 My name is Macy Hill. I'm the Councilwoman representing District 7. It's my honor and privilege to get to represent the cultural district as well. I'm thrilled that we're here this evening and I'm glad to see so many people that have turned out from all different communities in Fort Worth and industries and really just to support the arts in the city of Fort Worth. So thank you. Just a quick reminder while we're here in 2022, City Council appointed a task force to look at 1,300 Gindi and out of that task force meeting, multiple meetings came a recommendation to reimagine what 1,300 Gindi would look like. Tonight we're gonna hear from two of the developers who responded to the RFP, Garfield Public Private and Goldenrod. My hope is this evening is that you can get some questions answered and you can submit comments and questions through Monday. And with that, I think that's, oh, I just wanted a reminder as well. They asked me to look at, what is this? Just to clarify the process and I think that might be helpful for everyone here this evening. While tonight is the first meeting, probably of several, we wanna make sure your questions are answered and like I said, through Monday you can submit your comments. The evaluation panel made up of city department heads and former Gindi street task force members will ultimately make the decision which proposal will go forward and they will take your comments questions and consideration. And with that, I will turn that over to Joy Ann and I appreciate you being here. Thank you, Council Member Hill. Thank you all again for being here tonight. I do wanna briefly go over the agenda for you. If you don't have an agenda, please let us know. We'll be happy to bring you one. On the back of your agenda, you'll also find the comment card. This comment card is the physical copy of that card but it's also available online. You can use the QR code that's at the top of that form or that's available on the screen. That will take you to that dedicated 1300 Gindi website and that will have the comment form for you there as well. Comments will be accepted through 4 p.m. on the 16th. You have the instructions on the form. It's also on that website to submit it to a dedicated email address. Please make sure to include that specific subject line. That way we make sure that we see all comments and that we're able to take those and synthesize those into what's gonna be provided to the proposers. If you have any questions this evening, we will have an opportunity following the presentation of each proposal for you to ask those questions. However, to ensure that everyone has an opportunity to ask the clarifying questions they need to formulate their comments. Comments should be submitted on that form only at either tonight. You can submit the hard copy form or submitting those by email to the email address that's been provided. So tonight will be for questions. Comments can be provided on that card either in person tonight. You can turn the card into us or you can email that but we won't have a time for just comments tonight. That way we make sure everyone has time to ask their questions. A few housekeeping items. There are snacks and drinks that are at the top of the stairs right out in the four year area. Bathrooms are also located up there as well. Lastly, following their proposals, the proposers will not be able to speak with you primarily because we are still in the evaluation process. So final evaluations are still going to occur in the future. So at this point, they'll be able to talk to you in this public forum but please understand that if you see them out and about outside of this forum and they direct you back to the email address that's on that form, it's because that's at our direction to make sure that we keep this process as simple as possible and that everybody is getting the same and accurate information. And with that, we'll kick off our first presentation tonight which will be from Garfield Public Private. I believe we're getting that checked on to see if we can dim the front lights. I do just wanna remind everyone the stairs are very steep. So in the event that it does make everything darker please be very careful going up and down the stairs. Okay, we'll get started. Well, good evening everybody and thank you for joining us tonight. We are genuinely thrilled to share this presentation as it allows us to provide the community with some valuable insights of who we are, some of our past achievements and forthcoming plans with collaboration with the community and the city moving forward on this adventure. We do have a short 20 minute timeframe for our presentation. So we are gonna dive right in. Oh, of course. To start, we're gonna introduce our key personnel with you today. I'm Matt Edwards with Garfield Public Private. I think it's important to note that Garfield's not your typical kind of mixed use retail developer. Our primary focus and portfolio is centered around public facing projects to bring significant benefits to the city, county, state and the various community partners. We specialize in projects in performing arts, museums, hotel convention centers and other cultural venues around the country. My personal background spans nearly 20 years exclusively dedicated to cultural arts projects around the country. And it's really why I'm here today and why we're here to be happy to present this today. Joining me today are Sandra Ortega also with Garfield, Michael Bennett with Bennett Partners, Jack Hagler with Shuler Shook, Ben Robinson with Burn Construction and then our proposed anchor tenants that you'll kind of see as we go through our presentation Jacques Marquis with the Clyburn and John Barnett with the Fort Worth African American and Cultural Center. So you'll hear from some of these other folks here as we go through our presentation. Next we wanna hit our full organizational chart. There's a few noteworthy highlights to emphasize here. We've emphasized some of our specialty design consultants. We're bringing in board threshold to be our constitution. Shuler Shook to be our theater planner. These partners will be key during the design and planning phases. Equally important to the success of this development is our community outreach partner, DEI consultants. Additionally, we are, what's that? Oh, that's Tristan. Good evening. Additionally, we're proud to have Burn Construction a company with a century long history of building within the city and cultural district on board. And lastly, we wanted to highlight keen independent research as they are a national market research firm that will be assisting us in what we have proposed in our RFP response to be the first phase of work. Details of which we will describe here shortly. So when we go through our cultural development experience, here's a map that shows Garfield's national cultural experience. Again, working from California to Las Vegas to New York, big presence in Florida. It has a significant concentration of projects within the state of Texas, as you can see. I do wanna note that some of this experience shown on this map will represent the experience of myself and Sandra prior to us joining the Garfield team. Now I really wanna shift our focus and zoom into Texas. So the first project we wanna reference as part of our experience is the Buddy Holly Hall Performing Arts and Sciences. This opened in 2020. It includes a 2,300 seat main hall, a community theater, a multi-purpose space, and 22,000 square feet ballet dance studio where there, it's the home of the ballet there in Lubbock. We assisted this group in setting up a new 501C3 structure to fundraise, design, construct, and operate this facility, and we partnered with the Lubbock Independent School District and Ballet Lubbock to help deliver this program. So this was initially a much smaller program, almost half of what it initially had been intended to do, but with other community partners, this thing grew and was able to really become multi-purpose and serve the community in a much bigger way than it had originally intended. The next project is a project I led here right down the street, just a couple steps at 1400 Guindy. This was intended to be 8,800 square foot development of an exhibition facility in the office headquarters. Know this area very well, know the neighborhood very well, worked very closely with the city, negotiating a lease with this 501C3 tenant. Unfortunately, this project was put on hold after design development. It sits there today after a few years back, but did win a highlight working in this neighborhood with the city, with these community and cultural partners here right in this neighborhood. Next is the Van Clyburn Concert Hall at TCU as part of their school of music that opened in 2022. That includes a 700 seat concert hall, a 200 person band hall, and additional rehearsal spaces and practice rooms, which are many of you have been to this space. It's a magnificent space, excellent acoustics. We really helped the university procure all the specialty consultants, the architectural team, the construction team, and we served kind of as a theater advisor on this project to the university throughout the development and opening of the project. And the last project we wanted to highlight today is the Tobin Center for the Performing Arts in San Antonio, opened back in 2014. This is located on the Riverwalk. This project included restoring the historical facade that you see here, the stone facade, and renovating what was their municipal auditorium. It was about a 3,500 seat auditorium for graduations and lots of things like that, and it updated and transformed it into a multi-purpose, amazing facility that opened back in 2014. So, wanted to highlight this, again, working in a renovation of maybe keeping parts of buildings and restoring others as something that we have a lot of experience doing. Given our time, I wanted to hit on our development approach. Even though there's not a lot of pretty images here, this is kind of the key of, I think, while we're here today. Our team has a lot of experience. You'll see that as we kind of go through this, and we've got some good ideas, but this is really what I want people to focus on and where we believe the next step should be. And it's really the rationale behind our partnership with Keen Independent, as we mentioned earlier. We believe that the essential requirement here is to conduct a market feasibility study for this facility and the community at large. This feasibility study will serve as the foundation to our team to engage crucial community outreach efforts, collecting all the essential data necessary to make recommendations back to the city and the community on ownership plan, actually identifying what a real program might be for this building, identifying what a real budget and schedule may be, and really most importantly, developing the financing and fundraising plan that can make something achievable and sustainable. So you'll see preliminary ideas, and you'll see stuff from Bennett Partners here shortly. We put together again some anchor tenants, but all this is very preliminary. We know that we haven't had the opportunity to reach out to the masses and really have that dialogue that is absolutely necessary before we would make some kind of formal recommendation on what should be here or not or how all that would work out. So I want to really say that loud and clear. This is kind of the focus and what we recommended to the city is our first efforts, if selected. I'll quickly hit on our public and private financing approach. And most of our projects where there is a public entity, we're helping to lead all the deal structuring with that city or county or state. We're assisting and drafting all the legal documents, ownership documents, finance documents. We're also overseeing all the bond and financial modeling with bond council and financial advisors. So we're well-equipped working in the public realm to get very creative on financing from that perspective. And then on the flip side, we're also well-known for philanthropic fundraising in the community and nationwide, whether it's philanthropic gifts, naming rights, what that may be, depending on the different projects. So again, tackling the funding challenge both from the public side and from the private sector. So I'm going to take a breath and turn it over to Michael to kind of discuss some design principles. Thank you. I wonder if I can remove this and talk to you and look at the screen at the same time. I think I can. Thank you all. I'm a few days removed from COVID, so I'm being safe with my team and wearing a mask tonight. So I hope you'll forgive me of that. My family are a bunch of art nerds. We have a long history with this building. My wife worked in this building with amphibian stage productions for years and helped produce shows in the Sanders next door to us. My daughter and my other two kids have performed here with Kids Who Care. One of my daughters was the ghost of Christmas past right here for two years with Kids Who Care. And I will tell you that that experience with her really was a stepping stone for her to move on to great things in her life and she's done transformative things and continues to. And so none of us doubt the importance of this facility and what it can do. But when this building was built, Fort Worth had a population of 360,000 and was the 34th largest city in the U.S. As you all know, today we're the 13th largest city with a population of 962,000. So times have changed and we need to think about what that means for the community arts in general and not just the community arts center. So while we are passionate preservationists, we're going to show you a combination of preservation and removing some of the buildings that are here on site. And we don't do that lightly. We don't do that easily. And we know that some of you are not going to be happy about that because those memories are strong with all of us. But to meet the RFP that the city asked us to do, we think it's a necessity to help our city move forward and provide the kind of community art space that will benefit the city of our size in the future. So with that, I'm going to keep going here if I can figure this guy out. So that page you see there is going to be in the information the city sends you. I'm not going to read all that. But that's really kind of an outline of what our project approach is. And this is a program that we assumed, I'm going to get out of your way so you can see, a program that we assumed. And again, as Matt said, these are just