One Taylor Street Transit Center, honors the advent and evolution of commerce and transportation in Montpelier. And that's it. That's it. Let's put it back to the unit. Do you want to see some lights, please, at the back there? Which booth? Sure. Committee, questions? How much do you know about the, care and feeding of a salarie machine? That's the split. We've all seen them at train stations and in bus stations. There are many people, many manufacturers that make them. The one we've been talking to has a modern version of it. They have it running from when they first created this design. They have it running in their office. It's flipped 3.9 million times without an issue. And they're durable. That's why they're in train stations and bus stations. I'm curious how the, is there flexibility in that? Or would it be something that would be sort of fixed? Or how does that work? There's quite a bit of flexibility. We haven't quite ventured down that path but hoping to do so with the community. There can be web enabled. The new ones are very accessible in that way. We thought we could even have a website be put in their own message if they wanted to. There's a lot of ability with this technology. Our proposal is for just a hard wire, more simple, but there's lots of room to expand. In terms of the, so you just mentioned community. The other mention of community was about sort of pushing the, pushing the degressed mill in the path between now and installation. Is there, are there other opportunities for community engagement and what would that look like? There are. We've spoken with, we've spoken with a cast concrete fabricator who actually in Western Massachusetts was actually from Putnam, Vermont. But he works a lot with yesterday tomorrow school so we could very possibly be fabricated at yesterday tomorrow school by students in a class at yesterday tomorrow school. I think in Watesfield, Vermont. I think the split-lap sign and the access community would have input on that might be really fun for going to schools and getting, getting input to message and bear the message in the sign. Yeah. You said it would take two people at least to start the thing spinning. Say you had like 14 people all with a hand. How fast would you get to think about it? It won't be merry-go-round. There are ways to put a governor in there. I mean, we have a bearing system and there are ways to put a, you know, pinch or sprinkle. The turntable would have a built-in governor. That's the idea. It's in fact not actually even that heavy, really. And the cast concrete and the cast granite or just carp granite if that were the case. Yes, it would be heavy. But there would be a governor. It would feel heavy but not have the momentum. When they sit on it that it's going to start moving. I mean, will there be signage or I'm thinking of an old way of thinking. I don't think you'll be able to really move it around. No, I think it's going to be something that will travel word of mouth. People will know. And it's like, hey, could you get up for a minute? We're going to spin this. We're going to add a number to the, to the signage. Actually, would you help me? Greg, Greg. Yeah. And I don't know if you know this. Is the transit center open 24-7? I mean, they have two views that's all. We're outside. I wonder if it's not open all the time, will people not have access to see it in parts of the time? And I don't know if anybody knows the answer to that. Actually, Greg. Right now, yeah, but it's not going to open 24-7. But it is going to be open roughly six-ish to seven or so every day. So if you went at 9 o'clock at 9, you may not see it. You wouldn't be able to get in there or something. Probably. Yeah. I don't know. But hopefully, part of us is going to get it on. Right now. I think it'll be able to come off. Sorry. I think of the bench as being a standalone sculpture too. I think that'll be an elegant shape. I think it'll be reminiscent of other forms. I think that is a standalone sculpture in my mind. Speaking of the center of it, is that middle part covered over? Is it on a giant axis that is not moving in the center? It's not on an axis. It would spin on an axis. But if we run on a turntable, the center part is actually would just be a very shallow indentation. The square is often how they had the hubs for those mill stones. Those would go straight through. So this would all be a little bit. We don't want it to become a garbage can. We were thinking. Is there anything else? Do you want to invite people to come and touch it? Sure. Yes? Yeah, sure. Climate. People may come up and check out the model if they'd like it, if it does spin. We also have one graph sample here, too. Concrete. Sorry. Concrete. Do you want to spin it? I didn't. Come on. I really do. I really do. It's really satisfying. This goes the wrong way. It's only supposed to go. Well, we have a DJ with us. Yes? It would make noise, I assume, as it spins itself. Because your model does. Yes, the model clearly is on a big wooden plinth, and that would not be on a wooden plinth. And most likely it would not make a lot of noise. I think it's probably pretty difficult to not have it make any noise. It certainly would have bearings. It is a heavy thing. So it would only turn one way, which our model turns to both ways. But it would only turn one way. And most likely it would make some sort of little bit of noise as you moved it. So we're thinking of maybe 18 inches with a two-inch kick underneath. There would be no place where anybody could get a finger cot or a clothing cot, because it would have an apron underneath as part of the turntable. Sure. Why only counterclockwise? Well, I think because we wanted to be a color. Yeah. And that's the name of the piece. OK. That's the name of the piece. Sometimes you have to go in the opposite direction. The opposite direction. Yeah. I think it's really interesting how elemental the parts are, these two distinct items that have a relationship. I wonder whether there's any other. Are you set in those two things that it be confined to that? Or would it in any way encompass the space further through pattern, signage, four pattern, any other? Or is it really these two things? We have talked about having that. At some point, the same can be in the photograph of the phone and pull up a website showing a little bit of the history. There maybe you get to tune into it and pull up a website that would, you could see how many rotations it has done from, I don't know if you're not here in one building. You wanted to just check in on it. There would