South main street public arts master plan
0.0 Existing South Main Street
DAISY BATES DR
13TH STREET
SOUTH MAIN STREET
MATCHLINE
12TH STRE
ET
The South Main (SoMa) Arts District is quickly becoming one of the most unique and dynamic neighborhoods in Little Rock because of it’s mix of old and new. The SoMa Master Plan for Main Street focuses on using the neighborhood’s growing focus on the arts to create a streetscape that matches the character and excitement of those who live, work and play on South Main.
South main street
17TH STREET
16TH STREET
15TH STREET MATCHLINE
SOUTH MAIN STREET
0’
30’
60’
120’
240’
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public arts master plan
0.1 South Main Street Master Plan
DAISY BATES DR
13TH STREET
SOUTH MAIN STREET
MATCHLINE
12TH STRE
ET
The South Main Street Public Arts Master Plan utilizes common streetscape elements, located as shown below to help facilitate more activity along the street. But in lieu of conventionally designed elements, the South Main Street Public Arts Master Plan, encourages creative and artistic elements to be used throughout the district. Other Master Plans encourage uniformity to help define a district but South Main’s character, as an arts district, benefits more from unique elements that stand out from one another to help define itself as a neighborhood.
South main street
17TH STREET
16TH STREET
15TH STREET MATCHLINE
SOUTH MAIN STREET
0’ notes: To maintain accessible sidewalk routes, a minimum width of 60” clear space must be provided to pedestrians. (USDOT/FHA Bicycle & Pedestrian Best Practices Part II. 2010)
Zone Curb Zone Planter/Furniture Zone Clear Pedestrian Zone Frontage Zone
Minimum Width 6 in 24" (48" if planting trees) SoMa typical 40"-48" 60" (ADA standards) 30" (depending on door swing)
public arts master plan
30’
60’
120’
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BENCH LOCATION BIKE RACK LOCATION TRASH & RECYCLING LOCATIONS STREET TREE LOCATIONS CROSSWALK LOCATIONS TRANSIT STOP LOCATIONS RAINWATER GARDEN LOCATIONS
LEGEND
240’
PRIMARY ART LOCATIONS ADDITIONAL ART LOCATIONS GATEWAY LOCATION COMMUNITY BOARD/ VISITOR INFO LOCATION
1.0 Wayfinding & Landmarks A work of art placed at visually prominent and geographically significant entries to South Main can reinforce and strengthen the hierarchical prominence of the entries. The location of art can also activate a site in ways that render a place more memorable. It can be expressive of the “localness� of a place, reminding viewers from around the world that this place is unique. It can also provide a gateway aspect to those entering a neighborhood.
South main street
All Streetscape Signage Should:
• Be placed at strategic locations with a goal of minimizing the overall number of signs and signage systems necessary; overuse dilutes their effectiveness and clutters the streetscape • Catch the attention of passers-by but compliment the overall streetscape design • Align with existing site furnishings or be otherwise located out of the path of travel • Include braille and be multi-lingual as necessary and appropriate to the specific location • Use a graphic design template; signs that highlight local district or neighborhood character should be encouraged and should be of a similar look and feel throughout that district to enhance the area’s sense of place • Incorporate neighborhood-specific or artistic elements; flexibility should be granted to artisans and craftspeople to create unique signage GATEWAYS Gateways are markers or monuments located at the entrance to a district or neighborhood to announce the entry to a particular area, or a transition from one area to the next. Gateways may be a literal gateway, on either side of a street, a singular large sculptural or iconic element, or even a unique landscape feature or plaza. They are generally more artistic or sculptural, and less literal or functional than other types of signage. Gateway markers should: • Be located at defined entry points to a district or a neighborhood. • Be large enough to attract attention and identify the neighborhood entrance • Incorporate unique artistic, sculptural, or culturally-expressive elements appropriate to the particular neighborhood context
DIRECTIONAL SIGNS On most streets, the typical street sign is all that is needed to orient pedestrians to major destinations. However, on streets and public spaces with heavy pedestrian volumes, additional directional signage is often helpful. Directional signs are typically much simpler than a neighborhood orientation sign, featuring only place names and wayfinding information. They should have a distinct and coordinated design in keeping with the character of the surrounding neighborhood or district. Well-designed directional signs can help create a distinct identity to a neighborhood. In general, directional signs should: • Include destination icons, place names, and directional markers (e.g. arrows) for local destinations on blades or integral to the body of the sign. A map clearly showing current location and the best routes to nearby destinations should also be considered. • Share existing poles where possible consistent with the signage design, or be designed as an integral streetscape element. Historic streetlight poles, however, should not be used • Be easy to spot from far away, but designed to be read from nearby with a high level of detailing and craftsmanship • Use external illumination the focuses light on the signs themselves, not on pedestrians. Internally illuminated signs should be avoided as they are typically designed to attract drivers and are too intense for pedestrians.
