Days remaining to deadline: 21
Images | Minimum:Min. 10, Maximum:Max. 20
Video | Minimum:Min. 0, Maximum:Max. 5
Total Samples | Minimum:Min. 10, Maximum:Max. 20
Eligibility: International
State: District of Columbia
Budget: $800,000.00
CONTENTS
NOTICE TO OFFERORS
BACKGROUND
INTRODUCTION
PART 1 – REQUESTS FOR QUALIFICATIONS (RFQ) AND GENERAL STATEMENT OF WORK
PART 2 – PROJECT OVERVIEW
PART 3 – SITE-SPECIFIC PUBLIC ARTWORK PARAMETERS AND GOALS
PART 4 - REQUEST FOR QUALIFICATIONS SUBMITTALS
PART 5 – EVALUATION PROCEDURES
PART 6 - PROJECT SOLICITATION SCHEDULE
PART 7 – ELIGIBILITY
PART 8 – BUDGET
PART 9 - RIGHTS AND OBLIGATIONS OF WMATA
_____________________
REQUEST FOR QUALIFICATIONS DUPONT CIRCLE METRO STATION PUBLIC ART PROJECT
NOTICE TO OFFERORS
DIRECTIONS FOR SUBMITTING QUALIFICATIONS: Please read carefully and comply with the instructions and submission requirements set forth in this Request for Qualifications and all Amendments to be submitted for consideration.
• Qualifications for the Work described herein shall be submitted to the Washington Metropolitan Area Transit Authority (WMATA, herein referred to as the “Authority”) via the project management software system CaFÉ.
• Qualifications must be submitted through CaFÉ before 11:59 PM Mountain Time on December, 9, 2024.
• Any Qualifications submitted which modifies or fails to conform to the requirements of this RFQ shall be considered non-responsive and categorized as unacceptable.
All questions shall be directed to the Contract Administrator, Mr. Kevin Green at kagreen@wmata.com
QUALIFICATIONS MUST SET FORTH FULL, ACCURATE AND COMPLETE INFORMATION AS REQUIRED BY THIS REQUEST FOR QUALIFICATIONS INCLUDING ALL AMENDMENTS.
_____________________
BACKGROUND:
A. WMATA ART IN TRANSIT PROGRAM (AIT)
AIT was created to provide artworks and performances at the Authority’s transit facilities to enhance public spaces and provide high-quality arts experiences for transit customers and the public. AIT is committed to working with artists, other arts professionals, architects, engineers, community representatives, and jurisdictional arts councils to develop projects that reflect the spirit and vitality of the arts and communities in the Metro service area. As part of its mission, AIT:
• Utilizes the Authority transit environment as a place where customers and the public can enjoy the arts as a regular part of their daily lives.
• Contributes to the reputation of the region as a place where art abounds, and where the artistic interests of its communities are recognized, valued and celebrated.
• Encourages public-private partnerships to support art projects that may not be achieved independently.
• Mitigates the impact of construction on surrounding communities by incorporating visual artwork into the preparation and building phases of new transit projects.
• Increases enthusiasm and support of the Authority and its interest in serving the public.
• Encourages ridership by deterring vandalism and increasing safety and security.
For information about WMATA’s Art in Transit Program, please visit https://www.wmata.com/initiatives/art-in-transit/
INTRODUCTION:
AIT organizes and facilitates an Art Selection Panel to select a site-specific public artwork following the principles of Biophilic Design for the North Entrance of WMATA’s Dupont Circle Metro Station.
PART 1 – REQUESTS FOR QUALIFICATIONS (RFQ) AND GENERAL STATEMENT OF WORK:
The following is an RFQ for interested Artists/Artist teams who wish to be considered for a procurement that will include design, construction services, and installation associated with the realization of a site-specific artwork at the location identified in this RFQ.
A- TWO-PHASE SELECTION PROCESS
The selection and creation of the Dupont Circle Metro Station North Entrance site-specific artwork will be procured utilizing a Two-Phase Selection Process. This selection process will be accomplished utilizing one solicitation covering both phases hereinafter referred to as Phase 1 and Phase 2.
