for the opportunity to present my concept. i think i would like to start by giving some examples of my previous work to set a context for the peace. -- piece. i use a lot of sound objects in my work. in this case, i used chicken skin. i liked to cook and i was interested in using this membrane to create something interesting, the fine volume. and then another piece in which i used my own body as the form, sort of a non-self portrait. i covered my body with latex and then peeled it off, turned it inside out.

another interesting piece of work is taking on this mechanical project. in this case, a school desk is accompanied by a pile of paper. combining the mechanical, volume. my largest installation piece, it is called uber organ. it was for the massachusetts contemporary art museum.

it is a sound-producing piece that has 12 warrants and it is activated by a player piano that causes it to play different melodies. my work has a wide range of scale. another piece using found material. this is a feather made out of hair. a bird skeleton made out of a fingernail clippings. a bull taco sherpa motorcycle.

the idea was suggested by the fall of an ostrich plume, similar to a gas tank. knowing more primitive, using eggs to create a venus. one more example, a totem figure, in which i found water bottles. there is a spray mrmister at the top, and it sort of took on this anthropomorphic quality. it's sort of turned into this totem. now i would like to talk about something closer to the current design i am working on. inspired by driving through the desert, admiring whether granite

boulders, -- suggesting animal parts, a teddy bear shapes. i was contacted by the stewart collection, a sculpture collection in san diego, and this was in the back of my mind. they were interested in an idea. so we started looking for the largest boulders we could find. i had them stand and created 3d models of the boulders and then put it into a bear form, which was then engineered on the campus. there he is getting his head. 23 feet tall, weighing 180 ton.

continuing to think about these stacked stones. a native american figure of stacked stones. a trail marker here that you're on the right path. i was thinking about ebenezer. in hebrew, it translates to stone of hope. samuel erected a stone as a sign of god's promise. here you see a male figure. all of these images were in the

back of my head when jill contacted me. there is a drawn from an italian painter from the renaissance. so i had these images in my head. i was interested in putting a figure together, perhaps from concrete. jill mentioned this ramp was going to be demolished. it seemed like an ideal point to start with. here we have a slightly earlier rendition of my design. if we could have a drum roll here. i am proposing a 40-foot tall

figure composed of harvested elements of the bus ramp, columns -- here we have the left arm that comes from phase 3. the head, which would be tipped upside down, torso, arm, forearm, leg. the foot would be turned upside down. the figure would be in mission square, the corner of mission and fremont.

with that, i think i will turn it over to victor. director ortiz: is that a human being? >> that is not part of the piece. just to give some scale. if you have any questions, feel free. thank you. >> thank you. victor? >> i am a senior associate with pelle clarke pelle, and i have been working on behalf of jill and the san francisco arts commission to manage the program for the transbay transit center. i would like to thank the board for this opportunity, the tjpa

staff, san francisco arts commission for their efforts in bringing this piece here today. tim, we appreciate and are thankful for his participation in the project. he has been and is -- has been in the label in this project. tim is an important artist. as he showed his work, carries with a powerful ideas. as architects, we feel his work is an essential component to the project. from the beginning, as we started the process of the transbay transit center design, our mission was to create a time this building, and in that effort, our prerogative was to create a sense of place, to create opportunities for connection, memories, experience, and to build into our making of place, connections

to the city, neighborhood, to people and to our larger collective history. again, this idea of memory comes up again. tim hawkinson, like many of the best off -- artists of our time, of the past, have ways of distilling and communicating powerful ideas in the central and simple ways. i think his figure speaks eloquently to some of the broader themes inherent to the transit center design. for most, however, as we see here, it offers direction but it also anchors a busy urban corner and creates opportunities for experiences within the city. these opportunities are moments, meetings, and embrace, transitional but iconic moments in a person's day. we see this as a place where

people will meet up as they go to the transit center. it will be, not only a marking on the corner, but a marker of the city and district, and will be seen from other street perhaps, market street. it will help locate in the city as well. i think those are some of the more personal characteristics. looking at the larger traditions embodied in the work are the grand traditions of civic architecture, the timeliness and embodied history. it carries with it a long tradition of human figures marking the start buildings. here we have an image of luxor, the ramzi figures from egypt. this was the center of art, commerce, and philosophy. in the fourth century at the end of the christian persecutions,

emperor constantine ordered the excavation of the place where christians men raided the memory of st. paul. here, the figure of konstantin guards the basilica of rome even today. moving east to southern india, this is from the 10th century. this was carved from a single block of granite, 57 feet tall. it is dedicated and it is a picture of the mythological god of love and serenity, which attracts thousands of visitors every year. thinking about connections, love is a deep and powerful one. this is an image of how the figure is venerated in india. moving back to italy, in florence, dramatic figures anger the qwerty layout.

