Public Art Sculpture: three dimensional dreams brought to life

Make your vision an international landmark.

Choose the right experts to help you
make your vision immortal.

DISCOVER THE PROCESS

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Why the world needs sculpture?...

Great sculpture says nothing and explains everything. It creates conversations
where words often can’t" Todd Stuart

Introduction to Sculpt Place Make & Public Sculpture Project management:

Speaker: Todd Stuart: Director (Sculpt Place Make)

If you're interested in commissioning a large-scale public sculpture, chances are you want an iconic piece that is a breathtaking representation of your vision and identity, with absolute for finite craftsmanship to match. To do that, you need a collaborative partner. You can communicate your vision into a visual conversation piece so masterfully it becomes an international landmark. Without masterful execution, you face the embarrassment of being stuck with a substandard piece and further potential of a public liability with shoddy engineering and or workmanship, or best a sculpture that looks great now but deteriorates quickly and reflects poorly on the client's image. And not to mention the multitude of other blowouts that can surface in the process. That's why it's important to engage a specialized project management team who are masters of art and process. Here's why that's significant. Engage an artist with no process experience and you will run into time delays, inefficiencies, confusion, and budget issues simply because logistics isn't their zone of genius.

On the other hand, if you engage a project manager who is skilled at process but not an artist, capturing the essence of a client's vision, takes a back seat to the construction and installation process. That's why you need someone with both skillsets. Hi, I'm Todd Stuart, sculptor, project manager and founder of Sculpt Place Make. After 25 years of serving the architectural and design industry with project management services focused in the creative arena, we've had the privilege of delivering iconic large scale public sculptures to projects, palaces and landmark institutions around the world, from Dubai to Manhattan and China to Perth. As sculptors and project managers, we bridge both worlds. Not only do we offer and manage the creativity of artists who can visually communicate your design identity and vision; We are also pragmatic quality, obsessed project managers with the construction and logistics experience to take your project to completion without all the potential risks.

Further to this, we are fully resourced with long standing partnerships that have been handpicked from the global network. Our production facility alone has over a hundred skilled artisans ready for our next project. Meaning that we can commit to the largest projects and seamlessly implement the highest standards without compromising your project's goals. You can rest easy knowing you will have world-class public art that will not only look spectacular, but inspires your community and place as iconic legacy for generations to come. Something that will continually amortized value far beyond its cost. This is what some of our customers had to say –

Speaker: Lloyd Goldman – Founder of BLDG New York City It's really important for us to have this great public art at the front entrance of the building. Todd was an important integral part because he's the front door of the building and what should be representative or someone think about when you come to summit New York city. Right from walking in the front door, they're coming home and it's warm and inviting and uplifting. Dealing with Todd Stuart behind the work was a wonderful experience. He performed incredibly and all the anxieties about dealing with someone completely on the opposite side of the world were relieved.

Speaker: Robert Goldman – Senior Project manager Summit Building, NYC In this business. There's a lot of people who don't show up. There's a lot of people who don't care. There's a lot of people who put something off that's not on their time or their dime and what we found with Todd is that he cared about every decision we made regarding the sculpture, even downstream of his vision. So I think having that level of care on this project made everything a lot easier to run through Todd and trust him and have the faith to go with someone in Australia.

Speaker: Paul Hicks – Headmaster of Camberwell Grammar school, VIC, Australia Well, look, I, I can't recommend, Todd highly enough. I've just found it a very easy process right from the start. I feel very lucky that I chanced upon it on the internet that we came up with a project that suited us perfectly and the attention to detail and customer service and value for money, I think is just brilliant and if anyone is thinking of trying to promote their community and build up their culture through a similar project, I wouldn't go past Todd they were fantastic.

Speaker: Hussein Ammar – General manager, Iskan Al Mabani Contracting, Saudi Arabia We have got very professional treatment from Mr. Todd. The products were shipped on time. We had very good instructions of how to install. The clients were very happy about it and we are happy about it.

Speaker: Ali Al Bahrani – Director of the Planning Department, MoHE, Muscat, Oman Well, the people were amazed by the, by the grand shape of the sculpture, they couldn't find something similar. That's why it was a prestigious look for the ministry, they can see that.

Speaker: Siva Chidambaram – Project Engineer, MoHE, Muscat, Oman Mr. Todd he was giving a very clear specifications from the day one. Then from engineering side, from the designing side, from the manufacturing, he has given very good support and the product is really awesome. Speaker: Todd Stuart: Director (Sculpt Place Make) The secret behind our results is our process driven 10 step methodology that leaves nothing to chance, coupled with decades of experience, knowledge and a highly disciplined attitude that come on the most magnificent results. These checks and balances ensure you target the right brief. Select the best artists for the job. Resolve the connected concept. Document and manage certified engineering standards. Receive floorless craftsmanship. Efficient production on time without damaged delivery and meticulous installation.100% Close out satisfaction and a maintenance program that will keep your sculpture as a true legacy for a long distant future.