The maximum total cost for the site-specific public artwork is not to exceed $800,000 for the entire project; all inclusive of design (artist fee included), construction, and installation as well as other miscellaneous costs such as public talks, community engagement, and professional photography. The public artwork as outlined in this RFQ is subject to the availability of funds. No portion of this project is federally funded.
PHASE 1:
Requires Artists/Artist teams to prepare and submit Qualifications as appropriate for the scope of work and Qualifications Submittal requirements set forth in the solicitation. The AIT Art Selection Panel comprising art and design professionals and community representatives, intends to select at least three (3) Artists/Artist teams as determined by this RFQ’s evaluation criteria.
PHASE 2:
AIT will invite three (3) or more Artists/Artist teams whose qualifications are deemed acceptable to receive detailed contract information for the purpose of submitting site-specific, Phase 2 artwork proposals. The Authority expects the proposals to include all premiums required to complete the project on or ahead of the schedule listed in the present RFQ.
The selected Artists/Artist teams will receive a $2,000 design fee to prepare and submit a site-specific artwork proposal that will comply with the prescribed concepts. These Artists/Artist teams will then proceed to Phase 2 of the selection process.
As part of the proposal, the Artists/Artist teams are expected to provide a site-specific design and estimated costs for engineering and architectural services, technical, professional, clerical and other services (including permits as needed) necessary as well as schedules required for the fabrication and installation to complete the artwork. The Artists/Artist teams’ experience and professional record should provide convincing evidence of ability to successfully complete the project as proposed.
The Art Selection Panel led by AIT will rank each site-specific artwork based on the evaluation criteria listed in this RFQ.
B- CONTRACT AWARD
The Authority’s Office of Material and Procurement (PRMT) will enter into negotiations with the top ranked Artists/Artist teams to finalize the contract award process. If PRMT personnel are unable to reach agreement with the top ranked Artist/Artist Team, they will end negotiations and begin negotiations with the next ranked Artist/Artist Team.
PART 2 – DUPONT CIRCLE METRO STATION NORTH ENTRANCE OVERVIEW:
A- ABOUT THE DUPONT CIRCLE METRO STATION
1. About the Station
Opened to the public in 1977, the Dupont Circle Metro Station is one of the first stations located in a residential area. The station was built as a mined-rock underground station with side platforms. The station has two surface entrances: the Q Street (North) Entrance and the Dupont Circle/19th street (South) Entrance. The Q Street entrance, located a block north of Dupont Circle, sits between 20th Street, NW and Connecticut Avenue, NW., amid mixed commercial and residential development.
The Dupont Circle south entrance is located near the opposite end of the circle between Nineteenth Street, NW and Connecticut Avenue, NW and is surrounded by commercial and office buildings.
As one of the busiest in the system, the station accommodates almost 5,000 passengers a day.
2. About the Q Street (North) Entrance
The Q Street or North Entrance to the Dupont Circle Metro Station is remarkable for its large circular opening, granite curving wall, and deep angle of descent that creates a monumental space that is unique in the Metro system. This large circular street level entrance contains three escalators that descend 188 feet – one of the deepest stations in the system. The depth of the station was determined by the need for the rail line to go under Rock Creek, a major north-south tributary of the Potomac River running through Washington, D.C.
The designers/architects softened the North entrance’s massive, monolithic masonry by including planted terraces on each side of the escalators. Over the years, the original planters have attracted rodents, creating public health concerns and a perception of unsafe conditions. Additionally, the circular glass and metal overhead canopy installed in 2022 over the north entrance escalator well (the only circular canopy and the largest one in the system) has changed the amount of water and sunshine the plants receive, making maintenance even more challenging. To address these conditions, the Authority is advancing an Art in Transit solution that will both respect and heighten the status of this iconic entrance to the Metro system.
The Art in Transit project, outlined in this RFQ, is looking to implement a biophilic design that focuses on aspects of the natural world and enhances the customers’ and the community’s experience.