NEIGHBORHOOD ORIENTATION SIGNS Neighborhood orientation signs provide a central element to provide district or neighborhood information, including the area’s name, neighborhood map, list of destinations (such as primary cultural institutions, historical buildings, and sites of significance), with a distinctive, coordinated design. Neighborhood orientation signs should: • Be located at key points in the neighborhood, such as at a major transit stop, or a central public space • Include directories/maps to guide people to various neighborhood resources • Highlight public and private destination points, including shopping, cultural and recreational facilities, parking, restrooms, and other public-serving facilities
public arts master plan
5'-6" 2X6 STUD FRAMING
R
14TH STREET
STEEL TUBE
7" 1'-
2X4 STUD FRAMING R
1'-0"
MAGNETIC PAINT ON SOUTHEAST SIDE
2'9"
3" STEEL TUBE
MAIN STREET
1X RECLAIMED FENCE POSTS
8'-0"
SOMA COMMUNITY SIGN ROTATE 45 DEGREES TO INTERSECTION
2x6 STUD FRAMING
SITE PLAN
SEALED PLYWOOD ON NORTHWEST SIDE
WELD AT JOINTS 1/2" PLYWOOD SEALED
R
1'0
2x6 STUD FRAMING
5/ 8"
7"
1X RECLAIMED FENCE POSTS
10"
CONCRETE FOOTING
SOMA COMMUNITY BOARD
SIDE ELEVATION
2"
FRONT ELEVATION WELD STL TUBE TO STEEL PLATE #4 REBARB @ 12" O.C.
3" STEEL TUBE
2'-0"
FRONT ELEVATION OPTION 2
3'-0" 1'-0"
FRONT ELEVATION OPTION 3
1X RECLAIMED FENCE POSTS
2 3/8"
3" STEEL TUBE
EMBEDDED STEEL PLATE
SECTION
3'-0"
CONCRETE FOOTING
CONCRETE FOOTING 1/2" SHIM
3'-0"
3" STEEL TUBE
1X RECLAIMED FENCE POSTS
DAISY BATES DR
12TH STRE
13TH STREET
ET
PLAN VIEW AT BASE
MATCHLINE
SOUTH MAIN STREET
WITH THE RE-STRIPING OF SOUTH MAIN STREET TO INCLUDE A MIDDLE TURN LANE, A NEW GATEWAY CAN BE PLACED IN THE CENTER MEDIAN AT THE NORTH END OF THE STREET WHERE NO LEFT TURNS ARE ALLOWED
IN ADDITION TO GATEWAY OPPORTUNITIES AT THE NORTH AND SOUTH END OF SOUTH MAIN, AN ADDITIONAL OPPORTUNITY EXISTS AT THE BUSY INTERSECTION OF MAIN AND DAISY BATES FOR VISITORS ARRIVING FROM THE WEST
17TH STREET
16TH STREET
15TH STREET
THE LARGE GREEN SPACE IN FRONT OF WALGREENS AT THE SOUTH END OF THE MASTER PLAN AREA PROVIDES A PROMINENT LOCATION FOR A SOUTHERN GATEWAY
MATCHLINE
SOUTH MAIN STREET
0’ TWO COMMUNITY BOARD AND VISITOR INFO SIGNAGE OPPORTUNITIES EXIST IN THE MID SECTION OF SOUTH MAIN STREET TO INFORM VISITORS AND LOCALS ALIKE.