be accessibility to check in. There's lots of options. I mean, that floor is cement or will be cement. It will be poured. The pin, if it is cement, would be poured into place. There could be opportunity to extend that sunken bronze quality throughout to maybe lead you to the piece. It's a minor rotation. We envision some signage, too, and so if you're getting these non-recognizable numbers there might be a key, a selected key of what numbers mean is part of that. Yeah? Have you thought to risk for somebody getting off while it's in motion? I don't think it would move that quickly. It's definitely not. It would not move that quickly. I think the idea is that it would move quite slowly. I think there are ways to really limit the speed there are. I mean, they have playgrounds where kids cannot hurt themselves. Yes. No, this is actually quite different than both of our own independent work. And this is our first operation, and it's exciting because of that. I have quite a bit of experience in other fields building things that have moved and certainly stone carving. I think it's not a complicated mechanism. The mechanism that we've been looking at is actually an existing mechanism used for pallets, spinning pallets. The one I've been sourcing maybe a bit small. I've talked to some fabricators in terms of sizing it up. Everybody's quite confident that it's very easy. It's a very simple mechanism. And the technology for casting should be go the concrete way. It exists because people are now casting countertops and chairs in their house and things like that, benches. Is there an etiquette protocol? I mean, if I'm sitting there and I don't want to be turned around, and I tell the two people to stop and they throw a punch, what happens? That would be very interesting. I think it's a conversation. But at least it's our conversation. I would encourage you to then talk to them. Or you could put a pile of marijuana. Perhaps I could just say it's actually not a bench. It's a sculpture because it just fills the need for the bench. It's not really that comfortable. This seat moves. Any other questions? Thank you. Just for about a minute and a half, so if anybody wants to come up and spin it. Was there another question I didn't mean to cut anybody off? I mean, we'd like to come up. We have some time to come up and look at the mechanism and spin it. So. Oh, yeah. Oh, yeah. Oh, yeah. Those are for you. Of course. I don't know what that's up to. If it's the G, it's comfortable, but not to me. All right. Wait a minute. This is awesome. It's a little bit like a squeaky ball. Thank you. Yeah, I'm going to have to. I brought all this stuff. I had a totally different idea in mind when I heard presentation. I'll walk around. What I'm doing with the slideshow, I guess. Yeah, I broke. So I'm not a power point, I think. All right, sweet. So all right, welcome to Montpelier's Got Talent. So I'm used to hosting a comedy show. So this is a little bit out of my comfort zone. It's every month, the next one's February 20th. I'm not going to promote it. But yeah, so lights, we could turn that. That's good. We don't need to be pitch black, do we? No. Yes, stay awake then, OK. Sorry? The mics are on the table, so we're close enough. Mike, should I hold? No, you're good. I just talked to the table. Yeah, you're good. All right, so my name is Sean Williams, Sean Hunter Williams. I grew up here. I'm Montpelier. I'm a second generation Stone Carver. I work with my dad at Berry Sculpture Studios in Berry, Vermont. I have been full-time for the last five or six years. Yeah, so I know what that granite's all about. And yeah, the PowerPoint's kind of just like a bullet point for things I want to say. And then I get a little frustrated with the computer drawings and drawing in general. So I pretty much made my proposal, which I'll have to figure out how to get to everybody we've done. But yeah. So what I'm about to flesh out is just a concept for the site. It can take on any number of different iterations. But what I'm really working with is starting from this idea of basalt columns. So basalt columns are found throughout the world. They are just an amazing geological feature that you can find in the out west or in Ireland, Giants Causeway, Portugal, Scotland has the same formations. And they're really beautiful and awe-inspiring. And I wanted to start there because although I do want to continue to work in stone sculpture, I'm kind of trying to get away from the more representational work that I've been doing. As a stone carver, I do mainly commission-based representational work. So I didn't bring any photos of my previous work, but it's very realistic. So this is kind of a different direction. The process is called columnar jointing. So basically a huge lava flow will pour out over the land and there'll be rapid cooling. And on the surface, these cracks will start to form uniformly on the lava. And those cracks eventually shoot straight down to form these columns. And the regularity of these hexagonal forms is just really cool. So it's inspiring because when I look at these forms, it's really at the intersection of sculpture and architecture because sculpture is something you observe. And when I imagine a piece of sculpture, or when I imagine work as a fine artist, as a visual artist, I'm thinking of images, I'm thinking of plastic things that I can make and people can observe in the round. But when you get closer to these forms, when you get closer to the salt columns, they begin to trigger a different part of your brain. And you're not just looking at these things, you're really experiencing them. And some of the salt will fall away to expose interiors like this one. I believe this is Fingal's Cave in Scotland. No, dude, I like that, no, it's not. So yeah, this is Fingal's Cave in Scotland and some salt will fall away and make these interiors that really, you know, we bring with us our preconceptions of architecture and they really feel like a purposeful space, a space with a function. And so in that way, it kind of, it still likes sculpture, but it kind of departs from sculpture in that way, but it's still very nice to look at, it's still very sculptural. So another way that you can see this kind of architecture, try to start to show itself is, I know when I look at this formation, I see an amphitheater, right? It kind of, the way it's formed kind of suggests a different purpose or a purpose in general. And this is this kind of architectural thinking that I'm trying to push my work into, especially when it comes to site-specific