3. About Existing Artworks:
While the large circular opening and its monumental canopy have a great streetscape presence and plays an outsized role in the neighborhood’s character, the Dupont Circle Station North Entrance is also noteworthy for the engraved excerpt of Walt Whitman’s poem The Wound-Dresser in which Whitman describes the work he did as a volunteer in Washington’s hospitals during the Civil War. The excerpt was engraved on the entrance’s parapet walls in 2006 as a way to honor the caregivers who had nursed the sick in the earliest days of the city's HIV crisis.
https://www.wmata.com/initiatives/art-in-transit/ait-dupont-circle.cfm
Along with Whitman’s poem, an excerpt from "We Embrace," a poem by local poet and activist E. Ethelbert Miller, is inscribed into the sidewalk surrounding a nearby circular bench. This artwork captures the identity of the Dupont Circle neighborhood as the longtime center of the gay community in Washington D.C.
https://www.wmata.com/initiatives/art-in-transit/ait-dupont-circle-we-embrace.cfm
For detailed information and images about the Q Street (North Entrance) and the Existing Artworks, please refer to the Site Plan file.
PART 3 – DUPONT CIRCLE NEIGHBORHOOD OVERVIEW:
A- HISTORY
The Dupont Circle neighborhood, located in Northwest (NW) Washington, D.C., is part of the traditional and ancestral homelands of the Piscataway and Anacostan peoples. The circle was an unnamed feature of the original 1791 plan for the City of Washington developed by Pierre L’Enfant. The neighborhood which was sparsely populated and undeveloped until the late nineteenth century, started developing in the 1870s with the construction of sewer lines, trolley lines and other urban amenities. Although originally middle class, Dupont Circle rapidly became the home of high-end residences and exclusive shops due to its proximity to downtown.
Beginning in the 20th century, Dupont Circle transitioned from a residential neighborhood to an increasingly commercial and upscale destination. The 1920 Washington, D.C. zoning map designated Dupont Circle’s section of Connecticut Avenue, NW as the city’s first commercial district, and many foreign embassies were established in the Dupont Circle neighborhood. The neighborhood became a transportation hub and a gateway to Washington’s downtown.
In the 1930s, many large private homes in the neighborhood were sold and used as investment rental properties. These buildings became offices for non-profit organizations or were subdivided into apartment units. Following World War II, Connecticut Avenue became a main throughfare out of downtown Washington, D.C., and an underpass was created under the circle to ease traffic congestion and provide space for the trolley cars that clogged the circle. This infrastructure never solved any traffic problem, and the tunnels are now an underground citizen-led arts platform: DC Underground https://dupontunderground.org/.
In the 1950s, the area became home to transients and students. The late 1960s brought protests against U.S. involvement in the Vietnam War, which in the nation’s capital were centered in Dupont Circle.
The neighborhood enjoyed a resurgence in the 1970s bringing early historic preservation efforts with the neighborhood being designated a local and National Register of Historic Places (NRHP) historic district in 1976. During the same period, the Dupont Circle neighborhood became strongly associated with the LBGTQ movement. Along with the Castro in San Francisco, Greenwich Village in New York City, Boystown in Chicago, and West Hollywood in Los Angeles, Dupont Circle is considered a historic location in the development of American gay identity.
B- NOW
Dupont Circle retains associations with historic preservation, its international character with its high concentration of embassies, and the LGBTQ movement through its civically involved residents and business, and diverse and vocal local associations.
While Dupont Circle has a rich history, and architectural legacy, it is today a vibrant neighborhood in Washington, D.C. A substantial undertaking adjacent to the Metro Art in Transit project at the Dupont Circle Station, is the Dupont Plaza Streetscape Improvement project. This urban design initiative is located immediately east of the Dupont Circle Metro Station North Entrance. This open-air plaza and multi-modal streetscape will deck over the Connecticut Avenue underpass to create a multi-use public space between Dupont Circle and Q Street, NW and extends above-ground along Connecticut Avenue NW. The plaza intends to create a flexible and welcoming public space for everyday activities and a variety of special events. Streetscape improvements along Connecticut Avenue include new streetlights, planters, benches, and sustainable stormwater management features. https://dupontcirclebid.org/about/dupont-plaza
C- PARTNERS
As part of this project, the Authority is working closely with local organizations including the Dupont Circle Business Improvement District (BID) which works to elevate this international and iconic neighborhood with public space management and economic development initiatives, and the Dupont Circle Advisory Neighborhood Council (ANC2B) which will provide community representation and input on the Dupont Circle Metro Station North Entrance AIT project.
