PUBLIC ART FOR TRANSPORT
INFRASTRUCTURE PROJECTS
GUIDELINE
TRIM NUMBER: D12#436531
ISSUE DATE:
15 February 2013
OWNER:
Manager Commercial Services
CUSTODIAN:
Project Management Practice Manager
Main Roads Western Australia
D12#436531 – Issued 15/02/2013
Public Art for Transport Infrastructure Projects Guideline
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AMENDMENTS
Revision
No
Revision
Date
0
19/12/2012
Initial document creation
1
15/02/2013
Document issued
2
16/05/2013
2.1.3 Engage an Art Coordinator – engagement process revised for
clarity
Description of Amendment
ABBREVIATIONS
AC
ASC
BMW
CRG
DCA
ED
EOI
MST
PACA
PD
PM
PMM
RFP
SWTC
Art Coordinator
Artwork Selection Committee
Building Management and Works
Community Representative Group
Department of Culture and the Arts
Executive Director
Expression of Interest
Manager Supply and Transport
Public Art Commission Agreement
Project Director
Project Manager
Procurement Manager Metropolitan
Request for Proposal
Scope of Works and Technical Criteria
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Table of Contents
1.
INTRODUCTION ................................................................................................. 4
1.1 Scope and Purpose ........................................................................................... 4
1.2 Main Roads Policy for Public Art – principles and objectives ...................... 4
1.3 What is Public Art? ........................................................................................... 4
1.4 Why have public art in transport infrastructure projects? ............................ 5
1.5 Percent for Art Scheme .................................................................................... 5
2.
IMPLEMENTATION PROCESS ......................................................................... 7
2.1 Commitment to Public Art ................................................................................ 8
2.1.1
2.1.2
2.1.3
2.1.4
2.1.5
When to include Public Art ............................................................................... 8
Determine Level of Funding ............................................................................. 8
Engage an Art Coordinator .............................................................................. 9
Determine Type of Artwork ............................................................................ 10
Produce Scoping Report ................................................................................ 10
2.2 Artist and Design Concept Selection ............................................................ 11
2.2.1
2.2.2
2.2.3
2.2.4
2.2.5
2.2.6
2.2.7
Develop Artworks Brief .................................................................................. 11
Engage with Community Representative Group ............................................ 11
Establish Artworks Selection Committee........................................................ 12
Artist Engagement ......................................................................................... 12
Shortlist Artists and Call for Design Concept Submissions ............................ 12
Selection of Artist and Design Concept .......................................................... 13
Approval of Selection ..................................................................................... 13
2.3 Artwork Commission, Fabrication and Installation ...................................... 14
2.3.1
2.3.2
2.3.3
2.3.4
Commission Artwork ...................................................................................... 14
Design Development Stage ........................................................................... 15
Quality Assurance ......................................................................................... 15
Signage and Landscaping ............................................................................. 16
2.4 Public Art Close-out and Handover ............................................................... 17
2.4.1
2.4.2
2.4.3
3.
Close-out Report ........................................................................................... 17
Maintenance and Upkeep Details .................................................................. 17
Handover to Asset Manager .......................................................................... 17
REFERENCE MATERIAL................................................................................. 18
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1. INTRODUCTION
1.1
Scope and Purpose
Art in public places can express community aspirations, enhance local identity, and promote
a sense of place. The number of proposals for public art to be incorporated into the road
reserve is increasing as the community has accepted it as a positive contributing element in
the built environment.
This document provides guidance for the incorporation of public art into transport
infrastructure projects, to ensure a consistent approach and good results.
1.2
Main Roads Policy for Public Art – principles and objectives
Main Roads Western Australia (MRWA) is committed to the commissioning of public art that
enriches contemporary culture through:



Exploring and expressing local identity
Enhancing the visual amenity of the built environment
Involving the community in a dialogue about art and its relationship to public space
In applying these principles MRWA has the following objectives for public art:

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1.3
To enhance cultural and natural heritage by commissioning artwork that is sitespecific and reflects the people and the place
To integrate the aesthetics of contemporary design with infrastructural form and
function
To contribute to way-finding and orientation, improving road safety
To create opportunities to inspire and develop local artists
To provide opportunities for community engagement, including decision making on
public art in partnership with stakeholders
To focus on motorists, cyclists and pedestrians to gain maximum visual effect and
provide a memorable experience
To encourage sustainability principles in the production of public art striving for
innovation, safety, integration with landscape, and low ongoing maintenance
To strive for high quality outcomes through implementing best practice public art
procurement and delivery processes
What is Public Art?
For transport infrastructure purposes “public art” is defined as authorised artwork located
within or adjoining the road reserve. Public art may be artist created or directed.

