something that i am curious toalso -- those are some questions i still have. if those individuals will give me 20 minutes of their time to discuss this, i would be grateful to discuss that. eventually, from a detached view, taking everything out of the conversation, i am not ok with the st. luke's campus and the way the exterior looks. i think it is ok. as far as the van ness campus, i

think it is a little bit too massive. i do not like the solid. the medical building could also use some work. there have been some issues addressed as far as the residential and commercial tenants along the corridor. i do not know the details. it seems that there were some satisfactory arrangements arrived at. i think that is something that was positive. we are in a catch-22 situation. basically, sometimes we are being told by the project sponsor, when we get to the board, you are going to be demanding more. we are only going to give so

much at the commission level. when we get to the board, we are going to be pressured to a greater degree. then we will talk to members of the board, who i speak to indeed hall. they mentioned, why do you not do more work and the commission level so we do not have to do all of the heavy lifting once the projects get to the board? it is a catch-22. because of that, we are definitely going to want to see some advances or some progress as it relates to some of the conversations. as far as conversations are concerned as they relate to the city, questions of charity and the tenderloin and this kind of thing. the commissioners are interested

in seeing this as well. the neighbors seemed a little bit concerned that the conversations with them seem to be at a stalemate. we would like to see a little bit more progress made. some of the neighborhood groups. maybe we could see some progress as it relates to these other concerns. i guess we are scheduled again for a june hearing. i would ask that the staff be prepared to respond to commissioner's concerns. we do not want to bombard you with too much.

as we discussed the agreement, it might be useful or beneficial at that time to discuss some of the questions we have raised. that is never a constructive time to engage in some of these conversations. it has a lot of the impacts on a lot of different levels. we can get some of these issues clarified before then. the health issue had a resolution. i would like to look at the resolution that i drafted. that does not relate to where the project currently stands. commissioner sugaya: i would

just add one more thing to the staff workload. a number of years ago, we did take a look at the davies science building with a lot of neighborhood input. this current design is a lot different than what we saw before. i could be mistaken. >> director. >> i wanted to summarize what i heard from the commission and make the adjustment about how to move forward. there is obviously a lot of concerns about the design, particularly the medical office building at van ess. maybe some work at the general hospital building. i heard that it would be helpful

to have a lot more specific work on the buildings. there was a request to have a comparison to the former hotel on site. we can get that information. a comparison of what the hospital is proposing. i know we talked aobut this a couple of hearings ago, but maybe some information about the relative size and what functions are going there. not finally, but the information that commissioner sugaya asked for on the davies facility. and then a lot more information

on the transportation issues. june 9 is the next scheduled hearing on the project. we have this proposal to present to you our initial draft. we will talk to the mta about giving you a briefing on the projects. the van ness brt is further ahead in the planning. they are ahead on the eir. they are moving along quite well. we can give you an update on those two projects as well. it probably make some more sense to talk in more detail on june 9 when we have some time on this transportation issue. just so we know, we are also looking at two additional hearings after that point on

july 14 attentively and august 11 attentively. some of these issues are just a factual. it might be better to get that information sooner rather than later. >> my concern has also been raised by members of the public. we need to make sure that information is public, not just in a memo. >> we can get it to you in a memo and also posted online. >> on june 9, we might want the opportunity to discuss some of that. >> at if i missed anything, please let me know. commissioner moore: could i add

one additional question? they could help us answer the most -- much repeated question of the likelihood of a tunnel. that would be caltrans and highway. could you shed some light on that? >> these issues come up all the time. i think it is a city-wide issue. i want to understand better how this is affecting the bigger scene and scenario. thank you very much. thank you, staff, architects. >> ok. thank you, commissioners. you, unfortunately, still have a general public comment.

>> we are at general public comment? is there any general public comment on items not on today's agenda? seeing none, in general public comment is closed and the meeting is adjourned.

>> welcome to culture wire. we will look at the latest and greatest public art project. recently, the airport unveiled the new state of the art terminal. let's take a look. the new terminal service and american airlines and virgin america was designed by a world- renowned architecture's firm. originally built in 1954, the building underwent massive renovation to become the first registered terminal and one of the must modern and sustainable terminals and the united states.

the public art program continues its 30-year legacy of integrating art into the airport environment with the addition of five new commissions that are as bold and dynamic as the new building. >> this project was completed in record time, and we were able to integrate the artist's early enough in the process that they could work with the architect said that the work that is completed is the work that really helps complement and instill the space as opposed to being tucked away in a corner. >> be experience begins with the glass facades that was designed with over 120 laminated glass panels. it captures the experience of being under or over clouds when flying in a plane. depending on the distance or point of view, it can appear

clear for more abstract and atmospheric. the subtle colors change gradually depending on the light and the time of day. >> i wanted to create an art work that looks over time as well as working on in the first glance. the first time you come here, you may not see a. but you may be able to see one side over the other. it features a couple of suspended sculptures. each was created out of a series of flat plains run parallel to each other and constructed of steel tubing. >> it is made up of these strata. as the light starts to shift, there is a real sense that there is a dynamism. >> it gives the illusion that

this cultures might be fragments of a larger, mysterious mass. >> the environmental artwork livens it with color, light, and the movement. three large woven soldiers are suspended. these are activated by custom air flow program. >> i channeled air flow into each of these forms that makes it move ever so slightly. and it is beating like a heart. if-0 when as of the forces of nature moving around us every second. >> shadow patterns reflect the shapes of the hanging sculptures. the new terminal also features a children's play areas.

both of the market the exploratory n.y. -- exploratorium. the offer travelers of all ages a playful oasis. using high quality plywood, they created henches shaped like a bird wings that double as musical instruments. serving as a backdrop is a mural featuring images of local birds and san francisco's famous skyline. >> in the line between that is so natural, you can see birds and be in complete wilderness. i really like that about this. you could maybe get a little snapshot of what they are expecting.