For more information about these organizations:
https://dupontcirclebid.org/
www.dupontcircleanc.net/wordpress/
Application Requirements
PART 4 – SITE-SPECIFIC PUBLIC ARTWORK PARAMETERS AND GOALS:
The Authority has a history of, and expectation for design excellence and is seeking to obtain a unique, memorable, and engaging site-specific, public artwork for the Dupont Circle Metro Station North Entrance. The Artist/Artist teams shall develop an aesthetically attractive public artwork that captures the Authority’s mission and reflects the artistic, cultural and/or historical interests of the surrounding communities. Consideration shall be given to creative uses of materials, massing, scale, form, texture, and detailing. Artwork shall be visually attractive, innovative, as well as durable. The selected site-specific artwork should impart a sense of pride within the local community and provide a stimulating and attractive environment for the people who will experience the artwork on a daily basis.
The Art Selection Panel seeks a pool of applicants with a successful history of development (including budgeting, cost control, and scheduling), fabrication, and installation of public art, experience with biophilia, experience working in historic districts, and collaboration with public agencies and/or design build projects as evidenced by examples provided in the applicants’ portfolio.
A- DESIGN PRINCIPLES
Selected finalists will be asked to consider the following principles when developing their design:
• Adherence to the principles of Biophilic Design as defined in the 14 Patterns of Biophilic Design (https://www.terrapinbrightgreen.com/wp-content/uploads/2014/04/14-Patterns-of-Biophilic-Design-Terrapin-2014p.pdf)
• Quality of the work and durability of materials
• Enduring aesthetics
• Site-specificity/Relationship to existing architectural, landscape, natural, historic, and social features including:
- Gateway or landmark to a traveler’s journey
- Consideration of the site geography and history
- Consideration of the Authority’s role and history
- Relationship to other artworks in the vicinity
- Complements, honors and does not conflict with the existing station architecture.
- Future development plans for the area
• Appropriate scale/artwork proportional to scale and volume of the space
• Visibility and public accessibility
• Safety/Structural and surface soundness
• Resistance to theft, vandalism, weathering and excessive maintenance
• Low maintenance with minimal ongoing maintenance and operational costs
• Space activation
• Technical feasibility
• Suitability for diverse public
• Abides by principles of Universal Design https://universaldesign.ie/about-universal-design
B- MATERIALS & MEDIA
All artwork proposals considered must meet the Authority/International Building Code (IBC) standards for fire retardation, safety, lifecycle requirements, materials, and structural adequacy.
C- MAINTENANCE & DURABILITY
Semi-finalists will be expected to consider the issues of long-term conservation and maintenance of public artwork, along with timeline and budget. The public art project should be fabricated of highly durable, low-maintenance materials. Semi-finalists are encouraged to consult with a professional conservator prior to the submission of a final proposal. The proposals of Artists/Artist Teams awarded contracts will be reviewed by the Authority and the Art Selection Panel including experts in Construction and Engineering to ensure conformity with the Authority’s standards of maintenance and durability, as well as the Americans with Disabilities Act (ADA) standards.
D- SITE CONSIDERATIONS AND CHALLENGES
1. Existing Site Condition and Project Criteria*
The project is to be implemented within the circular opening of the North Entrance escalator well and integrate the existing rock paved terraces and metal planter boxes in a design, which must maintain the structural integrity of the site, be reversible and implement elements of biophilia.
To view the selected site, please refer to the Site Plan file.
The artwork, which will create an exciting visual environment to be experienced as one enters and exits the station, must abide by the following criteria:
- Not extend vertically above the top of the entrance circular perimeter-wall so as not to impact the existing viewsheds of the historic neighborhood.
- Not impact visual access to the existing poem engraved in the entrance circular perimeter-wall.
- Preserve the existing rock paver terraces flanking the center run of three escalators.
- Integrate the metal planter boxes in the design and seal them to help mitigate the existing rodent problem.
- Maintain visibility of all wayfinding signage and existing artwork.
Additionally, the Artists/Artist Teams should consider that this section of the north entrance is partially open to the elements and both natural and artificial lighting must be taken into consideration.
*Note: The Artists/Artist Teams should carefully study the site. Dimensions of these spaces and additional information will be provided to semi-finalists selected to submit a design proposal.
