02/12/2001 - Packet New Library Construction Committee
February 12, 2001
1. Accept December meeting notes—All
2. Review of process to date—Bill Monahan
3. Review of Preliminary Site/Program information—Gary Larson and Rich
Brooks, BML
CITY OF 11GARD
OREGON
TO: New Library Construction Committee
FROM: Margaret Barnes, Library Director��
DATE: January 19, 2001
SUBJECT: Library Construction Committee Meeting - February 12, 2001
C: Bill Monahan, City Manager
This memo is written notice for the upcoming New Library Construction Committee
meeting. The meeting is scheduled for Monday, February 12, at 6:30 p.m. in the
Tualatin Valley Fire & Rescue Conference Room, located at 8935 SW Burnham
Street. Please note the change in the meeting location.
This meeting will include:
• An analysis of the impact the programming phase of this process has on the
different preliminary sites. Rich Brooks from BML Architects will be giving this
presentation.
• A discussion of possible future meeting dates. This will be the first in a series of
meetings in which the Committee will be presented with information to review
regarding individual preliminary sites.
I am enclosing for your review the notes from the December 11, 2000 meeting. I am
also including a sample checklist for site selection from Checklist of Library Building
Design Considerations, by William A. Sannwald. The other information I am sending is
an outline of a presentation given at a Public Library Association symposium, regarding
the public library construction process.
I believe the checklist outlines broad areas to consider as we continue the preliminary
site analysis. I hope that you find this information helpful.
If you have any questions, please contact me at 503-684-6537, x263 or City Manager
Bill Monahan at 503-639-4171, x306.
Thank you
Enclosures
13125 SW Hall Blvd., Tigard, OR 97223(503)639-4171 TDD(503)684-2772
Library Construction Committee
Meeting Notes
Monday December 14, 2000
The meeting convened at 6:30 p.m. The committee members present were: David Chapman,
Curtis Tigard, George Burgess,Brian Douglas, Sue Carver, Lonn Honklin, Elaine Heras, Kathy
Sleeger and Jim Funk. Architects from BML present were Rich Brooks and Gary Larson. Staff
present were: Bill Monahan, Gus Duenas and Margaret Barnes.
City Manager Bill Monahan facilitated the meeting. Bill gave a historical overview of the City
and the Library for the new Committee members to frame where we currently are in the process.
The current facility was constructed in 1986 as part of a larger City bond measure. From the
beginning the building has been undersized. In 1993 there was a change in the relationship with
the Tigard Water District. Currently the City uses the Water Building for office space to house
some Public Works and Finance functions. The City does not own the building, it shares
ownership with King City, Durham, and the Tigard Water District, the members of the
Intergovernmental Water Board(IWB). . The City may wish to own it in the future. This would
require some discussion with the other members of the IWB and negotiation of a purchase
arrangement.
In 1994 after a donation was received from the late Mrs. Puett, an addition was added to the
Library. In 1997 an analysis of long-term site needs for the City was conducted. In July of 1998
the City Council authorized a$17.8-million bond measure, $12.6 million of this bond was for a
new library with a projected size of 42,000 sq. ft. The bond measure failed. The vote was 55%
no, 44.7%yes.
During 1998-2000 the Police Department was expanded and renovated. Also during this time,
the question of whether the Willamette River would be used as a source of drinking water for the
City. The citizens of Tigard passed a Charter amendment which requires a vote of the people
before the city would be able to go to the Willamette River as a water source. The water
discussions and the September 1999 vote may have a lasting effect on voter acceptance of future
city bond measures.
In 2000, transportation is a major issue. A local transportation bond measure seeking over$16
million for road improvements was placed on the Nov. 2000 ballot. This bond measure failed.
The votes were 64 %no, 36%yes.
Throughout 98-99 the possibility of expanding the current Library facility was examined. In late
1999 given the environmental concerns with expanding at the current site the City Council began
to explore the off site option. An RFP was sent out and BML architects was retained to do an
analysis of need.
Currently, the Council is balancing Transportation, Water and the Library as issues or projects to
be addressed. There are a number of different election options available. One would be to go for
a bond measure in May of 2002 another would be to place a bond measure on the November
2002 ballot.
l
"s
After BML was retained there was a series of focus group meetings in April of 2000. The
participants in these groups represented the business community, seniors,parents, library users,
the Library Board and the staff. As a result of these focus groups a needs analysis report has
been published. The two other areas BML and Ripley Consultants are working on are
Programming and Site Analysis.
Gary Larson stated that after the site selection process the design phase is next. That is a
separate project.
As the review of sites began, Rich Brooks mentioned that BML was working within the
framework of looking at the downtown core for possible sites. The assessment he did of sites
was to evaluate the% of buildable land available at each site. In this first analysis, cost of the
land or availability of land was not a factor that was considered. From this preliminary list the
Committee will develop a short list of 5-6 sites. BML will then do a basic analysis of these sites
with bubble diagrams to scale.
With some sites shared parking may be an option with other facilities. The site analysis will be
developed enough to know that a building will fit on a proposed site.
The Committee than began the process of analyzing the various sites on the preliminary list.
Kathy Sleeger asked about access roads for sites#11 . She suggested ruling out those sites
because of difficult access.