Outro Call to Action: By now you have more of an idea of who we are and how we can bring your vision into reality. To explore the relationship further. We offer you a complimentary 39 point design diagnostic with over a thousand dollars. To commence your diagnostic discovery journey, get in touch via the contact tab above, or the appointment link that follows. Alternatively, continue scrolling down the page to understand the 13 biggest mistakes and the top tips to follow when you commission large scale sculpture.

www.sculptplacemake.com

Start your sculpture legacy discovery right here…
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You learn from your mistakes...

Getting the smallest issue wrong in large-scale sculpture can be very costly,
especially when you don’t know what you don’t know.

13 Mistakes you
should avoid

  • 01Clients don’t understand cost-benefit
  • 02Failing to identify the best artist
  • 03Not including sculpture in project plan
  • 04Delegating brief to art consultants, curators
    or galleries
  • 05Relying on a self-managed artist
  • 06Sculpture lacking context to your space
  • 07Wrong design and/or materials for your
    environment
  • 08Stinting on clear, open communications
  • 09Employing wrong foundry
  • 10Economising on quality control
  • 11Falling short on pre-shipment planning
  • 12Preparing poorly for installation
  • 13Failing to plan for long-term maintenance

13 mistakes to avoid

  • 01Clients don’t understand cost-benefit
  • 02Failing to identify the best artist
  • 03Not including sculpture in project plan
  • 04Delegating brief to art consultants, curators
    or galleries
  • 05Relying on a self-managed artist
  • 06Sculpture lacking context to your space
  • 07Wrong design and/or materials for your
    environment
  • 08Stinting on clear, open communications
  • 09Employing wrong foundry
  • 10Economising on quality control
  • 11Falling short on pre-shipment planning
  • 12Preparing poorly for installation
  • 13Failing to plan for long-term maintenance

13 biggest mistakes for Commissioning Public Sculpture:

Speaker: Todd Stuart: Director (Sculpt Place Make)

Mistake 1: Failing to clearly explain the cost benefit ratio to your client potentially they will just recognize sculpture as just a decorative feature and not understand its social value that it provides. Having a sculpture as a central theme or connection to your architecture, actually can create a greater sense of place and connection for the people that inhabit that place.

Mistake 2: Overlooking the best artists for the job So the one in selecting the best artists for a job conventionally is a weighing of 50% going towards a concept that an artist might be able to produce. 25% might be to do with his technical expertise and quality and 25% perhaps to previous jobs that he's done. So the reason why this is flawed, is it cuts out just about 95% of artists. The way to get around this is to separate the process to judge artists on the fact that they are creative and to find the right party that can implement the creativity through the process, and that's why I suggest that engaging a public sculpture project manager is crucial at the very start of the process.

Mistake 3: Integrating the sculptural process too late in the perject It's a sad fact that that sculpture often is thought about as a later addition to a design process. It's not common that clients come up with the additional funds at the end of the process. It's more like they feel like they've spent too much and they're going to start cost cutting. Which means it's highly unlikely to include something additional like sculpture.

Mistake 4: Using art galleries, art consultants or art curators to commission public sculpture It's common that art galleries art consultants and curators suggest that they have artists that can do public sculpture commissioners. Now, I don't doubt that they have hundreds of starving artists banging their doorstep and they've got huge databases of artists saying that they can do these processes. But the reality of it is when the curator, art consultant or art gallery goes through the range of artists to find who can realistically do the extra processes that are required by public sculpture commissioning. It comes down to a very small handful of artists that have got 20 or 30 years of built up process that can manage the process. So what in fact happens is, those consultants actually turn back towards those artists to rely on them to organically deliver that process as part of what they do. The range of artists you actually have to select from will be very limiting and thus the range of styles you can pick from will be very limiting. The better way to go is to pick the right artist with the right style base and separate the creation and implementing and engage a large scale project large scale sculpture, project manager

Mistake 5: Commissioning an artist to self-manage a project If you commissioner an artist is self manage a large scale sculpture project, it could be fraught with a lot of risk and danger. Most often an artist wouldn't say no to an opportunity that's a large scale sculpture commission; because when they do say yes, I would imagine what goes through an artist's mind is that potentially we can learn organically how we can do this through the process. What inevitably happens is in doing the extra learning, there are blowouts and timeframes or even things that are missed to do with engineering or not even envisage the fact that there's going to be very heavy components to be able to shift, move logistical and need to get to site. Things that are not commonly understood by an artist who's doing small scale.