>> it is an interactive, keck sculpture that is interacted with by the visitor. >> they are a lot about and they fall down the belt. it moves the belt up, and if you turn that faster, the butterflies fall in the move of words. >> the art reflect the commission's commitment to acquiring the best work from the bay area and beyond. in addition to the five new commissions, 20 artworks that were already in the airport collection were reinstalled. some of which were historically cited in the terminal. it includes major sculptures by the international artists. as a collection, these art works tell the story of the vibrant arts scene in the early 1960's through the mid-1980s's.

the illustrate san francisco's cultural center and a place of innovation that is recognized and the love throughout the world. one of the highlights is a series of three left tapestries. they are on view after being in storage for 20 years. these tapestries representing various gardens. from his years of living in san francisco. hydrangeas, chrysanthemums, and whilst dahlias in rich, deep shades as they make their way to the baggage area. they can access behind-the- scenes information and interviews with the artist through an audio to work. it features archival audio as well as interviews with living

artists. he can be accessed on site by dialing the telephone numbers located near the artwork or by visiting the commission's web site. the public art speaks volumes of san francisco as a world-class city with world-class art and culture. for more information, visit >> i'm your host of "culturewire," and today, here at electric works in san francisco. nice to see you today. thanks for inviting us in and showing us your amazing facility today. >> my pleasure. >> how long has electric works

been around? >> electric works has been in san francisco since the beginning of 2007. we moved here from brisbane from our old innovation. we do printmaking, gallery shows, and we have a fabulous retail store where there are lots of fun things to find. >> we will look at all of that as we walk around. it is incredible to me how many different things you do. how is it you identify that san francisco was in need of all these different services? >> it came from stepping out of graduate school in 1972. i wrote a little thing about how this is an idea, how our world should work. it should have printmaking, archiving, a gallery. it should have a retail store. in 1972, i wanted to have art sales, point-of-sale at the grocery store. >> so you go through the

manifesto. with the bay area should have. you are making art incredibly accessible in so many different ways, so that is a good segue. let's take a walk around the facilities. here we are in your gallery space. can you tell me about the current show? >> the current show is jeff chadsey. he is working on mylar velum, a smooth, beautiful drawing surface. i do not know anyone that draws as well as he does. it is perfect, following the contours and making the shape of the body. >> your gallery represents artists from all over, not just the bay area, an artist that work in a lot of different media. how to use some of what you look for in artists you represent? >> it is dependent on people are confident with their materials. that is a really important thing.

there is enough stuff in the world already. >> you also have in his current show an artist who makes sculpture out of some really interesting types of materials. let's go over and take a look at that. here we are in a smaller space. project gallery. >> artists used the parameters of this space to find relationships between the work that is not out in the big gallery. >> i noticed a lot of artists doing really site-specific work. >> this is a pile of balloons, something that is so familiar, like a child's balloon. in this proportion, suddenly, it becomes something out of a dream. >> or a nightmare. >> may be a nightmare. >> this one over here is even harder to figure out what the initial material is. >> this is made out of puffy paint. often, kids use it to decorate

their clothes. she has made all these lines of paint. >> for the pieces we are looking at, is there a core of foam or something in the middle of these pieces that she built on top of? >> i'm not telling. >> ah, a secret. >> this silver is aluminum foil, crumbled of aluminum foil. her aesthetic is very much that quiet, japanese spatial thing that i really admire. their attention to the materiality of the things of the world. >> this is a nice juxtaposition you have going on right now. you have a more established artists alongside and emerging artists. is that something important to you as well? >> very important in this space, to have artists who really have not shown much. now let's look at other aspects of electric works operation.

let's go to the bookstore. >> ok. >> in all seriousness, here we are in your store. this is the first space you encounter when you come in off the street. it has evolved since you open here into the most amazingly curious selection of things. >> this was the project for the berkeley art museum. it was -- this is from william wiley's retrospective, when he got up onstage to sing a song, 270 people put on the cat. >> it is not just a bookstore. it is a store. can you talk us through some of your favorites? >> these are made in china, but they are made out of cattails. >> these pieces of here, you have a whale head and various animals and their health over there, and they are jewelry. >> we do fund raisers for

nonprofits, so we are doing a project for the magic theater, so there are some pretty funny cartoons. they are probably not for prime time. >> you sort of have a kind of holistic relationship where you might do merchandise in the store that promotes their work and practice, and also, prince for them. maybe we should go back and look at the print operation now. >> let's go. >> before we go into the print shop, i noticed some incredible items you have talked back here. what are we standing in front of? >> this is william wiley, only one earth. this is a print edition. there are only eight total, and what we wanted to do was expand the idea of printmaking.

this is really an art object. there we go. >> besides the punball machine, what do you produce in limited edition? >> there is the slot machine. if you win the super jackpot, you have saved the world. >> what about work? >> the right design, it was three volumes with lithographs in each volume. the cab of count dracula with 20 lithographs inside and lined with beaver fur. really special. >> let's move on to the print shop. >> ok. the core of what we do is making things. this is an example. this is a print project that will be a fund-raiser for the contemporary music players.

we decided to put it in the portfolio so you could either frame at or have it on your bookshelf. >> so nonprofits can come to you, not just visual are nonprofits, but just nonprofits can come to you, and you will produce prints for them to sell, and the profits, they can keep. >> the return on investment is usually four times to 10 times the amount of investment. this is for the bio reserve in mexico, and this is one of the artists we represent. >> you also make prints for the artists that you represent. over here are some large prints by a phenomenal artist. >> he writes these beautiful things. anyone who has told you paradise is a book of rules is -- has only appeared through the windows. this is from all over coffee. we are contract printers