HomeMy WebLinkAboutSEOPW OMNI CRA 2002-02-25 MinutesCA
CITY OF MIAMI
CRA
MEETING
MINUTES
OF MEETING HELD ON FEBRUARY 25, 2002
PREPARED BY THE OFFICE OF THE CITY CLERKJCITY HALL
Sylvia S. Scheider/Acting City Clerk
MINUTES OF THE REGULAR BOARD OF DIRECTORS MEETING OF THE
COMMUNITY REDEVELOPMENT AGENCY FOR
SOUTHEAST OVERTOWN/PARK WEST AND OMNI DISTRICTS
On the 251h day of February 2002, the Board of Directors of the Community
Redevelopment Agency for the Southeast Overtown/Park West and Omni Districts of the City of
Miami met at the Old Miami Arena, VIP Room, 701 Arena Boulevard, Miami, Florida.
The meeting was called to order at 5:43 p.m. by Chairman Arthur E. Teele, Jr., with the
following Board Members found to be present:
Chairman Arthur E. Teele, Jr.
Vice Chairman Johnny L. Winton
Board Member Tomas Regalado
Board Member Joe Sanchez
ABSENT:
Board Member Angel Gonzalez
ALSO PRESENT:
Carlos A. Gimenez, City Manager, City of Miami
Frank Rollason, Assistant City Manager -Operations, City of Miami
Robert Nachlinger, Assistant City Manager -Finance & Administration, City of Miami
Genaro "Chip" Iglesias, Chief of Staff, City Manager's Office, City of Miami
Alejandro Vilarello, City Attorney, City of Miami
Ilene Temchin, Assistant City Attorney, City of Miami
Dennis Wheeler, NET Coordinator, City of Miami
Albert Ruder, Director, Parks & Recreation, City of Miami
Sylvia Scheider, Acting City Clerk, City of Miami
Anna Rojas, Chief Deputy Clerk, City of Miami
Annette Lewis, Executive Director, CRA
February 25, 2002
Chairman Teele: Ladies and gentlemen, if we could, please, we'd like to begin. We're very
pleased to have our Mayor, Mayor Manny Diaz. We're pleased to have the County
Commissioner, whose district we operate in, Commissioner Barbara Carey-Shuler. And if
Mayor Diaz and Commissioner Shuler would join us up front here, along with our board
members. Commissioner Regalado has been here since 4 o'clock. So, he's ready to go now.
Ladies and gentlemen, would you please give us the benefit of your cooperation, and take a seat.
We're going to reverse the seating somehow. Mr. Grant. Mr. Mayor, you're here.
Commissioner Carey, you're with the guy. Watch his knees. He's always rubbing knees. Your
seat is right here, Commissioner. Ladies and gentlemen -- Hilda, could we move the monitor off
a little bit? What we're going to need to do, before the panel gets seated, we're going to need to
probably reverse the order of the panel. In other words, we're going to need to get a couple of
people to switch their chair around, so that the panel is presenting to the public, as opposed to us.
And we appreciate the notion that they should present to us, but we're not going to make any real
decisions. We just want to get input. If you would please join us for a moment by standing in a
moment of silent prayer, followed by the pledge, as we begin our CRA (Community
Redevelopment Agency) board meeting. We would offer special prayers for our soldiers around
the world and, of course, the people of New York.
An invocation was delivered by Chairman Teele, who then led those present in a pledge of
allegiance to the flag.
Chairman Teele: Thank you all. Is you Eugene Rodriguez — is Eugene here? Eugene, would
you come forth? Commissioner Winton just said, "They don't call this place Big Time
Productions for nothing." Won't you join me in saluting our host, Eugene Rodriguez, who's
hosted us here tonight; Big Time Productions.
[APPLAUSE]
Chairman Teele: Mr. Mayor and members of the public, we have CRA (Community
Redevelopment Agency) board meetings once a month. We rarely — we have never had one in
this facility, and we have never had one under such dramatic arrangements.
Board Member Sanchez: Well, I suggest we hold them here every month.
Chairman Teele: But what we would like to do is, we have a very limited agenda. We're very
honored tonight to have with us both the County Commissioner whose district that most, if not
all of the CRA — right now, it's most, but after the boundaries, it'll be all. Commissioner Carey
is up with the Boundary Commission, and the County has redrawn their boundaries. So, we'd
like to at least acknowledge the CRA County Commissioner that we work so closely with, and
we're trying to ensure that the County concerns are attended to. Won't you join me in
welcoming Commissioner Barbara Carey-Shuler.
[APPLAUSE]
Chairman Teele: And, of course, the man that needs no introduction at all, but he is the Mayor
of the entire City, all of the districts — all five of the districts, and we're delighted. This is our
2 February 25, 2002
first CRA board meeting that we have had the honor of having Mayor Diaz to join us and be with
us. Please welcome Mayor Manny Diaz.
[APPLAUSE]
Chairman Teele: I'll yield to the Commissioner, whose district we're in right now,
Commissioner Johnny Winton. And, Commissioner, why don't you tell us the order of the day
and how you would like for the board meeting to proceed. We have a very limited agenda, as
you know. And the focal point of the agenda is actually two presentations. One regarding FIU
(Florida International University), and the other is a — we've invited a panelist — a group of the
public. You've recommended Michael Springs and Michael Springs will facilitate the
discussion. We've invited Max Anderson from the Whitney, and several other distinguished
persons, including Parker Thompson, Mr. Mayor, and members of the board. I would note that
we have a number of private organizations, of course, that are here with us. Is Marty Margulies
still here? Is he still here? Mr. Margulies was here early on and he, of course, has a tremendous
support for the Arts and Culture, as well as representatives of Kislak Foundation. Are they — are
the representatives here from Kislak still here? Yes. So, we have a number of people, as well as
a number of other dignitaries. So, Commissioner Winton, I would yield to you and you can give
us the order of the day that you would like to proceed.
Vice Chairman Winton: Well, it seems to me that since we have this distinguished panel of
guests, who are here prepared to talk about arts and culture and the kinds of things that are going
on in this area, we might want to pick — move to them first. Because I think some of them have
to leave earlier and I think there's people in the audience that has to leave also earlier than we
might get done with everything else. And, then, I think the rest of the order is yours.
Chairman Teele: OK. Then what they had recommended was that FIU go first and then let the
other group, if that's all right?
Vice Chairman Winton: That's fine.
1. FLORIDA INTERNATIONAL UNIVERSITY (FIU) PRESENTATION ON RESULTING
FIRE STATION NO.2 CLASS PROJECT.
Chairman Teele: Mr. Mayor, members of the Board, one of the things that — one of the assets
that the City has is a fire station designated as Fire Station 2, which is just a few feet from here to
our east. Fire Station 2 has served almost as an attractive nuisance in some ways. Everybody
who drives by it says, "I'd like to do..." You fill in the blank. And, so, from a Hooter's to an art
museum to an adult dance facility, we've had all sorts of ideas. FIU (Florida International
University), under the leadership of Ms. Luke — Frank, why don't I yield it to you, since you
created this.
Frank Rollason (Assistant City Manager, Operations): I created this mess.
Chairman Teele: Let me yield to the Assistant Manager, Frank Rollason.
3 February 25, 2002
e
Mr. Rollason: Hi. Let me just go back just a little bit. A few months ago --
Chairman Teele: A former firefighter, I might add.
Mr. Rollason: Who worked out of that fire station. When I first came on the job, I worked at
that station. I was invited to partake in a weekend event with the students from Flu, the
architectural students, who did these projects that are out here in front of you. And at the close
of that event, I found that there really wasn't anything that was going to happen with these and
that was the end. They had done their student projects and that was that. So, I got together with
Ms. Claudia Busch, who ran that program and I'll let her talk about the program -- and offered
them to display them in the lobby at our administration building over on the river, and they were
very happy to do that and very gracious to do that. And they were there for the total month of
January, and it created a lot of interest, along with the interest of the CRA (Community
Redevelopment Agency). And the CRA, through the Chairman, Commissioner Teele, requested
that we put something together and be able to bring it here for your enjoyment tonight, and to see
what these students have put together. And, with that, I'll turn it over to Ms. Busch.
Claudia Busch: The Honorable Mayor, Mayor Diaz, Chairman Teele, and City of Miami and
County Commissioners, I want to thank you that you give us the opportunity that I and my
students will present you with a project that — of the fire house. We will present to you eight
designed projects produced by the students of School of Architecture at Florida International
University. But, before, I want to talk about the project. I actually want to talk how it got
started. This is the final year of the undergraduate students, and they actually work in terms of
creating a thesis and research. So, we were looking in Miami on museums and exhibition spaces
in Miami. And the students visited the museums in Miami, like the Miami Art Museum, the
Mocha, the Bass Museum, and the (INAUDIBLE). But, we also went to the private collections
by Marty Margulies, Rosa de la Cruz, and the Rubell Collection. We realized that there is a need
for an alternative channel to exhibit art in this part of the city. At the same time, I was working
with Eleanor Kluger here on projects in the Omni, and she introduced me to a proposal by
George Sanchez. George Sanchez — I made a proposal to convert the firehouse into an art
cultural center, and we thought that would be a great idea, and we took this idea and developed
this studio. I want to thank Eleanor and George for their input. So, then, as Frank said, he came
— usually these studios go for two months and then, at the end, we have a final review. And we
knew that Frank was interested, so we invited him and he came over and it was great, his input.