30’
60’
120’
240’
N GATEWAY LOCATION COMMUNITY BOARD/ VISITOR INFO LOCATION
LEGEND
2.0 Site Furnishings Art can fulfill functions beyond the visual and contemplative. Site furnishings, including benches, trash & recycling receptacles, and news stands can become works of art themselves. This creates opportunities for art to become a part of many peoples everyday routines and rituals. Combining the forms and functions of art and site will also help establish a cohesive fabric across the entire study area.
South main street
Public Seating
Bicycle Racks and Corrals
Seating Locations • Seating should avoid car door areas at parallel parking spots. • Seating should be located under trees where possible to provide shade • Seating should be near bus stops where possible. • Seating should be on located on areas where buildings are built up to the sidewalk edge and should be concentrated around retail or entertainment storefronts • Where space is adequate, such as curb extensions, seating should be organized to create social spaces.
Bicycle Rack Locations • There must be at least a six-foot clear walkway, to comply with the Americans with Disabilities Act. • Bicycle racks should be frequent at active commercial storefronts with high pedestrian traffic. • When parking meters are consolidated or replaced, consideration should be given to either replace the parking meter with a bike rack, or replacing it with a new parking meter that includes a ring to secure a bike to. • Bike racks should be placed near transit stops to encourage use of CATA’s Bus Bike racks • Bicycle racks should not be located directly in front of a store/building entrance or exit or in a driveway. • There should be at least 3 feet of clearance between bicycles parked at racks and any other site furnishings, with the exception of other bike racks, which should be placed a minimum of every 3 feet on center • Where sufficient demand exists (ie, Community Bakery or Green Corner Store) or where sidewalk space is constrained, replacing an on-street vehicle parking space with bicycle parking (Bike Corals) can be considered.
Public Seating creates and active street by encouraging visitors and residents to engage the street front which in turn, attracts more visitors. Seating is a simple element but probably has the biggest impact on creating an dynamic and inviting streetscape.
Seating Design • Seating should be designed to encourage sitting and to discourage lying down. • Seating and other amenities should be made of durable, high-quality materials. • Seating should complement and visually reinforce the design of other streetscape elements. • Temporary or movable seating may also be used, particularly in locations where there is active street management by adjacent businesses, a merchant’s association, or the like. Temporary seating allows people to orient seats to meet specific social and micro-climate needs.
Trash Cans and Recycling
Sidewalk trash cans and recycle bins are essential to the health and function of the city. Their presence along streets with high pedestrian discourages littering, resulting in a healthier more aesthetically pleasant environment. While trashcans are utilitarian, functional objects, they need not be utilitarian in their design. Attention to the design, materials and placement of trashcans enhances the public realm and adds to a sense of place.
Trash Cans and Recycling Locations • Trash receptacles should be located near as near to corners as is practicable but out of the corner clear zone. • They should be located near high activity generators such as retail and entertainment storefronts or transit stops. • A max of (2) trash receptacles should be provided at an intersection (one on each side diagonal form each other) • Existing concrete pads, located between the curb and the sidewalk, should be used as much as possible to locate trash receptacles
Pedestrian and bicycle traffic are both crucial for a thriving streetscape. Both increase business for local retail and entertainment venues along the street. And in the same way easy and convenient parking encourages more people to drive to a location; easy and convenient bike parking does the same for cyclists.
Bicycle Rack Design • The inverted “U” rail rack is the preferred standard rack for normal sidewalk installation, though artistically designed racks should be encouraged. A bike rack should be sturdily attached to the ground to prevent theft. • Galvanized or stainless steel materials that are not powder-coated are more secure and are easier to maintain; where there is a specialized streetscape palette with particular design scheme, bicycle racks should be considered that match other site furnishings. • All elements of a bike rack should have a minimum 2 inch diameter (or 2 inch square tube). Racks should offer a minimum of 2 points of support for bikes unless the rack can support a bike in two places, such as a post and ring configuration • New designs that integrate decorative tree guards with bicycle parking should be considered for their efficiency in providing more benefit to the streetscape and maintaining more open space on the sidewalk. Artistic bike racks or racks integrated with other elements should also follow the above recommendations. • New development should be encouraged or required to install on-street bike racks as part of development approvals where appropriate.