Jim Funk also spoke about a possible ODOT process for these sites. This would be a very long
process. Jim recommended looking at sites#3 & #5. He thought there would be community buy-
in on these sites because of the potential for green space and nature walks. George and Sue also
liked#5.
Brian asked if site#2 was already owned by the city. Bill stated the City owns the major portion
of site #2. George asked about the possibility of combining sites#7  and abandoning Ash
Street.
Kathy stated the sites on Burnham are appealing because they back onto Fanno Creek. Brian
asked about the cost of computer wiring from a Burnham site to the existing City complex. The
wiring would not be as expensive as other sites because of the proximity to the existing facility.
Elaine asked about#7 & #5 being in the floodplain. Gus stated that the lower back part of these
sites would be in the 100-year floodplain. It would be possible to use the back area of these sites
for outdoor activities"O'r parking. It was mentioned that site#6 is a going business concern.
Rich stated when he looked at possible sites he did not factor in the possible political realities
related to land acquisition. Bill asked if the Committee wanted to look at some criteria like
access,proximity to the creek, and room for expansion as they began the process of choosing 5-6
sites for further investigation. David Chapman also mentioned access, proximity to nature, and
nearness to the present facility as criteria to be considered.
The Committee than began the process of nominating sites for discussion and elimination. The
Committee agreed to vote on sites to be eliminated. A site would need to receive seven votes for
removal from the list in order to be eliminated. It was agreed that only the citizen members of
the Committee would vote on the sites.
Site #11 was nominated for elimination. Reasons to be considered: difficult to get there, too far
from other things, need ODOT improvements. Votes cast to eliminate, nine (9)
Site#6 was nominated for elimination. Reasons to be considered: going business venture,
political and cost considerations. Vote cast to eliminate, eight (8)
Site # 8 was nominated for elimination. Reason to consider: site is too small. Vote cast to
eliminate, seven(7)
Site#12 was nominated for elimination. Reasons to consider: site is so far out of the traveling
path of people, it is not part of their regular transportation pattern. Votes cast to eliminate, nine
(9)
Site#14 was nominated for elimination. Reasons to consider: outside the downtown area, too
near a school site. Votes cast to eliminate, nine (9)
Sites# 10 &# 13 were nominated for elimination. Reasons to consider: sites are too small,
difficult to access, no parking available. Votes cast to eliminate, nine (9)
Site # 3 was nominated for elimination. Votes cast to eliminate, eight(8)
Site#4 was nominated for elimination. Reasons to be considered: in a commercial/industrial area
behind a residential neighborhood,this would be a difficult site to sell to the community. Votes
cast to eliminate, eight(8).
There was some discussion about Site# 7, which has been recently acquired by a new business
venture. There was also discussion about combining#7 &part of#2 to be one site. There was
additional discussion about Site#3. Another vote was taken and eight committee members voted
to place site#3 back on the list of sites for further analysis. Lonn stated he likes the idea of
staying near the current complex.
As a result of the committee vote on site options, the sites that BML will do further analysis on
are: #2, #3, #5, #7, and#9.
Bill asked if the Committee had reviewed the notes from the November meeting and if there
could be a motion to accept the note. George made the motion, Sue seconded the motion and the
notes were approved.
Bill spoke about the need for the Committee to choose a citizen member to be chair of the
Committee. He stated staff would continue to be a resource and support the meeting by
performing certain functions: for example,the development of the meeting agendas and
notifying members of meeting dates. After some discussion David Chapman was nominated to
be Chair. The vote was unanimous in favor for his election to Chair. Nominations were than
open for Vice-Chair. Lonn Honklin was nominated for Vice-Chair. He was elected to the
position of Vice-Chair by general acclamation.
x
The Committee agreed to meet on Mondays. The tentative next meeting date for the Committee
is Monday, January 29, 2001 at 6:30 p.m. At this meeting the programming phase will be
presented to the Committee.
Meeting adjourned at 9:00 p.m.
CHECKLIST ,
OF LIBRARY
BUILDING DESIGN
CONSIDERATIONS
T H I R D E D I T 1 O N
WILLIAM W. SANNWALD
For the Architecture of Public Libraries Committee
LAMA Buildings and Equipment Section
1
American Library Association
Chicago and London
1997
Library Site Selection
YES NO N/A
A. General Conditions
1. Is the site conveniently located to the service
area population?
Comments:
2. Does the site provide high visibility and identifi-
cation to the population served?
Comments:
3. Is the site affordable?
Comments: -
4. Will the site provide visibility of the building and
its function from the street?
Comments;
■ Library Site Selection ■
YES NO N/A
5. Will a library be an appropriate use of the land
parcel in question?
Comments:
6. Is the site zoned for a library? If not,is future library
zoning possible?
Comments:
7. Are there existing structures on the site that must
be demolished?
Comments:
S. If an existing structure must be demolished,does
it present asbestos,lead paint,or unusual environ-
mental problems?
Comments.
9. If the library is to be a branch of a system,are there
overlapping service areas from other branches in
the system?
Comments:
10. Will the use of the site for a library add aesthetic
value or other amenities?
Comments:
11. Are there liabilities or nuisance factors to adjacent
properties and their activities?