assumptions. We don't know yet. We're going to reach out to the community. We're going to reach out to other tenants who might want to be here to see what they can afford to do to see if that fits within the space. But we want you to know that we're open to hearing other ideas and other tenants, but we had to present something for this. And so that's our assumption. That's our site plan. We're sitting somewhere there at the moment. And so this anticipates keeping the existing and the original arts building that you saw in the first photograph that we had. And it additionally anticipates keeping all of the trees along Gindi, which we thought was important. So we're going to zip forward a few slides here for a second to this plan, which I think will be easier for us to follow if you can read those numbers. First, we're anticipating keeping the same entry drives in and out because the idea of this is even though the facility is very different, we want to have a lot of things that are familiar to people. Those entry drives, the way you've come and gone is very familiar, dropping off your kids there. The second thing is we're proposing to keep the existing parking situation as it is. That was a big debate among the team, but the decision was that every dollar spent on parking is a dollar that's not spent on cultural facilities. Those garages, unlike tonight, those garages are not always so heavily used. And so our thinking is that there is some way to negotiate a deal. My friend Fernando is here, and I'm sure he can help us with that, but negotiate something with the city so that we don't have to spend a bunch of money building parking. The next thing that's on here really is the Port Cochera, the drop off, which is again kind of a similar experience that you have today. Number four, if you can read that, is the entry porch. I don't know about you, but I've had many of my most meaningful conversations here standing out on that porch, enjoying the view and talking to friends. And so we're trying to recreate that experience in a different sort of way. The other thing we're doing here is reimagining the kind of lawn panel that's out in front of the center at the moment as an amphitheater. So there's about 10 feet of slope there, so we're making that into an amphitheater so that you have a space here for events to happen. The other things we're doing is we have multiple entrances into the center. We're trying to give it porosity in a lot of different ways. So you'll see that once you can really look and see the plan. Number seven here is a lobby, which is a large lobby for a building of this size. This building, by the way, has a very small lobby, as you know, which has always been one of the hindrances. This has a very large lobby, big enough so that events could happen in all the spaces, and the lobby is big enough to handle that at the same time. The other thing we're looking at is the lobby actually being co-used as a gallery so that it's a way for people to have more contact with art that it's not a dead end, it's a destination along the way. Okay, this is Lancaster. That's Montgomery. This is the existing gallery space. This is Gindi. That's the current entry in and out. So that's that's that help out? Yeah, you're welcome. This is a courtyard, which really gets back to what was near the original building. If you've looked to the original plans of the original building, there's kind of a nice little entry sequence that came through both ways. So we're restoring that. And then this is the existing gallery building that we're proposing be a space for the African American Museum and Cultural Center. That's about 15,000 square feet, which is about what we think that they need. The second story of that could still be studios. This would be the Sanders Theater. That would also be the Jubilee Theater. So it would be the Sanders, but Jubilee would be an anchor tenant. We're thinking that holds somewhere between 150 and 200 people. And it's a studio, high tech, flat floor sort of sort of space. This would be the Scott Theater, which is a larger facility than this, but it also has a flat floor and is very flexible. And the second I'll show you some of the configurations that could have. But again, the latest technology, the best acoustics, but also a fly like this building has so that you have the flexibility, but it has retractable seating and a flexible kind of floor plan. This is the Clyburn Studio. It's the Clyburn Performance Studio. So that's gonna be a space dedicated to them, which they can also rent out for other uses. The ground floor of this is actually support space. And you'll see this number 13 is support space around. We're proposing two restaurants. There are restaurants in a lot of the museums and cultural facilities here in the cultural district. And we think that's an appropriate use here because it gives you a chance to have a drink or have dinner and come and go to an event. And then food itself is a culinary art. And so we're trying to expand the definition of that. Those are two restaurants with outdoor dining that fits off here. I'm sorry, I'm having to go very fast with all this. So I hope you're catching that. One thing I missed is that the glass wall here that faces the east is done in a way that sort of emulates the shape of a curtain. And so the idea being it's kind of the curtain that opens and is very transparent and lets you come in and enjoy the art spaces within. This is the second floor. So you'd have double height spaces. This is the Clyburn studio. On this second floor, we're proposing something here that's like we work for artists. And so you would have a cafe and maybe wine bar here with short-term rental studio and practice rooms. Then maybe in the center area, we're proposing maker space so that people like my son who makes furniture would have a place to come and do that and not have to buy all that expensive equipment. And then more studios. And then the upper floors of this would be really flexible for now because again, we don't know all the tenants we're gonna have. So that's what we're proposing for the building. And it looks something like this. Here, you're looking at it from the east side and you see the building itself. This is the existing parking garage. This is the existing gallery building. And this is that new mixed-use building. And then that's the site plan of that. I'm gonna keep going the other direction. Sorry, I'm learning this thing. And so that's a view from inside the lobby looking back to the effort American Museum entrance. That would be a view inside the Clyburn Performance Hall. So you're looking out, I didn't mention, but the angle of the building is done in two ways. One, to avoid hurting trees. Two, to keep a view of the Amon Carter from Gindi. And three, to be able to frame a view of downtown. So I'm not sure if you can see that with the light, but this focuses on downtown through the windows there. And then this is a view of the Port Cochier and the entry drop-off. This is the restaurant here on the right side. This is the entrance and this is again the Clyburn. And then I keep going the wrong way. My apologies to you. And then this is a view of that entry courtyard with the amphitheater. And I wanna emphasize all of these things that I'm talking about. We really consider to be designed principles of way we might approach this. Don't think of this as a design because that can't be done until we've gone through the programming phase, collaborating with everyone and really understanding what's gonna be there. So with that, I'd like to introduce my friend, Jacques Marquis with the Clyburn and he's gonna talk to you a couple of minutes about their thoughts. I need some parole for that, but for that mic. Clyburn has been in Fort Worth more than 60 years and we're proud to be here. And when the Clyburn is named in the world, it's always linked to Fort Worth. Our mission, as you know, is to launch careers of fantastic young pianists but also to bring music to a large audience. And in 62 first competition, we add many, many programs. Clyburn concerts at Bass Hall with the Kimball, Clyburn Festival with the Modern. We're doing Clyburn in the community with the libraries and some concerts at the Inman Corner. We're doing Clyburn education, 300 concerts in the school for primary school in front of 50,000 kids every year and mostly Title I schools. Then our local impact is really important. Briefly about the studio. It's a multi-purpose studio that we can do webcast, audio, video recordings, naturally some concerts, some holiday concerts, some Halloween concerts. We can do also rehearsals, we can do meetings, we can do boards. Then it's a very interesting, not so big space that can be really, really adaptable and also convenient for all other arts organization here in Fort Worth. And this is interesting. Here we go. Oh, the other one. Here we go. No, yes. Here we go. Yes. Here we go. That's a mission, very good. Done. And finally, the Clyburn is known for also having international reach. Then you can see the numbers there. In the last year, we had 50 million views from the webcast in 180 countries, 700 million impressions, which are our posts being seen by the people. This is what we bring when we talk in the proposal of a world-class hub, the Clyburn can help doing that. And finally, the Clyburn is strong in the world because we have great foundations here and strong foundations here in Fort Worth. Thank you. Please, John, come in. Good evening. I'm Dr. John Barnett and I have the privilege and the honor to serve as the chairman of the board of the Fort Worth African American Museum and Cultural Center. Fort Worth African American Museum and Cultural Center started as an initiative in mid-2018 to preserve Fort Worth African American history, resulting from the potential sale and repurposing of the Butler Housing Project. We were initially started out as a 21-member subcommittee of that committee to study the possibility of preservation through a museum. We became a 501C3 entity as we formalized our efforts to have a museum here in Fort Worth. Our mission is to rigorously explore and proudly express local and national African American history and culture to enlighten, to inspire, engage and challenge everyone towards better understanding and a more just society. Our vision is to bring people together by telling our stories. Such an honor to be part of this collaboration that would make use of this space. And I thank you for this opportunity, Michael. Yes, sir, time's up. But I want to thank you all very much and assure you that we believe we're the team with the experience and the strength and the local knowledge and ties to be able to collaborate with you and lead us to something that really takes our arts community even further into the future. Thank you very much. I think we're ready for questions. Yes, so now we are to our question and answer portion. So we have two microphones set up on the outer corners so that you can come to ask your question. Again, please be very careful. Is it possible to have the lights turned up so as people need to go down the stairs? They're able to see those. Please be very careful coming down the stairs. You can go to either side. If coming down the stairs is a challenge, you can raise your hand. We will have someone come to you with a piece of paper so you can write your question down. We'll bring that down and read the question. We have 30 minutes allotted for questions and answers. So please make sure again that we are keeping these specifically to questions only and not comments. All comments can be submitted on those cards either tonight or through the email address that you see there with the subject line that's listed. So with that, I think we have our first question. Go ahead. It's hard to see the thing and that's a lot of information to take in, but did I understand correctly that as far as visual arts, it's just relegated to the lobby? Because to me, that's deeply concerning that you all don't seem to understand the value of this building to the community, both for the arts and as an incubator and the value of the Scott Theater as one of the few Brazilian theaters in town. I saw a lot of what is already valuable about this building not represented in the designs that y'all showed and that y'all talked about. So did I understand correctly that visual art will have just a teeny tiny home in the building y'all are proposing? Two things to respond to that. First thing is we were responding with the tendency that we had. And so the next phase of this is gonna be to listen. Are there people with the visual arts that can come in and be a part of this? So if there are, yes, we can adjust that. It's only a concept at the moment. That is not a design. And so we need to go through the thought process and the collaboration process to do that. As far as this space itself, both Jack Hagler and myself have spent years looking at this space different way. I know Jack looked at this building the first time when Jody Ulick was here with Arts Fort Worth. This is a very challenging facility to update. And so in our opinion, in our professional opinion, spending that extra money to create something that still has a fly, that you can still produce something like this. But not just exactly this is the right way for the city to spend their money. Jack, did you wanna augment that at all? And Charles, we have one person raising their hand over here. If you can come to her, please. Yeah, he'll bring you a piece of paper for you to write your question down. We'll read it into the mic. This is being recorded. So any comments do need to be made through one of the microphones so that anyone who watches or wants to view this later is able to understand the questions that were asked as well. To make sure that we have plenty of time, if questions can be kept to about a minute or less, that way we make sure we have plenty of time for everyone. Go ahead. Hi. So my question is, you know, you see a lot of about the spaces that are gonna be with the Van Clyburn or other, you know, big names. But I think what our main concern is that, you know, I can't go into the Kimbell or the Bass Hall or any of these major institutions in town very easily, but we can come here and we can produce something much, much easier as a community member. And we won't have a space like that if we do what that is. So I hope that you take that into consideration. You know, the question about gallery space, you know, comes from a place that, you know, we can't go into the modern and show our work very