Trash Cans and Recycling Design • When selecting trash receptacles, they should be considered as a design element, and design should reflect aesthetic as well as functional concerns. • Trash receptacles should be selected from the same or a similar design “family” as other site furnishings (such as benches, bollards, bike racks, etc.) and should be finished or painted to complement other site furnishings. • Trash receptacle construction should use durable, high quality materials, such as galvanized or stainless steel. • Material and paint selection should be graffiti resistant. • Trash receptacles should include recycling containers and should be able to open from the side to allow easy access for removal of garbage bags.
public arts master plan
Site Furnishings
PROVIDE 2 TRASH AND RECYCLING RECEPTACLES AT EACH INTERSECTION, DIAGONALLY FROM EACH OTHER
DAISY BATES DR
13TH STREET
12TH STRE
ET
UTILIZE EXISTING SIDEWALK EXTENSIONS TO LOCATE RECEPTACLES OUT OF THE CLEAR SIDEWALK RIGHT OF WAY AS MUCH AS POSSIBLE
MATCHLINE
SOUTH MAIN STREET
BENCHES SHOULD BE LOCATED ALONG SIDEWALKS THAT HAVE STOREFRONTS AND ARE MORE LIKELY TO HAVE PEDESTRIANS THAN SIDEWALKS THAT ARE LINED WITH BLANK FACADES AND PARKING LOTS
17TH STREET
16TH STREET
15TH STREET
PROVIDE SEATING AND TRASH RECEPTACLES AT ALL CATA TRANSIT STOPS THAT DO NOT HAVE SHELTERS WHERE THEY ARE ALREADY PROVIDED
MATCHLINE
SOUTH MAIN STREET
0’ THE EXISTING CONCRETE PAD AT THE ROOT CAFE PROVIDES A GREAT OPPORTUNITY FOR A PUBLIC SEATING AREA
30’
60’
120’
RECOMMENDED BENCH LOCATION
240’
N
RECOMMENDED BIKE RACK LOCATION RECOMMENDED TRASH AND RECYCLING LOCATIONS
LEGEND
3.0 Infrastructure & Landscape Art Infrastructure Serving as a primary north/south thoroughfare, South Main Street can not help but be a piece of urban infrastructure. Integration of a work of art that is also functional can serve the infrastructural needs of the city and enhance the street’s aesthetic character. For example, bus shelters serve as a solid form of transportation infrastructure and can become locally identifiable works of art themselves. Landscape Storm water management & collection has been utilized artistically to express seasonal change and provide local interest during rain events. Street trees and annual plantings can also serve to increase the aesthetics of the street. Small community gardens placed in strategic locations will help to build a sense of community as well.
South main street
Rain Gardens
Crosswalks
Rain gardens are usually planted with native plants and grasses. These plants should be able to withstand standing water, yet be drought tolerant to survive through the dry seasons. They will not only provide an attractive addition to the streets, but also help to conserve water and protect our water quality.
Crosswalk Locations • Crosswalks should be located at each intersection with in the master plan area
A rain garden is a shallow, vegetated depression designed to absorb and filter runoff from hard (impervious) surfaces like roofs, sidewalks, and driveways.
Crosswalks are a vital part of any thriving pedestrian street. It is important to keep visitors safe while crossing the street, as much as it is to keep motorist alert. Well maintained and creative crosswalks can also provide an additional artistic opportunity to create a definition of a neighborhood
The goal of a rain garden is to keep water on the land. Rain gardens, with their shallow depressions, capture stormwater and provide for natural infiltration into the soil. This provides water for the plants and helps maintain a constant flow of water in our streams through groundwater. They also help filter out pollutants including fertilizers, pesticides, oil, heavy metals and other chemicals that would otherwise reach our creeks through storm drains or drainage ditches. By reducing the quantity of water that runs off your property, rain gardens help lower the risk of flooding and erosion.