Comments:
12. Will the us"f the site for a library have any
negative impact on the surrounding areas?
Comments:
13. Will the library fit in with the architectural style of
neighboring buildings?
Comments:
■ 2 ■
■ Library Site Selection ■
YES NO N/A
14. Will the building work with the traffic flow of
adjacent areas?
Comments:
B. location
1. Is the location of the site considered satisfactory
and acceptable by the population being served?
Comments:
2. Is the site accessible to all segments of the
community served?
Comments:
3. Is the site relatively close to the part of the
community that is understood to be most active,
and that will generate the most use?
Comments:
4. Is the site appropriate for the library given its
function and clientele?
Comments:
5. Would library usage
a) increase if another site was selected?
b) decrease if another site was selected?
c) stay the same if another site was selected?
Comments:
6. Will this location best meet library objectives of
providing materials and services to the greatest
number of people at the lowest cost?
Comments:
■ 3 ■
■ Library Site Selection ■
YES NO N/A
7. Is the location in an area that is frequently visited by
members of the community for daily activities such as
shopping,working,and seeking out other services?
Comments:
8. Is the site located near commercial,retail,cultural,
and other activities within the community?
Comments:
9. Does the proposed site present a safety issue for
patrons and library staff?
Comments:
C. Accessibility
1. Is the site easily accessible to those living in the
area served?
Comments:
2. Is the site easily reached by the greatest number of
potential customers?
Comments:
3. Are travel times from target population areas to the
library acceptable?
Comments:
4. Have automobile traffic patterns near the library
been considered?
Comments:
5. Is the site located on a busy highway that will require
a separate street-type entrance or driveway?
■ 4 ■
- J
■ Library Site Selection ■
YES NO N/A
Comments:
6. Is the site accessible to public transportation?
k
Comments:
i
f7. Is bicycle access encouraged?
i
t Comments:
8. Are there-sidewalks for pedestrian access?
Comments:
9. Is the site conveniently accessible to private vehicle
transportation?
Comments:
10. Does the entrance to the library provide adequate
space and ease of accessibility to accommodate all
arriving individuals and groups at all times?
Comments:
D. Size
1. Does the size of the site provide adequate space for
current needs?
Comments:
2. Will the site provide room for future expansion
I and/or remodeling?
Comments:
3. Does the site include enough space for
appropriate green space and landscaping?
Comments:
5
■ Library Site Selection ■
YES NO N/A
4. Is the site large enough to accommodate on-site parking?
Comments:
5. Does the property contain possible easements?
Comments:
6. Does the property accommodate adequate setbacks
to meet zoning and aesthetic considerations?
Comments:
7. Is the property configuration adequate for successful
completion of the building project?
Comments:
E. Environmental Issues
1. Has an environmental impact report been made for
the proposed site?
Comments:
2. Is the site oriented so that it is possible to take
advantage of solar energy?
Comments:
3. Are complications likely to arise from the nature of
the ground beneath the building?
Comments:
4. Does the site have adequate drainage?
Comments:
5. Has a subsurface probe been done to examine soil
conditions,utilities,and other factors?
Comments:
■ 6 ■
■ Library Site Selection ■
YES NO N/A
6. Has the site been improved; that is,are curbs,gutters,
water,sewers,and electricity available?
Comments:
7. Are there any natural or artificial barriers?
Comments:
i
8. Are there any hidden problems of geology, topog-
raphy,archaeology,buried objects,or toxic waste?
Comments:
3
9. Do neighboring facilities pose possible environmental/
nuisance problems?
Comments:
10. Has the condition of the soil been tested to determine
the stability of the site?
Comments:
11. Are there advantages to the slope of the land?
Comments:
12. Are there disadvantages to the slope of the land?
Comments:
i
■ 7 ■
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The Public Library Construction Process:
From Problem Recognition to Ribbon Snipping
By John Moorman and Fred Schlipf
This outline was prepared to accompany the authors'presentation on the library construction process at the
Public Library Association symposium on Planning, Designing and Building the Perfect Library, March
25-27, 1999.
This presentation focuses on responsibilities facing library trustees and staff, and the space devoted to each
topic in the outline reflects this concern rather than the actual amount of work to be done by hired experts
and contractors.
Because this outline covers the construction process, it includes relatively little material on what
constitutes good and bad library design. At the symposium, these topics were covered in later
presentations.
1. Motivations
• Some building projects occur because of unanticipated gifts, but most are the result of
long-standing space, service, and structural needs.
• Ideally, libraries will review the adequacy of their structures every few years and take quick
steps to cure problems.
• However, most libraries struggle for years with inadequate buildings before they are actually
able to meet their needs.
• Don't make the mistake of assuming that all you haveto do is cure one or two obvious
problems. Solving one problem at a time is terribly expensive, and you may paint yourself into a
corner in the process.
• Start by forming a building committee with board and staff members.
2. Building Consultants
• To make sure that you have looked consciously at all the problems facing your building-
rather than just one or two particularly painful ones- start your project by hiring a building
consultant.
• The job of a building consultant is to help review your current building and options, and to
convert your needs to architectural terms. A consultant will also bring the perspective of a
working librarian with special knowledge of how libraries occupy spaces.