Mistake 6: Public sculpture that has no relationship to place I believe the whole reason in putting public sculpture and a place is to make it a place and bring connection with people. The wrong sculpture goes into a place and it has no connection with this place. Then people are gonna wonder why did they put this sculpture here? It's nothing more than plop art; It's been plonked there and it's based on potentially just an artist's ego rather than a community's need.

Mistake 7: Choosing the wrong materials or overlooking design risks So understanding what's needed from the onset by doing a site analysis is really important because it may have you choosing different materials. So in the long run they will perform as they should.

Mistake 8: Miscommunication If you're creating something new and you're trying to do it outside of the country where there might be different culture and language, you've really got to understand a way of communicating that can run across the board between all platforms; between the parties that are in your own country, the designers, the client. And you might be dealing with a client who is more from a financial background rather than a design background. So poles apart from potentially creativity, but you want that person to fully understand what they're in for, what the design is going to be so that there's no misunderstandings and hidden expectations that are not met.

Mistake 9: Choosing the wrong foundry It's really crucial to understand that you have the right partners involved in doing something as large as large scale public sculpture, prequalifying them in the right way. You've got to understand that they're going to first of all, respect your intellectual property; that other people are not going to see in the internet and think they're going to create the same thing. This public sculpture is going to be unique to a client and it shouldn't be with anyone else. Other things you've got to know, are more to do with the integrity of the Foundry. Can you trust that the foundry is not going to change materials that they've charged you for?

Mistake 10: Mismanaged quality control It's really important that you understand a level of benchmarks that you can actually use to measure against. You also have to know the times when you need to check those so you can check it the right predetermined point before the process goes on too far. If something not checked at the right time and it goes on too far, it means that you need to backtrack in the process and that could potentially cost you thousands of dollars, time, missing, lead times, that sort of thing. If there's not the time to go backwards in the process, that could mean that a substandard sculpture will be delivered to your project,

Mistake 11: Poorly planned pre-shipment arrangments not knowing what to do to organize all your commercial documentation and processes can potentially lead to a lot of time delays and lead time. Customers are very strict on what they accept and often there are other processes, especially if you're packaging things with wood, having things fumigated and actually certified to that. Those things aren't done, they can cause further delays, or can be refused. Goods can sit in the port gathering unnecessary demerage charges until commercial documentation is as it should be.

Mistake 12: Being ill-prepared for installation Being prepared for installation, it's just not an option for a project manager. It requires organizing all the parties, crane operators, labour, hire, any extra machinery that's needed weeks and weeks in advance, but then doing a precheck a couple of weeks out and then doing another precheck a week out so it keeps everyone on track to make sure that when everybody's got their allocated time to be on the site, because often these sites are very busy with other trades, running to the last minute for the opening of the site. It means that everything will run like clockwork and as it should, otherwise just one of those people or entities can pull out and what happens?; The whole thing falls apart.

Mistake 13: Future maintenance planning The reality is when you install a large-scale sculpture, it would be uneducated not to inform your client that there is a future maintenance planning required. When the right actions are put in place and there's a periodic plan to do some minor maintenance, it negates, the idea that there's going to be any major servicing needed in the future.

Outro Call to Action: Are you ready to use our experience and knowledge to bring your legacy sculpture to life without the risks? Click the appointment link below, or download our 13-mistakes handbook, that also includes top tips for avoiding the Risks or scroll down further to learn our 10 step process that makes commissioning large scale sculpture, seamless.

www.sculptplacemake.com

13 Biggest Mistakes and Tips

Take advantage of our complimentary advice to avoid pitfalls

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13 Biggest Mistakes + Top Tips for

Commissioning Public Sculpture

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13 Biggest Mistakes and Tips

10 Steps to Sculptural Success process

10 Steps to Sculptural Success is founded on 25 years of trial, error,
and experience, producing world-class results.

VIDEO TRANSCRIPTION:

Speaker: Todd Stuart: Director (Sculpt Place Make)

Introduction -

The right process is fundamental to integrating life scale public sculpture into property development. This process involves targeting the right brief, identifying the right artists for the job, mitigating a range of specific risks that can affect time, cost, production, shipping, installation and community buy in. This highly specialized process is full of complexities and there are a lot of steps that can go wrong for project managers and artists, unfamiliar with the realm of creating large scale public sculptures. Sculptures that are in the public eye that are also engaging, offer huge value to commercial projects, but often the opportunity is missed, because the safe and effective idea to installation process is by far misunderstood. Developed from 25 years of experience, our proven 10 step process is our pathway to managing the potential risks that achieved results that ultimately leave our clients feeling relieved, inspired and proud. In the video following is a summary of our 10 step process we utilize to mitigate all the associated risks.