Crosswalk Design • A “ladder” or rhythmic pattern should be used as it has been proven to be the most effective at getting drivers attention • Crosswalks can be simply painted, or can be a change in material, such as brick pavers • Crosswalks along Main street with high pedestrian traffic and that do not have a traffic signal (ie 15th street) could benefit from additional safety measures such as embedded flashing lights
Rain Garden Locations • Rain Gardens can replace existing landscaped curb extensions that are prevalent on Main Street • Rain Gardens work best near existing storm drains that can act as over flow drains during extremely heavy rainfalls
Transit Stops
Rain Garden Design • Rain Gardens should use native drought resistant plants • Provide curb cuts at Rain gardens to allow water to enter from the street • Refer to the University of Arkansas Community Design Center’s (UACDC) Low Impact Development (LID) Manual for more info on rain gardens in urban areas.
Parklets
Parklets provide an economical solution to the desire and need for wider sidewalks and are intended to provide space for the general public to sit and enjoy the space where existing narrow sidewalk would preclude such occupancy. Typically, Parklets work best in front of restaurants or retail that can accommodate activities as part of the business model (ie music stores, book shops, pocket theaters) but this may conflict with a business owner’s desire to have parking as close as possible. Business owners should be worked with directly when determining Parklet locations
Central Arkansas Transit Authority currently has 1 transit Shelter located within the master plan limits and one just outside of it to the south. Transit Shelters provide shelter from the elements but also promote the use of public transit by making it more visible, and by providing a location for information about the transit routes, such as timetables and maps. Currently Bus routes are located on Main Street within the Master plan area. Because of the numerous commercial businesses and frequency of the buses along this route, Bus shelters are highly recommended where ever possible. Transit Stops Locations Typically, CATA transit stops are determined by CATA as needed and our spaced out evenly along the route. Most of these existing locations are appropriate but a few could be shifted one way or another to utilize the space better. CATA’s safety requirements should be followed when determining any additional or altered locations Transit Stops Design Transit Stops • All marked CAT Transit stops should include some sort of seating, whether it is a bench or seating incorporated into the bus stop sign. • All marked CAT Transit stops should include a trash receptacle and adequate lighting • All marked CAT Transit stops should be clearly marked and easy to locate. All bus stop signs should include information on the bus routes and times of arrival with the use of post mounted information cases mounted between 48” and 67” centerline above the sidewalk Transit Shelters • Shelters should be incorporated into the streetscaping where ever possible and not appear as if they were “dropped in place” • All Transit Shelters should provide seating on the inside • Materials used should be durable and resistant to vandalism and weather conditions • All Transit Shelters should have transparent sides for greater visibility; panels should be shatterproof and marked with reflectors; panels should be resistant to fading and clouding • All Transit Shelters should have provisions for bus shelter maps • Any advertising placement should not obstruct the view of approaching traffic • All Transit Shelters should be located at least 2’ back from the face of the curb
public arts master plan
Infrastructure & Landscape Art
KEYBOARD CROSSWALK
DAISY BATES DR
12TH STRE
13TH STREET
ET
AT PIANO CRAFT
MATCHLINE
SOUTH MAIN STREET
TYPEWRITER CROSSWALK
AT OXFORD AMERICAN
ZIPPER CROSSWALK
MUSIC NOTES CROSSWALK
FOOTPRINT CROSSWALK
17TH STREET
16TH STREET
15TH STREET
AT ESSE PURSE MUSEUM
MATCHLINE
SOUTH MAIN STREET
0’ heat island mitigation climate regulation
curb exte
nsion
infiltration non-invasive facultative landscapes erosion control and sediment retention
Siskiyou Street Portland, Oregon
THE NORTH CURB CUT AT THE EXISTING LAUNDROMAT COULD BE REMOVED AND UTILIZED AS A CENTRAL TRANSIT SHELTER FOR THE SOUTH MAIN DISTRICT
30’
60’
120’
RECOMMENDED STREET TREE LOCATIONS RECOMMENDED CROSSWALK LOCATIONS
240’
N
RECOMMENDED TRANSIT STOP LOCATIONS RECOMMENDED RAINWATER GARDEN LOCATIONS
LEGEND
4.0 Art Exhibit Space Seven main art installations are identified along the corridor, with additional secondary locations for future expansion noted as well. Pieces can be treated as individual installations, which must be placed in areas that allow them to be viewed as a single piece of work, or in conjunction with other pieces to create nodes of art activity. Most art & sculpture projects will be placed in areas that allow them to be experienced as a stand-alone work of art but all pieces must maintain pedestrian clear widths and access.