So, that's how I'm here today, and thanks for that. Thank you, Frank. I want to talk about the
location of the building. The building is actually in a very interesting intersection. If you'll look
at the south — no, east/west connection, 14`h Street. Fourteenth Street brings you all the way up
to Jackson Memorial Hospital. Certainly, you know, there will be, in the future, just a few
blocks away, the Performing Arts Center to the east. And then, actually, the Performing Arts
Center defines -- the firehouse defines the western edge of the median as an entertainment
district. And I think it is a very important location because it can bring, you know, activities
from Overtown, and further activities to the west. And then, you know, the relation to the south
and the north is that there is a -- all the way here, up to the north there, is developing creative and
artistic businesses, such as photo studios, advertising companies, web design companies. And to
the south, we're having the NAP (Network Access Point) of Americas. And, as you know, on
I Ith Street, there will be all these clubs that are established in here. The main objective of the
4 February 25, 2002
project were actually three objectives we had. The first one was, how can we create a new
identity for the firehouse? We were interested to create an identity for this place that is
connected to the community and to the new merging media and arts district. The second
objective was, how can we revitalize the area? And, you know, what kind of program activities
we should inject? And the third one, how can we preserve the building? In terms of the
program, you know, as was said, we had different components. Students did individual research,
and developed their own ideas, which basically emphasized to create a place how the culture of
the arts can become a part of this community. Actually, we had multi -functional programs, such
as, community exhibition, education, or entertainment. Art was emphasized in the sense of an at
that can be produced today, like -- or tomorrow. We think of large scale environmental work
sites, specific installations, or electronic and media productions. I want to talk about the
historical preservation about the building, and I want to be specific about the building. And, you
know, if you look at the building, there is actually two major facades. One facing to the south
and one facing to the west. And we really felt that these were the most important facades. And,
in terms of the architecture, the corner piece is actually much more weaker in terms of
articulation. So, we let some freedom that they could -- the students could explore. I want to
talk about these projects in relation to the way how they opened the building up, and that's really
related the way how they thought about the community, and how they thought about the
programming. So, you can see the project by Marina Giammatten. She opened it up with the
skate park. And if you look at the video, what the student actually developed there is, he kept it
completely the shell of the existing building. He didn't modify the building. But inside he
opened it up, took out the floor, and created his own video installation. I would like to introduce
Marina to talk about her project.
Marina Giammatten: The intention of the project was to create a program that -- where the
community can gather. Looking at the larger context, I noticed that there were schools close by.
And so, then, I took this opportunity to allow for the possibility of inserting an art center for the
students. In order to attract the young of the surrounding, I found it necessary to develop a
program that allowed the young to do an activity they liked. The activity I considered inserting
into the surrounding areas was a sport that emerged from these areas, which is skateboarding.
And, it has become very popular with the youth. In this way, skateboarding interacts and acts
like an art, exhibiting itself to the community. The unifying element between skateboarding and
the art becomes a couple of interlocking ramps. One was designed to project the visitors out into
the skate show and take them to the second floor, where a double height space permits them to
view more skating from above. This would also be an ideal space for photographing and filming
this activity. The other ramp injects the skateboarders into the building for the viewing of the
exhibition. The ramps and the wall of the skate park could also be used to project video art, and
these projections don't have to be limited just to the building. They can extend out into the
community and add a new layer to the City fabric. Working with a historic context allowed me
to create a stage set, something unreal, a mark of time that would be the stage set for the skate
park, and to create a space where the old and the new can coexist and act simultaneously. The
program of the new, the skate park, and the old, which is the exhibition and community space,
allows for the entire community, the old and the young, to come together in one space.
[APPLAUSE]
5 February 25, 2002
Ms. Busch: The projects by Kenneth Mata and (INAUDIBLE) Ortiz basically kept also the front
fagade and inserted wings — new wings into the firehouse. And the one by Kenneth Mata was,
the wing would be a transition zone between the street and the new garden in the back. All the
students could use the back side of the building. And he created on the ground floor,like a
restaurant,and on the second floor, classrooms for media productions. The project from
(INAUDIBLE) was inspired by music, the thought of including a recording studio in the back,
and it created a wall that is adjustable in relation to different exhibitions. Would like to
introduce John Estupinan, who has really a very interesting program, a museum for photonic art.
John Estupinan: Good evening. Our objective is to re-classify and restructure a new program,
with the existing site, to host an art museum. My objective for design was to retrofit the existing
structure, while maintaining its historical qualities. Additionally, a new design context was
added to host a new program with the Art Gallery and Community Center. My concept with the
museum is a reflection of the emerging technologies in Miami, such as the NAP of the Americas.
Technology was my source of inspiration for design. I introduced an art form by photonics. The
art form, by definition, is the technology of generating and harnessing light forms. Photonics is
generated by optic laser transmissions, which normally has industrial, biomedical, and
mechancial functions, but can be perceived as an art form due to its radiating display of light. To
reinforce my objective, architecturally, I have designed the exterior and interior partitions of the
building as an exposition of art. And the social interactive spaces were manipulated to suggest a
virtual expression of art. Additionally, I explored the relationships between the existing and the
new spaces to show distinctions of program and architectural design. My design is composed of
two basic units: the existing building and the new addition. The existing portion can host the
community events, a virtual library, and a possible cafe. This area here would be considered the
social interactive spaces. The second unit will host the functions of an art gallery. In conclusion,
the City of Miami has the potential to emanate the social class with the arts, by introducing a
technology (INAUDIBLE) museum. I believe we can do this by injecting art into the Miami --
Omni district by a form of emerging technologies. Thank you.
[APPLAUSE]
Ms. Busch: The projects by Alfonso Garcia and Claudia Sentina (Phonetic), they basically kept
the whole building in the front. And Alfonso worked with the idea of billboards, thinking that
billboards could connect use from I-395 all the way to the fire station. He also think the idea was
actually kind of a virtual billboard or a portal, how he mentioned it, that the imagery and projects
that are produced inside of the building would be projected on the billboards on the outside. He
opened the whole back wall of the fagade in creating a really interesting interior/exterior
experience. And Claudia Sentina, she developed a project by thinking that this could be a
building with multi -functional; that it, at one point, could be used for community activities;
another time, it could be converted into exhibitions, and a third time, it could be used for
workshops, educational workshops. And she created a huge, large multi -functional space that
can be adjusted through partition and movable walls. Now, we want to talk about the last project
that was developed by Marcelo Valdivia. And he developed a very elegant and minimal scale.
Marcelo Valdivia: Good evening. In general, the objective of my design, which I need virtual
blocks, was to complement the existing building rather than to compete against it. The station,
6 February 25, 2002
itself, as seen in the articulation of its fagades, represents an artistic expression that has slowly
faded throughout. Its interior walls, deteriorated and corroded, show the layers of time the
building has passed. So, all in all, the fire house is a historic monument, an icon that has been
underdeveloped, along with the community that surrounds it. The design concept was initiated
by intentional forces generated by North Miami Avenue and Northeast 14th Street, to elongate
and expand into the community north of the building. This expansion and elongation creates
layers that become interfaces, similar to the layers that exist, as one transitions from a public
space to a private space. In addition, the existing building now becomes a layer in itself, a
threshold to the community. In conclusion, the design idea was to integrate the solidity of the
existing structure with the new transparent and translucent layers. The existing classical style of
architecture -- post -martyred one, and the community with a public building that is meant to
convey an identity and entice others to explore the many functions.
[APPLAUSE]
Ms. Busch: This is the design studio of Florida International University, and I just want to
comment on this. It is certainly always exciting to bring in real clients, site, or program into the
studio environment. But, also, you know, we certain -- (INAUDIBLE) in one hand as
conceptual as real. I mean, when we work on these projects, I mean, every student defines his
own clients, the site, the program. And, you know, but that allows you, actually, at this point, to
see the firehouse in many different lights and in many different visions and I hope it can
enlighten the (INAUDIBLE), what the firehouse could be in the future. Thank you.
[APPLAUSE]
Chairman Teele: Thank you. Thank you very much. This may be an excellent point to pause
and introduce the two people that were really motivating forces in this process. We're very
proud to have our own Omni Board Advisory Committee Chair, Ms. Kluger. Eleanor Kluger, if
you would join us at the podium, as well as --
[APPLAUSE]
Chairman Teele: -- Mr. George Sanchez, who needs no introduction.
[APPLAUSE]
Eleanor Kluger: Thank you, Commissioner Teele. It's a pleasure to be here and it's a pleasure
to see all the people here interested in the Omni and in the firehouse, and it's a team effort. We
all have to make it go, and I'm sure we can.
George Sanchez: I'd like to thank Claudia and all the students, that they did a phenomenal job. I
know that, throughout the semester, there was a lot of hurdles that they had to deal with,
sometimes in the critiques, some of the comments, you know, hurt some peoples feelings or
stepped on toes. So, I know it's not an easy thing to go through. But I would like to point out
and thank the Commission, the Mayor, Commissioner Teele, for supporting the blessing
7 February 25, 2002
underneath the expressway, the exhibit, which I believe is the first art exhibit ever funded by the
City of Miami.