• A building consultant is not an architect. Do not expect your consultant to design your building,
write bid specifications, or help administer construction.
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• Always hire a building consultant before you hire an architect. And always hire an architect
before you hire a contractor.
• There are many ways to find consultants,including word of mouth, recommendations of other
libraries, the LAMA consultant list, and lists compiled by state agencies and associations. But
just because a name is on a list, it doesn't mean that's the kind of person you want.
• In order to maintain proper checks and balances,it's important that the consultant NOT be an
employee of the architect. The job of the consultant is to view the project as you would if you had
more experience with buildings, and to provide you with opinions independent of your architect's.
• Sometimes part of the job of the architect is to convince local people that what their library
board and staff have been saying all along is actually true. That's just the sad part about experts-
none of us is an expert at home.
• Prefer a consultant with extensive(at least ten years) practical and fairly recent experience
working in real libraries.
• It's always reasonable to ask for an example of a prior program.
• Make sure that your consultant is committed to following your project through to the end- or
at least through the preparation of bid documents. Clarify this, and check on follow-through
costs.
• Whether you like the consultant personally is also an important consideration. The consultant is
there to put your needs into architectural terms. To do so successfully,he has to be someone you
like. If he gives you a major pain when you interview him, don't hire him.
• Always check references, both staff and boards. Prospective candidates should be happy to give
you lists of previous clients.
• Questions to ask references include the following: Were you generally satisfied with the
consultant? Did you enjoy working with the consultant? Did the consultant listen to you? Did he
suggest all kinds of possibilities (even if you rejected most of them)? If the consultant squabbled
with the architect, who in retrospect was correct? Was your consultant regarded positively by the
grant giving authorities?
• Compared with other construction costs, consultants are inexpensive. If your consultant averts
even one bad decision,you will probably have saved much more than the entire consulting fee.
3. Building Programs
• The creation of a written building program is the first step in a building project.
• The program specifies how much space of what kinds and in what juxtapositions your library
needs.
• The program should also include a review of the existing facility, a statement of required
equipment for each space, and information on the special architectural needs of libraries.
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• Architects tend to view projects in terms of problems and their solutions. From this perspective,
programming consists of defining the problem.
• After the program is complete, use it as a yardstick for evaluating your current building and
your various options for expansion or starting over. Remember that until you know what you
need, you can't evaluate what you have.
• While you are discussing your building program with your consultant, it's important to
divorce yourself mentally from the service attitudes and procedures that are dictated by your
current building rather than by community needs. Some people call this "thinking outside the
box."
• It's tremendously important that your program be in print and in detail. As Francis Bacon said,
"Truth emerges more readily from error than from confusion."
• When in doubt, involve more rather than fewer people in programming. Seek input widely. And
the more people who read drafts of your program, the more likely you are to catch errors and
omissions. (Remember that shelvers and custodians see the world in terms of doing their jobs, and
that their problems matter.)
• When you are hiring architects, make sure that the firms know that they will be quizzed on
your program at the time they are interviewed. This helps you make sure that they read the entire
program and not just the pages summarizing square footages.
• The programs will be modified during the design phase of the project, but insist that the
architects indicate up front where and how they wish to modify it, and then discuss the change
as a group.
4. Architects
• Avoid the temptation to go straight to a contractor for any library construction project,
whether it's a new building or just a bunch of new windows. Design is almost always more
complex than it appears, and if bidding is required under law, bid documents must be prepared
professionally. A good architect is always a good investment, and, for any library project bigger than
a woodshed, an essential investment. In fact, in many cases you won't be able to get a building
permit without plans stamped by a licensed architect or engineer.
• You can locate possible firms in many ways. Among these are recommendations of other libraries,
advertising, looking through building issues of library publications, and talking with your state
library and other agencies. (Most firms are seeking commissions, and once word gets out that you're
seeking an architect, architects will find you.)
• Request information from at least half-a-dozen firms. Ask them for lists of prior projects,
including references and specific information on what percentage of each project was their
responsibility. Ask them to list key personnel of their firms. If not all services are provided in house,
who will provide them? If the firm has done a number of libraries, ask specifically which staff
member was the project architect for each library- it's frustrating to find out too late that the firm's
library expert has moved on. (Many excellent firms hire stuctural engineers, mechanical engineers,
electrical engineers, cost estimators, and so on. The decision of these firms not to provide these
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services in-house is not a failing, nor does it lead to poorer work.)
• Call prior clients. Are they satisfied now that their job is completed? Was the architect responsive
to their needs? Did their building come in,6n time and under budget? Did the architect do a good job
supervising construction? Was there an excessive number of change orders? Has your architect been
back since the ten-month post-construction building check-up to see whther your building continues
to function satisfactorily? Would you hire her again? (Ask your consultant to help you determine
what's "excessive," and bear in mind that the blame for some change orders can be laid on fickle
clients who change their minds midstream.)
• Visit sites of previous work. Talk to staff while you're there-preferably not just the director and
board president who were there when the library was built, because they have a lot of ego involved
in the project and often cannot(or will not) recognize errors.
• Interview a limited number of architects-up to three or four. Insist that the person who will be
project architect be present at the interview. (Some large firms have sales architects and working
architects. You want to interview the architect with whom you will work.) Spend two to three hours
interviewing each of a very few firms rather than running many architects through a revolving door.