sculpture. Or here, you see kind of a portal. It's really easy to put this kind of, to imagine this functional use of this very natural formation which predates architecture and civilization in general. Where's that? I think this is also Fingal's Cave in Ireland, yeah. So when I began with my thinking about this concept, I just kind of went for it. And this is a scale drawing showing some things I was thinking about, different ways of approaching, using these forms or kind of communicating with this aesthetic, I could say. But these are very big ideas. And I think the stone alone for something like this would eat up most of the proposed budget. So I had to scale it back a little bit, but I did have some fun with that. And this is going more. Sometimes also you'll see in the Sol columns, you'll see this kind of sweeping, very long curves that take place over long distances. It's kind of like a wood grain. It takes on this entirely different quality even though it's very rigid, hard material. And this is kind of going more in the approach of the straight up and down formations that you'll see, the really regular kind of, I guess they're around one and a half feet kind of sections. Some of the sections can get huge. Like the first one I showed you with Devils tower, those sections are massive. So what's so interesting to me about these formations is that you can really play with scale, they're scalable. It's versatile. And you really need a person next to it to see how big it is. Otherwise, you can't really tell. And that's this quality that I love about it, which is this kind of sculptural and architectural quality that they inherently possess. And they have this kind of draw as well. Though these locations are usually remote, they become destinations in and of themselves. They become places where people want to go, although there's nothing else there. So I'd like to kind of capture that quality with this concept, with this work, and try and use it for, I guess you would say, placement. So in scaling back the amount of stone that I could use, I tried thinking of ways that I could integrate this concept into the existing architecture. So there's that rain garden again, guys, right there. So it could be rain garden. It could catch the water and be kind of a fourth wall for that garden, integrate it into it. Also some of the shapes kind of coming outside of it, but still attached to it. But what I was really interested in was the sitting wall. And the sitting wall is on the south-facing entrance there, and there's a terrace. So I don't have all the plans with me, but I did actually make a mock-up of the plan. So I don't have it here on the PowerPoint, but I did create the section that I'm thinking about using. And the sitting wall, I think, is a great opportunity for this concept because there's elevation change. So the terrace sits about two feet above the sidewalk, and you have this ledge. And in the current design, there's a kind of a bench integrated into that ledge, which is a sitting wall. And I think that you could, with this concept, I could also get this idea of these basalt formations or these hexagonal formations kind of emerging from the wall, integrated with the wall, and with use of slabs. I could also kind of cover the terrace with these patterns so that it feels like you are at one of these sites. It feels like you are at one of these natural formations. So I'm kind of going for this aesthetic here. I believe this is Giant's Causeway in Ireland. But also, these little opportunities open up as well, where sometimes the columns drop away and something starts to live in there. So there's a lot of fun you can have with these patterns. And like I said, it's scalable. It's versatile. Although I have these two sites in mind, I really think it could go anywhere. I think it could go down by the riverfront, if possible, integrated into the stairs or the rainwater collection system down there. So long as these forms accent the site to give one the impression that they are standing on something much bigger, I think the work will be effective. So it's really to trigger this architectural imagination where it's not like sculpture. You're thinking more or I've been thinking more about really curating someone's experience. How are they feeling in a place? And so that's kind of more the direction you're going with architecture where you're not just thinking about a house. You're thinking about how someone moves through that house. You're thinking about the sensuous. You're thinking about what it feels like to be in a place. And I love these places, these basalt columns, this column they're joining. It's an awe-inspiring place to be. So if we can hit the lights, I have models. I got models for everybody who wants one. Yeah, I don't know. Or I'll just leave them here until the end. I'm sorry, I'm switching my background. So this is the sitting wall I was talking about. And we don't have, I mean, obviously we don't have the salt in Vermont. We have granite, which is a much less dramatic formation of rock. But we have granite, which is very consistent and nice to carve. So I was going to use granite to kind of mimic these formations. But in addition, as a stone carver and berry, my experience of granite is not really just using berry gray all the time. I've carved stone from literally all over the world. And so I think that really speaks to the transit center in that using different colors shows that Vermont's just, it's not just a source of granite. It's actually a hub. It's actually a global destination for granite. And it's a global destination for import and fabrication. And it's really a player on the world stage as well. And so I think when I think about the typology of One Taylor Street, it's a place where you are both rooted, there's residential. And then you're also very connected to the world at large. You're living above a bus station. So you're very connected to the world while being rooted in a small community. So this is kind of that integration with the sitting wall approach. I don't even know if this would also be possible with the budget. If there's a way to leverage, I don't know, it could be expanded. The concept could be expanded. Like I said, it's very scalable. And then I have some samples. So we have Canadian pink. This is Brazilian yellow. South African black. This is Deer Isle. Deer Isle is lovely. It's lavender. I guess I would call it lavender. And another way, I hope I didn't scratch the table. It's a really nice table. So, it was, yeah. Thanks everybody. So, yeah. So, and