Step one: Brief - Written directive for key participants. We probe your and your projects boundaries to establish a philosophical as well as a practical solution. The brief extends through all stages of the project from artistic and public intent, right through to production, installation and longterm maintenance.

Step two: Concept - Align purpose to project. We un-earth the most innovative options that bring your intentions from the form and function of the space together in an uplifting emotional statement.

Step three: Final Design - Integrate design changes. We refine all design details and integrate them into a cohesive, articulate whole.

Step four: Approval - Consolidate communications and documentations to proceed. We communicate clearly and effectively throughout the design process to ensure your journey is one of engagement, affirmation and ultimately delight.

Step five: Production - Coordinate production quality and risk minimization. We manage the transition from finished design through the many complexities of manufacturer and its commercial realities. Finding and supervising the right facilities and artisans, correct interpretation, material selection, quality control, finishes, timing and budget supervision. Risk mitigation is a key function.

Step six: Site readiness - Coordinate preparation ahead of production sign off. We work simultaneously with the production phase to ensure the site is fit for purpose and ready to receive the finished work without complications or delays.

Step seven: Transportation - Coordinate riskless damage and delay free delivery. Moving a large uniquely shape work of art requires special skills. Only years of painstaking experience can provide minute attention to risk control, packaging, handling, shipping, delivery and its associated insurance. Documentation and customs issues are all meticulously planned and managed to reduce or eliminate damage or delays that could cause financial loss.

Step eight: Installation - Complete according to brief, we supervise the complete installation and commissioning of the work according to the installation blueprint and troubleshoot any issues that may lead to damage or delays.

Step nine: Project close out - Obtain 100% client approval before project sign off. We wrap up the project with a final debrief to address and resolve any outstanding issues, on timing, quality, finishing, installation and budget to your complete satisfaction. Step 10: Care - Implement legacy quality maintenance program. We work according to the agreed maintenance schedule to preserve the work's integrity and appearance and your reputation over a long life. In the complex, risky world of monumental sculpture.

Outro Call to Action: Could you use a guiding hand and brain and 25 years of experience? Click the appointment link below. At the same time, scroll down for an explanation of our comprehensive diagnostic approach to get your project moving quickly and painlessly.

www.sculptplacemake.com

BOOK NOW

Discover how the 10 steps can de-risk and fast-track your project …

PLANNING

Icon-01
01 BRIEF

Written directive for key
participants

Icon-02
02 CONCEPT

Align purpose to project

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03 FINAL DESIGN

Integrate design changes

Icon-04
04 APPROVAL

Consolidate communications and documentation to proceed

IMPLEMENTATION

implement-icon-1
05 PRODUCTION

Coordinate production, quality + risk minimization

implement-icon-2
06 SITE READINESS

Coordinate preparation a head of production sign-off

implement-icon-3
07 TRANSPORTATION

Coordinate riskless, damage + delay-free delivery

implement-icon-4
08 INSTALL

Complete according to brief

CLOSE OUT

close-icon-1
09 PROJECT
CLOSE OUT

Obtain 100% percent Client approval before project sign-off

close-icon-2
10 CARE

Implement legacy-quality maintenance program

GET YOUR FREE CONSULTATION

Why sculpture with Todd Stuart? ...

How rare is the combination of a great sculpture and a great project manager?
Imagine a partner who could transform your vision of public sculpture into an international landmark.

Sculpt Place Make specialises in large scale, contextual public sculptures for architects and developers. We operate from the sketchpad and the drawing board through production to installation and maintenance, with a constant focus on risk minimisation.

Imagine a partner who could transform your vision of public sculpture into an international landmark.

Sculpt Place Make specialises in large scale, contextual public sculptures for architects and developers. We operate from the sketchpad and the drawing board through production to installation and maintenance, with a constant focus on risk minimisation.

What Makes a Great Project Manager: to Successful Sculpture?

Todd Stuart speaking: (Sculpt Place Make sculpture project Manager)

What makes a great project manager is somebody that has the experience, the knowledge and the discipline to have a never give up attitude and they can push past blocks and reach the benchmarks that really you're striving for, but to actually understand those benchmarks in the first place. The lack of understanding the full process potentially can create delays where there's a need to wait for someone else to step in. The worst thing that can happen is when someone doesn't know the full process and they actually rely on other people's understanding to operate their set of values and benchmarks. That really holds the project to ransom. So when you are a resource of knowledge and you've got the expertise of time, you really can become someone who can help push the boundaries safely. It takes experience to know the benchmarks and it takes also discipline, which is actually knowing to see when something is going sideways and knowing how to jump into, put it back on track as quick as possible for it goes too far in a process because going to find a process, on larger scale means that you could actually be faced with very costly decisions to go back or we could be losing time to backtrack.