Public art – is planned and executed with the purpose of being sited or staged in the
public domain. The common elements of art in public places are that they are
accessible to the public and that an artist has been involved in the design, or design
and fabrication. In WA, the term has come to include both sculpture and functional
objects such as artist-designed seating, lamp posts and paving.

Community art – typically a “grass roots” approach to creating art. A professional
artist and/or community arts worker is engaged to facilitate and/or collaborate with
non-artist members of the community for the creation of site specific artwork.
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Public art projects do not usually include advertising, directional or tourist signs, logos, off the
shelf art items, or just landscaping.
Public art may be produced by different processes:
a) Artist commission – this is where an artist (or team of artists) responds to an
Artworks Brief for a particular project and designs or makes (or organises the making
of) the artwork.
b) Community arts project – this is where an artist works with members of the
community, or specific groups in the community, to design and make the artwork. For
a project to be called a community arts project there is usually a high degree of
community involvement in the design and ‘hands on’ making of the artwork itself.
c) Collaborative design process – this is where an artist is engaged at a very early
stage of the infrastructure project to collaborate with an engineer and/or landscape
architect or bridge architect to design an integrated artwork for a wall or path or
contributes to the design of individual elements of the Scope of Works and Technical
Criteria (SWTC), e.g. an artistically designed bridge. With this process the Artist is
involved in the design stage, and works with the Engineer and MRWA contract staff
to ensure that all artistic requirements are adequately documented and specified for
the Construction Contractor to implement. The Artist is also engaged to supervise
the implementation of their design working together with MRWA quality assurance
staff to ensure that the artwork is implemented as the Artist intended and to the
quality of finishes required.
1.4
Why have public art in transport infrastructure projects?
Roads never exist by themselves; they have a context and are part of a place. Public art
items are intended to be a relatively permanent and lasting expression of cultural identity and
natural heritage.
Design of the road corridor influences the form, function of the surrounding area and
wellbeing of the community. Increasingly, major transport infrastructure projects are
delivered using a context sensitive design approach to “best fit” the infrastructure into the
local environment. Public art is one aspect of the urban design approach to building
infrastructure projects.
The inclusion of public art in the road reserve can enhance the public acceptance of
infrastructure projects and add to the overall visual amenity of the road reserve. Public art
can assist with way-finding and orientation, and in many cases discourage graffiti vandalism
of road assets. Public art can also enhance the travel experience of the road user, cyclist,
pedestrian, or shared path user.
1.5
Percent for Art Scheme
The Percent for Art Scheme is a State Government initiative that started in 1989. The
scheme is managed by Building Management and Works (BMW) at the Department of
Finance, in partnership with the Department for Culture and the Arts (DCA).
Two objectives of the scheme are:
1. To improve the quality of the built environment and the value of public facilities.
2. To identify and create new professional and economic opportunities for Western
Australian artists.
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The State Government’s Percent for Art policy requires up to 1.0% of the total construction
budget for new civic buildings and major infrastructure projects over $2 million to be
expended on artwork. Projects below $2 million may incorporate a Percent for Art
component at the discretion of the commissioning agency. Ongoing maintenance of
artworks devolves to the client department.
Key elements in the scheme include:


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Panel of Art Coordinators
Guidance notes and promotional material
Commission agreements
There is a growing body of experienced artists in WA capable of preparing public art within
the context of a civil engineering works contract.
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2. IMPLEMENTATION PROCESS
See also the Public Art Checklist [TRIM D12#437004]
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2.1
Commitment to Public Art

Assess whether public art is to be included in a transport infrastructure project

Determine level of funding for the artwork

Engage an Art Coordinator

Determine type of artwork

Produce Scoping Report
2.1.1 When to include Public Art
The inclusion of public art within road projects is determined on a project-by-project basis.
The need and scope of public art is assessed as part of the infrastructure project planning
phase and in collaboration with stakeholders to establish:



Whether the particular project should include a public art component
What level of funding should be applied to public art
The general scope of works (i.e. forms of public art and locations) which is dependent
on the level of funding
In general MRWA will consider the inclusion of public art in road reserves for significant
transport infrastructure projects. Less significant projects may be considered where there is
a demonstrable benefit, such as public art on retaining walls to discourage graffiti vandalism,
or to provide a gateway statement to a particular locality, e.g. entrance to the city or town
centre.
Public art may also be considered in locations such as civic areas where a higher standard of
visual amenity is warranted.
Once the commitment to include public art in a project has been made, it is essential to
engage an Art Coordinator (AC) as early in the process as possible to facilitate the scoping
and procurement process.
2.1.2 Determine Level of Funding
The budget allocation is determined on a project-by-project basis, and may be up to 1.0% of
the total project construction budget (as per the Percent for Art Scheme). The PD/PM
engages an AC to produce a Scoping Report and this provides the basis for setting the initial
budget allocation for public art. The public art budget is to include:



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Art coordination fees
Design Concept fees for shortlisted artists
Artist’s fees for the community consultation sessions
All commission costs to implement the artwork (this will depend on the type of artwork
desired)
It is important to note that the Commonwealth Government does not fund standalone public
art, so for any projects that are federally funded careful consideration must be given as to
whether to include standalone artwork. The Commonwealth will generally fund public art if it
is integrated into the whole urban design concept and is functional, i.e. provides a secondary
function and is not solely artwork.
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2.1.3 Engage an Art Coordinator
The role of the AC is crucial to the successful selection, procurement and installation of
public artworks, particularly for large scale and/or high profile projects. The AC is
responsible for all or some of the following activities. Any activities not performed by the AC
will devolve to the PD/PM:
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Produce a Scoping Report
Draft and finalise the Artworks Brief
Prepare any EOI or tender documentation to MRWA’s required procurement
standards
Produce Design Concept Requirements (if necessary), selection criteria and
weightings
Facilitate community and/or stakeholder consultation sessions
Facilitate the artist selection process
Organise selected artist presentations
Oversee implementation of the artwork(s)
Provide advice to the project team
Report on progress
Review and submit progress payments for artists
The role of the AC may vary depending on the type of infrastructure project. The AC can
either be engaged through BMW’s Percent for Art Scheme or directly by MRWA. Refer to
Table 1 below.
ENGAGEMENT OF ART COORDINATOR
Through Percent for Art Scheme
1
The PD/PM contacts the Public Art
Manager at BMW and requests an AC
from the BMW Art Coordination Services
Panel. Contact details can be found here.
Directly by MRWA
The PD/PM identifies prospective ACs
based on previous engagements,
experience and availability.
(www.finance.wa.gov.au – Building
Management and Works > New Buildings >
Percent for Art)
2
The PD/PM provides BMW with relevant
information about the project, including the
public art budget, timetable, location of the
project and site map.
The PD/PM provides prospective ACs with
relevant information about the project,
including the public art budget, timetable,
location of the project and site map.
3
BMW assigns an AC and MRWA contracts
the AC.
The AC fees will be as per the fees fixed
under the Art Coordination Services Panel
at BMW. Refer to BMW’s Hourly Rate and
Fee Scale for ACs [TRIM D12#436550]
The PD/PM requests quotations from
prospective ACs. Refer to Requesting
Quotes from Suppliers [TRIM D13#5040]
On receipt of quotations, the PD/PM
selects a preferred candidate.
4
Determine purchasing requirements based on value of engagement – refer to Engaging
an Art Coordinator Flowchart [TRIM D13#55941]
5
Supply & Transport issues a Notice of Acceptance for the AC quoting the Purchase
Order Number and/or Contract Number, and outlining the scope of work, confirming
timetable and payment arrangements. Refer to Notice of Acceptance for Art
Coordinator template [TRIM D12#436517]
Table 1 – Engagement of Art Coordinator
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Once appointed the AC will work with the PD/PM and key stakeholders to define the scope of
the public art project.
2.1.4 Determine Type of Artwork
Public art in transport infrastructure projects will generally consist of some or all of the
following forms:
a) Standalone artwork – these are works of art which are three dimensional structures,
standing on their own (i.e. not attached to other built structures in the road reserve)
though they may be located on an art specific support structure, such as a pedestal
or pole. For example, a three dimensional sculpture in a roundabout.
b) Applied artwork – these are works of art which are attached or applied to built
surfaces such as walls or underpasses, bridges, noise walls, visual screens. For
example, a mural painted onto the wall of an underpass.
c) Integrated artwork – these are works of art which are highly integrated into a surface
of a vertical or horizontal plane in the road reserve, for example, concrete walls which
contain relief patterns and have specially coloured and textured surfaces, or specially
designed balustrades for dual use path bridges. In these cases the work of art
cannot be ‘separated’ from the structure itself, it is an integral part of it.
d) Infrastructural design – elements (such as bridges, noise walls, visual screens, light
fixtures, etc) that have been designed by a collaborative design team including an
artist. The Artist contributes through the team design process to the theme, form and
choice of materials for the particular infrastructure element.
2.1.5 Produce Scoping Report
A Scoping Report should always be prepared by the AC in collaboration with the PD/PM and
relevant stakeholders, as required. The report informs and provides the basis for detailed
decision-making by the project team on the inclusion of public art within a project. The
Scoping Report includes the following elements:
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Potential public art themes
Details of the individual art items (what and where)
Budget estimate
Procurement strategy
It may be necessary to involve local indigenous groups in the artwork process. This may be
a commitment made during the consultation process or possibly a condition of the Section 18
approval. If so, the indigenous group will need to be consulted separately – they generally
prefer not to be part of the broader consultative or stakeholder groups.
The Scoping Report should be completed as early as possible in the project planning stage
and well before the project tender process begins.
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2.2
Artist and Design Concept Selection