2. Historic Preservation
The Dupont Circle Metro Station north entrance is located in the heart of the Dupont Circle Historic District, which is listed in the National Register of Historic Places and is a DC Historic Landmark district. As a new addition to the existing site, the artwork shall be undertaken in such a manner that if removed in the future, the integrity of the historic district or property would be unimpaired.
If a building permit is required for the installation of the Dupont Circle Metro Station North Entrance AIT piece, the proposed artwork will be evaluated in accordance with the District of Columbia Historic Preservation Guidelines.
The purposes of the Historic Preservation Act, with respect to historic districts, is to assure that new construction in an historic district is compatible with the character of the historic district. (https://planning.dc.gov/sites/default/files/dc/sites/op/publication/attachments/DC_Chapter_20_Design_Construction_Standards.pdf).
The District of Columbia Historic Preservation Review Board (HPRB Board) and the staff may apply the Secretary’s Standards in the review of projects under the Historic Protection Act
(https://planning.dc.gov/sites/default/files/dc/sites/op/publication/attachments/DC_Chapter_20_Design_Construction_Standards.pdf).
3. Biophilic Art
Public art can be a vehicle for and a means of expression of sustainable development. Through the implementation of a biophilic design for its public artwork at the Dupont Circle Metro Station North Entrance, WMATA seeks to improve the well-being of its customers.
As part of this RFQ, Artists/Artist Teams are invited to address our inherent need to experience and connect with nature by creating a public artwork that provides visual access to and experience of natural features and processes, takes into consideration local and regional themes such as the location of the station adjacent to the natural and cultural resources of Dupont Circle Park, part of the National Mall and Memorial Parks, which is a unit of the National Park System. To learn more about Dupont Circle Park and its cultural associations see https://www.nps.gov/places/dupont-circle.htm.
Indirect experience of nature in biophilic design can be expressed through the following elements:
• Images of nature
• Natural materials
• Natural colors
• Mobility and wayfinding
• Cultural and ecological attachment to place
• Simulating natural light and air
• Naturalistic shapes and forms
• Evoking nature
• Information richness
• Age, change, and the patina of time
• Natural geometries
• Biomimicry
PART 5 - REQUEST FOR QUALIFICATIONS SUBMITTALS:
Using CaFÉ, Artists/Artist Teams shall submit the following during each phase of the selection process:
Phase 1:
A. A Statement of Interest that clearly outlines the Artists/Artist Teams’ interest in the specificities of the present RFQ and experience working on similar projects (2000 characters maximum).
B. 1-2-pages current résumé that highlights the Artists/Artist Teams’ professional accomplishments as they relate to the project. If applying as a team, please submit one résumé per team member. Résumés longer than 1-2 pages will not be considered.
C. Images (10 to 15) and videos (0 to 5) of previously completed artworks along with a one-page list of the images that must specify the following for each work of art:
• title
• media
• location
• budget
• year created
All documents must be submitted through CaFÉ.
Phase 2:
To prepare and submit a site-specific artwork proposal (the "Proposal"), which shall be sufficiently clear and detailed to enable the Authority and the Art Selection Panel to understand and evaluate it without assistance from the Artists/Artist Teams. The Proposal shall include:
A. Drawings/renderings to illustrate the proposed, site-specific artwork and its integration into the Station. The location(s) of the artwork and the sizes, materials, colors and finishes of the artwork and, as applicable, of the artwork site, including installation considerations, shall also be indicated. (Installation may be performed by Artists/Artist Teams and/or by a contractor; this will be determined during the design phase.)
B. A written explanation of the proposed artwork and the design approach for integrating the artwork into the Station. Include, as applicable, a general description of architectural, engineering, and other professional work which will be needed to implement the Proposal.
C. A detailed preliminary estimate of the total cost of the artwork, which shall not exceed the Art in Transit budget, which is currently estimated at $800,000, including the Artist's fee under this Agreement. The artist fee must not exceed twenty percent (20%) of the proposed artwork budget.
