On the side of the freeway, in the middle of a park, outside a firehouse: Public art is everywhere.

From a troll sitting under a bridge to a peace-promoting park bench, it can be obvious and decorative or subtle and functional.

Whether you notice it or not, you most likely pass public artwork on your usual route to school, work or wherever you may go.

But how does it get there?

Though many of these works seem miraculous, public art doesn't just fall from the sky. Rather, it's the product of much time, effort and planning done by artists, committees and community members.

Since 1973, Seattle has maintained the Percent for Art Ordinance, which states: "All requests for appropriations for construction projects from eligible funds shall include an amount equal to one percent of the estimated cost of such project for works of art."

In other words, 1 percent of capital improvement project funds must be reserved for the commission, purchase and installation of artwork in the city.

The Office of Arts and Cultural Affairs, created in 1971 as the Seattle Arts Commission, plays a large role in organizing and seeing these projects through. The committee also considers which failities might benefit most from public art.

"We look at a project and see where it might make sense to focus our energies," said Ruri Yampolsky, director of Seattle's public art program.

Many percent-for-art endeavors are established by levies or project stakeholders, while others are community initiated.

"Often times when a project starts out, before we get involved, the community will say, 'We want an artwork,'" Yampolsky said. "From there we see if we can put percent-for-art money in there."

In the case of Capitol Hill's Cal Anderson Park, many citizens were concerned with the fate of the park's reservoir. They held meetings and discussed possibilities, which eventually led to artist Douglas Hollis' water feature.

Public art can also be found on the street. For example, Jack Mackie's Dance Steps on Broadway Ave. features a series of bronze footsteps on the sidewalks of Capitol Hill.

"There's a huge range of projects," said Richard Andrews, director of the Henry Art Gallery and former Seattle public art director. "From free-standing sculpture to dance steps on Broadway, it's not just one type of work. It's an attempt to have artists work in all aspects of the city."

Other Seattle projects commissioned under the Percent for Art Ordinance include works in and outside of public libraries and community centers.

The ordinance came about in Seattle because in the early 1970s, most funding went to performing arts projects. The commission established the ordinance with the hopes of incorporating more visual art, Andrews said.

"It's great to have art you just encounter as you're going through the city," Yampolsky said. "Not art just sitting there, but where the artist worked with the environment. It allows people to see art in different ways."

Percent for Art can also be found in the greater Seattle area.

"There's been many percent-for-art programs in smaller cities and rural areas statewide," Andrews said. "It's straightforward and adaptable to any community."

In the case of Tacoma, the city's ordinance was cut in 1985 after controversy arose over Stephen Antonakos' two neon sculptures inside the Tacoma Dome. The program was recently reinstated after arts administrator and UW Tacoma graduate student Amy McBride led the fight for its re-establishment.

"She has great visions for the program," said Art at Work coordinator Naomi Strom-Avila.

McBride received a degree in art history at the University of Colorado at Boulder and soon became interested in making her own art. She began studying art at the San Francisco Academy of Art at age 25 and has since become an accomplished metal artist.

"Because she's also an artist, her strength is recognizing what people need and understanding how they work — both the arts and business community," Jessica Spring, artist and friend of McBride said in an e-mail.

McBride's social skills have also added to her accomplishments in the Tacoma public art scene.

"I've accused Amy of being a creative lubricant," Spring said. "[She's] introducing artists who would benefit from knowing each other; putting forward compelling stories for local papers and magazines; and always making things happen by virtue of her knowing everybody in town."

McBride believes the job suits her well.

"Because I'm a visual artist, that's obviously part of my interest, and the other part is being an administrator," she said. "I'm a bridge between the arts world and the government world."

No matter where it is, public art is the "soul" of a city, Andrews said.

"I don't think anybody wants to live in a city that has no soul," he added. "A healthy city should have great art that's available to people."

Yampolsky agrees that art is important, but recognizes that it's not for everyone.

"I don't expect everyone will love it," she said. "But it's exposing people to it and making it part of daily life, and I think there's great value to that."

Reach reporter Meghan Peters at features@thedaily.washington.edu.