If you try to interview more than five firms,you'll have a hard time getting all your board or building
committee members to every interview, and you'll be unfair to the firms applying for your work,
since it costs a surprising amount to make presentations.
• Whether you like the architect personally is a valid consideration. Working with someone you
dislike is never a good idea.
• After the interviews,you will have follow-up questions. Feel free to call architects back for
clarification, or call their previous client one more time.
• Be sure you know any state laws affecting how you hire your architect. In general,professionals
are not hired by low bid.
• Be sure you have the assistance of an experienced attorney before you sign a contract for
architectural services.
• Almost everyone uses standard AIA (American Institute for Architects) forms, but many issues
are negotiable. Among the most important are the basic percentage or flat fee, the portion of
the total fee that will be billed at each stage of the project, and the acceptable additional
charges. The add-on charges can be extremely expensive, and your lawyer will need to clarify what
extra charges will be made (for example) for preparation of grant-application documents,
construction administration, grant administration, attendance at local public meetings, and such
"reimbursables" as travel and postage costs, bid copies of documents, renderings and models, and so
on.
• It's possible to contract with a team consisting of a local architect and an out-of-town
architectural firm specializing in libraries, but there are potential problems. The two firms may
fail to work smoothly together, and you may have conflict between the out-of-town designer and the
local people who prepare the bid document and administer the project. It may also be difficult to pin
down responsibility for problems. (Teams consisting of architects and engineers, however, are
standard.)
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• In your contract,you can specify that the project architect will stay with your project until it is
completed. This means that if the architect leaves the firm, it will have to hire her to complete your
project. If your decision to hire a firm is,based on the presence of a specific archtect in that firm, this
kind of agreement is particularly important.
• The program is your instructions to the architect, and they should treat it as such.
• Remember at all times that you are the owner. The building is yours, and the architect is your
employee. You are paying all the costs, and you are the one that has to live in the finished library.
Unless it's a matter of violating laws or legal regulations,you can always say "no" and stand your
ground. (Bearing in mind, of course,that you may possibly be wrong.)
• Treat your architects fairly. Do not, for example, expect them to do major extra work not called
for in your contract without extra compensation.
5. Construction Options
• These are often the most difficult decisions in a building project.
• Among the issues are choice of site and of construction type (expansion, new construction, or
conversion of an existing building).
• If your current building is an historic one,that will limit your options. Check with your state
and local preservation agencies and with your local government before going too far with planning.
• When it comes to site selection,try to avoid having your library become a pawn in local
development or redevelopment. Your library may be good for a neighborhood, but the
neighborhood may be bad for your library and its service to the community.
• Renovating existing structures can sometimes save money and be good for public relations, but
be sure that you understand the true costs in terms of both conversion and long-term
occupancy. In particular, watch for:
• Floors strong enough to carry library weight. Libraries must carry live loads of 150 pounds
and up per square foot, and few existing non-library buildings can handle this without
reinforcement.
o Ability to provide sufficient cable conduit and wiring.
• Ability to provide restrooms in the proper locations.
• Be sure that your riew or expanded building can be expanded again in the future. People who
want you to use inadequate sites will argue that the electronic revolution means that your library will
never need to be expanded again. But they are wrong. Wrong, wrong, wrong.
• Be sure that your site is large enough. If you will be providing on-site parking- and most libraries
do- you will need a site at least four times as large as the total floor area of your library. (Obviously
this does not apply to central district libraries in large cities.)
• Remember that the best public library sites are good commercial sites. If it's not a place for a
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nice store, it's not a nice place for a public library. Among the un-nice sites to avoid are:
• Sites directly next door to high schools or junior high schools. If schools are at least two or
three blocks away, students can reach the library easily, but it's not the first thing they find
when they bolt out the doors at 3:00 p.m.
• Sites in government centers, next to city halls, police stations, and fire stations. These are .
frequently proposed, but they don't lend themselves to the multi-purpose trips that libraries
need.
• Sites in parks, unless the library entrance is directly off a well-lighted, busy street and
facing commercial development.
• Sites in areas citizens hesitate to visit after dark, or hesitate to have their children visit
alone.
• Because good public libraries are good commercial sites, good public library sites aren't cheap.
• The world is awash with buildings and sites that are white elephants. Don't let people unload
them on your library.
6. Schematic Design
• Schematic design is the first architectural step. When this step is completed,you should have:
o Floor plans (including tentative furniture placement) and elevations (drawings of your
building seen squarely from each side).
• A site plan (showing how your building will fit on your site) and a vicinity plan (showing
how your site relates to your community).
• Outline specifications.
• Because engineering systems (electrical,HVAC, and so on) can represent as much as a third of
the cost of construction,it's a good idea to have basic engineering concepts included in the
schematic designs.
• There are many methods of moving from the needs statements in your program to a schematic
design, and different architects have different approaches. But whatever approach is taken, the
building design should evolve from a concern with the individual spaces needed and their
relationships to each other.
.r
• Much of the creative design work of the project takes place during schematic design. Architects
may correspondingly bill a substantial portion of their total fee at the completion of this stage.