[APPLAUSE]
Mr. Sanchez: But I would really like to point out that, in the proposal, it clearly states, with
evidence, the economic impact that the arts community has to offer, that it's not a fantasy o,r in
any way, delusional. The art is bringing economic impact into the community. And it's
demonstrative what's happened in Chelsea, (INAUDIBLE), Williamsburg. It's basically a
formula throughout the country. I think, with the City's commitment -- and what I would
suggest is possibly creating an exploratory committee of what could really be done with this, or
even someone in the City that was in the position of cultural authority, that we could take it to
another level and really start making some progress in the way that we go. Because the Cultural
Affairs Department in Dade County is very different than what we don't have in the City of
Miami. And I'm not being critical. I just — it's something I feel quite passionately about, being a
property owner in the neighborhood as well as an artist. So, I think we're beginning to bridge
the gap in South Florida in that manner. So thank you very much, and thank you very much to
FIU.
[APPLAUSE]
Ms. Kluger: One more "thank you" to George. It's nice to have young blood coming into the
area and helping us. He's really been a driving force. And the Omni Advisory Board couldn't
do it without young people enthusiastic like him, and without the help of all the governments.
And, yes, we do need to join together, And that's the goal, is the County, the City, everybody, to
build Miami and to build a wonderful downtown.
[APPLAUSE]
8 February 25, 2002
2. (A) AUTHORIZE EXECUTIVE DIRECTOR OF CRA TO REMIT $1,430,000
FROM OMNI TAX INCLEMENT FUNDS TO MIAMI-DARE COUNTY FOR
PURPOSES OF PAYING DEBT SERVICE ON PERFORMING ARTS CENTER
BONDS.
(B) DISCUSSION WITH MR. MAX ANDERSON OF WHITNEY MUSEUM, NEW
YORK.
(C) PRESENTATION BY CITY DEPARTMENT OF PLANNING AND ZONING
OF NON -CONFORMING STRUCTURES OVERLAY (FIRE STATION NO. 2
MOTION PICTURE/MEDIA DISTRICT) WITHIN REDEVELOPMENT AREA.
(D) DISCUSSION WITH EUGENE RODRIGUEZ, BIG TIME PRODUCTIONS.
Chairman Teele: Mr. Mayor, just so that you're aware, we have two advisory boards, one
for the Omni and one for Overtown, and we collaborate, through our staffs, with those
advisory boards, to make certain recommendations. One of the things that we want to
make very clear today -- and I think one of the presenters, perhaps said it more eloquently
than we can say it, and that is that art and culture really can make an impact in the Omni.
We have -- the CRA (Community Redevelopment Agency) board has no agenda here
tonight or today regarding where it is we're trying to go. What we're really trying to do is
hear from the community and let our staffs hear from professionals and people involved
so that we can begin to develop a process and a direction. Commissioner Winton, who is
chairing the district, has made it, I think, very clear and we've said it repeatedly and we'd
like to re-emphasize that our number one priority is the development of the museums in
the park and the Bicentennial area. But separate and apart from that and based upon that
type of energy, as well as the Performing Arts Center, a number of the property owners --
Mr. Eugene Rodriguez being one -- believe that the City of Miami and the CRA should
look at the Omni as a unique venue to promote the arts, to promote entertainment, and to
promote a certain form of culture experiences. And, so, we're trying to open the door and
open our minds and to hear from the community. In that regard, Commissioner Winton
has recommended that Michael Springs facilitate a panel discussion with our
distinguished invited guests today, being Mr. Max Anderson of the Whitney. The other
members of the panel will include Parker Thompson of the Performing Arts Center; the
Chairman, Dr. Judy Brown, the Director of the Museum of Science, Claudia Bush, who,
of course, we've heard so much about from FIU (Florida International University) and, of
course, Michael Springs, as I've mentioned. But before we do that, we'd like to pause, Mr.
Mayor, and allow our Director of the CRA to give us a very quick report regarding the
Performing Arts Center and where we are with our March obligation, and I think it's
contained in the document under Item Number 5B, is it?
Annette Lewis (Acting Executive Director, CRA): That is correct, sir. To date I am
happy to say that this is our first year that we will turn over to the Performing Arts
Center, in order for the payment for the debt service on the Performing Arts Bond, the
(unintelligible) of one million four hundred and thirty thousand. We actually collected
in excess of a hundred and fifty-three thousand dollars ($153,000) that we can use
towards the Omni. So, property owners will be happy to know that, even though we've
given most of it away. There are still just a few dollars that will be available for use in
the area. And we've gotten a notice from Miami -Dade County and to date, they've paid
9 February 25, 2002
four point seven million dollars ($4,700,000) in total towards their bond payment, and of
that, we -- unfortunately, I can't recall at the moment, but our payments to them are in
excess of two and a half million dollars ($2,500,000) from the 1996 interlocal agreement
that's dated June 24th of 1996. Apparently, we have not reported properly in prior years,
so everything between 1986 to 1995 had, in fact, gone to the governing agencies -- the
governing body, which would have been the City of Miami, so that might be interesting.
Chairman Teele: Madam Director, do you have a recommendation? Do you plan to --
are you requesting authority of the board to release the funds?
Ms. Lewis: Based on the interlocal agreement, it was just a notification that we will pay
this year one point four million dollars ($1.4 million).
Chairman Teele: Is there a motion of the CRA board --
Vice Chairman Johnny Winton: So moved.
Chairman Teele: -- to release one point four million?
Vice Chairman Johnny Winton: So moved.
Chairman Teele: Moved by Commissioner Winton. Seconded by Commissioner
Regalado. Is there objection? Is there objection? Parker, do you have any concerns?
You want to object? There's no objection, the motion is approved. And at this time, we
will ask the Mayor and Commissioner Winton of the district, along with the Executive
Director, to make a ceremonial presentation. If you will, Parker, would you join us here
for the presentation? The real check, I assume, will be by wire.
Vice Chairman Winton: It's in the mail, Parker. The real check is in the mail.
Chairman Teele: All in favor, state by saying "aye."
The Board Members (Collectively): Aye.
10 February 25, 2002
The following resolution was introduced by Vice Chairman Winton, who moved for its
adoption:
RESOLUTION NO. OMNFCRA 02-20
A RESOLUTION OF THE BOARD OF DIRECTORS OF THE OMNI
COMMUNITY REDEVELOPMENT AGENCY (THE "CRA")
AUTHORIZING THE CRA EXECUTIVE DIRECTOR TO REMIT
$1,430,000 OF OMNI TAX INCREMENT FUNDS TO MIAMI-DADE
COUNTY FOR THE PURPOSE OF PAYING DEBT SERVICE ON THE
PERFORMING ARTS CENTER BONDS.
(Here follows body of the resolution, omitted here and on file in the Office of the City
Clerk.)
Upon being seconded by Board Member Regalado, the resolution was passed and
adopted by the following vote:
AYES: Chairman Arthur E. Teele, Jr.
Board Member Tomas Regalado
Board Member Joe Sanchez
Vice Chairman Johnny L. Winton
NAYS: None
ABSENT: Board Member Angel Gonzalez
Chairman Teele: With a presentation of the check of one point four million dollars
($1,400,000), which is an annual contribution, and each year, as long as bonds are
outstanding, the CRA will be presenting and providing funds of up to one point four
million for the construction of the Performing Arts Center. The point that we'd like to
underscore is that the City of Miami is totally committed to the project. Commissioner
Winton has asked, on the record, that we look at other ways to provide additional support,
and I assume that we will be meeting with the -- where is Gail Thompson? Is Gail here?
Oh, my goodness. Gail, we overlooked you. We should acknowledge Gail Thompson,
the Director of the...
(APPLAUSE)
Chairman Teele: And Gail, we're totally committed, and Commissioner Winton has
made it very clear that we'd like to look for more ways to collaborate with the Performing
Arts Center. In that regard, Commissioner Winton, I would yield to you to just introduce
or say to Mike Springs whatever you'd like to say, but I would like to ask if Max
Anderson, of the Whitney, if you would stand, Max, and be recognized. Thank you for
joining us.
11 February 25, 2002
(APPLAUSE)
Chairman Teele: Max Anderson.
Vice Chairman Johnny Winton: I would like to recognize Michael Springs and thank
Michael for agreeing to moderate this panel discussion, and I think everyone in this room,
probably everyone in Miami knows who Michael Springs is. He's the guy, from a
County perspective, that has really worked hard to bring all of the far-flung, disparate,
and many times arguing groups tied to arts and culture together to create a much better
and larger family of arts and cultural activities in our County. And Michael is one of
those County people also that has, in fact, paid very, very close attention to all of the
facilities we have in the City of Miami, and has been a real asset to us, and, Michael,
from the City of Miami, we thank you immensely for your hard work. I think you're
doing a great job and with that, I think I'm going to give the microphone to you and let
you lead the charge.
Michael Springs: Got it already. Thank you very much, Commissioner. I'd like to thank
Mayor Diaz and Commissioner Teele and the members of the City Commission tonight,
and especially Commissioner Winton, thank you for inviting me to help moderate the
panel. I'd like to especially recognize County Commissioner Barbara Carey-Shuler for
her leadership on the County Commission on behalf of the arts and culture agenda.