D. The Artists/Artist Teams must detail their experience, and the experience of possible sub-contractor(s), on project(s) of similar size, complexity, and constraints and provide a list describing similar projects completed by the sub-contractor(s), within the last 5 years or currently in progress. Each list of projects shall include:
• Name and location of project
• Name of the owner
• Name and phone number of contact person
• Value of contract
• Percentage of contract that was self-performed
• General description of the project
Artists/Artist Teams are advised that the Authority reserves the right to contact any and all clients and agencies listed.
E. The cost estimate shall include, as applicable, Artist's fee and the following Artist/subcontractor/vendor costs: engineering, materials, fabrication, crating, storage, shipping to the Station, all insurance, installation, artist's supervision of the installation, and documentation. The cost estimate shall be supported by written estimates from vendors for all cost significant (in WMATA's judgement) products/services. The Work includes survey, design, and construction of the Project as indicated in the Contract Documents for similar station, track, and ancillary work included in this RFQ.
F. The selected Artists/Artist Teams must be ready to provide proof of insurance as per the requirements listed below:
• Workers’ Compensation – Statutory Limits; Employer’s Liability, $500,000 per accident/disease
• Commercial General Liability insurance (CGL) - $1,000,000 per occurrence/$2,000,000 aggregate
• Professional Liability insurance - $1,000,000 each claim
Additionally, insurance provisions should be as follows:
• Insurance carriers shall have an A.M. Best rating of at least A-/VII.
• WMATA shall be named as an additional insured on the Commercial General Liability and the Auto Liability insurance policies.
• If RRP is required, the Contractual Liability Exclusion (applicable to work to be performed within 50 feet of railroad property) must be removed from CGL policy and Umbrella/Excess, if applicable, by way of Endorsement CG 24 17 or its equivalent.
• All insurance shall be primary and non-contributory to any insurance WMATA may have.
• WMATA shall be provided at least 30 days written notice of cancellation, nonrenewal or material change in coverage.
• Contractor/Vendor shall provide evidence of insurance coverage to WMATA in the form of a certificate(s) of insurance dated within 30 days of contract review, including the copies of Additional Insured and primary and non-contributory endorsements on the Auto, CGL and Umbrella/Excess policies, if applicable, and waivers of subrogation for Auto, CGL, Umbrella/Excess, if applicable, and workers’ compensation, at least ten (10) days prior to performance of work and/or services. The coverage provided by the additional insured endorsement shall be at least as broad as the Insurance Service Office, Inc.’s Additional Insured Form CG 20 10 11 85 or CG 20 26 11 85 as determined by WMATA.
• Upon expiration of the policies, Contractor shall provide renewal COIs and all applicable endorsements to the Authority, with terms and limits no less favorable than the expiring insurance policies.
Failure to submit any or all of the requested information may result in the rejection of the Artists/Artist Teams’ submission.
PART 6 – EVALUATION PROCEDURES
Each qualifying RFQ submission will be reviewed and evaluated individually by the Art Selection Panel and the Authority in accordance with procurement policy and procedures highlighted in this RFQ.
Qualifications will be evaluated by their strengths, weaknesses, and deficiencies against the evaluation factors. The Applicants shall describe in detail the means and methods of prosecuting the Work described in this Statement of Qualifications.
The Art Selection Panel will be using the following evaluation criteria to evaluate each Artist/Artist Team’s submission during Phase 1 and Phase 2 of the selection process:
Phase 1:
A. Completeness of the application.
B. Artistic merit of body of work (such as national recognitions, awards, …)
C. Appropriateness of qualifications for the project.
D. Strong conceptual skills with innovative and effective approaches demonstrated in other creative projects.
E. Originality of approaches and methodologies used to convey meaning through art.
F. Ability to design artwork that is sensitive to social, environmental, historical, and/or other relevant contexts.
G. Ability to translate artistic concepts into materials that are appropriate for public spaces, taking into consideration maintenance, safety, and longevity.
H. Demonstration of successful execution and completion of similar projects within the last 5 years.
I. Experience with biophilia.
J. Experience collaborating with public agencies and/or design build projects.
• Quality of the Work: High quality artwork is determined by recognized arts professionals such as curators, arts administrators and artists qualified to evaluate contemporary artist portfolios, credentials and/or proposals.
• Site-specificity: An artist’s concept and the physical artwork are integrated into the project and should relate to the project site, its history, immediate landscape, urban fabric, and/or surrounding communities.