easily, right? But we have the modern. The modern's great, you know. So that's, it's a kind of a question. How are you, I guess my question could be, how will you achieve that, the community part? Thank you for the question. Kind of similar to Michael's response, you know, we've engaged these kind of incontinence to start an idea of what could happen here. We know this isn't an evening we're close to a fully-baked plan. We've got to go through this outreach process with you and many others to understand what all can live here and what all makes sense to live here. Again, engage in the community and the city partners to make sure that that's what's viable. So I don't want to lose sight of the passion there because we feel that. And I don't want you or others to feel like someone's been excluded from, again, it's not a design. It's a first idea of a process that needs to be kind of added to. We know that we need further input from you and others to adapt what you saw today. Is it ready? Okay. I agree with the earlier comment about the visual arts. One of the uses that this building has now is for people to come in and paint in groups and do drawing in groups, studio setups. Also, you know, places where there's a space that is conducive to visual arts as well as some of the supplies and stuff that would be accessed, not by people who are renting individual studios but by groups and community members that are not at a world level but need space to work together. So I know it was hard. I had to run through this in a quick 20 minute span, but that type of space is included in that space list. It was hard to see one site playing with all these different spaces and hopefully when this gets published, everybody can take a closer look at it, certainly ask questions and provide more feedback, but that type of space is absolutely included in what was presented this evening. I'll be quick. I think the anchor tenant system makes sense. I think there's a lot of sense to that. There was mention though of this being a 21st century facility and unfortunately the truth of the matter is the New York Times, The Washington Post, The Wall Street Journal have all been reporting that classical music and live theater are dying and they're dying at a rapid rate. Over 100 of the largest theaters in America across the country have closed. So how does this take us in the 21st century? I think a good question. Certainly I think the path is to try to get something better than what's here today, which is the vision to bring it up to something that can enhance the people that come here today and bring in people that aren't even coming here today. So I think as we go through the programming efforts, we can certainly address, again, the needs of the facility and work through the, really to me, the funding and financing portion of this of what can we do here that makes sense. And I would say we're not making the same thing. Those facilities with flat floors and retractable seating can be used for a number of different things. They're better for dance. They're better for banquets, for example. They can be used for a number of things. The other thing I would say too is I think there are those that might disagree with you in Fort Worth that those arts are dying. I think that the Van Klyburn is a great example. They've grown for years and are doing really well and are looking for more space and bigger space. So I think that's a matter of opinion, but I think we have a strong art scene here in Fort Worth that we're trying to serve. So we do have, again, reminder that all comments can be submitted online or on your sheet. So we'll keep these two questions. I do have one question from the audience. If you are unable to come down to the bottom to ask your question in a microphone, please raise your hand and we'll bring a piece of paper to you so that we can ask that. This question is, are the partnerships verified already regarding Van Klyburn and the other tenants that you suggested? How will less wealthy organizations have access for representation in the space as permanent residents? Again, that'll all be addressed through our community outreach approach as this first phase of work. Again, we think having these kind of anchor tenants is a really good initial stabilizing system of creating a new arts center, but in no way are we being exclusive to every other arts organization that's represented here today. We have to go through that process. I know that we have to do that. I know we're gonna say that over and over this evening, but that's exactly what we recommend to the city. Again, we're coming with some ideas and some ways to get there with this team and we're excited to hopefully take that next step to really have those discussions and help support other organizations outside of the two anchor tenants that we've identified this evening. You talked about how your kids grew up at Kids Who Care here and this space has for many years been used to teach kids how to grow into the arts. Have you all considered having classroom space for dance, for kids to do dance, for theater classes, for those types of pieces in the design? Yes, we have and some of those spaces would happen. What was labeled number 13? The sort of back of house spaces it would include, I didn't have time to talk about all that, but it would include those kinds of spaces. It would include spaces to create sets and to teach kids how to do that kind of work. So we would have spaces like that in that space when you look at our drawing that's labeled number 13. Hi there, I'm with Theater TCU. And so we've been a biannual renter of this space, of the Scott Theater for many years since before I got here. And so my questions are about what this space is going to be particularly. Right in front of you is a retractable orchestra pit, which is very important to us. I'm wondering, is that going to go away? And I'm also, and in the same vein, what is the, my other questions are about wing space. You said there would be a fly, which would be great. But if we're losing the proscenium, I'm wondering about how that's going to work. Also wondering about dressing room space, load in space and that kind of stuff. That's always been a little bit of an issue for us. The answer is, what do you need? We need an orchestra pit. Then that will come out. I'm gonna say, I'm gonna repeat this. There is no design. There is no design because you are all here because you have an opinion on what you need in a performance space, in visual arts, in educational space. And we're here to listen to you and not just tonight. We hope that we will be selected to listen to you in the coming years. And part of that is the process of programming. So Matt, if I could just take 30 seconds to give a history of what we did similar. We were the theater consultant for Moody Performance Hall, then called Dallas City Performance Hall in Dallas. And that's the theater for everybody else. You have the wind spear, you have Wiley, Dallas City Performance Hall now called Moody is everybody else. We interviewed 69 groups to understand what the groups needed for their building. We didn't know, just as we don't know tonight what the building will be. Is a proscenium theater appropriate? I'm probably so. I would make a bet on it for what y'all need. Is an orchestra pit needed? Probably, but if everybody, if all the 69 foot-worth groups say, you know, we don't need that, we're not gonna spend money on it. If you say you do, we're going to do it. So there is no design. It's what do you need? We will respond to it. There is no design yet. And just one last question. So there is not an anchor tenant for the Scott. This is a venue, just a rental venue. All right, thank you. We have another question written in. First, whether there will be any consideration of waiving parking fees for those who need it. The parking garages are actually, I can answer that one, are actually managed by a different entity. So that would not be something that this group would have control over. The other question is existing air conditioning space in the new building. Am I asking that question correctly? I apologize. That was your question and it's not correct. Please let me know. What's on the diagram is 113,000 square feet. This building we're in, if I remember, it's about 89,000 square feet. So it's more space than exists today. If that's the question. But it will have air conditioning if that's the question. Thank you for that. I may have missed this, but you keep referring to the slides that we couldn't see. Will there be, I didn't see on here where it tells me where I can go look at the slides that you presented tonight. Where will those be available to us? That's question number one. I couldn't see the list of tenants. That's back to that. But what happens with the current list of tenants that have been here for years? What are we gonna do with those folks? I understand the anchor, they bring the money. Got it. But the current tenants still need a home. So we need to definitely make sure we take that into consideration. I asked that you do that. The, this space, and I know you said we're gonna talk to everybody and see what we need. It is one of the, I'm gonna say the only freely available mid-sized space for performing arts. And so if we don't keep something, I'm asking that you consider keeping something like this in the plans when there is a design. I got it. So thank you, those are great questions. Let me go ahead and answer the first one for you. And just like, again, a lot of these things, those comments will be able to provide those back. As they've mentioned, these are preliminary. Any proposer that is selected, there will be public engagement. In fact, the public engagement plan is part of the criteria that they're being judged on. So that is certainly something that's very genuine that there will be a lot of public outreach in the event that either proposal moves forward. So that's something that will continue. As far as these slides, we can make them available tomorrow on that 1300 Guindy Street website for you. Since they've been publicly presented, we can put those there so that you can better see those. And then for the question about tenants, I will turn that back over to you. The answers, they absolutely need to be, as Jack mentioned, they went through 69 interviews. They're absolutely, the current tenants have to be part of the process moving forward in discussions. Again, figure out what are the needs? What are the potential uses that work in here? What doesn't work in here? I mean, we don't know all the answers to that, but I think we could probably quickly learn from the folks using this every day, right? So the answer is we're not, again, excluding anybody here tonight or not represented tonight if we're selected to go through that public engagement process with current users, other users that don't have it aren't even here, I mean, with everyone. Okay, so many thoughts. First, I wanna thank you for being so comprehensive and considering so many different elements that are historically part of this building as well as the future of this building. Two, who will own the building when it's done? I believe it's Fort Worth and they will be the orchestration of the tenants. But three, we currently have eight visual gallery, visual art space galleries plus the theater and more space available to the community. And that's already been brought up with ideas that it's hard for visual artists to display their art anywhere. So an idea to throw forth is that all of the tenants engage with visual artists, the restaurants that you want to have. It looks to me like you are tripling the size of this footprint in what I saw up there. That may or may not be correct, so correct that. But the restaurants could easily engage with visual artists on a rotating basis as well as the Clyburn. Artists love to hang their art anywhere they can get it seen. So I think on item one, I think it was just a comment and thank you. We were trying to be as comprehensive as we could in this setting. Two, on the ownership, undetermined, but it's likely to be city-owned land and building that's likely to be the case, but I don't wanna assume that once we get into the process and who knows what uncovers through the process. And then third, absolutely. We're already thinking of the lobbies and all these kind of shared spaces are perfect spaces for galleries all throughout the building. No different than what's being done today. Well, artists get messy and noisy. And interesting, you know? One thing too is we've talked a lot in our team about a couple of different versions of ownership that have been successful in Fort Worth. One is the Botanic Research Institute and the Fort Botanic Gardens. That's owned on city land that's owned by the city but it's operated by that group and they fundraise for that. The zoo is a similar situation. So this might want to be yet another version of that that operates this on land that's owned by the city. That gives that organization a chance to keep up with the maintenance in a way that was not done here, which is if we wanna face the fact why we're all sitting here tonight. Hi, I have two questions. So the first one being that if we knew that we were meeting today thinking and reflecting on the hierarchy within the arts, the visual artists are always at the bottom. So no, we don't always just wanna be at a restaurant because that affects our artwork. No, we don't wanna be in the hallway because when the crowds get coming, they forget that we are art on the hallway. So we do want gallery space. With that said, if we're talking about partnerships, why don't we have a visual representation like Arts Fort Worth sitting on the panel to be able to answer some of these questions? My second question is what is the MWBE percentage for this particular project that you're wanting to reach? And I do have a third question. If the RFQ is the minimal, how are you guys gonna go above and beyond to really reach? And not just say this is just the beginning, but why were we not included already? Thank you. Thank you for those questions. Wonderful questions. So we are in the process of the request for proposal process. This does have a WNBE goal of 15% assigned to it. And that group, our diversity and inclusion department has reviewed that and determined that the groups are responsive to that. That will be part of whichever proposer is selected. That will be part of their negotiation and they will have to continue to meet that goal throughout the project. Having kind of public input during