Without Commissioner Carey-Shuler's leadership, we would not be as effective as we are
today, and certainly wouldn't have the kind of support that we have from the County
Commission. So, thank you, Commissioner.
(APPLAUSE)
Mr. Springs: In addition, I'd like to acknowledge where we are today. Eugene Rodriguez
is a leader, both in the entertainment field and in the arts field, non-profit arts field, and I
want to thank him for hosting this today, and the Ice Palace and Big Time Productions,
for all the great work that they do in partnership with our non-profit cultural community
as well. I've been here over and over and over again to be a part of the culture activities
that occur in these spaces and as you can see, these are absolutely wonderful spaces for
all kinds of cultural activities. Thanks, Eugene. And then just last, before we get started
with the panel, I'd like to acknowledge a couple of people that are here tonight as well,
who serve on the board of the Performing Arts Center Trust, and you've been introduced
to Eleanor Kluger already. But we also have Fred Joseph here tonight, board of the
Performing Arts Center Trust. So, Fred, if you would wave. Thanks, Fred.
(APPLAUSE)
Mr. Springs: I thought, Commissioners, what we would do tonight is, I'd like to start with
a few overview comments about the cultural community here and then turn it over to our
panel, and we've talked a little bit, and give you an idea of what each panelist is going to
address, and then keep our remarks fairly brief so that there's an opportunity to have
some exchange with you and with the audience for questions and some discussion among
12 February 25, 2002
panelists. So, first, what I'd like to say is that Miami is one of the fastest growing cultural
communities in the United States today. Countywide, twenty years ago, we had about a
hundred arts groups. Today there are more than a thousand non-profit arts groups in a
countywide area and many -- most of those art groups reside in the City of Miami. With
a growth factor as rapid as that, from a hundred arts group to over a thousand arts group
in less than twenty years, you can imagine the kind of issues that we're addressing in
regards to support for the arts, facilities to house those artists and arts organizations. I
think that, while there are a lot of challenges to keep these groups alive and keep them
functioning and financially solvent, I also think this provides our community and our City
with a remarkable opportunity, which is, as groups need new homes to expand their
activities and grow in quality, with a strategic kind of planning that you have and the
kinds of things that this CRA is doing here today, we can utilize these new arts facilities
to help redevelop neighborhoods in the community. So, we can have twice the bang for
our public sector dollar. That is, we can build new homes for the arts to grow and
flourish and increase in quality, but we can use the power of arts institutions to redevelop
our neighborhoods by attracting people, business, and activity in the neighborhoods
where there wasn't any before. So, I salute your effort to use this as a strategy. I also
salute your efforts to realize that building arts facilities in communities alone is not
enough; that these things have to be a part of a bigger economic redevelopment strategy
or they simply don't work. So, having the arts is a key part of the strategy but it's only
one part of a multi (inaudible) strategy to revitalize our neighborhoods is critically
important. With that said, we have a great panel tonight and what I'd like to do is give
you an idea of what I think each of our panelists is going to talk about briefly, and then
we'll open it up for questions and discussion. We have Judy Brown, who is the Director
of the Miami Museum of Science, and Judy is going to talk a little bit to us tonight about
the new Science Center of the Americas in Museum Park, and the kind of impact that
major regional science centers can have on helping with our families and children,
providing great activities, but also serving as part of a tourism attraction for our
community. You've mentioned Max Anderson, the Director of the Whitney Museum of
American Art, and Max has a whole bunch of things that he's going to talk to us about
that range from what are the challenges associated with seriously pursuing major
collective museums. Through Max's own recent experiences with expansion programs,
Whitney in New York. Parker Thompson, the President of the Performing Arts Center
Trust is going to talk to us about the new Performing Arts Center and quickly review for
us the urban and cultural goals for that facility, and the kind of catalyst it can help to be in
the Omni area. And you've heard from Claudia Bush. But I've asked Claudia to speak a
little bit about the power of architecture, to transform the neighborhoods, and that ranges
from new architecture to adaptive (inaudible) buildings, like the firehouse. So, she'll talk
a little bit about that and the role (inaudible) redevelopment. So, I think what I'd like to
do is start out with Judy -- turn the mike over from Judy to Max, and then Parker, and
have Claudia wrap it up for us. Thank you.
(APPLAUSE)
Judy Brown: I think, no matter which way I stand, I have my back to someone. So,
excuse me. I just want to talk a little bit about the wonderful brochure that you see
13 February 25, 2002
IN
floating around that says, "Miami Central Park." Well, great cities have great parks.
Great cities have great museums. But one of the realities is that often, with great
museums, not everyone in our cities visit them. One of the major attractions for a science
museum is that we reach a very broad target audience. And one of the sad facts about
Miami is that we are ranked number one for children living in poverty, and many of those
students that are living in poverty don't live very far from here. With having the Science
Center of the Americas, which is an international science museum on the books, we'll be
able to attract, not only typical museum goers, but reach many more segments of the
population. Those of you that know our museum, know that we are considered to be an
old institution, by Miami's standards. Now, Miami isn't very old. So, if we were in New
York and we said we were 53 years old, they'd say, "You're a baby." But by Miami's
standards, we are an old museum. And we are literally busting out of our building. We
have people working in the attic. We have people working outside. We desperately need
more room. We also do many things that some of you don't know about, and I'd like to
take a minute to tell you that, because I think it's important in terms of our overall goals
for the future. In addition to the great exhibits that we have on the floor and a very high
percent of residents who visit the museum, which is 70% versus 30% being tourists, we
have some very special initiatives that are behind the scenes. Those initiatives relate to
the role that science museums need to play, not only to secure our security in the future,
as it relates to science and technology, but also as it relates to jobs. We were — we just
received, this year, the National Museum Service Award from the First Lady in
Washington, for the work that we are doing with young people. Young people in our
program are primarily targeted to come from under -represented groups, meaning
minorities, linguistic diversities, and females. All of which are tremendously under-
represented in the sciences. Women make up 50% of the population. We make up about
13% of the science engineers. Hispanics make up — whatever the percentage is
nationally, I think it's something like 34%, at the moment. It's growing greatly. They
make up maybe 2% of the science engineers, as is true for African -Americans. So, we
have taken a very, very targeted approach. I'm happy to say that, in the last 10 years, we
have graduated more than 1,000 students from under -represented groups that have gone
on to college and been very successful. We also do a tremendous amount of work
helping teachers integrate technology and science into their everyday repertoire of skills.
That's because, often, teachers are not prepared, coming to the system, with that set of
skills. So, what we'd like to do is to take the programs that have been very successful
and nationally recognized here and spread them to the hemisphere, and have the
hemisphere spread things to us. So the vision for the future is an international science
museum that would develop and extend our reach to Latin American and the Caribbean.
We have started programmatically, and we will continue that when the new center comes.
I think you probably heard enough of me for today. Let's just say we have a lot of
wonderful things happening in the future that both will further put Miami on the map, but
also reach some real needs. Thank you.
[APPLAUSE]
Mr. Springs: Thank you, Judy. Now, we'll hear from Max Anderson, Director of the
Whitney Museum of American Art. Here you go, Max.
14 February 25, 2002
Max Anderson: Thank you very much. I'll follow Judy's lead and stand over here, if I
may. I've never used a television as a podium, but there's a first for everything. And I'm
deeply grateful to Mayor Diaz, Commissioner Teele, the other Commissioners for
inviting me down today. Partly, at the inspiration also of Dina Reese, who is on the
Whitney Museum's National Committee. Underscoring how important it is for us, as a
museum of American art, to represent collectors, patrons, but especially artists from all
over the United States. And a testament of that is that Luis Gispert, who is an artist here
in Miami, is on the homepage of Whitney.org, our website, as part of the upcoming
biennial exhibition, which is our 70th in a series that began in 1932, to try to show the
diversity of works of art and artists from across the United States, every other year, in a
national survey. It gives us insight into the very latest of art -making practices by artists
from every state over time. I'm also pleased to be here in anticipation of a meeting,
about a year from now, of 180 art museum directors, who will descend on Miami for the
Association of Art Museum Directors, representing the largest art museums in North
America, and I'm honored to be president of that group next year when we're here.
That's a group that will come and learn, as I have over the past bit of time, about what's
happening in Miami, in so many different districts. And I have to say, my visit to
Overtown today was special revelation about the promise of the future here, and the
possibilities of converting spaces. And I salute Eugene also for his visionary efforts in
where we sit today. So much of what is involved in art museums and communities has
little to do, though, with the building. It has to do with the connection between a museum
and a public through its collections. And by way of illustration, I've mentioned that
Whitney, we have about 14,000 works of art in our collection that have been built over
the last century. That collection has always attempted to be risk -taking. To buy works,
as we will out of this biennial, fresh out of the artists' studio, before they've been proven
in the marketplace; before, in other words, they've received the mandrel of critical assent.