then of course we have Berry Grail. I believe this is Woodbury and Berry. But you know, I'd like to use whatever's available. And sometimes there are these larger chunks of something exotic that you can just, well I don't know, in my network I could have access to. So, I do like this idea of embracing more than just gray. Gray is all over this town, City Hall. The building we're in. The Capitol. It's everywhere. It's kind of, it's homogenous. I love it. I love carving it. But I really would like to show kind of the diversity within Granite. And I think that speaks to the general call of this ethos and bringing people together. And I think I could speak to that with the stone here. I guess you're free to ask questions or come up and see the model. Or I could pass it around. It's kind of delicate. We'll come look at it. What do we go? You can come look at it. So, that'd be great. So, yeah. Are there any questions? When the water comes pouring off the roof. It hits the ground, what? The, The, The, The, The, The, The, The, The, The water's gonna come off the roof and it's gonna go down into the garden. This is gonna go down into these formations. Yeah. So, I have, You can see in the model, there's a little, you know, a little kind of waterfall shape that I made. So, it'll, it'll fall onto, it's very tiny. So, I should have taken pictures. But so, yeah. There's a kind of a waterfall that I created with this aesthetic, with these formations. And I think the stone will do just fine. I think there's, you know, some joinery issues we'd have to talk about between granite and concrete, but call up Joey Calcanny, he'll know what to do. So, yeah. I just wanna say, I really liked your idea, the diversity of different colors of granite. I think there've been a lot of conversations going on in the community, just the past several days about diversity. So, I really applaud you for that. And my question was, is are you talking about carving individual columns and then attaching them to each other? Right? It's not just one big block of each color, but separate, actual separate columns that are then attached to each other? I would, I would avoid joinery as much as possible. One big piece. Yeah. So, I'm talking, I'm thinking in chunks. And that was kind of why this, this smaller scale was so useful for me, because although I'm playing with these little, little pieces I can imagine. Okay, this is a block. This is a block and they'll fit together. So, there would be some, some joinery work happening between the blocks, but I'm not gonna be carving individual columns and pinning them together. That's, yeah, that'd be super hard. So, on the sitting wall though, I'm kind of thinking that this, this initial ledge here is kind of a, kind of a very thick veneer a carved veneer. And then as it covers that ledge, behind it, I could set a kind of a, like a three inch slab with this pattern sandblasted into it. So, it looks as if the stone reaches back into the terrace and then from that, from those slabs, I could then sit another piece and join that with, with the slab. Do you, do you see what I'm saying? So, that's kind of a three part system to, to kind of expand this concept. So, yeah, and make it, make it scalable without, without buying 50 tons of, of granite and recreating, you know, Devil's Causeway. Yeah. Anyone else? I'm just curious about the granite blast itself. Did it polish? My question goes through like Devil's Tower, I've seen it, I've been there. And it has the striations in the columns are not perfect. Yeah. And that's part of the beauty of the column, the tower. And I'm just wondering what your thoughts on that. I mean, are we gonna have just straight polished granite blocks or? Not at all. No, and I think, I think the, in, in mimicking the natural formations, that really gives me a lot of room to, to play because I don't have to make things so rigid and straight and exact. And I think that would, that would make work go a lot smoother for me because you can kind of find these, these little moments that are, that are fun. And that's, that's kind of goes back to this idea of the intersection of, of sculpture and architecture where from, from afar it looks like a sculpture. But when you get close, I'd really like people to be able to experience these things. So here this is, I mean, this is one 12th, skit, well, one in cheek was a foot. Yeah, so that's one 12th. So you have these little, these little moments where, you know, people can sit here, but they can also sit back here and kind of feel as if they're, they're in a private space or, you know, or everybody can sit next to each other or at the same time, you know, it's kind of a, it's, it's opportunities for interaction with other people as well as, as well as the work itself. So, yeah. Any other questions? Hi. Yeah. This, so the tallest part here is eight feet. And then on this small model, it, it'll be a lot easier to see scale because I have a little scale guy. And, but the, the tallest part would probably be the rain garden. And I think that would stretch upwards of eight, eight to nine feet. Depending on what block I can find really. So, yeah. Any other questions? We talk about the community engagement aspect in the process of creation. If there's, Yeah. I mean, our shop said 15 Blackville Street. It's open invitation. Anybody can come at any time. That goes to, that's to everyone here. If you'd like to check out various culture studios here. It's, it's always going to come back. So, if, I don't, I would love to teach more people to do what I do. I would, but I don't know that's something I'd really have to look into maybe with the smaller elements. You know, if we decided on doing more like bench size things. I don't know if you've heard of the bench project down in Rutland, but they do a bench every year, usually in limestone. So that's the other thing. Granite's really, it's a steep learning curve. And, but I would love to see more people, you know, like Miles and myself to starting and getting involved. So, if there is opportunities for that, I'm definitely welcome. Or I would, I would love to hear any, any suggestions for that, working with the school or anyone else who wants to learn. Some of your mission like people climbing up on that and sitting on the top of it and the kids climbing around on it and doing all that kind of stuff. Yeah, totally. Yeah. I think, I think that'd be perfectly, perfectly fine. If it became a worry, we can always change the height. I don't think, I don't think it would be a problem, but if, you know, it's