a proposal process is something that is atypical. This certainly warranted it to make sure that, and the city wanted to make sure that you had the opportunity to see and provide feedback and comments and ask questions so that those would be clarified moving forward. But because it is a competitive process that has select criteria that it was established through not only the Gindi Street Task Force, two members of the Gindi Street Task Force are on that evaluation panel, but also from the city council when reviewing and determining how to move forward. That criteria is what's ultimately going to determine which proposal is selected based on that objective criteria and the proposals that are submitted. So at this point, it's the same reason that we're not able to allow them to stay and meet and talk and give answer questions to individuals. We wanna make sure that you're all getting the same information and that once a proposal is selected, then we're able to have additional feedback so everyone's getting consistent accurate information. Great questions. My question is just about capacity. It looked like there were three performance venues and I was just curious. It seemed like the plan was to expand capacity in the Scott and then keep capacity and then add capacity with the Clyburn. And I was just curious what that expansion size percentage wise or how it's laid out right now. It's the Scott would be a flexible space. So you'd have retractable seating and it could have a mezzanine as well if we end up wanting to do that. And so it would then depend on in that configuration how you wanted to configure it where you wanted the stage to be. So I think it's 10,500 square feet. So that's pretty big plus the back of house space. So I think I would hate to guess we did not compute what those numbers were yet. Is the footprint the same, I guess is my question with the Scott or is the... The footprint is bigger than this. That's what I thought. Yeah, that's why I was curious. Yeah, the footprint is bigger than this. Local venues need like 700 seats, guys. It could be made that way. Oh, I know. We'll decide that. Good evening, I'm Megan Henderson. I feel like this is the beginning of a conversation. So I introduced myself in that effort. I am probably the only person in the room who's not an artist and not a developer. So I am just here as an arts advocate and I wanted to applaud this team that sits at the panel for being specific and some of the programmatic elements of the building that is proposed, but also holding tightly to the idea that the collaborative community-led process helps to provide the refined feedback that establishes an ultimate plan and programmatic goal for the building. In that effort, I had just a couple questions. One is that I'm not familiar and I could not see on the diagram as to if the office space that's housed in this building would remain the same if it would be larger or if that is shrinking to accommodate so much of this performing art space that appears to have expanded. So what's the quota of office space? The other thing I'd like to just share as feedback is that I think your dogma about parking is correct. Fort Worth is a parking-rich city and there is a sea of parking that surrounds us here. So if the sacrifice were art space for parking, I think all of us in the room would prefer the art space, but I would encourage while in the position of power in establishing the program of the project to really think through parking partnerships because parking has been an impediment to reaching broader communities at this space and I think all of you have a goal of reaching a broader community. And then my last thing to share, waiting for the office question, but my last thing to share is that I really am encouraged to hear that there were 69 groups that you spoke within Dallas and those are very likely to be institutions of all sizes. I hope that in Fort Worth, you will also make an effort to speak to members of the community that are not institutions. So they may not be partners. There are people not currently being served by the building and I'll say that's not a huge group because I'm here regularly and there are so many people being served, but I do think that due to its location and due to the programmatic elements that were inherited in the building, there are still some people who don't have access to this building in a regular way. And so I encourage you to reach to farther spaces in Fort Worth to invite them in and hope that you'll not just stick to nonprofit arts organizations or programming organizations. Thank you, Megan. And I will point out my friend, Estrus Tucker, who worked with us on the Botanic Garden Master Plan with exactly that goal. And I think Estrus did a great job of that. And so we will really try to emulate that in this case. There will actually be more office space with windows, I will say, in the new building than in this building. My wife worked in a windowless office upstairs for years. And so we're not gonna have that. We're gonna have windows. There's actually more office space. We're flexible in that. We did wanna make the building on Lancaster too tall because in talking to my friends in the museums and in the stock show and that kind of thing, there was a scale that we were trying to keep in the buildings here. It could be taller, but I don't think we wanna get much taller. We put the big space in the middle because we wanted to sort of bury that large volume in a place where it didn't feel too big here. Thanks to that question. I'll give you time. The building looks expensive and surely anything built here would be expensive. Do you have any early insights on programmatic elements that are vulnerable that are in the plan now but feel like they don't quite pencil out when you get to pro forma? And other elements that are really, you're very confident are financially feasible such as so much talk about the theater seems to be a financially feasible element. Is there anything that feels vulnerable to you? It's too early, Megan, to make that call because we have to go through that collaborative kind of process. And I will say, once we're out of this kind of like RFQ jail, we can be open to talk to you guys and you and I have worked together for a long time. I'm not gonna talk to you till we're through this process but after we're through that, you know how open I am and how transparent our firm has been always about the things that we do. And it's gonna be a continuation of that in this team, I promise you. Okay, two are related to- Hi, so as you've noted many times, later community collaboration and feedback will come and be a part of this conversation. So can you tell me now who on your team is specifically going to ensure that our community voices are heard and respected? And as you sit right now, what does your team have to say as a statement on accessibility and whether you find it important? Okay, yeah, you'll need to do that. I think the responsibility comes on my firm to make sure that that's why we have all these partnerships that you've seen and other consultants that help enhance even our own capabilities. So the answer is that that response that falls on the proposer, which is Garfield Public Private, which is my firm. Sorry, what was the second statement? Sorry. Do you currently have a statement on whether you find accessibility important? Oh, absolutely, everything will be, I mean, part of the reason of this and Jack's probably gonna add about this space here, but it's very important and something very critical that will have to be, honestly, addressing the programming phases as we lay out the various spaces and, again, work with all the institutions of what needs to happen here. So it's very critical. And when you say accessibility, do you mean accessibility by groups or accessibility from an ADA kind of point of view or both? Okay. Yeah, okay, yeah. It's way flatter than this is, I will tell you that, but. You ask if we had an ADA statement. It's really in our DNA on design. And I think for our firm, let me get technical for the theater people here for a minute. Our firm has really taken a stance of trying to make the spaces that haven't been accessible for mobility-impaired folks, catwalks, grid irons. We've taken a stance and we're trying to do that now, especially in educational facilities. And we have some that are designed that we can get folks in a wheelchair up to a tension wire grid or to a catwalk or to run a spotlight and do those things. So our statement is in the buildings we've designed. It's really in our design DNA now. So yes, hi, four quick points. One, in terms of the urban forestry, let's not forget some sculpture garden action in this design. I think that would go a long way. And also digital display, like large digital art display, I think might be important. I'm also a little bit concerned of maybe having a view if that's at all possible. I think those views are very inspiring and we're in the perfect spot to look at probably the most beautiful part of Fort Worth. So the rooftop also, view of mind, adding that to the to-do list. Thank you. Yeah, the view is, Amy Carter put the Amy Carter Museum where it is because there was a museum on the hill looking at the city on the hill and we've anticipated this being the same way. That's the reason that one part of the building is canted around as it focuses on that view of downtown. So I do think that's an important point. Right, we'll get our next question. I do just want to remind you that we'll keep these two questions only. If you do make a comment in this meeting, it will not be included in the comments that we actually provide. So please make sure that you write the comments down and that you submit those either in person this evening. You can drop those off right at the front desk where you signed in or make sure that you submit it using the QR code or the email address that's listed there. So even if you make a comment, which please remember to limit those and keep this for questions. Otherwise, please make sure to submit it so that we can use it. My name is Denise Salerno. I'm with the Fort Worth, I'm sorry, Fort Worth Poet Society and all years have something unique about each individual. I'm gonna skip all of that. Okay. And we are about to be out of time for our question. So if you're in line, we can get through to your question. Okay. Otherwise, at that point we'll. It becomes, I feel like this should become the core of who we are in the community. A model of encouragement it should be a place where we build unity and come together, all of us in all our talents, mixed arts, music, theater, movies, poetry, history to learn to educate, not to lose our way in the community. My question is, what do you envision to vision? I guess our group from our little discussion is kind of the discussion about what is the, what have you envisioned? What have you and everybody else in this room envisioned? Again, that'll be part of our process of whatever you're envisioning, we wanna hear that because we're not here to impose something that doesn't involve all these people here today and many others. So I think that's our response to that question. Very welcome. Who would manage the building and what kind of oversight would there be for the community? I think we hit on that a little bit. Michael mentioned a couple of different models, the zoo and the Brit model where it's managed by a separate 501c3 that certainly had to be determined of who would actually operate the building. And I think that comes along with this initial anchor tenants. We fully hope to add to that and add other community groups and then knowing what that group of organizations and individuals looks like set up the appropriate model to manage that building for all those groups to be successful and to have access to the various facilities in the building. The problem there is that like using the Brit as an example, the incentives for a for-profit company or even sometimes a nonprofit that's struggling to self-sustain don't always line up with the community needs. And so that's the concern is whoever's managing this, they need to have the community first and we need some assurances that that would be the case and that y'all's proposal isn't trying to profit from the community, but you're actively trying to benefit the community. Yeah, absolutely. This is not a for-profit effort for any of, yeah, that's absolutely not a venture we're going down at all. It will certainly be either, again, a city-run facility maybe or a 501c3 run. It's all gonna be in the nonprofit realm and community-based all that, regardless of the model. As we come to our last two questions, if I could have John with Goldenrod, our second presenter, and the rest of that team, please come down so that we can get you set up. Thank you. My name is David Martinez. He stole my questions. But I wanted to piggyback on that and what I wanted to say is in the Southside community, I just want to point out that in doing so, like kidding with the community, I'm part of a neighborhood association and then I work with other Southside Neighborhood Associations and we're actually starting a coalition. So one of the things that we're concerned with, with the nonprofits, like he said, there are other things, there are needs and wants and then there's the constituents of District 8, 9, and 11 in Southside and we're not getting represented right now. So I would like to have some representation and then some type of outreach there. But also when you're looking at partners to partner with the next building, like restaurants and things like that, we also want to know, are we going to be represented against the corporate type of class, I guess, that will suppress type of voices in my community in Southside? I understand that political things are going to happen and we also understand that we should have a voice and it shouldn't be shut off because of corporate interest and that's one of the things that I wanted to know, how would y'all go about picking partners and weeding that out, like who would be more subject to my community in Southside for Hispanic and indigenous Americans? I think we completely agree that your voice needs to be heard and this isn't a project where at a two mile radius, those are the organizations or communities we're talking to. This is greater Fort Worth, probably way greater than Fort Worth of an outreach. So it's not an isolated, small, Jack mentioned 69, who knows what organizations, communities, even stuff like yours, that needs to be part of this process. So