a buddhist pilgrimage site that goes around the temple up to the top where the figures are revealed. it carries with it ideas of metaphorical ascension, ideas of nirvana, enlightenment. in austria, in front of the parliament building. embodied here is a notion of athena, a vessel of value. more contemporary work from 2004. a figure at pennsylvania station in baltimore. we are all familiar with the flamingo's at central plaza.

you may be familiar with a version of this that was on the embarcadero a few years ago. returning ourselves to home, three hats, six arms. that was in front of city hall for some time. here, we can return to ideas embodied in tim hawkinson's piece for the transit center. the civic tradition of figures in front of buildings call up elemental forces of ourselves, and that is the strength of his work. there is a humanization of that. there is an ability to take

abstract, disparate materials to convey human emotion. that is how these connection can be made. for us, a place where people -- in much the with same way that you saw earlier -- it will allow people to connect on the corner, in the city, as well as with the transbay project. we hope that you approve this today. to explain the technical aspects of the design and how we can make a figure like this, we have a senior principal with gordon. they have been active in the transit center design from the beginning of the process. i will bring bruce up. >> thank you, good morning.

i will spend a couple of minutes to explain the work we have done to date. starting with four elevation that we got from tim hawkinson, we defined the geometry of the sculpture. we then build a structural analysis model which contains the mass and properties of the elements in the sculpture. we then applied gravity when an earthquake occurs into the analysis model to understand what the effects of those components are on the structure. not surprisingly, earthquake forces dominate in san francisco. therefore, we are proposing seismic isolation of the structure. seismic isolation can enhance the seismic performance of certain buildings. city hall was actually

seismically isolated. in this case, the sculpture will reduce the seismic demand by least 50%. so we are therefore proposing that the sculpture sits on a concrete plants. that is on four concrete bearings, which then sits on top of the foundation. the components will be connected together by the drilling coring through the various concrete elements and inserting high strength steel rods. the rods will be tension to hold everything together tightly. this sketch shows the way in the lead will connect to the foot of the sculpture. what you can see here is

longitudinal runs that are connected and bolted to a steel- fabricated node, which gives strength to the connections. in summary, we looked at the structure and are confident that the concept is able to be developed into a safe structure which will perform at least as well as other buildings and structures in the city of san francisco. >> thank you. now we are back to jail. -- jill. >> on behalf of the project, i would like to thank webcor/obayashi, particularly andy, who agreed to build the sculpture for a lump-sum of $600,000, when we had $1 million cost estimate. among other contractors, they man the contract possible with this donation, for which they ask nothing in return.

and as bruce mentioned, we will require a unique foundation. that added to the cost of the we are able to pay that out of the park project contingency with director ayerdi-kaplan's approval. so it is of no cost to the project. it is covered by thwe have alsoh webcor, analyzing their construction schedule, as well as with tjpa, analyzing their funding influxes from the government to ensure we had and a corporate adequate cash flow to carry us through the various stages of construction. we are optimistic the structure will be completed within the next few years. prior to the construction, completion of the transbay

transit center. it will serve to herald the arrival of the new transbay transit center. san francisco arts commission conducted its the due diligence by working with the conservative who did an assessment of the proposal and a report that detailed what the annual maintenance cost would be. we worked with transbay staff to find a cost-saving measure so that the sculpture can be cleaned in conjunction with the exterior of the building, and that will result in savings. finally, we have been working closely with the mayor's office of disability, as we do with all of our projects, to ensure there are no 88 issues or surprises. so far, so good. -- ada issues or surprises. so far, so good. now i want to introduce the

cultural director for the arts commission. i would first like to say, i have to thank my indispensable partner, mary chu, who has worked so hard with me, victor, cheryl, the city attorney, and tim hawkinson, with his extreme -- for his extreme patience with the bureaucratic nature of this process. it is my pleasure to introduce the vice-president of the arts commission, a member of the steering committee, and professor at the san francisco art institute. >> good morning, directors. it is my pleasure to speak briefly in support of tim hawkinson. i was absolutely delighted when jill called me to do this because i have a personal story about tim hawkinson's artwork.