And, in that way, we try to be a catalyst to communities all over the county in suggesting
that the artists, like Luis, are those who can shape a community and give a kind of
visibility for it that isn't possible in other ways. In attempting to collect as a museum,
part of what one has to do is provide a home, not only for a permanent display, but also
for the works which are not on display. In our case, literally 99% of our collection is in
storage. That's not an unusual statistic. Most major art museums might have as much as
5% on display, and that's about it. And while a colleague of mine, the Director of the
Metropolitan Museum of Art, quips when someone asks him, "How much is on display at
the MET," he says, "About 90% of what you'd want to see." That is not the case in a lot
of institutions, where great works of art are kept in storage because of a lack of space,
and also because they require conservation and care. They need to be published and
researched. They need to be made available to audiences in all kinds of ways beyond a
formal exhibition. Collections are important also for cities like Miami, because they can
be a catalyst for reciprocity. We follow, with interest, over the years how major art
exhibitions can come and, for a season, convert a city into a place of extraordinary
moment and excitement, and then they go away. There are really two kinds of ways to
get major art exhibitions to come to a city. One is in a form of reciprocity, that a museum
has a collection adequate to allow for loans to other institutions all over the world and,
therefore, it's on a basis of sharing. And the other is one in which, unfortunately, the
15 February 25, 2002
borrowing city and institution has to put up a lot of the costs associated with the
exhibition, because there is no promise of reciprocity in exchanging works of art. So, it's
a difficult process to go forward in building a major art museum, unless there is a
collection in the eyes of those running it, and the city patrons and those who move
forward in government. And all the more reason why the astounding growth in private
collections in Miami is a very good harbinger of what may be possible down the road for
Miami as a host, not only for the visitors who come here for its extraordinary attractions
as a city, but, ultimately, as a cultural destination. And it's up to everyone to make those
collectors feel that Miami is the right destination for their works to stay and be on public
display, and be there for the appreciation of its citizens and visitors from all over the
world. I come to you as the director of a museum, which was founded to advocate the
interests in artists at a time when there was no art market. In 1930, when the Whitney
was formally founded, its collections were already 30 years old, because Gertrude
Vanderbilt, Whitney's founder, had been amassing these collections of hundreds of
paintings all through that time. And as an institution, we're deeply committed to seeing
how, across the country, our works of art can be shown and shared with communities far
and wide. I think, of all the 180 museum directors coming next year, we are among the
most committed to that. But I know there will be many other institutions who, when they
come and see the great plans afoot that have been described in part tonight for the
renaissance of Miami as a center for arts and culture, there'll be much to talk about and
much to celebrate. The last thing I would mention in relation to the growth of a
collection and exhibition facility is to think about the ways of how scale actually isn't as
important as the commitments to art and artists. A smaller space that can have an
extraordinary collection can be as much a catalyst as an enormous space with very few
works of art. And what's important in making planning assumptions is to make sure that
the growth of a facility is in step with its potential as a home for art, either permanently
or temporarily. And I think, in Miami's case, with so many natural beauties and so many
attractions, as a capital of Latin America, as a gateway for our visitors from all over the
world, it's essential to think about the leading edge, about how this City shouldn't focus
on attempting to acquire great collections of impressionist masterpieces, and the baroque
and renaissance before it, but, instead, look to keep the vitality of Miami in collecting art,
and encouraging younger artists to stay here. And giving an opportunity, one says, really
for the City to be a beacon for the entire southeast and for all of Latin America. And I
salute those present, government officials, private patrons, and members of the public, for
your obvious commitment to this extraordinary goal, and stand to be of any help I can in
the future. Thank you very much.
[APPLAUSE]
Mr. Springs: Thank you, Max. I'm going to turn the microphone over to Parker
Thompson for an update on the Performing Arts Center.
Parker Thompson: Thank you, Michael. And thank you, Mayor Diaz, and members of
the City Commission. Michael, thank you for noting that they're two members of the
Board of Trust here and Gail Thompson, who is in charge of the construction of this
incredible facility. I have — before starting, though, I have to just note that two people
16 February 25, 2002
here have been immensely influential in bringing us to where we are. First,
Commissioner Carey-Shuler, who has been involved in this almost as long as I have,
maybe equally as long. And Commissioner Arthur Teele, who first on the County
Commission as a member and then as Chair of the revised 13-member County
Commission, is one of the absolute forces behind being where we are now. I think that
the Performing Arts Center, first, is a paradigm of what we're going to do in this
community. That is, first, we're going to have public/public partnerships. This chec,
tonight, is merely an example of the partnership of the City of Miami, with Miami -Dade
County, in creating this. And, secondly, it's a public/private partnership. It may seem
difficult to not understand in this town but accounting the value of the property is given
by Sears and (INAUDIBLE) part of the take. By the time this is built, the private sector
would have contributed close to a hundred million dollars ($100,000,000) for this facility.
So, that's what's going to have to be done with everything that's here, public/public
partnerships and public/private partnerships. The ultimate influence, however, of the
Performing Arts Center is not just where it is and what it's going to do. First place,
Commissioner Teele, you told us on the bus trip that there had been a division called
Biscayne Boulevard between what happens and what doesn't happen. And one of the
things that the Performing Arts Center does is straddle Biscayne Boulevard, and it is both
on the east and the west side of the boulevard, signifying the fact that this community has
to grow in both directions. Secondly, the Performing Arts Center is the main catalyst by
the County and the City of the Omni Tax Increment District, and it must be the catalyst
for development in the community as a whole, led by Gail Thompson and the Urban
Vision that's being created. The Empowerment Zone, together with the private
foundation that raises the private money for the Performing Arts Center, have done an
Urban Vision Study. They brought in an economist to test the economic influence of it.
It is very hard to conceive how large it is. I'm not just talking about the 255 million
going into construction and payrolls to do that. I'm talking about the resident companies
with a forty-five million dollar ($45,000,000) payroll for overall payroll and other
expenditures each year, plus about 10 million by the Performing Arts Center itself.
That's every year. In addition to the economic study, Raul Rodriguez, who many of you
know, a local architect, and Jonathan Barnett, a planner from Washington, worked on the
Urban Vision because we recognized that, if the Performing Arts Center doesn't provide
juice to the community as a whole, it hasn't done its job. And we have a set as one of our
major goals, to take that urban vision and bring it forward to guide, goad, and assist all
private development in that area, both east and west of Biscayne Boulevard. And to
make the Omni area the ultimate connector between Miami Beach and the rest of this
community, and make it the dynamic living catalyst of this community.
[APPLAUSE]
Mr. Springs: Thanks, Parker. And now I'd like to ask Claudia Busch — first, I'd like to
congratulate you, Claudia, the work of your students here. It's really unbelievably good.
And I'd like to thank you (INAUDIBLE). And Claudia is going to talk to us for a little
bit about the power of architecture to accomplish some of the things that we've heard
about tonight.
17 February 25, 2002
Ms. Busch: Actually, I want to talk — when I brought the work and everybody was
looking at the work and was so impressed, then -- I think, you know, when you have —
because what architecture does, it creates space and it defines ideas physically, you know,
and that's, you know, what we did here. And I think what is so exciting — because you
see all this energy that is going on when students work in a very interesting and exciting
program like art. Because art, you know, encompasses a lot of the broader community
and brings it into a building. And, in that sense, you know, it shapes physically the City
and it shapes the identity of a place. And I think, you know, that is the great chance.
And I think the potential of the fire station, when it becomes a catalyst, that it could --
you know, like the Performing Arts, that it could spread out and create an identity for this
whole area. So, you certainly, you know -- in other cities, it has been unlike -- just
thinking on Soho, it has been completely transformed by artists and artists movements.
You know, I'm from Germany. They actually sometimes designated whole areas to
become art. Environmental areas, not only a building, even an area where they have
large scale environmental works. And I think one should think in terms — if one
incorporate art, that it really becomes shaping this area. I mean, it's — because it's also a
public element, it brings in other ideas and movements.
[APPLAUSE]
Mr. Springs: Thank you, Claudia. So that our panel's given us a bunch of things to think
about, the degree to which these cultural projects can help with education and
technology, the degree to which collections and community assets can be retained, and
exhibitions can be competed for nationally and internationally, the power of large art
projects to serve as catalysts for urban redevelopment, and the power of architecture to
shape the kinds of identity that we're hoping to have for our neighborhoods, to create
new, bold, brighter neighborhoods. I think what I'd like to do is see if you guys have any
questions, either audience or CRA, City Commission, and open it up for some discussion.
Chairman Teele: We'd like to hear from the public if anyone -- Max, what percentage of
the Whitney art is currently on display or is...
Mr. Anderson: We have a building that is about 100,000 square feet, and we only have
about 1 % of the collection on display right now, which is a challenge for the future.
We've contracted the services of an architect who, I think, left Miami his head bowed,
Rem Koolhaas (INAUDIBLE), who is working with us on the prospect of growth right
now, and has put together an extraordinary plan for us as he has for the Los Angeles
County Museum of Art. So, for us, the challenge is to determine, going forward, how
traveling exhibitions over the next few years can make available works from our
collection for thematic exhibitions, for monographic shows of particular artists, and for
anthology exhibitions, like the biennial that's coming up.
Chairman Teele: Thank you. Comments from the public, please.
Mr. Anderson: I thank you very much. We love sending the Louise Nevelson to the
(INAUDIBLE). And we also work with the Bass Museum and the Miami Art Museum,
18 February 25, 2002
and consider them partners going forward. So, we're very excited to have that
relationship and, obviously, it's a great pleasure to be here and look forward to seeing
more of those projects in common. Thank you.