the answer is we welcome it, honestly. There could be lots of advantages to doing that. To add to that, I've learned that if you want to be a part of the process, you have to include us in the process. If you want to use inclusive into this next building and this next process, then you're going to need to include us to meet with us at our neighborhood association meetings and things like that, where our community will be there. Well, we'll absolutely welcome that, absolutely. Hi, my name is Trista Morris and I am a local artist here in the community. I show in the Arts Goggle every year and I haven't really heard from very many of us but I've heard from a lot of people involved with the Community Arts Center. One thing that I feel that artists in the city absolutely need is artists' spaces and inclusive spaces, third spaces for us to come together as a community. We absolutely, it is imperative that you give us that space if you want the scene to continue to thrive. Another question I had is how is this space going to also include the music scene here in Fort Worth because all scenes in Fort Worth intertwine and intermingle. So how is that going to accommodate musicians as well? Okay, two things, thanks for those questions. First off, and I've went through it so fast but you may have missed the idea of a we work kind of space and we think that is the space where musicians, artists, poets, whoever come together and actually collaborate. There was a culture in Europe in the late 1800s, early 1900s, it was a salon culture where artists of different things, architects would get together with, visual artists would get together with composers and that's what spawned some of the great creativity that happened is that interaction between the different disciplines in art and so that's what we're hoping can happen in that we work kind of space and so those are the kind of spaces that we're gonna have for people to be able to come in. If you need to do a painting and you have an hour and you wanna come in and rent a space for an hour you can do that. So that's the sort of idea that we're trying to put forward here. See now that's one thing I kind of have a problem with. You said rent a space for an hour. I don't think you understand just how much money artists have in the city. We don't have much. We struggle a lot. So how are you going to accommodate artists from all parts of the scenes? How are you gonna make it accessible? I have a daughter who is an artist has an art degree so I do understand that but I think that's gonna be part of what has to work out in the business deal of all this is that somehow this all has to get paid for. And so what we have to do is find a way that things can be made low cost or free to people like you're talking about. So that's to come out of the whole business side of this but I'm sure that there's a way we can do that because I agree with you. That's an important thing to be able to do. Thank you very much. I wanna thank Garfield Public Private for presenting. Thank you all very much for your questions. We're gonna take a brief break to give you a moment to get up, stretch, maybe grab a drink or a cookie while we get our next presenter Goldenrod set up. So we will begin at 7.15. That should give you time to do those things and then we'll get started at 7.15. They'll also have a 20 minute presentation and then we'll have question and answer following that. All right, I will go ahead and introduce our second presenters and that is from Goldenrod. Go ahead. Good evening everybody and thank you guys so much for having us. I'm super excited to be here. I'm John Zog. I'm president of Goldenrod companies but I spent my last 35 years of my career at Crescent Real Estate here in Fort Worth. So I started at Goldenrod eight months ago and we're an Omaha-based company but about four and a half billion of assets and almost a billion and a half dollars of new developments or developments that are about to start. So a lot of experience in developing projects, especially P3 and public-private partnerships. Goldenrod's built arenas, theaters, hospitals, equestrian centers. So we have a lot of public-private partnerships that we've done in the past and so we're really proud of that. We also just recently bought the Trinity Groves in Dallas, which gave us an entry into the arts. So if you haven't been to the 10 district, it's an emerging district in Dallas with a lot of artists, co-working spaces, a lot of galleries that we've taken a lot of the old 10 buildings and converted that for artist use. So that is underway. Super excited to talk about this project and this great facility. I will tell you that we pivoted a little bit on our design recently. We were gonna scrape everything and then we really looked hard at it and decided that this building is pretty significant and we should take a harder look at preserving this asset. So one of the, our main, we don't have plans probably and Ross will get into this in a minute. They're all very, very conceptual and we had more developed plans that scraped everything but when we said, we just went back and looked at it and he said, you know what? The bones are really good here. This is architecturally significant and I think there's something here. So we wanted to pursue that and so that's gonna take us a little more time to get the plans in a place that we want them but we're pretty excited about that. My job is to create a great team to come work and work on these projects so I couldn't be more excited to have Gensler on board. They're an international architectural firm. They're world class and more importantly, when you go to these firms, we got the A-plus team within that firm. So really proud to have Gensler. Curry Hospitality who's gonna run our hotel down the street, I'll talk about in a minute and then several other consultants that we're bringing on board. Let's see. So right down the street, you may have seen in the paper today that we are, Goldenrod's about to start construction in the cultural district, two different projects, the Van Zant and One University. Between the two of them, you've got about 220,000 feet of office, almost 500 units of multifamily, 175, Marriott Autograph Hotel and about 50,000 feet of retail. So we'll start that in February so we're gonna have a unique knowledge of the market and construction and pricing. So we're pretty excited about that as well. But again, this site's just incredible. It's better than the sites we have down the street so we get really excited about it. But also how we can embrace the artist here and the spaces and the outdoor spaces. I was one of the founders of Clyde Ward Park in Dallas. So I really got to see how people use spaces and can design, especially outdoor spaces, how they can be designed. You also will see a hotel and multifamily. We see that though as an extension of the artist galleries going into those spaces. This is, I'm not an artist, I'm not a performer. I appreciate it, I love it. I've seen Hamilton four times. I go to museums, I love art. I wish I could do what you guys do. I appreciate what you do. If you gave me a hundred years to do one of your paintings or something like that, I could never accomplish it but I love to see it. But what I am good at is listening. So this is the first step in the process and so we are gonna be good listeners and hear what the city needs, what the artist need and design the palette of our space to accommodate you guys, that's our goal. So with that, Ross, I'm gonna turn it over to you. All right, great. Thank you, John. I don't know if I wanna hold that or not. I wanna apologize for my dress first. I really am an architect but it's breast cancer awareness day at our office so I don't have to wear this. So if I could see you all again, I'll be wearing black, I promise. So for us, this project really wasn't about architecture. It was about place making and it is creating a great place for art and artists and people who enjoy it and the full breadth of the culture of Fort Worth is about creating a place where people want to be, where they wanna live, where they want to interact. A lot of places, especially cultural arts district, are art in a dark room that no one ever sees. So our goal is to try and create a place where people want to be, want to live and want to see each other, see the arts. So as you can see, our goal is to keep, keep this existing theater and make it the centerpiece of the development. And so what we're doing is we're surrounding it and enlivening it with four pieces. We're putting a hotel to the north which is gonna be as much a part of the cultural center as anything else. We have residences to the west which will also house studios and have spaces for artists to live, limited spaces for artists to live. There is the incubation arts area to the south including a new black box theater. And then on the east side, refacing it with a large community connector that will help tie everything together. Around it, you'll see there are three outdoor rooms, patios, lawns, spaces, plazas where we think is gonna be great for art engagement. We'll explain that more in a minute. So what we wanna try and do is, our concept is to make art and culture everywhere on this site. This site shouldn't be a building here or a building there, that's the cultural center, it should be the whole site. And so that is our goal is to create a place where you can engage with art, you can be part of art, you can experience art in all its different facets whether it's formal presentations, performances, outdoor workshops, watching artists actually work in their studios. All those things need to be happening together at the same time for everybody to see. But to do that, we've got to have a couple of things. One, we need spaces that, and a variety of spaces that can support those needs. On this slide, you see not just the performance center in the middle that we're in right here, but you also see the black box theater which I mentioned, the incubator or incubator. We have the lofts and the studios where you can visit the artists and see them working. Even restaurants, we're hoping that the restaurants can be utilized to engage with the community here that I can do more than just see the arts. The hotel lobby and its amenities will be part of supporting events in our mind. Whatever those events are, either broader culture or performing or visual art specific. There's multi-purpose rooms as far as the hotel that can also act as exhibition halls can do lots of things besides just have galas and corporate parties. But having all these things together is going to enliven and make this a place to live and be with the arts. Beyond that, I mentioned the outdoor rooms. We have to have a public realm that is significant and purposeful and supports the other uses. So you can imagine all of these spaces, whether it's an outdoor performance on the east side or whether it is art exhibits in the lawns in between or whether there are other events happening around this center when you come to this place, you are going to experience and see multiple things happening. That is the idea. It's not just people like you and me. It's the full breadth of what Fort Worth has to offer culturally and not just the arts, but the full breadth of the culture of Fort Worth. Beyond that, imagine that it is a place where multiple things can coexist at the same time. So you saw before we had kind of has stretched out the cultural center. It has, it faces all four sides. It attaches to the garage. It attaches to all the streets around. It has doors everywhere and it expresses itself all the way around. But what we want to do is create a place where you attract multiple people, multiple uses, multiple kinds of events, but have events that can happen all at the same time. Be able to do a takeover. You could have an art festival that could be in here, have performances outside, be on the lawn, be part of the hotel lobby, be a part, have the artists displaying their work in their own studios, all these things together at one time taking over the whole site and being supported by not only this building in a facility like this, but also by the hospitality expertise of the hotel, which will be branded as an art hotel. We can do two events at once. This is probably pretty modest here. The idea of you might have a wedding that is using one of those lawns that before had an art exhibit on it, but it's also part of the hotel ballrooms. You can have a concert for the public out on the east side at the same time. Or we can have three other things happening. Black Box Theater could be happening in this situation. It has its own pre-function. The connector building that goes from the garage all the way through the hotel provides pre-function and separation for half a black box event, have a ballet performance, or have a gala that's on the rooftop and maybe is part of something bigger that's happening in the hotel. But it all blends together into a lifestyle that is not just about visual arts and performance. It's that and more. And then beyond that, what if this was a place that people really wanted to be? Not just when they have an appointment, but it's just a great place to exist. That the full breadth of life could be here. I can come to a performance. I can see the arts. I can watch people who are different than me. I can see people who live here. There are people who want to live here on the grounds, people who stay here and visit. Visitors come to Fort Worth and they can be here and they can see not only the other museums in the cultural district, but maybe experience a fuller breadth of what Fort Worth culture is here. Kinsenia's, Bart Mitzvah's, you name it, anything. And maybe, while I'm doing it, I can have a drink. Maybe I can walk around with a drink, get a burger, have barbecue, whatever. It's still more of living with the arts than separating the arts from the rest of our lives. So culturally, if you talk about the cultural experience, you can see it's very spread out and it attaches not only to the residences, but to the hotel. Then on top of that, you have the hotel experience, which can be its own thing, but it can also interact with and intertwine with an art experience, a performance experience. And then lastly, you have just community. People who live here, people who walk by, people who just want to be here, engaging with it passively, almost accidentally as part of their daily lives. And then all those things mixed together create a lifestyle of a place that's different than any other cultural center that