flexible. I mean, the idea is really, the concept is really speaks more to suggesting what's going on underneath the ground. So, as long as that connection to the earth and this kind of part of your imagination is triggered where you can imagine that there's rows of these colonnades beneath the transit center, I think the work would be effective. So it doesn't need height. I think it would make it more interesting. But if there are safety concerns, it's totally malleable. I was gonna add, it's fun for you. Yeah, I think it would be fun. Yeah, I mean, I'd get right up on there. Anne? I guess I'm wondering about the size of the columns and the pictures we saw. I guess I'm not really sure, having never been there, how wide they are, I'm hoping they're at least, average-less. Yeah, yeah, yeah, for sure. Definitely at least a foot, probably a foot and a half. Yeah. So, you know, one's good to sit on, two's better. Yeah. Or similar heights, like it's not gonna be what it's step-wise. Well, I don't know, how would you describe the different heights? The different heights would be in and around the 18-inch range, so average bench height, maybe going a little bit higher than that. But like I said, the wall itself is two feet off of the street level. So that's a bit high to sit on, but you can totally sit on it. And then there's this kind of play between, you know, transportation, buildings where they want you to be comfortable, but not too comfortable. So I think this kind of fits in with that where, I'm not tailoring this to people's comfort, but they can totally sit on it. And it would be outside, so it's 24-7, and also it's granted, so it's totally durable, and it's gonna be maintenance-free. Jill. Talking about what the sitting wall's facing sounds. Yeah. And so. Yeah. So with, oh, I guess I could come look at this. Yeah, there's been a lot of slides already about the south-facing side, so that's the same side I've chosen, but I have made a little model of it. The rain garden's right here, and the sitting wall's right here. So the sitting wall faces the river. So the long side that you're looking at right there is as if you're looking across the river, the side closest to Sean is Taylor Street, where the buses would pull up. And that's where the rain garden is. Would the bike path run between the sitting wall and the river? I think so. I think the between sitting wall and the river is a bus zone. That's where all the buses are going. Greg. Between the sitting wall and the building is a porch. Yeah. So it'll be pretty active space, and then the other side of the sitting wall is where you wait for buses, and there's a bus lane, and that goes to the river. Yeah. So if you step off the sitting wall, you're in the bus, the... You're on side one. Okay. Wait for a bus. Got it. And you're protected by vehicular balance, so I'm together. So Sean, I have a question about you. You've got the large model with the color things, and then the little model has smaller installations, including the garden. Is your idea that this would encapsulate both the garden and the sitting wall? These are different iterations of the idea. Ideally, I would kind of have them on either side of this Southwest entry, so it's kind of a gateway, and people get to experience it waiting and also arriving and departing. I kind of want to get this integrated with the traveler's experience of hanging out at the transit center. So that's why I chose the sitting wall. It seemed to be the most public place, or well, not the most public, but the most potential for public interaction. And following up on the last question, how far will the money stretch around the building roughly? Got it. Can you wag it, or just... Honestly, I did do some light budget calculations with this. I didn't really want to be hindered by thinking about money too much, but it'll take some finesse to get this idea at the scale that I'm thinking about it as. But the budget here will definitely go a long way. And if I'm able to shop around, I think I could find good deals on material. And because the forms are relatively simple and kind of free, I would feel pretty comfortable subbing the workout to different people as opposed to an angel or a portrait. I probably wouldn't let anybody just help me out with that. So this makes it more doable for me with this kind of budget, but Barry Gray's 34 bucks cube, so that's, you know, it's not a whole lot, so, yeah. All right, thank you so much. So if we could cut all the lights, please. Okay, my name's Michael Zabrowski. I live in Morrisville right now, so I've been to a lot of different places. I've been to a lot of different places. I've been to a lot of different places. I've been to a lot of different places. I'm in Morrisville right now, so I've been in Vermont for about four years, and I've gotten to know a lot of, you know, the, well, I'll just move on, I'll get to it here. So I have a statement to read, and then I'll open up a little bit more of the images. Public art is a vehicle for installing wonder and absurdity into our daily lives. It is to be experienced by all, and it defines our public spaces as places of cultural reflection and indicators of our social, economic, and environmental agenda, makeup, and our values. The One Taylor Street development has many layers of interest for me as an artist and a designer, yet there are two site-specific elements that have served to be the most influential in designing the proposals that I'm gonna share with you right now. These two elements are the net zero ethos of the building's electrical infrastructure design, as well as the importance, management, and power that water has on the site of our plant, right? I have always sought out ways for my work to integrate and highlight in a profound way the systems at work around a given place, enhancing our awareness of these systems and presenting them with a level of absurdity and expressive rationality. This is a strong part of my creative desire and my output. I am presenting three works as a part of this proposal. Fountain, No Rise, and Dash are the current working titles. While they are distinctively separate, they are also uniquely intertwined in both conceptual definition and pragmatic execution. All three works take advantage of the fact that the building and its infrastructure are being put into place, implemented, built, constructed, all with the works. So this work is only feasible with this unique aspect of the project. This was my first sketch after leaving the meeting at Greg's office. And obviously a lot of what I