What do you need to be really careful of is other people often have lower standards and so they're quite willing to stop, where you wouldn't stop, you would keep going to a different result comes. You've really got to be like a bulldog and fight to the end to really push through to get to the highest levels. Making sure you know the finishing, the construction, materials, hitting those benchmarks. If you don't do that, you just won't achieve the end result or become a legacy because it's not going to be good enough. It's about doing what's promised because there are many people out in the market that really are just out for a quick buck, but it's actually to show authentic and genuine concern that you really want to get this right and you'll do anything to get it right for the customer. You'd need to have experience in procurement internationally to find the best results you can get in manufacturing, design experience and even artistic experience sculpting Clay because as a specific project manager in that role, you need to be able to jump into the process at any stage of it, if it's necessary.

Sometimes it's necessary to use contractors that you haven't used before, but it might be in a role that you're not using on an ongoing basis like a crane operator or someone that delivers sculpture. But sometimes you see that they did not necessarily specialize in a specific field of sculpture. So as a project manager it means that you need to direct them and not being scared to jump in to change the course of things and be forceful, ensure the benchmarks are being reached, not to worry about being liked as long as we can get the job done to our standards. So it's really beneficial to have a project manager who's very specific to sculpture rather than a generalized project manager. And that's because often they'll need to jump into the process. I know they made it to sculpt clay even or be able to recognize, you know, when the design is going off track.

So they've got a sort of a way of being able to analyse the design to keep it on track. Or maybe it's that they've got the experience to know and understand the benchmarks that are specific to art and the finishes and the construction and materials that have been used. It's also having a full list of pre qualified suppliers that give the client the biggest advantage. A good project manager will have a prequalified list of those parties and they might not all be local either because to get the best result you need to go, we need to go to get the best result. If you've got a Foundry which is in a place like China where it's pre-qualified and doing works for a lot of international artists, obviously there's cost advantages to do that, but also there's a lot of quality advantages to be had, but they actually have built up processes which are far beyond a lot of Western countries. So having the backup and resources, really means that you can guarantee and promise delivering because creating public sculpture is a team effort.

It's not just one artist making it, it's not a possibility. That takes time and experience, time to get those really quality people and experienced actually know how to identify them. In a fairly defined niche, I been a Jack of all trades and having the ability to be able to do any of those roles gives me a huge advantage. Understanding such a broad spectrum of information about the whole process is that there'll never be any time where things get held up because he's trying to work out what needs to be done, you just know what to do. Whether that's, you know, you've got to sketch something to communicate. Or you've got to actually Sculpt, some of the clay models that are gonna help implement certain ideas from the artist or whether it means directing or even getting involved in the packaging of a sculpture because no one's going to have the responsibility like you are as the project manager of that job.

You're dealing with a lot of different people and they've all got different mindsets and you've got to be the one that can sort of harmonize communication between all of them. Every person in the process needs to understand how I can communicate in the way that everybody has the same ground to comment and then give valid feedback; especially if you're using an overseas Foundry where there might be different culture and language and sometimes I actually need to step into the zone and sketch and I might sketch for an hour to really make sure a design detail is understood fully because I won't move on to the next stage until that detail was understood. Otherwise you'd have to backtrack later on and that's going to cost time, money and expense. And when you've got timeframes to meet, and really I mean the sculpture could be a smaller part of a bigger picture.

You know, you might have a $50 million building, you know it might be sculpted, it might be 200 300 $400,000 worth of sculpture. And that's really the pinnacle of the project as far as statement and what people see. Imagine if that was going to be late to the project and you open the project and / or there is defects on the sculpture. It wouldn't be good for the architect's name or the property developer. When you're going through a process where you've got timeframes and you've got quality commitments and sometimes, maybe analysis, thought about the general look of a piece, but there's a lot of things to join the dots and make it seamless. So it means that you have to understand to the point of knowing how to jump into the process at any stage, you need to understand the artist's intent and you need to understand a lot about construction methods, materials engineering, how things are delivered without damage, installation, getting organized in a timely manner.

So, there's a lot of knowledge that comes from the past, that really makes that process seamless and effortless. And any of the materials that I use, they're always of the highest grade or you know, any of the finishes that I'm wanting to achieve, they're always to the, endth perfection. Often projects don't commission a sculpture. And one of the biggest mistakes is that concept installation, the process of creating sculptures, very misunderstood. Most often it's thought of as being complex and convoluted. Whereas with the right process, it'd be quite streamlined and mitigated the risks. My top goals as a project manager are to provide absolute stainless integrity to my clients. To take them along a journey with a positive anticipation and to really have them connect at a soul level with what's delivered in the end, because that's the only thing that's really gonna make them own a sculpture as a legacy. Definitely. When people get that final result, you do feel people's gratitude. They're feeling the connection with what's happened, and then they understand that you are helping them and responsible for it, and you deliver on what you promise. When the process is really done right and it is harmonize. It's a sculpture, the end result really does connect people and places