I know of, but I think it's also gonna be better than and expose more people to the arts and to each other. That's the goal. And then the last piece, we don't have any models. We're just talking briefly about the architecture, which you may not care that much about, but it's something that we would like to do with the city and those they deem necessary to develop it. The architecture will be beautiful and be magnificent, but if it's not a place that invites people, engages them in a visceral manner, encourages them to stay, inspires them to invite their friends and to come back again, then it's just a building with stuff happening inside. And we want it to be more than that. And that's the concept. So if you can't tell Gisler's passion, they have a lot. I really wish you guys could have been in all of our workshops that we have, because there's 10 people behind him with Gisler that we've got a lot, really excited about this development and what they could do and how all these things interconnected and work together because activity on a lot of levels creates a great environment. And that's what we got excited about. I'll mention also, we don't have anchor tenants. If the city, our partner, the city, thought it was a good idea to have anchor tenants, I would love to have the Clyburn in here. I'd love to have the African-American Museum in here. I tried to name our hotel down the street, the Clyburn, because I'm such a fan of Vain and Tommy's. Jacques knows that because I called him for permission, but ultimately there's a lot of other venues called the Clyburn around Fort Worth, but I would love to have that there. So we're open to it as, again, these are all conceptual drawings. And we're trying to create a palette though where we have venues and we need to hear what the city wants and what the city needs and we'll create those spaces to accommodate the artist of Fort Worth. That's what we're excited about. So with that, any questions? No, none, good. Everybody have a good night. There were none earlier. And if we could have the lights come up just to make it a little bit easier for people to come down the stairs. Again, you're able to line up on the outside rows. We'll take questions kind of alternating there. If you're unable to come down to the microphone, if you'll raise your hand, we will have someone bring you a piece of paper so that you can write your questions down. Okay, and we'll get started. I saw the first person in line over here, so go right ahead. Okay, thank you and I'm sorry, some of us have left, but anyway, I really appreciate the way you have conceptually brought the community to the arts building. What I didn't see was the non-commercial arts that have a home here. A lot of artists don't sell art, they produce art to make a statement. And your art fairs, your street art, these are things that are designed to bring in revenue and it's fun art, but it's not necessarily the art that we are currently exhibiting in our galleries here. And I didn't see any location that you were really dedicating to non-commercial community art voices. Yeah, again, I think that those are great needs and we should address them. And I'd love to hear what sizes we need for those and make sure we address it. In what we produce later, we'll have an appendix because I want you to see what Ginsburg came up with with some of these artists' spaces in the galleries and the co-working facilities that they had because I think there's more detail in the appendix. Ignore the design because again, we scraped this in that original design and then at the last minute we go, hold on, what are we doing? Let's focus on this great asset and see if we can make it work. So we could go back to scraping it but we really wanted to focus and see if we could make this work first. But there is some images about some of those spaces that you were describing. But if you couldn't tell from how I was speaking, the more diversity we have in the artists and the artist types, the better. And that would be our goal to get as much a breath as we can in all experiences. Great. Well, I spent a lot of time touring your facility. This is a great facility but it's really inefficient. So we're gonna create a space that's super efficient that we can pack a lot more in and get a lot more power from what we put in. Thank you. It is a little concerning that you started off by saying that you wanted to scrape it from the beginning. And I will say shame on the city of Fort Worth because if four people submitted bids then we should have heard from everyone. Also, I don't know how much research you did on the city of Fort Worth and this particular project and all the movement parts to it. The fact that we don't see ourselves and our voices reflected in the design is also a bit of an issue. So with that said, there's 10 people behind him but there's a whole community of us here. How are you planning to not just include us but like actively be part of this community being from the outside, the fact that we didn't get to hear from a local developer how you're really gonna include our voices, include local developers, include MWBE and really not come in with the plan to save us because we don't need saving but to use our voices as stakeholders and really be part of our community. Great question. Really good question. Because to tell you a little bit about our process, we were, this is the baby step. We took one baby step off a piece of paper that we received. So what the fun part is, is doing things like this, hearing what you want, sitting in a, we will have workshops and really getting our hands dirty and understanding sizes, trying to place sizes and doing space plans and things like that. So that is the next step in my opinion but this was the first baby step just off of us reading an RFP. We have whole teams that do nothing but community engagement. That's all they do. So that would be part of it. It would be as many people as we're allowed to have engage with. And I apologize, we have to have all questions into the microphone for the recording. So part of this again is we are in the RFP process. So community engagement at this point, this is the part of the process that has been designed so that you're able to ask the questions and provide comments based on the proposals that you're seeing. Once a proposal is selected then there will be extensive community engagement and they in fact have to submit a community engagement plan as part of the criteria that they're being judged on. So that process is not finalized. There's still a portion of time based on what they're hearing today and some of the comments that are received to where proposals can be revised, sent back to the evaluation panel. There will be interviews and from there that's when the criteria will be used to select a final proposal to go forward in negotiation. That's anticipated probably sometime in January of 2024. Hi, my name's Diana Semeroth and my experience here is kind of twofold. So I grew up at Kids Who Care which is rebranded brilliantly to KWC Performing Arts. They've been a tenant in this building that's been paying rent since 1994. I think I've stood on these steps and performed here in the building. I know I've stood on that stage. My second experience is that I'm currently the COO of Maverick Fine Western Ware in the Fort Worth Stockyards. We have two sister stores on the corner of Maine in exchange, West Exchange and East Exchange. So obviously we've currently undergone a huge redevelopment with Stockyards Heritage. It's really turned out well. It's been great for business, both restaurant and retail. We were wary of that at first because we didn't know how that was gonna go. And so there were a lot of discussions in city council meetings leading up to that development about form-based code and historic overlay. So I'm curious about two things. I'm curious if that has been taken into account at all in this process because it does guide things like building heights and it looks like I love your idea for attracting people to the theater, right? Let's build up residential, let's build up hotels and get people down here. But I am wondering about what that looks like surrounding it because if it's too big it gets buried. I also have questions more about what is happening in this space because I've heard a lot about what's happening around it but what is happening in this space. And the last thing is I would advise you to be careful about residential because while hotels do attract tourists and bring people into the area people don't come to see apartment buildings. So as long as the residents can go eat at the restaurants and go see the theater, that's great. But if they're not that tight you have to be careful of that. We'll have some piece of this that will be affordable for artists in the residential. But you're right. And building height, yeah, we're very conscious of it. It's basically, let's just say roughly 10 stories right now which is what we try to do try to maintain underneath that footprint. But there are just metrics that are required in some cases to make things work. And again, they'll be part of the continued conversation about what the program should be and needs to be on this site. Okay. And I don't know are you or the other developer familiar with if there's a form-based code or if there's historic overlay in the cultural district? First of all, we're about to start construction in 90 days on $400 million of projects down the street. So there is some overlay that we had to deal with. Sure. Yes. But I don't know if I dug into it, if I read every document, no. But we have reviewed roughly, but we will get deep into that. Sure. And it's long and it just helped guide development and make sure that everyone stays authentic and true to the area. So I just encourage you to do that. Of course. Great. I gotta go the other way now. The one thing that was really important to me that you mentioned was place and placemaking which I'm very involved in an urban village in Fort Worth. And I think that's very important because placemaking means there will be community engagement. It's the only way that placemaking is successful. The other thing is hotel. And I'm going to ask you, if you're going to have a hotel, could we have a 21C hotel? It's part gallery, part hotel. There's very few of them around the country, couple who collected art. And I think St. Louis started these hotels. There's one in Bentonville, of course. There's one that I stayed in in Oklahoma City. It was a former, it's an adaptive reuse of a transmission factory. But it does have local art. And in my room when I went to the floor, it had the most incredible piece of sculpture in the middle. And of course, there was a basketball team playing there. I mean, it's a highly sought after hotel. And I always go to these hotels thinking, well, why don't we have one of these in Fort Worth? So if you could look into that, I think it would be great because I also, I used to own an art gallery. And it was in an area, college area. And it was fine and it was for local artists. But I didn't lose a lot of money, but I certainly didn't make a lot of money. So somebody said, well, if you could move anywhere, where would you want to move? And I said, I want to move next to a hotel. Because when people came to my gallery, sent by friends and whomever from out of town, I would say for the most of it, they bought something. More so than locals. I mean, it's just a fact. People who go visit want to take something back home with them. So that's all I ask you. Please look at a 21C hotel. And I think you might solve several things. We will, but there's other ways we can do it. I know New Crest and Curry have been all, they love to create stories. They're about where they are. And so they're all in and making this a cultural arts district hotel, supporting the arts in the lobbies, having performances, having artists present, using their volumes, doing all those things to be part of the, to be an art hotel. And the residents too, I've done a lot of research in this and we've done a lot. I mean, live work spaces for artists. We just don't have them. I mean, people would ask me all the time. We just don't have them. And they have to be affordable. So I just ask you. That will be a piece. We haven't picked our, we have not picked our hotel brand yet. So we'll look at that. But it will definitely be heavily art branded, no doubt. Sounds great. Thanks. Hi, I'm with Theater TCU down the street. So it's very important that the university is also part of this idea. We have often rented the space because it is a proscenium, broad waisted out proscenium with an orchestra pit. And I'm just wondering what are some of the things that you're thinking about the particulars because I'm glad to hear that you're thinking this has got good bones and we could sustain a lot of it. I'd love to get your input because there's a lot of infrastructure underneath us right here. These things are expensive to build. So if you said where sensitivities about what could get cut in the future, when we sit down in the city and we really go through a budget, that stuff is the hard decisions we may have to make later. If I'm scraping it, I might have to have that conversation. If I'm re-adapting this and making this a beautiful space of what is a beautiful theater and making it new to today and technologically correct, the bones are here, I think. But I need you to tell me that. Yeah, I'd just like to hear what you think, how you think it's, how, what things you're gonna do to make it more functional because it's kind of a pain. Well, we'll have experts do that, but the people that use it are gonna tell us a lot. Yeah, I don't think we can answer that, but we do know we need to bring it up to date. It needs to, its functionality does need to be improved. Back of house is not great. And those things are gonna happen. We've got ADA to deal with. There's all kinds of things that will have to change. And these things will, it will encompass the entirety of what you see here. But like we said, this is expensive. All this stuff right here is one of the reasons we need to keep it. And my other question is something that was touched upon. How do you bring, I mean, you're surrounding the building from being seen from any visibility from the street or from anything. How are you gonna bring the attention to that there is a theater in the midst of all of this? Oh, well, there's a lot of strategies that are there we've talked about. But what have I said? Imagine that the whole thing has a projection mapping