• Durability of Materials: Artworks in transit systems may be subject to a variety of harsh conditions including impact from pedestrian traffic, build-up of soot and grime, a range of climate conditions, and potential vandalism. Durable materials should be used to attain the optimum degree of maintainability and proven ability to withstand the challenging transit environment and specific environmental conditions of the area. Artwork should need minimum maintenance.
Phase 2:
The Art Selection Panel will review each site-specific design concept for its feasibility and convincing evidence of the Artists/Artist Teams’ ability to successfully complete the work as proposed.
The review of each of the proposed design concept will be based on the following evaluation criteria:
A. Artistic excellence, originality, and creativity of proposal.
B. Relevance of the proposed design to the values, culture, and people of WMATA, the District of Columbia, and the Dupont Circle Neighborhood.
C. Proposed design’s ability to activate or enhance public space.
D. Soundness of materials.
E. Suitability of the work for outdoor display, including its maintenance and conservation requirements.
F. Potential for work to enrich and diversify WMATA’s and the District of Columbia public art collections.
G. Ability and willingness to collaborate with WMATA staff, design and engineering professionals, stakeholders, and contractors.
H. Project budget.
I. Proposed Timeline.
J. Knowledge of applicable zoning, construction, and historic district design guidelines
K. Appropriateness of the scale of the artwork.
L. How proposed design meets the site-specific artwork parameters and goals.
Additionally, Artists/Artist Teams should provide a minimum of 2 references who have worked with the artist/artist team and have detailed knowledge of their work.
PART 7 - PROJECT SOLICITATION SCHEDULE*
*WMATA reserves the right to adjust the timetable as necessary during this RFQ process.
The proposed solicitation schedule for this RFQ is as follows:
Phase 1 –
Request for Qualifications posted October 11, 2024
Request for Information/questions deadline November 18, 2024
Request for information answers posted Nov. 20, 2024
RFQ closes December 9, 2024, before 11:59 PM Mountain Time
Qualifications Evaluation/Selection of semi-finalists Dec. 10, 2024 – Jan. 14, 2025
Phase 2 -
Release of additional information for selected finalists January 15, 2025
Site-specific design proposal deadline February 18, 2025
Semi-finalists interviews/presentations February 24-28, 2025
Projected decisions on awarded proposals Week of March 3, 2025
Historic Preservation Office review and comment period TBD
National Commission of Fine Arts review and comment period TBD
Notice to Proceed TBD
Anticipated date of project completion Late Summer 2026
PART 8 – ELIGIBILITY
This RFQ is open to all artists with site-specific public art experience. Qualified artists will be considered regardless of race, color, creed, national origin, sex, sexual orientation or age.
PART 9 – BUDGET
The Artist/Artist Team awarded the contract for this public art project is required to perform and complete the entire project for not-to-exceed $800,000.
PART 10 - RIGHTS AND OBLIGATIONS OF WMATA
A. WMATA reserves to itself all rights (which rights shall be exercisable by WMATA in its sole discretion) available to it under applicable law, including without limitation, the following, with or without cause and with or without notice:
1. The right to revise, amend, cancel, withdraw, postpone, or extend the RFQ in whole or in part at any time, without incurring any obligations or liabilities;
2. The right to issue a new RFQ;
3. The right to reject any submittals and responses received at any time;
4. The right to modify all dates set or projected in this RFQ;
5. The right to terminate evaluations of responses received at any time;
6. The right to suspend and terminate this RFQ, at any time;
7. The right to waive or permit corrections to data submitted with any response to this RFQ;
8. The right to issue addenda, supplements, and modifications to this RFQ;
9. The right to permit submittal of addenda and supplements to data previously provided with any response to this RFQ;
10. The right to hold meetings and conduct discussions and correspondence with one or more of the Respondents responding to this RFQ to seek an improved understanding of the responses to the RFQ.
All questions shall be directed to the Contract Administrator, Kevin A. Green, KAGreen@wmata.com, by November 18, 2024.
Eligibility Criteria
This RFQ is open to all artists with site-specific public art experience. Qualified artists will be considered regardless of race, color, creed, national origin, sex, sexual orientation or age.