Although the AIA says that schematic design is fifteen percent of the project, some architects bill
much more than that. If done well,the schematic design phase consumes a tremendous amount of
very expensive architectural time.
• For the vast majority of public libraries, it's important that schematic designs emerge in
stages. Libraries do not benefit from architects who work backwards from concept or appearance. If
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a full-fledged design is delivered at stage one, that's a bad signal. Beware of pretty boxes with
muddled or uncertain interior arrangements.
• Some libraries, however, are intended more to make dramatic architectural statements than to
function in practical ways. If this is your desire, it will alter your approach- and your selection of
an architect.
• The evolution of a schematic design involves at least four essential parties: architect, library
board,library staff, and consultant. When design problems occur, one of the best problem-solving
approaches is to have representatives of these four elements sit down as a group and thrash out
specific design ideas.
• Owners and architects frequently have disagreements at the schematic design phase. If your
architect doesn't want to change an idea you don't like, you have a right to insist on specific reasons,
and to reject those reasons if they aren't relevant to your needs and wishes.
• If you don't like a proposed idea, stop it as quickly as possible. Unwanted concepts tend to take
on a life of their own and need to be brought to a quick halt. You are not doing your architects a
favor by failing to say "no" the minute you see something you genuinely don't want, since the longer
they work on a design you don't want, the more of their limited time they'll waste.
• In reviewing schematic designs,watch for the many functional problems that can occur in
libraries. Look for problems with security,physical relationships between areas, lines-of-site,
wasted space, and so on.
7. Renderings and Models
• Most library construction projects of any size will benefit from renderings and models.
• Renderings are artistic drawings of selected views of the inside and outside of the new library.
Unlike the elevation drawings, which are rather mechanical representations, renderings are sketches
in perspective. They have all the extra details to which most viewers respond-trees and plantings,
passing cars, users, and so on. Some renderings are simple black-and-white sketches, while others
are full-color works of art.
• Models are three-dimensional representations of the completed building. Usually they are
simplified, and frequently they are stylized. Models can vary from simple constructions showing
little more than basic masses,to complex representations in color, with added trees,pedestrians,
vehicles, and so on. Some models are exterior models only, while others have removable roofs and
upper floors so that people can see the interior arrangement of each floor of the library.
• Sometimes it's to ydur advantage to keep renderings and models somewhat vague and
conceptual. The more detail you give people up front, the more they'll expect to find that specific
detail in the finished library. Some models are frequently built early in the project, details can change
a great deal between them and the final bid documents.
• Since very few people can read blueprints, renderings and models are an important way to
show them what the completed building will look like. In particular, voters and donors need to
know what their tax dollars and donations will build.
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• The creation of architectural renderings and models is a highly skilled specialty, not sonlething
you can turn over to a friend who draws well or makes hobby models. Some modern CADD
systems can actually rotate views of buildings in space, and these greatly simplify making
renderings, but it can be expensive to input all the necessary data.
• One major issue is accurate representation.Artists who create renderings of proposed buildings
tend to gild the lily by omitting ugly mechanical details (such as air handling equipment or
penthouses). They also tend to improve on the surroundings by replacing used car lots with virgin
forests, adding greensward for which there is no actual space, and so on. Sometimes even the client
doesn't realize how things will actually look. You will have to decide whether selective artistic
vision will hurt or help you in the long run, and make sure you and your architect settle this issue
face to face before renderings are prepared.
• Software exists to provide approximate images of how your proposed building will look when
it is completed, and to provide an animated impression of how it will feel to walk through it.
You may find this a useful promtional device, but remember that it's impossible to recreate the
impression of moving through a three dimensional space on a computer screen.
• Renderings and models are expensive. The cost ranges from a few hundred dollars for a black and
white drawing to many thousands for a complex scale model.
• Study models, however, fall into a completely different category. They are more rough-and-ready
constructions used by architects to study massing or to convey ideas to owners. Study models are
part of the design process and should not require any additional fees.
8. Money
• The single most important building material is money.
• Few libraries have enough cash lying around to do the job. It always helps if you have huge
unexpected legacies, or atomic power plants in your taxing jurisdiction, but most libraries have to
locate extra construction funds.
• Before you can raise funds,you will need to know what your project will cost. This is a job for
your architect. Be sure the preparation of cost estimates is part of your contract.
• Primary sources of funds include sale of bonds, direct allocations from local governments,
mortgages, state construction grants, and private fundraising.
• Bonds can be issued by citizen vote or by direct government action.
• Once you know construction costs and available government funds,you will now how much
you need to raise privately.
• Some basic points about private fundraising:
Private fundraising requires an incorporated friends group or foundation with federal
501 (c)(3) tax status. Obtaining this status is not difficult, but the paperwork is initially
intimidating. You will need the help of an attorney.
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o Professional fundraising consultants are available, and some specialize in libraries. Even
if you do most of your own work, it's helpful to have initial advice and planning assistance
from an experienced person. Hiring a consultant is much like hiring any other professional;
feedback from previous clients is particularly important.
o If you have a major fundraising campaign,you will probably want to hire someone to
run it. Fundraising can take a great deal of time. It's unreasonable to assign your fundraising
to one of your current staff unless you can hire someone else to do her regular work.