Develop an Artworks Brief

Engage with Community Representative Group

Establish Artworks Selection Committee

Artist Engagement Process

Shortlist Artists and Call for Design Concept Submissions

Selection of Artist and Design Concept

Approval of Selection
2.2.1 Develop Artworks Brief
The AC drafts an Artworks Brief for the public art project that is finalised together with the
PD/PM. The AC may meet with the Community Reference Group (CRG) before the Artworks
Brief is finalised, for their input and feedback. The Artworks Brief draws on information
outlined in the Scoping Report, and needs to cover:
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Type of artwork (standalone, applied, integrated, infrastructural design)
Scale, location and theme (reflecting local community values/site-specific aspects)
Reference to any community consultation/input and research reports
A clear outline of all the stages of the public art project and timetable
Budget (including Design Concept fees for shortlisted artists)
Type of commissioning process, (final lump sum commission amount or hourly rate
up to a maximum amount, and who the contract will be with)
Selection process (including selection criteria and weightings) for both short-listing
and final selection
Insurance requirements for the selected artist
Once approved, the Artworks Brief will form the basis of the contract and any tender
documentation for the artist selection and artwork procurement processes.
2.2.2 Engage with Community Representative Group
One of the key principles of MRWA public art policy is to “involve the community in a
dialogue about art and its relationship to public space”. Community engagement can be a
valuable tool to:



Establish a relationship between the community, artist and MRWA
Facilitate community buy-in and ownership of a road or bridge project
Provide insight into what community members’ value as important about the area
they live or work in
Community involvement will be assessed on a project-by-project basis, but is typically
addressed by engaging with the project’s CRG. The purpose of engagement is to:

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Inform the community of the project’s public art component
Advise of any constraints to art design (e.g. no standalone artwork, if integrated
artwork only, etc.)
Seek feedback on style/type of public art preferred by members
Incorporate feedback into design decisions
The CRG is not involved in the artwork selection process.
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The Artist may be asked to present the selected and approved preliminary design concept to
the CRG for information and further input during the Design Development stage.
2.2.3 Establish Artworks Selection Committee
The role of the Artworks Selection Committee (ASC) is to shortlist artists, evaluate Design
Concepts presented by the shortlisted artists, select a preferred artwork Design Concept and
prepare an Assessment and Recommendation Report for approval in accordance with the
DOA.
Depending on the type of project, the ASC can comprise:
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MRWA PD/PM
Two other MRWA staff members
Community Reference Group member
Landscape Architect
Construction Contractor’s representative
Structural Engineer
Local Government representative(s)
The AC may facilitate meetings of the ASC but will not have a vote.
2.2.4 Artist Engagement
The engagement process is determined by commission value, as outlined in the Scoping
Report and Artworks Brief.