connected with came out of that meeting immediately. So this, I really talked about some of the systems and things that I was interested in. So solar, array, battery, storage, rainwater collection, and then beginning to think about the usage of these things. How can water be used? How can electricity be utilized? So to talk about fountain, fountain for me is in a way kind of trying to challenge the idea of what a fountain is. So obviously fountains are prevalent throughout the world as an important definer of public space. And it's the wall, really, that's the sort of core. So being that I wanted to challenge this, I thought about the idea of collecting rainwater off of the porch, right? And I loved that this building had a porch. It makes it more home than just a transit center. So the way this would actually work is sort of pulling the building away. You have the roof as it's designed. So the water would be collected and I think it's designed to actually go right into the rain garden, but I'm actually proposing it to kind of go backward. So the water would be collected, traveled down. At the one end, I have sort of a taller transfer tank that would sit on the ground collecting the water and then that would actually get pumped back up into this larger tank, which sits sort of right at that entrance corner. And then that tank would ultimately feed this line. And my initial idea was, you can see in this concept composite image was just the idea of a typical farm water tank and then the sort of John Deere tractor sprayer arm. So the idea that the fountain is actually just supplying this mist to the rain garden itself. And that mist to me is really like an experiential thing. I'm proposing that it's sort of a regular thing. Time is a really interesting thing. And an important part of my work is that when you come to this space, you're gonna always see it in a different way, whether it's weather, whether it's time of year or whatnot. And the mist would have that quality. If it's more humid one day, it's gonna react a different way. If it's kind of a day that you wanna walk by it, and it's running, and it's even a nuisance, like that's gonna be a different kind of experience, but it's always gonna change. So I like that idea of the mist in itself. So it's really this sort of cycle and system. And I intended to be a seasonal thing because that obviously references the agricultural cycle for months. So this thing runs in the nice weather. It's like a fountain, it's winterized at the end of the year. But it doesn't stop kind of giving back throughout the colder months. And one of the things that I always really like to enjoy and challenging the work is how does this work at all times? Not just during the day, but also at night. And since these are proposed as these translucent water tanks, they could actually be lit from the inside. So again, connecting back to this idea of the front porch. And to me, I instantly kind of thought about like these are these absurd, like leave the front porch light kind of on. And ultimately would serve as this kind of beacon, right? I mean, you would see this from, across the Taylor Street Bridge, you would see this from Taylor Street. And I love the idea when this thing's half full of water and you're under it and you get the sense of that level of the inside from the white water that's actually, or the light, that's illuminating the tank and also the water. Also plays in, I grew up in Buffalo, New York. So I'm a Rust Belt kid, like I love railroads, I love rain silos, I love this sort of industrial heritage that our cities are sort of built on. So this to me is like, it's sort of a no brainer to put a tall water tower next to a railroad track. So it talks about the connection to those elements. The next work is called No Ride. So as soon as I sat down, it was said, no rise all in this area and it's a super cool limitation, right? It's like gravity, there's water, it's gonna flood and there's certain things you can do and certain things you can't do. So I love this idea and this challenge of going, well, what could go in this flood area and how can it still have an interesting impact? So I instantly just thought of, the idea of just a concrete slab or something that's entirely at gray. And then I began to think of this idea of countering the fountain, right? So if the fountain is sort of the fair weather friend, this is the one that takes us through the winter, right? So the fountain goes dormant, no rise sort of wakes up and what it is is utilizing a typical concrete driveway, sidewalk technology, which is putting electrical coils into it so it actually heats, melts the snow, right? Like people love this for not having to plow their driveway. And this would actually become something that is now tangible, like the public art aspect to me is actually kind of offering in a way. So this circle, as it's proposed, would always be kind of prevalent. And I actually, I love the idea of sort of like the Duchamp kind of ready-made of finding something and appropriating this. And I loved the north arrow that you guys are using for your drawings. So it's actually, I copy-pasted that as sort of a start because I love the idea of this also showing the cardinal points. So what you're seeing is essentially that exact north-south east-west cardinal points. These would be pre-cast wedges sort of in quarters. So it's an eight foot diameter and they would all come together on the site at grade. And the thing that I'm sort of most excited to sort of test and I kind of imagine that this would work, that one of the spectacular things about living near a Vermont watershed and a river are the countless times that we get that amazing fall, right? It just sort of creates this sort of fantastical place and my hope is that at some moment and it might be incredibly fleeting, but that this would sort of create its own micro-fog, right? So the humidity's right, if the temperatures are right, that even if it's only this hot, right? You can see this kind of little bit of fog sort of rising above this thing. And then I also like the idea of no rise. I guess going backwards to my sort of way of just thinking about our connection to this concept is I love the idea of somebody going and laying there and maybe pausing a little bit longer and looking at the sky and listening to the river. And so this kind of becoming this place where you can just sort of extend potentially in this older weather kind of outdoor experience of sorts. And this would be right, this is the far east side of the property right by