>> welcome to "culturewire." for the past year, the arts commission has been participating in the city's effort to revitalize the central market street corridor. in addition to the thursday arts market and are in store front, the art commission recently launched the artery project. for the next year, the artery project will bring energy and excitement to market street, recalling the st.'s heyday as san francisco's vibrant and bustling theater district.

>> un.n plaza during business hours seize hundreds of passing office workers and students, but the activity winds down at 5:00 every day. theater productions bring some but traffic, but central market is more of a thoroughfare than a destination after the sun goes down. on december 9, the artery project's launch brought a party atmosphere to market street, led by mayor gavin newsom, city officials flipped the switch on three new art installations that light up the st.'s architecture. a looping a video at 1119 market street was the first words to be some -- the first work to be seen that evening. before the unveiling, the director of cultural affairs spoke to artist jim campbell about the concepts behind

bourbon reflection and how he created the work. >> i'm really excited to have your installation on public view starting today here on market street. you created a site-specific work. can you talk about that? >> yes, i looked at two or three different locations, and this one seemed the best. i work with customer electronics, so indoors seemed the best for the work. i also like how close it was 2 market street itself. it is only about 10 feet away, so i chose this location. >> what is the duration? if someone were to stand in front of your installation today. >> at the moment, it is 12 minutes, but i've been thinking about adding footage over the time because it is going to go through a couple of seasons. >> could you describe a little bit in terms of what your creative process is? >> it is a curtain, and image made up of a curtain, so it is very valuable, and the idea was to use this technology that i've

been using for the last 10 years, low resolution imagery, to reflect market street back to the pedestrians walking by. the reason that it kind of works in this environment is that you see people walking by. you see cars going by. you see buses going by, but you cannot help we the people are because it is low resolution. you cannot see their faces. you can see the way they walk. you might be able to tell the kind of car going by. >> what do you think passersby will experience? >> i was thinking it was going to be a test of the success of the work if people stop and look. i have noticed in the last few nights that people do stop and look. a certain percentage. one of the things i was playing with was the ambiguity of whether it is alive or not, so people walk by, and they might even move like this back and forth, thinking that they are in the image, and they realize

that it is a daytime shot, and that kind of thing. >> thanks for being part of life on market street. >> my pleasure. >> after the lighting of urban reflection, mayor newsom led the party to the corner of seventh street. lighting the way down the street were members of the filipino cultural center's youth program, carrying traditional core role lanterns. on the side of the resort hotel is a projection titled "storylines." working with students from the art commission writer's corps program, paul organized a series of images with text captions. they will change every evening until a different -- and tell a different story. one block away, theodore watson has created an interactive installation that crosses over six street.

spaces' begins with a photo capture station on the north side of the street that projects your face on to a building on the south side of the street. on opening night, the installation was an immediate hit with the crowd. we talked with the or what said about his remarkable installation. >> what inspired you to create this interactive piece? >> the work i typically do is kind of interactive installations or both indoor and also outdoor and public space. for me, what i'm most interested in is how we can use technology to make the city, which is typically quite a static environment architecturally speaking -- how can we make it come alive? >> what i love about your work is there is such sophisticated software and electronics and complex connections that all have to work together to make it successful, but yet, all of that

is invisible to the people interact with the work. >> they do not realize there is all these cables and projectors and computers and all this technology behind the scenes, and if you can keep it hidden, it feels like a really magical moment. to me, that is what is inspiring, and that is what makes the public, their eyes light up. >> you feel a little bit like the wizard of oz? >> totally, yes. >> having been on market street for a while and seeing how the public is reacting to your piece, what is your impression of what it is going to be like here? >> i'm already loving it. just the fact that i can look up and see someone seeing how crazy it is, and i have been bumping into people in the street who are recognized only from their portrait. i'm hoping that people will provide a slightly more friendly way to look at each other in this neighborhood. >> it is helping to reinforce

and create a sense of neighborhood. so we want to thank you for being part of this project and thank you for bringing "faces" to san francisco. >> the artery project will have installations on market street until june 2011. this revitalization initiative is funded by the national endowment for the arts in an effort to transform market street into a nationally celebrated cultural district. additional projects and events will be launched throughout the year, including art and storefronts and coordinated nighttime events hosted by the gray area foundation for the arts and the luggage store gallery. to learn more about the artery project, visit sf >> welcome to "culturewire." on this episode, the director of

cultural affairs takes us on a field trip to the mission district to check out odc's new 36,000 square foot campus, the largest in the region. >> for san franciscans, odc has a very significant significance. stands for a venerable performing arts organization celebrating its 40th anniversary of bringing fans and theaters to the bay area. standing with me today on "culturewire" is the theater director of odc. thank you for joining us. i mention that this is the 40th anniversary. >> it is indeed. >> i'm standing with you in a fabulous theater that was

completed six months ago in time for this anniversary. tell me about how it has been going for the last six months. >> absolutely. in terms of the anniversary, the dance company, which is our founding body, is celebrating its 40th anniversary, and it is the 30th anniversary, so it is historic for both sides, and the completion of the theater represents in some ways the completion of our entire campus that began in 2005. it has come to its fruition with the completion of the theater. the theater opening was remarkable. one of the things we wanted to do was to make sure that our community really truly -- our san francisco bay area community understood that this theater was for them. we invited 31 bay area companies to do a day-long performance marathon, so we really launched with a feeling of this is for everyone in this community.