Sven Diagram: Creativity, Mastery & Engagement result in Harmonised Result & Sculpture Legacies

Call to Action: In the complex risky world of monumental sculpture, could you use a guiding hand and brain and 25 years of experience? Click the appointment link below; at the same time, scroll down for an explanation of a comprehensive diagnostic approach, to get your project moving quickly and painlessly.

www.sculptplacemake.com

Benefit from your free discovery session with Todd Stuart …
DISCUSS YOUR PROJECT

Sculpture diagnostics

Asking the right questions is as important as supplying the right answers ...
Our diagnostic sculpture questionnaire takes you deep into the psychology of your project. You’ll learn if the project should proceed. If it does, you’ll discover what it can achieve + for whom. The multi-question survey helps you identify:
  • Your purpose, principles, values
  • Your creative message
  • Who you want to reach and influence
  • What you want visitors to think and do
  • Physical, historical, and cultural considerations
  • Third party involvement and issues
  • Your deadline and budget.

The benefit of sculpture Diagnostics:

Speaker: Todd Stuart: Director (Sculpt Place Make)

When you start out in the journey of investing in sculpture, it can be confusing knowing what style materials, size and treatment will look best for your needs.

Speaker – Fausto & Silvana M. (Previous customers comment on their journey) not knowing what you want to, a sculpture that you're happy with. That's a difficult process for people who haven't done it before. And I think what was really good is that you pulled out the ideas in terms of what we're interested in, what we really wanted, develop the ideas to a point that we ended up with a sculpture that we're happy with that we actually liked. Even though right from the very start, I suppose we had no idea of what we, what we like, what we didn't like. It's a difficult journey for most people who aren't involved in the arts. Um, but it's an important one because you don't want to get to the end and not be happy with what you've got. You want to get to the end, look at the sculpture and go, you know what? We made the right decision and have that same attitude every day for years to come after.

Speaker: Todd Stuart: Director (Sculpt Place Make) We want to help you avoid the mistakes and commission sculpture that you love now and that withstands the test of time. That's why we offer an initial no obligation 39 design point diagnostic with over a thousand dollars. Here's How it works: First, we'll ask you a series of questions that help you clarify your objectives. This creates a set of parameters that form the basis of a brief that helps identify the right sculpture for your project. Based on your answers we then brainstorm design opportunities that are best fit for your vision, your budget and environment. Right down to the scale materials, treatments, colour, and best sculpture for the ultimate result. The alternative?; Going with your gut feeling - this does you a disservice because it promotes tunnel vision. Instead of being open to other sculpture possibilities that you may not be aware of that embody your vision even more profoundly than the fixed ideas you have in your mind. In other words, without a comprehensive diagnostic process, sometimes the type of sculpture that you initially think is a beautiful solution, based on your preconceived idea, turns out to be the wrong solution to meet your needs, once it has been commissioned and obviously that's the last thing you want! Our diagnostic process digs deeply into your core needs to uncover the possibilities that are a match with your deeper desires and quite often possibilities that are infinitely more breathtaking, than the vision you have in your mind right now. Here's another reason why the diagnostic process is important. Embarking on a sculpture is a joint pilgrimage. For you, it's important you engage a sculptor who has the expertise and passion for communicating your vision, and for us it's a deeply soulful process with a high investment and intellectual and emotional capital. That's why we want to be sure that the projects we take on inspire us creatively. This diagnostic process gives us the opportunity to get to know each other and to see if we're a fit to work together. If we are great, if we aren't, we'll happily recommend someone who is a better match for your needs. If we both decide that we like to explore the relationship further and progress to the next stage, I then start the concept development process, which may involve drawing concepts, clay modelling in situ rendering. Remember, this is a no obligation free service. At the very least, you'll have clarity on the right concept and approach so you can make an informed buying decision.

Outro Call to Action: So, reach out to us to arrange your complimentary design diagnostic and let's brainstorm some of the opportunities for how to translate your vision into a visual, three-dimensional masterpiece. To do that, just click the following link for an appointment time. I look forward to helping you on your sculptural pilgrimage. Large scale sculpture moves people in many ways. Click the appointment link below for an intimate insight or keep scrolling to hear what our clients think of our work.

www.sculptplacemake.com

Our diagnostic sculpture questionnaire takes you deep into the psychology of your project. You’ll learn if the project should proceed. If it does, you’ll discover what it can achieve + for whom. The multi-question survey helps you identify:
  • Your purpose, principles, values
  • Your creative message
  • Who you want to reach and influence
  • What you want visitors to think and do
  • Physical, historical, and cultural considerations
  • Third party involvement and issues
  • Your deadline and budget.
Dig deep and fast for the guiding answers to
your sculptural legacy with a
complimentary diagnostic discovery session
REQUEST A DIAGNOSTIC SESSION