14 years ago, when i was a mfa student, i took a field trip to see the los angeles art scene. i was running around trying to fit in all the galleries, and it was close to closing time when i decided to go into a small gallery. luckily, i had 45 minutes left before the gallery closed because it was a solo show by tim hawkinson. it was one of the most brilliant, imaginative shows i have seen in my life. it continues to resonate as one of the most important shows i have seen, in terms of the accomplishment and creativity of the artist. i cannot say how delighted i am that the city of san francisco has an opportunity to have one of his works in their collection. it is a program that he is a native, having studied at san jose state. his whole body of work is

exceptionally brilliant, in that he uses found or, material that you can find at the store or sell them, and he transforms them, and they transcend their form and material through what he creates. the particular sculpture that he had designed for the transbay building is also not only brilliant in its form and concept, but also works as a very large way finder. he was the u.s. representative at the venice bienale. essentially, they select their top artist in the year to represent the u.s. at that internationally-acclaimed art fair. tim hawkinson was chosen to represent the u.s. in 1999. he has had exhibitions at the l.a. museum of art, in sydney,

and is shown in venues around the world. i would like to say that i am so thrilled to be able to have this work in our collection. i encourage you board of directors to approve this. >> thank you for your comments and time. now, luis. >> good morning, and directors. i want to first start by congratulating the vision of the joint powers authority in making the dutcstrategic decision thate transportation hub that will be built for the city and region is coming in and of itself, a work of art. the selection of the architects, designed a provided to the city and to this authority will provide san

francisco, the region, and entire country with an iconic building. further, you have also taken a visionary position to include world-class art in this facility. i think that is in conjunction with a proven strategy that art and world-class artists help to make destinations. you want to make san francisco and this facility a destination, promote the attraction of not only in the local commuters, but everyone else who will want to come to see this place. so with the presentation today of tim hawkinson's work, you have the opportunity to add a final major element to this strategy of helping to make the

transbay transportation center a destination. the beauty of the location of this work is that it is on the outside of the building. it will help already announced the kind of grandeur, the kind of vision that visitors will experience, users of the facility will experience, once they get into the facility. the work is of substantial scale. i had the pleasure and number of years ago to see tim hawkinson's installation, which he alluded to in his presentation. i can assure you, his work, it was with very etherial material, but it was amazingly impact fall. the scale of the work, the sound it was emitting, the materials -- it was incredibly intriguing.

so this is an artist of extraordinary vision, extraordinary boldness. with your approval of his selection today, you are also going to be able to benefit the city and transbay center with an iconic work of art. people will say, i am going to meet you at the sculpture. i am sure they are going to come up with a name for it, whether we like it or not. this will be, as has been said, a way-finding a place. i also want to say how proud we are of the commission -- not only are two of the five artists that you have approved from san francisco, but tim hawkinson also has a strong affiliation to the bay area. he grew up here, studied here.

he lives in los angeles, but his roots are here in the bay area. thank you. >> thank you. that concludes the report. >> i want to make a motion to for the recommendation. director ford: it has been moved and seconded. all those in favor? the motion carries. >> the motion carries and no members of the public wish to address you on that item. should i move onto the next item? director ford: please. >> authorizing the executive director to execute contract modification no. 2 to agreement no. 08-08-dm-000 with evans brothers inc. for additional construction services required as part of the existing terminal building & ramps demolition, increasing the contract by $945,700, for a total contract sum of $13,693,340, and increasing the contract duration by 28 calendar days, for a total contract duration of 326 calendar days. >> directors, ed sum will report

on this item. >> good morning, directors. the original contract was awarded last year and demolition began in august of last year, consisting of the terminal building and associated ramps. this was for demolition to the basement levels and 3 feet below grade of the ramp structures, of course, backfill of the terminal. the previous contract modifications have been brought to the board and can be split into assisting future work, such as the freemont strait demolition -- fremont street demolition of structures below grade level, as well as different hazardous materials containing