on it. And it's this iconic piece in the middle that's always changing and always vibing is a piece of art itself. But the things we're gonna put around it are gonna be glassy and open. We're all about, you have to be able to see something to aspire to go to it. So we're well aware of that. And that's what we're gonna be doing. How do we connect all these things together so that everybody can see what everybody's doing everywhere, all the time, right? That's gonna be the goal. Thank you. There's also gonna be a lot of reasons to come to the site that we're gonna create. The hotel, the restaurant, there'll be reasons people come. So all of those activities create vibrancy. And so I think that they all build each other up. You spoke a lot about what you envisioned as being like multiplicity and culture and space and commercial businesses. Can you specify or clarify which of these spaces currently you're envisioning as being actually open to the public and like for community? Everything's potentially open to the public for a community. There's obviously a lot of stakeholders involved to say what those spaces are and when they can be open to the public. But certainly we have envisioned that a community connector that we're talking about going along the east side, connecting from the hotel to the garage would be open and public all the time. Not unlike the DMA, which has a corridor that's completely open to the public all the time. Some of the outdoor spaces open. Things around the hotel would be open at times, closed at times, depending if there is a fence or not, but they're visible and you can see them. It's parkland, if you will, all around this building that is gonna be built to Actus Park, Actus patio, Actus Plaza, Actus exhibit space, Actus workshops, Actus, all these different things that are gonna be going on at different times. And sometimes public's gonna be in freely. Other times some people might be actually paying for it and using it for something else that I could view from the connector, for instance, or from the lobby of the hotel or from my company. Two quick things of that. How does that figure with private hotels or private restaurants? And also, so you're in a conceptual stage right now, does Goldenrod have a conceptual statement concerning accessibility and inclusivity? Absolutely. Gizler's really good at this too, but this will be 100% designed to current ADA standards and exceeding it. And the park land that will be up, the parks all will be accessible. And have we gotten the details of that? No, but I wanna make sure, and these guys are experts, but that everybody can access this site because we want a lot of, like vibrancy's a big word for me. So we're gonna see a lot of vibrancy and a lot of, it's all worth coming together. It's not one group either, by the way. I'm curious if beyond ADA, and definitely absolutely including that, if you have a statement on reaching all of Fort Worth as a community and including voices of all artists and actually making it accessible and all the way that that means. We do. And if you looked at our work, like I was a founder of Clyde Warren Park in Dallas. If you were to ask me what Clyde Warren Park is, it is a melting pot where everybody in Dallas comes together with a smile on their face. And it makes me so proud. Hi. My question is, so to clarify, you're talking about the public or more community spaces being predominantly outside spaces and the event focused things being outside or like the park, when you're saying park, are you talking about like outdoors? Both, both indoor and outdoor. But obviously you have a space like this, you're not just gonna let people meander in here, right? But there is a component that where in interior components and components that the public can access as they want. They'd be gallery spaces, whether it's in buildings that we attach to this one or whether it's part of being able to see the artists in their studios or whether it's walking around the lobbies and the pre-functions of the hotel and experiencing art and art experiences. But I guess I feel like in the proposal, you were saying that the activity, like the community activity things were outside. Which is like only like six months of the year that we can kind of do that. There's eight months of the year, come on. It's a great place to live. Yeah, but we have to get into that in specifics and work out how are we gonna make one of the plazas be more shady or be more cool or do something different depending on the orientations. There's a lot of work that goes into those things but it wouldn't just be the outside, it would be outside and inside indoor experiences. But by taking things behind the two double doors and getting them out and letting them be experienced by just passersby, it does a lot to help people to know that they can engage, that they're invited and that they should be here instead of stay away. Hi. So three questions. Being that your main revenue source- Not allowed, three questions, is that allowed? Being that your main source of revenue will be the hotel and residencies and not anchor tenants. What's your plan for when the city doesn't approve the size or cuts the size of those buildings significantly shortening your budget? I don't think that that's their intent. I mean, we've heard that their mission is to accommodate what's here, but again, that's where we're getting in the weeds. We're not in the weeds yet, I wanna get there. So we're getting close. Okay, I was just wondering if you had a plan for that. Being that the other group had anchor tenants and they were established organizations while being favorited towards those organizations, which is an ideal, but they did have, that is a plan that the city won't necessarily cut in half their budget for that. Yeah, I mean, the city's my boss in this project. So I gotta do what they tell me to do and I wanna do what they tell me to do because they're listening to you every day. So I gotta, I'll have to learn that. But I hope we do everything that we can and we'll build it. Okay, in that also, if you're gonna have residencies and hotels, how are you dealing with the noise there? Because if you end up with a situation where these residencies don't wanna hear the noise, then we've totally screwed over our whole situation. Yeah, you do, it's at Clyde Ward Park, I've got hours. I can't do loud events past 10 o'clock. And so we tried to manage it that way, but you're moving there knowing you have these venues all around you. And it's part of the experience. And what's great about having the hotel there as well, and to your point earlier, your question, we have ballrooms and other spaces where not only would the public spaces that we're building here could be part of a bigger event, but we can expand it into the hotel to where we can accommodate large venues that aren't here today. Is your plan to keep all the spaces that you have, community owned and operated, city owned and operated? Is that the plan? I'm gonna listen to my boss, the city on that one. I don't know. You don't have a plan for that, okay. Thanks. I will say I've been doing high density mixed use environments for 20 years, and those questions are the ones we have to solve every time. I will say my name this time, I'm Colita Strickland. You had me until you threw up the hotel in the residence. I love all the concepts of the multiple, all of that was wonderful. With the hotel and the residences, given that you are about to build two within a two mile radius of this site, what number of rooms for the hotel and the residence, and how are you going to address parking, because we've heard before the city doesn't control the parking that we have right now. That's question number one. Go ahead. You have any answer there? Okay. So right now it's planned for a hotel that is 175 keys, and a residential building that is 250 units with an underground parking garage for 250 cars. So we'll be parking below grade, there's 35 feet of fall on the site, by the way, folks. So we have that underneath the building and beyond, underneath the residential building and beyond. All other parking will be handled in the adjacent parking garage. Okay. You already kind of addressed the noise issues that was part of his question, so I won't ask it again, but there was a lot of talk in a previous presentation about fundraising for this project. Where is the funding coming from, or is that why the hotel and the residence is part of the plan? That is the for-profit part of it. So we'll pay for those 100%, and then we'll need to figure out the funding for the rest of it and the fundraising for it, so that's, again, we're at step one, but it's good that, what I think of, one of the benefits of having a for-profit piece of that is that we will be able to contribute continually to the maintenance of this project. Okay, and one of the questions I was asked earlier, and I want to throw this into the mix, that there is a foundation directly related to this space, an endowment that is in place, and how will that be impacted by your plans? I know you said you were gonna hopefully expand it. And enlarge because it's a better facility and there's more activity and more people, more eyes viewing it, so yeah, because you have the vehicle in place to do things is an advantage. We just need to see if there's a way to grow it even. And a question that was asked earlier, management of the entire complex. Where is that gonna lie? So Curry Hospitality will manage our hotel, along with Goldenrod. Curry has the hotel Sinclair, downtown Fort Worth, and the hotel Venn and Collyville. They've got 15 autographs around the country, Marriott autographs, they're really good operators and they're really good at F and B, food and beverage. We'll manage the multifamily, Goldenrod will, and then I think it would probably be a partnership of the city on the other facilities. Yeah. Does the city have anything to say about that? I mean, the person from the city that's here. No, so at this time that's all part of when proposals are being evaluated and there's negotiation, all of that will be fleshed out during that process. And I heard somebody earlier say there were four organizations that presented something. Are we gonna hear from the other two? Or we did just did these two because we only had that much time tonight? Or are we done? Great question. So there were four proposals that were initially sent in. Those proposals were evaluated by the evaluation panel and that panel determined that two were able to move forward as viable options at moving forward with the city in this process. So that's why you have two. There's no limit. It was just based on the criteria and the evaluation of those proposals. And was this one evaluated on what we saw tonight or what they scrapped? So this was one of the proposals that was reviewed by that panel and was chosen to move forward. Yes. Thank you. Yes, great questions. I will let you know we are running short on time. So if you're in line right now, we will be able to get your questions. So we'll get everyone who's in line now and that will be the end of our question and answer session. Thank you gentlemen for your time to make proposals. I work as a nonprofit community arts developer and community developer. I also manage a cultural district for the city of Fort Worth and I have some perspective on development. I'll tell you what you're proposing looks very expensive. And so the questions I have are specific to the idea that there's a pretty significant profit model at play here and the censorship of art and the art that is seen in these spaces is likely to be very different than what artists are engaging with now in a community-owned space and they're able to be provocative. They're able to engage in pretty intense conversation about cultural matters as it relates to our city and the fabric of the city. I wonder if you can comment just a little bit on what your experience is or what your proposal would be as to how censorship for art would be handled in these spaces. And then on the other side if you can just elaborate a little bit on affordability because I see a lot of pay to perform in style spaces so you could pay to have a festival, you could pay to rent a space, you could pay to be in the ballroom. But the model that is operating here quite successfully is kind of community-based programming that is not always coming through a non-profit partner but is sometimes an individual artist who is hosting a class, for example, or giving an artist talk. And so if you could talk just a little bit more about how those experiences might perform in your space without payment for the reservation of the space, that would be great. And the affordability of housing that you talked about. So a lot in there Megan, but good questions. Let me start with your first one. So I'm gonna have a really good idea of cost because I'm doing the same size hotel and the same size multi-family two blocks down the street. So I've got a pretty good handle on that. This is a little different site because there is a slope that's much bigger than we're even dealing with on university. But the public spaces, I don't have a grasp on cost yet, but we'll get there. And then... I guess what I'm worried about is just that... Sorry, what I'm worried about more than you being able to afford it. I believe this could be afforded, right? This looks like it pencils out in a pro forma. My concern is that there's so much for-profit model proposed for the land use that that for-profit model is going to have an investment in wanting to carefully curate and censor the type of art that exists around its hotel, for example. Yeah, so I don't know the details yet, Megan, to be honest with you. I would tell you just in the top of my head, off the cuff, I would say there's probably different levels. I hate to say in the word censorship, but approvals, there are different levels of approvals that would happen. So the hotel and multi-family would probably have a different level of approval than the city and facility. And I wouldn't say that they're gonna be the same at all. And for the affordable housing that you've mentioned, are you envisioning that as affordable by design or would that be seeking tax credits or other types of kind of public-private partnership? No, we'll have a deal with the city on a percentage of affordable units within the multi-family. And then whatever the city's maybe-we-be minority own, we'll exceed that significantly. Okay, thank you. Hi, I was late to your presentation. I have a four-year-old, so I was trying