Testimonials

Creating great art is the intellectual zenith of human achievement …
Owning great art follows closely behind
testimoial-border0001

VIDEO TRANSCRIPTION:

Summit NYC Luxury Residential Tower: TESTIMONIAL – Summit of Manhattan Sculpture Commission

Lloyd Goldman speaking: I am Lloyd Goldman, I am the owner, developer operator of this building here in New York City Summit, New York City. We own many buildings throughout the New York region and operate them, and this is our best luxury building. It's the newest and greatest for us.

What was your journey finding the right art? We knew that this was going to be a public art space. We wanted a grand entrance to the building. Now when we started this project, we looked at all sorts of works for this space. We looked on the internet and public works all over the world. We looked through New York. There's a world of choices in artwork to put here. But when I stumbled upon Todd Stuart, I had my son do a lot more research. My son Robert Goldman, and we found you, Todd, Todd Stuart and your pieces, I kept looking back and, and saying that they fit the spaces which they were commissioned or purchased for.

What’s the value of the sculpture? It's really important for us to have this great art, public art at the front entrance of the building and right from walking in the front door. People should feel they're coming home and it's warm and inviting and uplifting before you get to the front door through the whole experience throughout the building. This just represents what someone's arriving at when they come home.

Creating Context to Place = Legacy Value Once we came in with the name on the building and started framing some of the story around that, Todd was an important integral part because he's the front door of the building and what should be representative or someone think about when you come to summit New York city and this piece reflects to me somewhat of infinity, which is, you know the Summit, you just keep going higher. It should be personal to everyone walking in the door.

What was your experience working with Todd Stuart? Dealing with the artists and from Australia, Todd Stuart, the artist behind the work was a wonderful experience dealing with him. He performed incredibly every time we had a request it came back the next day. Even though sometimes we couldn't respond back for a day or two because of the time difference. It was a wonderful experience and all the anxieties about dealing with someone completely on the opposite side of the world were relieved.

Values of Todd Stuart (director of Sculpt Place Make): Todd Stuart speaking As a project manager for large scale public sculpture, my top goals are to provide absolute stainless integrity to my clients. To provide a journey which is a soulful pilgrimage where there's no hidden surprises, only excitement and anticipation for what's to come. And a connected piece, which will actually provide a connection with a soul for the people, the place and the community where they can own the piece and it can then live on as a legacy.

How did we perform? Everything worked beautifully. You coming back to us with re-dimensioning or changing the piece a little, making sure it fit and was the right scale for the space that, looking at the various viewing options; I mean, standing here from this angle, it's one of the viewing options, but it was important to be able to view this from the lobby and from behind the lobby as that's where many of our residents will see it. It worked out great. You were helpful through the whole process, including the lighting, the angles, everything, that needs to be put into properly displayed public art and something as great as this. Well, it's really well done. It fits the space as we imagined. You performed wonderfully on time as expected. It's really been a pleasure to do this.

Outro call to Action: If you're ready to use our experience and knowledge to launch your legacy sculpture project and minimize the risks, click the appointment link below to start your journey of discovery.

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SUMMIT BUILDING NYC
Lloyd Goldman (Owner) BLDG
Management Co.

You performed wonderfully on time as expected; it's really been a pleasure to do this ….

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VIDEO TRANSCRIPTION:

Riyadh Palace – Sculpture Installation: Client Reaction

My name is Hussein Ammar, I'm the general manager of a construction company in Saudi Arabia that's called Iskan Al Mabani contracting. I've been here for 35 years, myself in this business and basically we became specialized in building palaces for important people in this part of the world. The, the place where we are right now is a palace. It's actually two palaces. We started with the first one and then we got the job for the second one. Now in both palaces we have tried, you know, we had an actual designer who specified some materials, art effects sculptures to be bought from Australia, from Mr. Todd Stuart, from there on, I can tell you that we have got very professional treatment from Mr. Todd. The products were shipped on time. We, were able to clear them very well. We had very good instructions of how to install and it was all done, the clients were very happy about it and we are happy about it.

The good thing also is that Mr. Todd asked to come back, visit the location and make sure that all the products are fixed in the right manner and gave us some indication how to do some maintenance for this work. So basically as a contractor who has been in the business for 40 years because I, I started somewhat as a UAE actually for five years. We are extremely happy and definitely in any future project I will contact Mr. Todd and try to get him to help me, in anything of the same type of material that I got from him first. So I'd like to take this opportunity to thank him and look forward to future business with him.