it was a tremendous thing to bring everyone together around the opening of this building. >> you are part of our creative troika, including the founder, brenda wey and k.t. nelson. talk about what it is like to keep this campus going. >> it is a wonderful thing to be working with someone who is certainly your co-worker and also largely your mentor. i inherited the theater at a funny time in its life. it needed to make some decisions as an institution about what it wanted to be. whether it wanted to be exclusively a rental facility, it is needed to be a rehearsal space with a really high ceilings -- whatever it was, having that level of leadership that my founding director is also my boss really made that possible. i really felt like i had great stewardship and we were able to make really innovative

decisions for how the theater could grow over the decade. >> living with -- living with someone who is both your immediate boss and also a working artist is also a huge asset. that is one of the things that keeps the creativity flowing through odc. it is a campus about the creative process at all times. >> the theater was part of a second phase of capital fund raising and community support. the previous one had renovated the space where the rehearsal studios are and the school is, sell what does that sort of say about the importance of the odc in the community? >> i think it's spoke to the two very different tracks of our organization. part of what we do is education and outreach. part of what we do is performance on the part of our company, odc dance, and a third part of what we do is this presenting an incubation stage.

when we came to people to talk about the theater as a second investment after having built the dance commons, the distinct purpose of the theater really came through. what we were going to do with our venue was invest deeply in creativity, deeply in our regional artists, and we were going to do something that most mid-size san francisco venues have struggled to do. >> talk to me a little about the group other than odc that have used this space. >> one of the great pleasures in our opening season was to go back and invite two of our former resident artists to launch this space. arab laung was to invite two of the best known -- our launch was to invite two of the best known companies in the city to share in the event, and it was really

exceptional. these are companies that i have worked with and the organization has worked with releases they were either newborn or just a few years old, and to go back to that roster and invite two of our really major home town honeys to open a theater and be able to treat them as the professionals they have become with this opportunity, with this menu, and with the resources that were available was really a full circle experience for both of us. >> now that the theater has been fully renovated, where is it going? >> i believe that san francisco is in some ways to the nation what odc is to san francisco, which is to say that i believe the west coast is the hotbed for innovation. i think it is where major cultural innovations happen, where huge ideas are born and often raised up. it may not often be the marketplace that other major metropolitan areas are, but i do think is the center of where

creativity sits. i think that what odc can do by becoming this level of institution is raise the platform of san francisco. i name -- in many ways, it is sort of a death process, but putting an artist in contact with recording artists, with other major areas, with exchange companies around the country and the world will become a central part of what we do. >> it is clear that now there is a campus that has been built out and filled in, that odc is playing this fabulous supportive and incubated role, both for san francisco, the bay area, and the country. thank you so much for being part of "culturewire." >> my pleasure. >> and for contributing so much to the performing arts of our city. >> for more information, visit odc

>> in this fabulously beautiful persidio national park and near golden gate and running like a scar is this ugly highway. that was built in 1936 at the same time as the bridge and at that time the presidio was an army and they didn't want civilians on their turf. and the road was built high.

>> we need access and you have a 70 year-old facility that's inadequate for today's transportation needs. and in addition to that, you have the problem that it wasn't for site extenders. >> the rating for the high viaduct is a higher rating than that collapsed. and it was sapped quite a while before used and it was rusty before installed. >> a state highway through a federal national park connecting an independently managed bridge to city streets. this is a prescription for complication. >> it became clear unless there was one catalyst organization that took it on as a challenge,

it wouldn't happen and we did that and for people to advocate. and the project has a structural rating of 2 out of 100. >> you can see the rusting reinforcing in the concrete when you look at the edges now. the deck has steel reinforcing that's corroded and lost 2/3's of its strength. >> this was accelerated in 1989 when the earthquake hit and cal came in and strengthened but can't bring to standards. to fix this road will cost more than to replace. and for the last 18 years, we

have been working on a design to replace the road way, but to do in a way that makes it appropriate to be in a national park and not army post. >> i would say it's one of the most ugly structure, and it's a barrier between the mar sh and presidio. and this is a place and i brought my dogs and grandchildren and had a picnic lunch and it was memorable to use them when we come here. what would it look like when the design and development is completed. and we are not sure we want an eight lane highway going through this town. and it's a beautiful area in a

national seaport area on the planet. >> the road is going to be so different. it's really a park way, and it's a parkway through the national park. and they make the road disapeer to the national park. >> and the road is about 20 feet lower, normally midday, you go through it in two minutes. looking back from the golden gate bridge to presidio, you are more aware of the park land and less of the roads. and the viaduct will parallel the existing one and to the south and can be built while the existing one remains in operation. and the two bridges there with

open space between them and your views constantly change and not aware of the traffic in the opposite direction and notice the views more. and the lanes of course are a foot wider than they are today. and they will be shoulders and if your car is disabled, you can pull off to the edge. and the next area, the tunnel portal will have a view centered on the palace of fine arts and as you come out, you can see alkatrez island and bay. and the next area is about 1,000 feet long. and when you come into one, you can see through the other end. it's almost like driving through a building than through a tunnel. and noise from the roadway will

be sheltered. and the traffic will be out of view. >> when you come out of the last sort tunnel and as you look forward, you see the golden dome of the palace of fine arts and what more perfect way to come to san francisco through that gateway. >> it will be an amazing transformation. now you read it as one section, the road is a major barrier and then a wonderful strip along the water. all of those things are going to mesh together. >> right now the road really cuts off this area from public access. and with the new road, we will be able to open up the opportunity in a new way. >> this bunker that we see now is out of access for the general public. we are excited to completely

rework this side and to open up the magnificent views. and what we want to do is add to this wonderful amenity and restore this coastal bluff area and respect its military history and the doyle drive project is allowing us to do that recorrection. and this area is not splintered off. >> and we can see how dramatic a change it will be when doyle drive is suppressd and you have a cover that connects the cemetery to this project. it's historic on the statewide and national basis, but you