to get him situated, but my question's kind of along the same lines as far as tax incentives. I was looking at the city council presentation for the work session yesterday. And it said, there's an interesting footnote. It said, for the Vansant development, initial site work is underway to support forward progress, but vertical development is not feasible without incentives. And I'm just trying to think how is a third development under Goldenrod even practical if that financing model is the only case here? I know this is public-private partnership, but still it just seems like everything's riding on the city just giving all these incentives. Is that- Yeah, I think it also said that we'll return much more than the incentives we're getting in taxes pretty quickly. But being pioneers in those two projects really are pioneers. We're getting basically the same thing Crescent got for their development. So it's stimulating, and especially the office space. So we're trying to get new office space to attract companies, hopefully from not just Fort Worth, from around the country. Yeah, it just felt like a third development is a lot. I can't be more bullish on this neighborhood right here. Okay. I think Texas is the best place to invest, and I think the best place to invest in Texas is Fort Worth. What would this development, if it happened, would Vansant get shortchanged or would Amolet get shortchanged? To me, all of this creates energy and each of them builds the other one up better. So I think, no, I'd do a fourth one if I could find it. But doesn't the mallet- Do you have a fourth one I can go work on? Yeah. Because I really would. Doesn't the mallet already have the AC autograph hotel, 175 key proposed though? So this would be like just two blocks away, another? If you just take a look at what the drover did in creating a neighborhood and a notice and a vibrancy of that area, I think that's what's gonna happen here with our hotels. Okay. I don't disagree with you. I just was asking the question more about it. I think we were starved, we were starved at Fort Worth for that type of product. So something unique, something cool, something new. You know, the Worthington's great. We've also, there's these great venues that are unique and cool in a perfect neighborhood for it. Okay. My thoughts. Hi, I have a couple of questions. The first one is, and I'm not an artist myself, I'm a supporter of the arts. And so my question is what, with your proposal, what was the community need, what's the community need that you think you're meeting or that was going unmet? So like from the community perspective, what do you think the need that you're feeling is? That's a good question. The need is for a place where they can be heard and seen. Would be the idea and engage with something that they maybe have not felt like they were allowed to be, to engage with or were welcomed. And that they are the artist or the community members. They are community members. The broader community, Fort Worth, you know, we're talking about equity, places that you feel welcome and invited. Everyone feels welcome and invited. That's the goal. Okay, I would encourage you to reconsider what's the need that you're meeting because I as a community member, I feel like my needs are met. I have so many cultural assets that I can visit, whereas artist's needs are the ones that are going unmet in this community. So I think when you said placemaking, I got excited by that. Somebody else said that too. I got excited by that because I thought you were talking about placemaking for artists where they can actually live in community and sustainably. And I definitely heard the limited affordability or like limited studio comment. I appreciate your transparency on that. So yeah, I would just, I think that there's a, I don't think that the need that you're meeting is like actually an unmet need. So then my other question is just around the, the amount of square footage that's going to like private development in your plan. It just seems like the artist can engage in with the art is like maybe 20% of what the whole plan is. Whereas this right now, this space is like a community engagement vehicle and square footage. So I didn't, how, how, okay. Oh, I guess the question I'm getting at is if the, if the, if the city picks you, does that mean we're definitely having a hotel and a apartment here? Or is that still like, you know, the listening, the engagement tour, is there still a possibility in the community engagement process for that to change? Or is it, if you're selected, there's definitely a hotel and a apartment. All right. One, there was never any discussion or intent on modifying or changing the community that exists here for artists. And I consider artists part of the cultural environment of Fort Worth. So there's obviously a lot of square footage that's going to be for, just for artists and art. And it's the things that allow people to engage with it that we're trying to add onto it without diminishing what you'll have already. But we did have a program we had to respond to in this case. And of course that program can change as we get into community engagement portion of the project. As opposed to the other programmatic questions she asked about. Again, I'll be working for the city of Fort Worth if they'd like to see something different, we'll do something different. So we'll find out. Thank you. Hi, yeah. My question very much is related to the last question. You know, given that the majority of members on the 1300 Gen D task force actually represent many great other institutions that are in the area, but not necessarily on site, what assurances do we have as a community that a hotel would serve this site best not the broader cultural area best? Do you understand? Yeah, I don't know if I could even answer that. This might be a question for the city also. I mean, I see how it can and should and will serve both. Right. And why you would care if it serves the city and also serves this community here at the same time, that would be the conceptual goal. Right. And if there were feedback from the community that more art spaces rather than commercial spaces, hotel spaces. Yeah, that would be up to the... That would be up to the task force. Yeah, I'm sure. And so what assurances do we have that the task force centers the needs of the community, the needs of this space rather than the entire footprint of the cultural district? Sure, so to clarify that the task force, once it made its recommendations and those were accepted by city council, this is now squarely with the city so it doesn't go back to the task force. What the city did in creating the RFP was use the criteria that the task force outlined as well as after public comment what the city council gave direction on and that's what's in the RFP. So that's what's used to make that determination and part of that is certainly bringing a broader base to the site. That's part of the criteria and what they're looking at. So that's all what's being evaluated and what would be part of those negotiations. Thank you. I didn't hear y'all mention this in your presentation but I would like to hear y'all talk more about the value that this building adds as an arts incubator. I didn't see that mentioned anywhere in your presentation so I'd love to hear more about that but also as a Nebraska-based business and there's a Dallas office, how would you handle the community engagement here on the ground? Like would you hire a local company to do that? Because even with a Dallas office, Dallas and 4th are worlds apart and it takes knowing the community members here and having those relationships with them to build that trust, especially from an out-of-town company. And also if y'all aren't selected as the finalist for this project, now that you've done this RFP and you've learned the value of the arts, especially in this area and you're already building in this area, will you incorporate some of what you've learned into the van Zandt and all the stuff that you want to build here? One question. Lot to have back there. We're done with our design on the other two so there's some nuances I might be able to bring here that I think are cool because as you know, the crosswalk from the mall goes into the plaza of one university. So we are right there and we created a lot of open space to embrace that. So there's gonna be sculpture in there and I'd love to find a Fort Worth artist to do that. So that was question one. What was your question? The other is community outreach. How are you going to deal with that here, local and with all the connections and relationships that are needed to build here, not so out of town? I'm looking for office space right now. So I will have office space. Probably gonna be right around one university in that area because it'd be convenient. We've got with that much product, we need space here. And so I frankly will have more people in Fort Worth than I will Dallas with a lot of backup, mainly construction in Omaha. And oh, to your other question, co-working. Well, not co-working, arts incubator because I don't know if you know this, but almost every theater in town got their start in this building. Yes. Like it's an economic driver for local businesses. Yeah, I would think this, the black box and what else we're doing would be, have an incubator program, I would hope so. Well, would y'all be managing that? Like what's the deal with the management for them? Yeah. I don't know how that's going. I don't know. Okay. We don't know yet. All right, thank you. Hi, Dennis Eastlis. I'm the executive director for Theater Network of Texas. We have been a tenant here since 1985. I actually like this proposal. I'm sure you've heard how much we advocate for the arts here. My question to you is, if selected, how long do you anticipate the displacement of the tenants in this building? Because that's a big issue for me because I don't know where I would go. That's a great question. We would probably try to find some alternative space to get by. My guess is this is a two-year build. Start to finish. Great. Is that right? Yeah, that's about right. Right. We could phase it. So those are things we might learn. Yes, sir. Hi, my name is Matt Sacks. I help run a joint called the Grackle Art Gallery. We are a local nonprofit. We show local artists, local musicians, no fees, no commissions, nothing. What should be important in this area is that the people in Fort Worth, the art culture in Fort Worth is given a place to express ourselves. Money is not important. Hotels, restaurants, bars, that don't mean what is vitally important is that a place be given for artists to express themselves in this city, our culture, our place where we live. Amen, I'm for you. Hi, my name is Trista Morris. I'm a local artist here in Fort Worth. I've been to Hotel Vinn and I'm gonna go ahead and agree that what you're proposing here does sound incredibly expensive. So what I have a question, the question I have for you is, what is affordable to you? Affordable studio space, affordable housing, affordable theater space, affordable rental space. What is affordable to you? I think the affordable gallery space will be determined, I think it should be. So I've got to work with Fort Worth, figure out what that would look like and what the existing is here. The affordable rental space will be determined through a median income model of the neighborhood and that's what Fort Worth will tell us what that is. Okay, and I have one other question for you since I happen to be the last one in line. How are you going to make this accessible for younger artists in the younger generation? That's my other question. I'd love for you to give me a lot of input to that and tell me how to do that. I would love to. I really would. Affordability is a huge part of it. Great last question. I hope you, whenever we have our next workshop, we really'd love to sit down and hear your thoughts on that. I'd love to give them. Yeah, I'll tell you from our point of view and there's lots of things that go into this, we would love it if there was a place where artists could live and do their work at no cost and be able to be part of the experience of being here. I don't know that that will or can happen, but as far as I was concerned, that would be my goal. Thank you very much, Goldenrod, we appreciate it. I'm sorry, just quick. We just spoke earlier about the criteria in which these developers were decided on. Is that still available so that audience can go to it and see what those criteria is worth and if so where? Yes, sir, it is available. It's on the city of Fort Worth's purchasing page. What we can do is have the RFP document posted onto that 1300 Guindy Street page so you don't have to surf around the city's website. It will all be available there. On that, in that document, let me see if I can tell you the page numbers while I clip them out, but it's available in that document. It will show you everything. Each category had sub points awarded to it and a description of what each of those criteria were. So you will be able to see that. We'll make sure that gets added tomorrow. Thank you for that. Yes, sir. Yep, and we'll get that put up on the screen. We'll have the 1300 Guindy Street website. It's forwardtexas.gov backslash 1300 Guindy. If you scan the QR code, that should also take you to the form. So I first wanna thank you all for coming out. The gentleman mentioned having to wrangle a four year old. We know that you had a lot to do. You had to deal with traffic to get here. So thank you for coming. This is an important part of it. The second step to this is making sure that you submit those forms. I know you're tired of me saying that, but it's critically important because that is ultimately what we can use to synthesize to get the comments to the proposer. So please make sure to submit those forms. The deadline is 4 p.m. on the 16th. Make sure to send it to that email address. Make sure to have that included as the actual subject line. That's on the piece of paper you have. If you scan that QR code, it will also take you to that. It's also available on that 1300 Guindy Street website. So please make sure to do that before the deadline so that we can include your comments. Again, tomorrow we'll make sure that the website is updated so that it has the criteria that was requested. It will have the full document as well as the slides from today so that you can look at those in a little bit more detail and come up with your comments for those sheets. But again, thank you very much. We appreciate you coming out.