Where the commission value is less than $150,000 (incl. GST):
The AC will invite known artists to register their interest in the project by submitting a
covering letter, CV and photos of their previous artwork. The AC will compile a list of
eight to ten interested artists for the ASC to shortlist three or four artists.

Where the commission value is greater than $150,000 (incl. GST):
an Expression of Interest (EOI) needs to be sought from artists through public
advertisement, following the usual MRWA tender process as outlined in Supply &
Transport’s Tendering and Contract Administration Manual.
Weighted selection criteria for both shortlisting and the final selection will be clearly outlined
in the Artworks Brief and EOI documents (if applicable) distributed to artists. Price or cost is
not a selection criterion as the overall budget for each public art project is determined as part
of the scope definition. Although artists are not competing on a cost basis, value for money
may be considered as part of the selection process.
2.2.5 Shortlist Artists and Call for Design Concept Submissions
The ASC, facilitated by the AC, shortlists artists based on either their previous work and
experience (if commission value is less than $150,000 incl. GST) or their EOI responses (if
commission value is greater than $150,000 incl. GST). The shortlisted artists are invited to a
Briefing Session about the project, which usually includes a site visit organised by MRWA.
They are then asked to develop a Design Concept within an allocated timeframe, for final
selection by the ASC.
It is common practice to pay the Artists a fee (ranging from $800 to $2,000 incl. GST) to
produce the Design Concept and present it in person to the ASC. Half an hour is usually
allocated for each presentation.
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2.2.6 Selection of Artist and Design Concept
The ASC review and assess the Design Concepts presented by the shortlisted artists, based
on selection criteria and weightings. If a Design Concept Requirements document has been
prepared this will be considered during the assessment.
Endorsement from the Project Steering Committee (if applicable) should also be sought prior
to final approval.
2.2.7 Approval of Selection
The PD/PM submits the final artwork designs and an Assessment and Recommendation
Report to the ED/RM or Alliance Board for approval in accordance with the DOA.
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2.3
Artwork Commission, Fabrication and Installation

Commission Artwork

Design Development Stage

Quality Assurance

Signage and Landscaping
2.3.1 Commission Artwork
Once the selected Artist and Design Concept are approved, a Public Art Commission
Agreement (PACA) is completed and signed by the Commissioner and the Artist. The PACA
needs to include:

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

A copy of the Artworks Brief
Artist’s artwork Design Concept approved by MRWA
Artist’s work program
Artist’s payment schedule
Requirements for close-out
The type of contract procurement will depend on the method of project delivery.

For standalone and applied artworks, once the selected artwork concept is known,
a PACA can be drawn up either between MRWA and the Artist or the Construction
Contractor and the Artist, for the fabrication and installation of the artwork.

For integrated artworks, once an artwork concept has been selected, it will be
necessary to include a reasonably detailed description of the proposed artwork(s) and
its method of construction in project tender documents. Alternatively it can be
included as a provisional sum for the Construction Contractor to include artwork in the
contract. The Artist provides the design and specifications for the integrated artwork
and the Construction Contractor is responsible for implementing the artwork with their
own chosen subcontractor. The Artist and MRWA will be jointly responsible for
supervision of the selected subcontractor to ensure artistic integrity and quality
control.

For infrastructural design, the Artist is included in the infrastructural design team as
a nominated subcontractor.
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ARTWORK COMMISSION PROCESS
TYPE OF ARTWORK
CONTRACT
Standalone / Applied
PACA between MRWA and Artist
AS2124
(Construct Only)
Design &
Construct
Alliance
Integrated /
Infrastructural Design
PACA between MRWA and Artist
for design and supervision only
Include the design concept in the
tender documents, or include as a
provisional sum
PACA between MRWA and Artist,
or Artist is engaged by the
Construction Contractor as a
subcontractor
PACA between MRWA and Artist
for design and supervision only
Artist can also be engaged by the
Construction Contractor as a
subcontractor
Include the design concept in the
SWTC and the Request for
Proposal (RFP), or include as a
provisional sum
Include a public art clause in the
Basis for Design and Construction
to instruct the Alliance Participants
to manage the design concept,
work program and payment
schedule in the PACA and
subcontract the Artist
Include a public art clause in the
Basis for Design and Construction
to instruct the Alliance Participants
to manage the design concept,
work program and payment
schedule in the PACA and
subcontract the Artist
Table 2 – Artwork Commission Process by Contract Type
2.3.2 Design Development Stage
Once the preliminary Design Concept for the artwork has been approved the next stage is
Design Development where the successful Artist further develops and refines the design. At
the end of this stage the Artist will have produced detailed documentation and engineering
specifications for the artwork, for inclusion in the SWTC or tender documents as a
specification (if integrated or infrastructural design). A road safety audit may also be required
depending on the type of artwork (e.g. standalone) and proposed location.
The Design Development stage may form part of the Artist’s contract or may be a separate
stage prior to the signing of a contract with the Artist (staged procurement). A separate
purchase order may be required if this stage is outside the Artist’s contract.
2.3.3 Quality Assurance
Appropriate quality control mechanisms need to be put in place by MRWA to ensure the
Construction Contractor meets all the required timelines and finishes determined by the
Artist.