9. Design Development
• The best time to spend the money on design development is after you have the necessary
funding for your project.
• Design development is the process of expanding the schematic design to include full
information on how the building will be constructed. At this point you will get details on
casework(built-in furniture), ceiling plans, locations of all mechanical and electrical elements, and
so on.
• Some decisions made at this point are critically important to the successful functioning of your
library. Among the ones that should concern you and your consultant most are lighting, data
conduit, electrical wiring, telephone systems, service desks, etc.
• The importance of these topics makes it vital that all four players in the library plan-architect,
staff, board, and consultant- be involved.
10. Bid Documents
• Bid documents are the packages of materials necessary for contractors to make careful
estimates of the cost of a project. They have two primary components: drawings and project
manuals.
• The drawings (blueprints) show the structural, plumbing, mechanical, and electrical
components of the project.
• The project manual is an accompanying narrative text that includes all the specific
requirements of the project, including types and qualities of all components.
• Accurate and complete bid documents are of critical importance. The nature of the low-bid
process means that contractors will base their prices on the least that the documents allow them to
do. If critical items are omitted,you won't get them. They will then have to be supplied through
change orders, and tliey will cost much more than they would if they had been properly listed in the
bid documents. Bid documents are a job for professionals; do not try this at home.
• Bid documents are complex and detailed, but do your best to review them to be sure that they
include what you want.
11. Bidding
• Your architect and attorney will be involved throughout the bidding process. Each state and
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locality has specific rules forbidding on construction jobs, and failing to observe the rules can'lead
to major problems. Both your architect and your attorney will examine the bid documents, and they
will be present when bids are opened to be sure that all legal requirements are met.
• The bidding process includes:
o Advertisement announcing that the project is ready to bid. An advertisement will include
a date and place when bid documents will first be available, a date for a pre-bid meeting, and a
date and time for receipt of bids.
o Formal opening of bids after the deadline for their receipt has passed. Late bids- even if
they are just minutes late- are rejected unopened.Bidders use forms supplied by the architect,
certifying that they are bidding on all required components of the project, and certifying that
they have necessary the bonding to cover both their failures to do the agreed work and their
failure to pay their subcontractors.
o Customarily,the bid goes to the lowest bidder, but there are exceptions to this rule.
Consult with your architect and attorney.
• The pre-bid conference is important. By answering any questions in front of all bidders, the
architect tries to make sure that no bidders can later claim that they were not party to basic
information. Minutes are kept and distributed to all bidders.
• Most bid documents include addenda issued after the pre-bid conference to clarify questions
raised at the conference or other questions raised later. These addenda are a routine part of the
bidding process and should not be interpreted as a failure of your architect to do things right the first
time.
12. Construction Management
• Construction management insures that the building is constructed according to specifications,
that work is carried out expeditiously,that the necessary coordination of various contractors
takes place, and that problems that arise are dealt with rapidly and effectively.
• In many cases,the architect provides this service. This needs to be spelled out in the contract
between the library and the architect. Among other things,you may wish to specify a minimum
number of hours per week during which a representative of the architect will be present.
• Other libraries hire a professional construction management firm or individual to represent
the library during the construction process. The use of such firms seems to be increasing, but you
will need to have the respective roles of the architect and the construction manager clearly defined.
This is important because some roles proposed by construction management firms are traditionally
those of the architects. If you're not careful,you could end up paying twice for some services, or
buying services that you may not need.
• The project team will consist at a minimum of the architect(or hired construction manager),
the contractors and subcontractors, and a representative of the library. This library
representative can be the director, or a member of the staff to whom the project is assigned.
• The architect will work with the contractors and the sub-contractors to establish a
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'construction schedule.
• During the project,there will be regular weekly or biweekly meetings of the project team to be
sure that work is progressing on schedule, to deal with problems, to answer questions, and to
make decisions not requiring action by the full library board.
• The contractors submit pay requests (usually monthly). These are accompanied by lien waivers
for work done by subcontractors for the prior pay requests. A waiver of lien from a subcontractor
usually assures you that the contractor paid the subcontractor the subcontractor's proper share of the
contractor's last pay request, and that the subcontractor now waives his right to file a mechanic's lien
for that amount against your library.
• Normally the library holds back a portion of each request(typically ten percent) to be paid
only after all the work by that contractor has been completed to the full satisfaction of the
owner and architect.
• All projects involve change orders,which occur when unforeseen problems arise, the owners
change their minds, or problems with the bid documents are discovered. Everyone tries to avoid
change orders, because they are expensive. With change orders, costs are arrived at by negotiation
rather than by low bid, and the result is inevitably more expensive. Because most projects involve
change orders-particularly in expansion or conversion projects, where unforeseen problems can be
discovered- every project needs contingency funds.
• Be careful to establish and follow the proper chain of command. In the.normal chain of
command, the subcontractors report to the contractors and the contractors report to the architect. If
you see a contractor doing something you don't like, or you want to make a change,the proper thing
to do may be to contact your architect.
• At the completion of work, punch lists are prepared. The architect and owner inspect the project
with care, preparing lists of items that must be completed or corrected before the building can be
considered complete. When the items on the punch list have been completed to the owner and
architect's satisfaction, the project is considered complete and the retainages are paid to the
contractors.