the other North Branch Bridge so it's kind of utilizing that space. And then the other, the third proposal is called Dash. And this to me has kind of a double meaning. The one is this kind of the hastiness of Dash, right? I mean, this is a transit center. So you're spending maybe a lot of time because it's 15 minutes that you're waiting for a bus and it feels like eternity, but it's only 15 minutes. So you're kind of moving through this space quickly. So I thought of the idea of like, how many times you're seeing these departure things and other kind of technology based things that are in airports and transit centers like this. So I thought of the wall on the inside that's that 13 foot high, blank wall, sort of as these collection of, again, kind of absurd versions of getting this information played back to you in some form. So, and then I loved one of the things that Greg said was kind of like, this is what sort of came to me is that moment of thinking about the building being built as the works going was like, what are the opportunities within this to then find ways to bring other public art kind of aspects to it. So I thought of the parking lot lights as kind of an opportunity. So there's six of these, at least is what I can read from the plan. So I took each one of the six and that's what you're seeing kind of that elevation here. So you're seeing the wall as you'd sort of see it through the glass, obviously not that clearly, but then you're seeing the six parking lot lights and I've done a lot of work with these ideas of these surveyors building these things that then sort of look out and then give us something back again. So one of the surveyors I proposed to look at series. So the goddess of agriculture on the top of the dome. So this would be one of the elements and this is using a closed circuit camera system again, kind of an inspiration of like the security, right? This is just an infrastructure that sort of built into these kinds of projects. So it'd be a closed circuit cam that's giving you an always live feed of a close up of that sculpture, right? I mean, as a beginning of a public art kind of master plan, I think that's the master. I mean, that's the beginning of the public art of Montpellier's that 15 foot statue, but it's something that we don't like, we see as this kind of white blur, right? So the idea of bringing that back into perspective is one thing. The others are the two that you're seeing joined kind of as like a eyeball is actually the city hall top clock tower and then the courthouse clock tower. So the idea of the clock inside of the transit station is now the clock, you know, that's already, everybody's seeing the city kind of being brought live into that space, you know, bringing up ideas of relativity, I wonder how well they're coordinated. The hotel flag, you know, I love the idea of the dash. It's like telling you how windy it is, but it's not telling you, you know, the knots or miles per hour. It's just, is the flag blowing or is it not? You know, so it kind of gives you a sense of that. The one at the very bottom is just the water surface. So the way that these are all set up are these monitors kind of on these, you know, sort of exaggerated TV monitor mounts. So the water one is actually holding it out. So it's sort of like a tabletop, you know, view of the live kind of Manuski water surface. Again, it's frozen, it's moving quickly. It's, you know, you get a kind of displaced sense of what's going on outside. Sort of like, you know, we're caught on our phone or something looking at this. And then actually my favorite one is this, you know, jumble down in the bottom corner. And it's actually looking at the gas price sign on the Sonoco station across the way. And again, Greg, I'm gonna say this because you said this that, you know, the future is electricity, right? And that's how you get this thought of the building. So I love this idea of, you know, watching this thing hopefully as the city kind of evolves in the next 30 years. As you said, Nathan, it's like 30 years from now. That sign's gone, right? So I love the idea of seeing that fluctuation. Again, the dashboard of like, you know, understanding our economy, all kinds of things that this gives us a lead into. But the way that this works is that it's standing, you know, where you actually have to kind of go behind the TV to see this one. And opposite is the Tesla wall mount battery that all of those, you know, the surveyors in the parking lot have solar panels and are juicing this thing up ultimately to sort of net zero out the work that I'm proposing. So I'm trying not to add more to the load. But that sort of brings it all in. And then this is the series of images that you'd sort of see as this collective. And obviously they wouldn't be static. So you'd always sort of check in on these things and in a way kind of see something new when you come up to them. I brought my telescope today before this. So this is actually, you know, thinking about how the rubber hits the road, you know, mounting the camera to the, you know, the device that sort of gets you there. So this is the kind of thing that it's like, oh, yeah, okay. You know, imagining the, you know, the weather, the rain, the clouds, you know, at night, right? She's beautifully lit, you know. So this is something that, you know, you can see at five o'clock on a winter's day as you're, you know, catching your bus. And then the last, you know, I just, so much of this was very, really driving conceptually what I was doing. So I kind of wanted to give the sense of how the nuts and bolts start to work. And this is a beginning drawing of what some of these, you know, kind of camera housings, you know, that follow that one, which is sort of big brothers watching you. But obviously people are never really seen in these things. So it's not a part of that. But ultimately starting to show some of the ways that I think as a maker and kind of a designer of the details. So my last piece is really just thinking about what I do as a whole. I'm really interested in the work that I create that isn't about itself, but it's very much about how it gets you to turn around, look out, and see another way of seeing what's been there for you all along. And that's the search sort of, it's a selfish search sort of for myself because I'm always looking for that. But I love the fact that if done well and done right, it can start to, you know, have people's perceptions shift, but also maybe just confirm what you thought maybe in a more profound way. Questions? Can we get some