Mr. Springs: Other questions from the audience? I'd also like to point out, too, that the
Museum of Science has an amazing relationship with Smithsonian. And the Smithsonian
realized a few years ago that it, too, had literally storehouses full of objects that
commemorate the history of our country, and see if I could ask Judy to say a couple of
words about the relationship between the Smithsonian and the Museum of Science.
Ms. Brown: The Smithsonian began a program called "The Three H's Program." Oh, I
guess about two years ago. And, the reason it started the affiliation program was exactly
what (INAUDIBLE) told us, that is -- I can't even tell you the number, but millions of
pieces of art and artifacts that actually, if you ever visit their support center, which I did
in Maryland, it's something about six miles long, with one cabinet over another over
another. And since everyone isn't as fortunate enough to go to Washington, their thought
was to try to take the collection — the national collection out and spread it to communities
throughout the United States. So, we were the first science affiliate program. We — in
order to become an affiliate, at that time, we had to mount an original exhibit, using their
artifacts, which we have done. So, if you haven't come to the Museum of Science to see
it, it's called "The Smithsonian Expedition." It traces the history of the Smithsonian
researchers to Latin America, at the turn of the century, when everybody was trying to
get there to get the gold. It's a very, very interesting exhibit. We've tried to prototype
what the Science Center of the Americas would be by having an exhibit that's very
immersive with sounds and music and all kinds of things. So, come visit. We hope to
continue that relationship. Obviously, with the Science Center of the Americas, we will
add more to the collections that we already have. Where we are is at the very beginning
of our private capital campaign. We're halfway through the feasibility study, which is
looking very promising. We are going to continue, as soon as we get an official
designation of the land, which we're waiting to get. Even though the voters passed it,
there's still other steps that have to be taken to then go on to the stage (INAUDIBLE) and
thinking the exhibit platform. We will be having a series, obviously, of Charettes and
public input before we finalize that just yet.
COMMENTS OFF THE RECORD.
Chairman Teele: That's a question we're going to ask Commissioner Winton, who, as
we said, is chairing the very, very broad community consensus building process of what
the park will look like.
Vice Chairman Winton: There will be a bay walk that runs along the water's edge
throughout the park. There will be trails also carved throughout the park. I don't know if
this is going to be a place — I doubt, seriously, if we're going to set up a skateboarding
rink, but certainly hikers and joggers and roller bladers and folks like that are absolutely
going to be encouraged to come into the park. But I don't think that we will have any
design, like you have here, where you've got the actual -- the pipeline set up for the
19 February 25, 2002
skateboarders to play in, but who knows? That part of the detail hasn't been worked out
yet. In fact, the concepts that have been brought forward really are only concepts. We're
not even close to beginning a real design. And that design will begin once we get the
pieces put together to allow us, the City, from a public policy standpoint -- once we are —
because I think there's unanimity up here that, of the three concepts that we put forward
originally, our favorite concept is museum park. But we also have to have the confidence
that the two museums, which is the Miami Art Museum and whatever else they put
together and the Museum of Science, that they will have the ability to raise some
significant private dollars to get this thing finished. And, so, the thing that we're pushing
on, from a public policy standpoint, are the boards of those two institutions, and
encouraging them to take every step that they have to take to show that they do have the
wherewithal to raise the private sector money that's needed that will then give us the
confidence that we can move forward as fast as we can with the general concept of
museum park. Once that piece gets in place, then we start talking about -- once you
figure out what the footprint of each of the facilities may be, then you begin to figure out
what the design of the entire park is. So, we're a ways off from a real good answer on all
the specifics of the individual things that will be inside the park.
Chairman Teele: Mike, we have time for one more question.
Mr. Springs: Sure. Do we have another question from the audience? If you guys don't, I
have one. Actually, I wanted a -- sort of a comment question for you sitting as the City
Commission and the CRA. Again, I wanted to thank you for convening this panel
tonight, and for actually focusing on architecture and art, as being a key part of a
redevelopment strategy for these neighborhoods. Commissioner Teele and
Commissioner Carey-Shuler, you both know the kind of political leadership that it takes
to actually get these arts projects completed and approved at the governmental level, and
the kind of real partnerships that have to exist between cities and counties and states and
federal government to do that. And it's an enormous undertaking. People wonder why it
took close to 20 years to get the Performing Arts Center accomplished. And part of the
challenge in doing that is getting everyone to agree on one thing here in the community,
the private sector, and all varieties of the public sector. I didn't know whether or not,
Commissioner Carey-Shuler and Commissioner Teele, you wanted to close yourselves by
commenting on the kind of things that the public sector has done in the past, and can do
to have arts projects like these really help transform neighborhoods. And that involves
not just the Performing Arts Center here, but the Lyric Theater in Overtown, the Tower
Theater in Little Havana, and we could go on and on. So, I'd like to close by thanking
you for casting your focus on this, and challenging you to continue to work with this,
because it's going to take really hard work for arts facilities, arts organizations to have
the power to make it happen, to help transform these neighborhoods.
Chairman Teele: Parker, did you want to say anything?
Mr. Thompson: I just wanted to point out, in some self-defense, having just had a hard
hat walk through the Disney Concert Hall in Los Angeles, that they have to seal off
(INAUDIBLE), that they're going to add about 10 more years of (INAUDIBLE).
20 February 25, 2002
Chairman Teele: Mr. Sanchez. George Sanchez. Where is George?
Vice Chairman Winton: While we're waiting on George, we don't want museum park to
take anywhere near that long, the 30 or the 20.
Chairman Teele: Well, I'll tell you. I'm with you on that, Johnny. I think one of the
things that we want to be very careful. We are the CRA and not the City Commission,
but one of the things that we do want to float up, Commissioner Winton, is, we're going
to all be looking, I think, to you, as the Commissioner who presides over your district, to
give us a better sense of the timetable regarding the Watson Island — the bicentennial
timing. In that regard, the City and the CRA and your committee have one point in
common other than the Planning Department, and that is, we consciously decided to hire,
as our overall planner, Dover Kohl, because they're facilitating all of that. And, so, I
know there's a representative from Dover Kohl here tonight. But the CRA's issue on this
matter is going to be, we need for you to consider whether or not we really do want to
expand the boundary or go to the County and ask permission to expand the boundary to
include Bicentennial Park now. Because Bicentennial Park is a government -owned land,
it obviously won't generate any money. So, the only reason to expand the boundary
would be to give money. But that's one way to help the Museum of Science and the art
museum, assuming, you know, the collaborations and the funding issues that you've
articulated are there, is a way to also provide some assistance to them. And, we'll be
awaiting your directions, through Dover Kohl, in that manner. George, I know you
wanted to make this presentation to Max, our honored guest, tonight. At least I was
informed. So, why don't you just --
Mr. Sanchez: Being that the CRA sponsored this exhibit underneath the expressway --
Chairman Teele: Max, why don't you go over there and let George make this
presentation to you. Quickly, George.
Mr. Sanchez: Max, for coming all the way down from New York, you get this free
poster, demonstrative of the efforts in the future of the City of Miami has towards a
growing art community, and thank you very much for coming down.
Mr. Anderson: Thank you.
[APPLAUSE]
Mr. Anderson: I just want to say, it's a pleasure to be here and I'll come back anytime
that you'd like, and you don't have to give me a poster next time. Happy to be here.
Thank you.
Chairman Teele: We'll give you more than that, Max. Very quickly, we have also a
brief presentation by the City Planning Department. And if everyone would just stay
where you are -- but before we do that, I would like to report to the Board that
21 February 25, 2002
M
Commissioner Carey-Shuler and Gail Thompson — Gail, are you still here? Gail, why
don't you just tell our Board a little bit, very quickly, about the things that you're talking
about doing in the summer, in terms of a little bit of entertainment. I know that
Commissioner Shuler is supporting you, because she's already indicated to me that she'd
like to see more music in the park, if you will, on the streets of Omni.
Gail Thompson: You always surprise me. Thank you. Actually, we're going to do this
well before the summer, and we're going to start this Friday. And I invite any and all of
you to participate with it. One of the things I've done in the past, in order to motivate our
construction crew to really be productive and motivated and to really be a part of the
wonderful experience of building a Performing Arts Center, is we have monthly hard hat
concerts at lunch time for them. And we're starting this Friday with a small production
of the play Beauty and the Beast. We're going to do just 20-minute segments on the 2nd
Friday of every month. Clear Channel has agreed to do this one for us, but we're going
to proceed through the next three years doing these concerts. And, it's something that
really is so exciting for the workforce. However, in the summer, as Commissioner Teele
has mentioned, we'd like to expand that to make a street event, a community street event,
between -- on 14th Street, between Northeast 2nd and Northeast 1st Street, as a way of
engaging the community in what we're doing at the Performing Arts Center, and the fact
that we are bringing art and performing arts down to downtown Miami, and we'd like to
start well before we open in three years from now. And, we'll be working with
Commissioner Carey-Shuler's office and, hopefully, with the City, as well. We've had
wonderful partnerships with the City on work that we've done so far. Frank Rollason and
Dena Bianchino and others have been very helpful to us. So, we are excited about this
prospect, and we would love for all of you to participate.
Chairman Teele: Thank you, Gail.