• Before signing off on a project, the owner should receive:
• A full set of operating manuals for the building and its equipment, and a detailed
walk-through of the building for all relevant library staff.
• A set of as-built drawings for the building. These are blueprints modified to indicate all
situations where actual construction details differ from the original plans. As-built drawings
are essential for future repairs and alterations, and they should be modified whenever changes
are made.
• Unless your as-built drawings are a freshly printed CADD set with all changes indicates,
you will also need a clean set of drawings in a permanent medium. (CADD discs are not
an acceptable substitute for actual physical prints. Anyone working on your building at a later
time will want to see full-sized drawings, and CADD systems change so frequently that your
discs are unlikely to be usable when you finally need them.)
• Before you do another close inspection of your building before the warranty expires,which is
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typically a year after occupancy. `
13. Moving
• Moving can be done by hired movers, by staff and volunteers, or by a combination of the two.
• Many issues will affect your choice. How far do you have to move? What will the weather be like?
Are you moving inside a building where you may be able to move fully loaded bookstacks with
stack-moving equipment? Do you have a labor union with complicating contractual agreements?
• Small library moves are often done with staff and volunteers. The main challenge is good
procedural planning,particularly developing a method for knowing where each container of books
goes on the new shelving.
• Large libraries are often better off hiring professional movers. Some companies specialize in
library moves. You will probably need to bid this service, so a detailed RFP is necesary.
• The most important components of a successful move are a detailed plan and a single person in
charge. Be sure your plan includes the current and new locations for each piece of furniture and for
all portions of the collection.
• Moving takes more time than you might expect. Since your library will be closed during most or
all of your move, your announced timetable matters. Be sure not to blithely promise
overly-ambitious reopening dates.
14. Ribbon Cutting
• Ribbon cutting can be a wonderful occasion if you plan it properly, but it can be a source of
real embarrassment if things go wrong.
• Inevitably you'll need to move in and start using the building before everything is finished. For
this reason, don't plan to keep citizens out of the new building until the ribbon cutting takes place.
When moving day is over there are almost always items of furniture that have not arrived,punch list
items that have not been completed, and workspaces where staff are just starting to unpack.
• Libraries, like new stores, are therefore wise to have "soft" openings, providing public access
and service for a few weeks before scheduling a major event. When the time comes,unveil (for
example)the building plaques and the donor plaques rather than the entire building.
• It's usually a bad idea to do much out of doors. Weather is undependable and outdoor acoustics
are uncertain. If you want to cut the ribbon at the door and then have everyone troop into the new
library, cut the ribboA first and have speeches indoors afterwards. If you insist on outdoor
presentations,you will have to have a good PA system and a contingency plan for rain or heavy
winds.
• Plan ribbon cuttings for nice weather. Midwinter is often a poor time. Out-of-town participants
will have a difficult time traveling to the ribbon cutting, and elderly donors may slip on the ice.
People will need to enter the library the moment they arrive.
• Be sure to invite all the right people. Politicians thrive on library ribbon cuttings because they are
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'great noncontroversial photo ops. Be sure to invite all current and prior board and staff members, the
contractors and other businesses involved with the project, the consulting professionals on the
project(architects, engineers, and consultants), and the contractors. Consider inviting local school
groups, clubs, chambers of commerce, etc.
• You may want to have a special event for donors, but don't make it the main ribbon cutting.
The entire community needs to feel involved.
• Don't count on speakers to cover the right subjects without being coached. Among the things to
be sure someone covers are:
• Recognition of all politicians (even those who-very frankly- didn't do anything at all).
• Recognition of donors. Point out the location of plaques and other forms of recognition. You
may want to point out certain really major gifts, but be careful not to offend those who gave
smaller amounts.
• Recognition of all board members, including those whose terms ended mid-project.
• Thanks to the hired folks who worked on the project, including library staff(who may
have been to hell and back during construction and moving), consulting professionals,
contractors, etc.
• Indications of special functional features. Building aesthetics are usually very visible, and
you don't need to say much about them. Instead, have someone dwell on convenience,
services, efficiency, good functional design, and so on- all of which may not be intuitively
obvious to non-librarians.
15. Recommended Reading
Library publications on buildings are of varied usefulness. Most articles in magazines consist primarily of
pretty pictures, but there are some very good handbooks available. One recent book we like on the library
construction process was written by a Chicago-area architect who has a special interest in library projects.
McCarthy,Richard C. Designing Better Libraries: Selecting & Working with Building Professionals.
Highsmith, 1995.
16.How to Reach Us
The authors are happy to answer brief questions on library design and constructions at no charge.
In addition to working as building consultants, both are directors of public libraries.
Fred Schlipf, Executive Director
The Urbana Free Library
201 South Race Street
Urbana, IL 61801-3283
Telephone: 217-367-4057
Fax: 217-367-4061
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e-mail: fschlipf@alexia.lis.uiuc.edu
John Moorman, City Librarian
Decatur Public Library
247 East North Street
Decatur, IL 62523-1128
Telephone: 217-424-2900, ext. 13
Fax: 217-423-5741
e-mail:jmoorman@decaturnet.org
Copyright(c) 1999 by John Moorman and Fred Schlipf. All rights reserved.
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