The AC may assist the PD/PM to resolve issues that may arise with contractual
matters, suitability of the artwork, coordination with other consultants and trades.

The Artist may be required to troubleshoot artworks manufacture and installation
where there is poor quality control as a result of employing inexperienced
subcontractors for manufacturing and installation of artwork.
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2.3.4 Signage and Landscaping
Site landscaping must complement and enhance the artworks, e.g. planting to avoid
overgrowth of sightlines, while allowing for access to view and maintain. The Artist should
have input into the design of any site landscaping, to ensure compliance with the overall
vision.
A plaque for the art item and/or interpretive signage outlining the local history is also
included, if appropriate, at MRWA’s cost.
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2.4
Public Art Close-out and Handover

Close-out Report incorporating Lessons Learnt

Maintenance and Upkeep Details

Handover to Asset Manager
2.4.1 Close-out Report
On completion of the project and before final payment is made, the AC or PM/PD requests a
close-out report from the Artist. The report needs to contain:

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


Artist’s contact details
A description of the artwork (written and images) including fabrication and installation
Any lessons learnt and opportunities for improvement
Artwork maintenance and cleaning requirements, including timing, methods, products
to be used
A set of engineering/as-constructed drawings of the completed artwork, including
Australian Standards colour codes and paint specifications
Any specialist reports commissioned for the project
High resolution images of the completed and installed artwork (minimum 600dpi
resolution) suitable for publication purposes
On receipt of the close-out report the PD/PM arranges payment of the Artist’s final tax
invoice.
2.4.2 Maintenance and Upkeep Details
The PM/PD prepares a schedule of maintenance for each item (based on the close-out
report) that includes:







List of materials used, cleaning methods and annual checks
Level of maintenance and protocols to be followed, e.g. where these are necessary,
when is advice of artist necessary, cost recovery for repairs
Copyright and ownership and responsibility as per notes in PACA
Cleaning and graffiti removal
Process for removal and/or relocation of artwork
Maintenance of site landscaping around artwork
Budget for care and maintenance
2.4.3 Handover to Asset Manager
The PD/PM meets with the Construction Contractor and/or Artist to accept the finished
artwork from the contractor in accordance with the PACA. The PD/PM hands over the closeout report and schedule of maintenance to the Asset Manager.
Main Roads Western Australia
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Public Art for Transport Infrastructure Projects Guideline
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3. REFERENCE MATERIAL
1. Public Art Policy Statement [TRIM D13#89538]
2. Public Art Checklist [TRIM D12#437004]
3. Engaging an Art Coordinator Flowchart [TRIM D13#55941]
4. BMW’s Hourly Rate and Fee Schedule for Art Coordinators [TRIM D12#436550]
5. Requesting Quotes from Suppliers [TRIM D13#5040]
6. Notice of Acceptance for Art Coordinator template [TRIM D12#436517]
7. Example of a Scoping Report for Public Art [TRIM D12#444742]
8. Example of an Artworks Brief [TRIM D12#444734]
9. Example of an Expression of Interest for Artist [TRIM D13#64307]
10. Public Art Commission Agreement template [TRIM D12#436499]
11. Example of Terms of Reference for Artworks Selection Committee [TRIM D12#444738]
12. Example of Terms of Reference for Community Reference Group [TRIM D12#108848]
13. Public Art Close-out Report Outline [TRIM D12#444739]
Main Roads Western Australia
D12#436531 – Issued 15/02/2013
Public Art for Transport Infrastructure Projects Guideline
Page 18 of 18