South main street
Public Art
All public art should make a positive contribution to the life of the neighborhood, and to the well being of its residents. In keeping with this principle, artwork that is to be added to the collection should be created in active response to the character, culture, and history of the site and reflect the creative exchange between visual arts professionals and the community.
Selection • Methods for artist selection include an open-call process by RFP or RFQ, Invited Projects where small groups of artists are pre-qualified for the project, or directly approaching a specific artist for a proposal. Artists are generally selected or pre-qualified by a curator, public art consultant, or group of art advisors for a project • The contract for the work of art should include milestones for the owner to review the progress of the design, fabrication, and installation of the work of art. Often, these milestones are attached to the release of payment. For example, when the owner approves of a proposal for a work of art, a portion of the budget is released and the artist is given notice to begin fabrication. • It is suggested that the owner contact the City of Little Rock Planning Department during the proposal stage of the artwork to learn of any review bodies, commissions, or community organizations that may need to approve or review the overall development project or work of art. Maintenance and Conservation • A plan should be established by the artist and owner that outlines what maintenance is needed, how much it will cost, and who will perform the work. When a work of art is damaged, only the artist who created it, a fabricator approved by the artist, or a professional conservator should be retained to repair or restore the work of art.
Types of Public Art
Pedestrian and bicycle traffic are both crucial for a thriving streetscape. Both increase business for local retail and entertainment venues along the street. And in the same way easy and convenient parking encourages more people to drive to a location; easy and convenient bike parking does the same for cyclists.
Freestanding Works of Art • These are the most common type of public art, and typically associated with sculpture. Other types of three dimensional design or installations are acceptable as well. These pieces typically require the greatest amount of space, and care must be taken along the sidewalk locations such that an accessible pathway around the piece is maintained. - See 1.0 Wayfinding & Landmarks for gateway locations and suggestions. - See 4.0 Art Exhibit Space for art locations and suggestions. Integrated Artworks • These types of public art projects don’t sit on pedestals: they are seamlessly integrated into the surrounding environment. This includes mosaics, murals, and street graphics. - See 3.0 Infrastructure & Landscape Art for street-related art locations and suggestions. - See 4.0 Art Exhibit Space for art locations and suggestions. Artistic Building Components • Why buy a ubiquitous building part from a catalogue when you can have it made by an artist? Artist made building parts add character and beauty to function. These types of artworks can cost the same as catalogue purchases when an artist is given a budget and specifications to work toward. One way of funding these projects is to identify an item already in the design, such as benches or landscaping, and enable an artist to deliver those services. - See 2.0 Site Furnishings for seating, bike rack, and trash/recycling locations and suggestions. Building as Art (New Construction) • When an artist is included as a member of the design team with an architect, landscape architect, or engineer, they work together and heighten the creativity, surprise, beauty, or whimsy of a place. These types of projects work best when all members of the team are selected at the same time, they are given equal power and control over aesthetics, and each member has a clearly defined project role from the beginning. - To be considered as part of all new building construction along Main Street.
public arts master plan
Art Exhibit Space
DAISY BATES DR
13TH STREET
SOUTH MAIN STREET
MATCHLINE
12TH STRE
ET
EXPANDING ART PIECES OFF OF MAIN STREET HELPS TO EXPAND THE DISTRICT BEYOND THE STREET EDGE
LOCATE ART INSTALLATIONS ALONG THE STREET EDGE AT BLANK FACADES OR SURFACE PARKING LOTS TO FACILITATE ACTIVITY WHERE NON EXISTS
17TH STREET
16TH STREET
15TH STREET
PROVIDE ART AT BOTH ENDS OF THE MASTER PLAN AREA TO HELP DEFINE THE DISTRICT
MATCHLINE
SOUTH MAIN STREET
0’ WHERE POSSIBLE, COMBINE SEATING WITH ART PIECES TO CREATE ROOMS ALONG THE STREET FOR ACTIVITIES AND INTERACTION
30’
60’
120’
240’
N PRIMARY ART LOCATIONS ADDITIONAL ART LOCATIONS
LEGEND
South Main Street Public Arts Master Plan Produced by Studio Main Mason Ellis Jordan Thomas Brett Budolfson
2014