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Please use the following form to provide feedback regarding Activity Based Budgeting (ABB). If it is a question that OPB can answer, a response will be sent to the email address provided. If the issue needs to be addressed by the ABB Review Committee, you will receive a notification once the issue is added to one of their meeting agendas. 

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New life brought to medical grotesques

This series, depicting ancillary medical figures, includes one statue and four grotesques. As this piece sustained minor damages over time, Pratt's work saw a modest restoration in the summer of 2015 by the City of Seattle's conservation specialist, Tiffany Hendrick. Similar work by Dudley Pratt can be seen on buildings all across campus. 

9 Spaces, 9 Trees, new surroundings

9 Spaces 9 Trees, originally commissioned in 1980 by the Seattle Arts Commission for a rooftop plaza on the city’s Public Safety Building. was offered to the University of Washington by the City in 2001, when the PSB was slated for demolition. The artist was hired to develop a plan the involved effort to preserve an influential site-based artwork from the early years of the public art movement. 

Stronghold finds new ground

At 26-feet in diameter, this monumental tree stump is modeled after the largest standing Western Red Cedar in the world1. At this size, the piece evokes the scale of old growth trees that once stood where our campus buildings do today. The sculpture draws pedestrians into the landscape and functions as an observation deck, providing an expansive view of Portage Bay. 

Everything that Rises becomes a campus classic

Appearing to float in space, this piece is a complex achievement in engineering, an organic, symmetrical body. Puryear describes this piece as a focal point of the plaza, spinning like a vessel on a potter's wheel, or balanced on its end like a top1. The silicon bronze material has oxidized overtime, transforming its raw, shiny finish into the flat, dark brown color that can be seen today. 

Cleaning up The Cut

Using geometry as his primary visual source, Maki is able to see and communicate line, space, form and color in two- and three-dimensional forms. In doing so, his work becomes an exploration of site and volume, encouraging visitors to examine their physical relationship to the object in addition to the entire space surrounding them. 


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