[APPLAUSE]
Chairman Teele: Members of the board, Commissioner Shuler has indicated a
willingness to work more closely with us. And I've requested that Ms. Lewis, the
Executive Director, meet with her and her staff and develop a more structured liaison
relationship that can be a part of the entertainment, as well as helping to formulate a
better strategy, as it relates to the CRA re — restatement of the CRA plan and other things.
Is that a fair statement, Commissioner Shuler?
Commissioner Barbara Carey-Shuler: Thank you, Mr. Teele. A very fair statement. In
fact, I'm honored and delighted that you involved me so much in this process that's going
on here. The City of Miami is my county district. And I had 95% before. Now I have
100% of it. And I look forward to working with you, and happy that you invited me here
to this meeting. You invited me to meetings before. But I'm going to be taking an active
role and certainly collaborating and cooperating with the efforts that I've heard here
tonight, and that I will hear in the future. I look forward.
22 February 25, 2002
Chairman Teele: Well, it might be nice if we instruct the City Attorney to sit down with
you and try to resolve these other issues.
Ms. Carey-Shuler: Well, you can put that on the table, too. That's all a part of it. That's
all a part of it. I take pride in having the City of Miami as my district, and I certainly
want to see it thrive and grow and be the best district in the County. So, I'm going to
work closely with you all. And thank you and the Mayor and all the Commissioners for
working with me. We've had great success in working together. It takes a partnership in
order to do all of this. And I look forward to being your partner in all of this. You can
make me an honorary member of this CRA Board, too.
Chairman Teele: Your seat is always here. It's moved and seconded. All in favor, say
"aye." All notices and everything else. All right. We're going to hear from Ana, and if
you'd just stay where we are. Ana, if you could just give us a fast overview.
Commissioner Winton is going to have to run to another meeting, that we promised him
out.
Ana Gelabert (Director of Planning and Zoning): I'll be brief. What I have brought, that
is on my right hand side, of Commissioner Teele asked me to share with you. In an effort
the City, to try to promote the area, the — we're right now north of I-395. We have two
things going on. One is the entertainment district, which is allowing for clubs and bars to
come into the area, similar to what's going on south of I-395. And the other overlay that
you see, that is with the red line, it's the fire station number 2 motion picture district. On
that, what we have done, there's presently an ordinance of the City that — what we call
(INAUDIBLE) Code. In this particular area, what we have done is allowed for the
buildings that are in this district -- Eugene had made sure we understood the concept that
the buildings sometimes need to be character. So, what we have done is, to be able to
allow for buildings to be maintained as they are, to allow for the industry of the motion
pictures and the shooting of some photography and all of the arts to be maintained for
that purpose.
Chairman Teele: About how many square blocks are we talking about?
Ms. Gelabert: Probably, between seven and eight blocks. It's bounded by the FEC
(Florida East Coast), north of I-395, right behind 1st and 14th. It's the area --
Chairman Teele: So, the effect of all of this is, you're going to start — the public is going
to start hearing the fire station 2 overlay --
Ms. Gelabert: Exactly.
Chairman Teele: -- of the Omni more and more. And what that is, is a new designation,
pursuant to these seven blocks, basically at the request of this owner business, for a
nonstandard allowance for the structure of the building -- for the appearance of buildings.
And it will look at other ways to provide other incentives into that district, is that --
23 February 25, 2002
Ms. Gelabert: Exactly. By creating a defined district, it allows us to do certain things
that may be unique to the area, in the effort, again, to help them and promote this area.
Chairman Teele: I think that's great. Eugene this is a good time — you're next on the
program. We know there are two things that you want: more police and more parking.
So, why don't you just come up and say it yourself.
Mr. Rodriguez: No. Well, since you mentioned that, I could save you time on that. I
think the key point here is that this area — we have the opportunity to create a marketplace
for all the arts, and it's kind of like a mall. It's independent by itself. So, if you fix
everything up too much and it looks like Palm Beach, then that's what you're going to
get: empty streets in Palm Beach. So, I think, by keeping it raw and letting it evolve on
its own by creative forces, I think you're going to find it to turn into what it should be, a
marketplace for the arts. And the more concentration you have of interesting things
happening, the more chances that the whole place will succeed, sort of like a mall, but a
cool one. And, so, by actually — these models are amazing. And by letting people do
things like this and actually allowing certain architectural modifications to historical
buildings and maybe not painting the building and letting it peel a little bit or letting a
film crew change the color every other month, and just letting things evolve, putting huge
murals and things, I think that creates a vibrant interesting place to hang out and to shop
and to look and to learn. So, that's it.
Chairman Teele: Eugene, thank you very much. And I appreciate the fact that you've,
again, hosted us here tonight. Are there any other comments from the public?
24 February 25, 2002
3. APPROVE SELECTION OF DESIGN BUILD -INTER AMERICAN, MCM ENGINEERS
AND GENERAL CONTRACTOR, AND TLMC ENTERPRISES, INC. PURSUANT TO
REQUEST FOR QUALIFICATIONS (RFQ) FOR CONSTRUCTION MANAGER AT RISK
SERVICES.
Chairman Teele: We have two business items, Madam Director, I think, that you and the
attorney want us to take up.
Annette Lewis (Acting Executive Director, CRA): Yes, that is correct, sir. First of which is Item
6, where we're approving the selection of three CMs (Construction Managers) at Risk, a Design
Build -Inter American, MCM Engineers, and TLMC Enterprises.
Chairman Teele: Mr. Attorney is -- Alex said he wanted to say something. Alex wanted to
strike the dollar amount and present it back in a different form. That's the resolution approving
the three CMs at Risk, and that is -- there was a competitive process; there were about nine firms
that applied, they were evaluated. I think the evaluation sheets are there.
Ms. Lewis: Yes, sir, they are.
Chairman Teele: And, Alex, you're recognized.
Alejandro Vilarello (City Attorney): Commissioners, I simply wanted to -- the resolution should
simply read that these three firms are selected as the Construction Managers at Risk, and as you
go forward with particular projects, that will come back before the CRA (Community
Redevelopment Agency) board and you will award the work associated with those projects and
assign one of these Construction Managers at Risk.
Vice Chairman Winton: With a (inaudible).
Mr. Vilarello: So, there's no independent need to limit the amount of these contracts because
they will be limited by future action of the CRA board.
Vice Chairman Winton: So moved.
Chairman Teele: Moved and seconded by Commissioner --
Commissioner Sanchez: Discussion.
Chairman Teele: -- Regalado and Commissioner Winton. Discussion.
Commissioner Sanchez: Discussion, Mr. Chairman. Executive Director, just for the purpose of
clarification, page 13, where it has the amounts fill in the blank that would do away with that and
it would come back with an amount?
Vice Chairman Winton: Yes.
25 February 25, 2002
Mr. Vilarello: No. On the contrary, Commissioner, that amount was a self-limiting amount. In
other words, no one of the qualified firms would ever receive work in excess of that amount. So,
that number actually is being removed altogether, and the agreements will simply be for the -- an
agreement with the Construction Manager at Risk and the CRA board will assign them work in
the future and their costs would be limited by that assignment when you approve a particular
project.
Commissioner Sanchez: So, in other words, it does away with this and the language 14, where it
has permitted to all work under the agreement shall not exceed some of blank, which amount
shall be increased by blank. In other words, it would do away with that. Because I -- I've never
felt comfortable -- I don't think anybody here feel comfortable on voting on anything that is to
fill in the blank when it comes to the amount of funds.
Mr. Vilarello: Correct, Commissioner. What this simply sayings is, we went through an RFQ
(Request For Qualification) process; you received responses to the request for qualifications, and
now you have short listed to three qualified firms, which you will use in the future, at the
discretion of the CRA board.
Commissioner Sanchez: And will come back to this CRA for final approval, with the amount.
Mr. Vilarello: This -- these qualified firms are being approved now.
Commissioner Sanchez: Now.
Mr. Vilarello: And these will be the three firms we will use into the future. The projects and the
assignments of those projects will be approved by further action of the CRA board when you
approve the project.
Chairman Teele: Why don't we yield to your deputy and let him just tell -- walk very quickly
through -- Ms. Lewis, in terms of what happened here, just so that he can put it on the record.
Ms. Lewis: Beg your pardon? In terms of?
David Hernandez (Director, CRA Construction Management): What we did was -- David
Hernandez, for the record, sir. What we did is, we went through a series of process to go in front
of the board -- to go in front of the selection committee and we chose these three contractors.
What we're going to do is, once we decide on which particular projects, we're going to go ahead -
- we're going to come back to the board and we're going to basically negotiate each price. What
we're going to be doing is having a guaranteed maximum price with each contractor. So, in other
words, when we come in, this particular project is going to cost "X" amount of dollars. That
particular contractor, we would have an agreement with that contractor through that particular
price, not to exceed that guaranteed maximum price.
Chairman Teele: OK. This is this was something, Commissioner Sanchez, you asked for when
we were discussing Two Guys Restaurant and Jackson Soul Food, as opposed to going out with a
general contractor, and you wanted a CM at Risk and -- et cetera. All right. Motion and a
26 February 25, 2002
second. Is there objection? All -- further discussion? Further discussion? All those in favor --
Mr. Attorney, are you straight on the record?
Mr. Vilarello: Yes, Commissioner.
Chairman Teele: All those in favor say "aye."
The Board Members (Collectively): Aye.
Chairman Teele: All opposed, say "no."