lights, please? Question and clarification. Are these three distinct projects that you're looking at, or are they, I mean obviously it can be combined, but. I mean the best way for me to answer is this is how I think, in a way, I can't not like, and thank you guys for inviting me because this was a pleasure. I had a lot of fun because I love looking at the overall and trying to see how the stuff works together. So I think one thing just sort of unravels and connects to another, and like I said, they're unique and distinct, and I think they can stand on their own, but my goal is always to think about how the multiple things happening and the way that you would experience the site ultimately have a flavor and have a connection, because they do, right? It's like the wall. So, let me ask you, if you had to prioritize those, which, and could only do one of the three. Sophie's choice, right? Sorry, I mean I'm really curious. For me it would be the collaborative process that does that, you know, better understanding the budget, better understanding the building, the site, who's, you know, what other knowledge is there, because I couldn't say I love one child more than another. I think it happens in the wash of moving forward that this makes more sense than that, and I mean I do have some prejudices about how I could see that right now, but I think that's what happens, and that's why I like casting the wide net, right? Because there's certain things that make more sense but I don't know that answer, right? Yeah. It wasn't clear where the low rise, no rise site would be? Sure. This is the, so right here, right where that is, that's the north branch, right? Going into the new scheme. So, this is right on the eastern side, right where the path is, yeah? Yeah, that'd be great. And then this, you can see the overall plan, so I like to bury in later my drawings, so you can see the whole site underneath this yellow wall, so that gives you a sense of where that no rise is on that eastern side. You should tell your audience people who are not familiar with the plans with the site. Sure. So, under the yellow here, you see the building, right in the center. Taylor Street is right in that column of monitors there. This is the river and the River Walk path, right along and the railroad on the other side. And then you can see the, so if you're looking at the elevation, Taylor Street there, the building, the parking lot, and then right between the last surveyor and the bridge, that's where the no rise would be on that end. Would the Tesla or whatever give you enough power to pump the water from the transfer tank to the main tank, power the E-coil and power the cameras? Yeah, the heating coil would be the bigger question. Everything else, yes. That's the one where I wonder what that calculates, and I don't know that, yeah. How many times do you think you need to replace cameras or mechanical pieces of this? 30 years, I would think you wouldn't. I mean, it would all be commercial graves, security kind of cameras with devices that were sort of statically linked to it. So I would think whatever the warranty is and the lifespan of those things and being chosen to be the right ones for this time, probably, so. The housings, I've worked a lot with, most of the stuff that I do is CNC fabricated when it kind of gets to this point. So the white box, if I go to the detail, this is, that's a Dibon, so it's a really cool aluminum product. It's sort of like aluminum flashing on steroids. So it's got a really, an aluminum layer on the outside and the inside. And the cool thing with the CNC is you can actually cut it and fold it. So this would be a seamless box that's cut and folded and would keep up the weather and all of that with those elements, and then steel and power coated finishes for laundry and stuff like that, in terms of the other stuff. Bob? Your first piece of fabric, you have two tanks. Both of those would be illuminated. Yes. And why did you choose that first tank? You've got the big tank. We don't need the second one, right? Is that just a sculptural choice that you made? Yeah, I mean, it is somewhat based in absurdity, right? I like the idea of going, like there's, if it just goes to the one that, so there's a little bit of that. But I think to me, it's connecting the shift of somebody experiencing this. So if one's lower and you can kind of see it and you can even touch it, right? There's something to that and just even the shape of how it's gonna light that area. I noticed where by putting that, there's a bicycle rack, so I'm sure I'd make a bicyclist kind of angry, but there seems like a nice space to kind of occupy that. So if that's this sort of column of light and water, that's like tangible, and then this other one that's away from you. So I really like that as a part of it as well. And then the idea of moving the water through it, right? So that it does go down, it collects, it gets pumped back up and in. And the other cool thing to add to the pump and the power, there's these really cool little hydroelectric generating like fittings that can actually go in pipes that you can actually generate power. It's a very small amount, but you can generate power just through pumping the water through the pipe, which is cool. So that's the other thing is that, I think of this as like, it's guts, you wanna see it. Like I'd wanna say, that's the pipe that's moving the water. This is how it expresses that system in a way. And so I think extending that is part of the magic if there is any, which I think there is. Before we wrap and thank Michael, we'll take 60 seconds after his applause to tell you about what happens next. But first, let's thank Michael first. So what happens now? The committee will at some point soon meet again to review the presentations and the formal process is that they'll make a recommendation of the winner, the finalist to the city council, who will consider that at the February 14th council meeting in executive session. And then the council as the owner of the work will award the commission at that time at that council meeting. So we'll see how that schedules out, but keep your eye out for that February 14th Valentine's Day announcement. And until then, I wanna just again thank the incredible artist who came here. A clear through line through all these works that all of these would powerfully challenge us to think differently about ourselves and our community. And that inherently is the greatest power of art. So could the artist please stand again, all of you and accept our thanks. Thank you.