Sculpt Place Make Call to Action: If you're ready to use our experience and knowledge to launch your legacy sculpture project and minimize the risks, click the appointment link below to start your journey of discovery.

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SHEILK'S PALACE - LANDSCAPE SCULPTURE
Hussein Ammar (Project Dircetor)
Saudi Arabia

"...we are extremely happy and definitely in any future project I will contact Mr. Todd …"

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VIDEO TRANSCRIPTION:

TESTIMONIAL - Camberwell Grammar Sculpture Commission

Paul Hicks speaking: I'm Paul Hicks and I'm headmaster at Campbell grammar school. The environment is important in educating young people, having a beautiful environment and exposure to art and to things that are creative and inspirational, really help set a tone in a school. And over the past 10 years we have gradually tried to build up a bit of an art collection with sculpture and significant pieces of work. Our parents also share this vision of having beautiful sculptures around the school. And I really think it's part of setting the whole tone and exposing students to beauty and to creativity and to making them think in sort of ways that they wouldn't necessarily do unless they were exposed to this sort of creative impulse.

Mastery of Process: A commitment to communication, quality and a product to be proud of: I discovered Todd on an internet search, so I didn't know him at all and I didn't know the background of the company and we've spoken to a number of different people. So it was a bit uncertain with a project this size about what to expect. Todd talk through the production process, the manufacturing process. It became very clear his commitment to quality. And, um, I really positive conclusion and an end product which we could all be proud of and I haven't been disappointed about any of that. It was really talking through the issues with Todd right from the start that made it a very easy process, very simple. And I was very impressed with his efficiency and his commitment to the detail and getting things done on time to a very high standard. And that became apparent in that that's what he brings to everything that he does.

Initial Briefing – Understanding needs and showing options insitu: We set a budget very early on. Todd came in, looked at the site, was very receptive to our ideas about finding out about our educational vision and, and presenting a number of different works that he thought might suit our purpose. I was particularly interested in, in looking for something that would work with a new sports center, which was very, solid and, and angular and blockie. And I wanted something a bit more fluid and a bit more, a bit softer in a way, curvy and more organic and more dynamic. And in discussing that idea with Todd, it became apparent there were a number of options available to us. He then, provided us with photoshopped images in location so that we could see how each sculpture might work for us and pretty soon on in the process we discovered tide and fell in love with that particular sculpture at this scale for this site. Todd was very encouraging of that. In my mind, I see it as something un-tieing as potential being unreleased and starting to release into, to let go and open up. To me that's what education is all about, it's about discovering things inside students and encouraging them to bring that out and to open up and to expand their opportunities. So this particular sculptor really spoke to me about our educational mission and I thought it would, it would be inspirational to students.

Experience of the Journey – Informed at every stage: It was great to be informed at every stage of the process about what was happening and where we were at each stage and, um, to receive photographs of the work in progress being made bit by bit as it came together. And from that I felt reassured that things were happening. Not only that, it became clear that Todd was very committed to the quality of the project too. And so that then in itself was reassuring, but at no point did I have to wonder about what was happening. I was fully informed and quite regularly informed about where, where the project was up to. I got progress, photos of the work in progress being made and um, and then finally to see it finished at such high quality, was just a confirmation of what I'd already felt through the process itself.

Command of Process – Seamless from conception to installation: Once we get on the agreed project, it all ran smooth and smoothly and seamlessly and with great efficiency of, of speed much quicker than I had thought we would do. Um, so that, um, within a couple of months we had the sculptor on onsite and I'm absolutely delighted with the end product, so I can't, I can't comment more highly about the process and the way that we were kept informed about how it was going right from conception, right through to completion and delivery. Experience the journey.

Engagement and feedback - How the school responded to "TIED": The reaction of students and staff has just been extraordinary. They love it. They're fascinated by it. They love seeking their reflections in it, but they love the ideas behind it too and the sense of that unfolding potential and they can really see that I think that speaks to them. And it's so in sync with the mission of our school that, it just seems such a natural fit. And so I have had nothing but positive comments about the beauty of it, but also about the ideas involved in it. Well, look, I can't recommend Todd highly enough. I've just found it a very easy process right from the start. I feel very lucky that I chanced upon it on the internet that we came up with a project that suited us perfectly and the attention to detail and customer service and value for money I think is just brilliant and if anyone is thinking of trying to promote their community and build up their culture through a similar project, I wouldn't go past Todd. They were fantastic.

Outro call to Action: If you're ready to use our experience and knowledge to launch your legacy sculpture project and minimize the risks, click the appointment link below to start your journey of discovery.

www.sculptplacemake.com

CAMBERWELL GRAMMAR SCHOOL
Paul Hicks (Head Master)
Melbourne Australia

"it become very clear to his commitment to quality and an end product that we are all proud of"

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