27 February 25, 2002
The following resolution was introduced by Vice Chairman Winton, who moved for its adoption:
RESOLUTION NO. SEOPW/CRA 02-38
A RESOLUTION OF THE BOARD OF DIRECTORS OF THE COMMUNITY
REDEVELOPMENT AGENCY ("CRA") I) APPROVING THE SELECTION
OF DESIGN BUILD -INTER AMERICAN, MCM ENGINEERS AND
GENERAL CONTRACTOR, AND TLMC ENTERPRISES, INC., (THE "CM
AT RISK"), PURSUANT TO A REQUEST FOR QUALIFICATIONS ("RFQ"),
FOR CONSTRUCTION MANAGER AT RISK SERVICES SUBJECT TO THE
AVAILABILITY OF FUNDS, AND II) AUTHORIZING THE CRA TO ENTER
INTO SEPARATE CONTRACTS WITH THE SELECTED CM AT RISK IN A
FORM ACCEPTABLE TO THE CRA GENERAL COUNSEL WITH THE
TERMS OF THE AGREEMENT RESULTING FROM THE SUBJECT RFQ
FOR A PERIOD OF TWO YEARS WHICH MAY BE RENEWED FOR TWO
ADDITIONAL ONE YEAR PERIODS IF MUTUALLY AGREED TO IN
WRITING, IN AN AMOUNT NOT TO EXCEED $10,000,000 THROUGH THE
TERMS OF THE CONTRACTS.
(Here follows body of the resolution, omitted here and on file in the Office of the City Clerk.)
Upon being seconded by Board Member Regalado, the resolution was passed and adopted by the
following vote:
AYES: Board Member Tomas Regalado
Board Member Joe Sanchez
Vice Chairman Johnny L. Winton
Chairman Arthur E. Teele, Jr.
NAYS: None
ABSENT: Board Member Angel Gonzalez
28 February 25, 2002
4. (1) AUTHORIZE EXECUTIVE DIRECTOR TO ENTER INTO GRANT AGREEMENT
WITHIN 30 DAYS WITH NEW ARENA SQUARE CORPORATION AND/OR NEW ARENA
SQUARE NORTH AND SOUTH, LTD., $425,000 FOR FAQADE IMPROVEMENTS TO
ARENA SQUARE APARTMENTS.
(2) ALLOCATE SOUTHEAST OVERTOWN.'PARK WEST TAX INCREMENT FUNDS
(TIF) FOR SUCH PURPOSE;
(3) ESTABLISH RESERVE, $600,000 IN PRINCIPLE TO BE USED FOR DIRECT
GRANTS TO COMMERCIAL TENANTS OF ARENA SQUARE APARTMENTS;
(4) REPEAL ALL RESOLUTIONS INCONSISTENT WITH THIS ACTION.
Chairman Teele: Is Mr. Yuken present? Is Mr. Salomen Yuken present? Salomen, Mr. Yuken,
we want to make sure that we're all in agreement. Tonight, we're providing you -- You said
you've got to have a decision within 30 days -- that was 60 days ago -- to move forward with the
construction. You've pulled the permits. We verified that. And so what we're committing to is
the fagade improvements. And this is the four hundred and twenty-five thousand dollars
($425,000) that our engineers and staff have worked with you, and we'd like to provide that
commitment to you tonight. Is that satisfactory to you?
Salomen Yuken: Yes. I want to say that --
Chairman Teele: Why don't you give us your name and address for the record, Mr. Yuken.
Mr. Yuken: Salomen Yuken, President of (inaudible) Corporation. We have met several times
since last Thursday with the general contractor, David Hernandez and Cesar Calas from HRS
(Department of Housing and Rehabilitative Services). And we have worked -- the general
contractor worked on the numbers strictly and exclusively for the purpose of the fagade. And I
want to clarify to the board --
Chairman Teele: Mr. Yuken, when will the project be completed? Just so that everybody in the
public is aware, this is the building between 10`h Street and Ilth Street, the entire block on
Northwest 3Td Avenue, as a part of the City of Miami's 3rd Avenue Business Corridor. When
will the building be completed if we --
Mr. Yuken: We expect -- Well, the building, at this point, the south part of the building, which -
is the apartment area is 40 percent completed. So we expect that the whole front -- ZD
Chairman Teele: Do you have the "before" pictures?
Mr. Yuken: Yes. We expect that the whole front of the building will be completed by July 31St
Vice Chairman Winton: And could we show that to the crowd, also, the "before" and "after"?
Mr. Yuken: Now, I want to make clear, because you made reference --
Chairman Teele: I hope the public can get to see the "before" and "after," because it's pretty
dramatic.
29 February 25, 2002
Mr. Yuken: Mr. Chairman, I want to make very clear, because you made reference to the plans
approved by the Building Department and the permit that we have, that the -- that plans approved
by the Building Department and the permit that we have includes the expansion of the retail and
the elevators, which are not included in the budget that you have approved tonight. So I just
want to make that clear, where we are at this time.
Chairman Teele: Mr. Yuken, and you've made that clear, and I would request the staff to
continue to work with you regarding the expansion issue and the elevator issue, and if they can
come to an agreement with you, to come back. Our commitment, as you know, was for the
fagade and certain security, as well as the commercial. Personally, I think we ought to help you
with the elevators, but you know, that's something that staff s going to have to recommend. But
our commitment is to the people that are moving in and the jobs that they're going to be creating.
Board Member Sanchez: Mr. Chairman, so move as amended for four hundred and twenty-five
thousand.
Chairman Teele: Moved as amended by Commissioner Sanchez.
Vice Chairman Winton: Second.
Chairman Teele: Second. Would all those in favor say "aye."
The Board (Collectively): Aye.
Chairman Teele: All opposed?
30 February 25, 2002
The following resolution was introduced by Board Member Sanchez, who moved for its
adoption:
RESOLUTION NO. SEOPW/CRA 02-39
A RESOLUTION OF THE BOARD OF DIRECTORS OF THE COMMUNITY
REDEVELOPMENT AGENCY ("CRA"): (1) AUTHORIZING THE
EXECUTIVE DIRECTOR TO ENTER INTO A GRANT AGREEMENT,
WITHIN 30 DAYS, WITH NEW ARENA SQUARE CORPORATION AND/OR
NEW ARENA SQUARE NORTH AND SOUTH, LTD., IN AN AMOUNT NOT
TO EXCEED $425,000 AND SUBSTANTIALLY IN THE FORM ATTACHED,
FOR FAQADE IMPROVEMENTS TO THE ARENA SQUARE APARTMENTS
PURSUANT TO THE PLANS APPROVED BY THE CITY OF MIAMI
DEPARTMENTS OF PLANNING AND ZONING AND BUILDING; (2)
ALLOCATING SOUTHEAST OVERTOWN/PARK WEST TAX INCREMENT
FUNDS (TIF) FOR SUCH PURPOSE; (3) ESTABLISHING A RESERVE IN
THE AMOUNT OF $600,000 IN PRINCIPLE, SUBJECT TO A LOAN BEING
APPROVED BY FANNIE MAE CORPORATION, TO BE USED FOR DIRECT
GRANTS TO COMMERCIAL TENANTS OF THE ARENA SQUARE
APARTMENTS FOR IMPROVEMENTS, BUILD OUT COSTS AND COSTS
ASSOCIATED WITH MOVING IN; AND (4) REPEALING ALL
RESOLUTIONS INCONSISTENT WITH THIS ACTION.
(Here follows body of resolution, omitted here and on file in the Office of the City Clerk.)
Upon being seconded by Board Member Winton, the resolution was passed and adopted by the
following vote:
AYES: Board Member Tomas Regalado
Board Member Joe Sanchez
Vice Chairman Johnny L. Winton
Chairman Arthur E. Teele, Jr.
NAYS: None
ABSENT: Board Member Angel Gonzalez
Chairman Teele: And Ms. Lewis, would you continue to work with Mr. Yuken and define the
project?
Annette Lewis (Acting Executive Director, CRA): Yes, sir.
Chairman Teele: Madam Director is there any further matter to come before the CRA before we
lose the quorum?
31 February 25, 2002
Ms. Lewis: Nothing to vote on. But I did just want to give special thanks to Ms. Hilda Tejera,
Ms. Tejera, who worked with Eugene Rodriguez in preparing the space that we're in.
Chairman Teele: Where is Hilda? Let's give Hilda a big hand.
(APPLAUSE)
Chairman Teele: And I would like to thank the entire City staff, Frank Rollason, Patty Castro
and all of the people in the City, especially from our Clerk's Office, Sylvia, for the support that
you've given. Thank you all very much. Max, thank you, and we look forward to staying in
collaboration with you. Meeting stands adjourned.
32 February 25, 2002
There being no further business to come before the board, the meeting was adjourned at 7:20
p.m.
ATTEST:
SYLVIA SCHEMER
Acting City Clerk
ARTHUR E. TEELE, JR.
Chairman
33 February 25, 2002
RECEIPT
DATE: September 18, 2002
SUBJECT: Minutes for the February 25, 2002 CRA Board Meeting
Received By:
MAYOR DIAZ
VICE CHAIRMAN WINTON
COMMISSIONER GONZALEZ
COMMISSIONER SANCHEZ
CHAIRMAN REGALADO
COMMISSIONER TEELE