side of my building, is that what you were talking about, just the side where he would be coming out? i wish i had a photo of my home. i have an i have an 8 foot window on the side of my home. on the third floor, i have two fairly large windows, probably six by six on either side. it gives a lot of light. i am -- i know the air and the like will be blocked. that is all there is to it. i am wondering if something can be done about that, if we could work out some skylights or something. but it is definitely going to change the lighting in my home, and the air.

there is no doubt. these windows -- the top floor has a back -- deck that is fairly open. i think something will occur there as well. so that is what i am -- i just hope you consider as well. thank you. commissioner fung: the permit holder has indicated -- i will ask you the same question in confirmation. the rear of your building, there is a recess at the rear of the building. is that correct? in other words, from the property line, the wall is recess back at the rear of your building. -- recessed back at the rear of

your building. vice president garcia: do you have a copy of exhibit 1? if you would refer to that, if you do not mind. commissioner fung: no. so if you would look at the site/roof plan. site and roof plan. so your house is -- looking at that sheet, your house is to the right of the murphy's. to the bottom of the image related to your floor plan, you

see a series of lines that show a recess from the property line going in an eastward direction. that represents -- >> that is a stairway. commissioner fung: that is a stairway? >> yes, a widening stairwell going up to the second floor. commissioner fung: where are the windows located? >> there are windows right along, right where the staialond of that, -- the outer end of that is part of a deck. that is like a glass wall there. as you go up to the second floor -- actually, in the first floor, if you keep going where the.is -- the dot is, that is

where you will find a lot of skylights. i have a big skylight as well that goes down to the garage, and a large eight by six window in the dining room. all along here, i have a lot of light, actually. so that is probably the -- what you are seeing their -- there is going down to the garage. i cannot explain what it is. it is sort of gain -- of a roof lighting piece there. vice president garcia: if you do not mind, would you put that on the overhead? as you are describing these features, point out where they are. i might be the only one confused.

>> yes. obviously, the sight of my building their -- the side of my building there is one wall going all the way up to the fourth floor, including the basement and garage. what do you want to know? vice president garcia: first of all, the way this is drawn, it goes front to back. >> yes. vice president garcia: so the windows you are describing -- would you point to where those are? >> window here. window here. this is going down to the garage. you go up to the third floor and you will see windows right above the windows i just pointed to. vice president garcia: and the circular staircase you were describing would be where on that rendering?

>> right here. vice president garcia: i had thought the commissioner was asking you about the back. >> i know. there are 2 the luster cases, one here and won here. -- there are two staircases, one here and one here. this goes from the outside yard to the kitchen. vice president garcia: thank you. >> thank you. mr. murphy. no rebuttal? ok. mr. sanchez. >> i would like to put on the overhead and an aerial photo that might help show the subject property. this long building is the permit holder's property. the adjacent building is the appellant's property. commissioner fung: excuse me.

victor, can you grow -- blow that up a little bit? thank you. that is good. thank you. >> this would be the -- my finger is huge. this would be the permit holder's property. this is the appellant's property. you can see there is quite a recess already between the buildings. the rear of building walls are a southern-facing exposures. i would not think this would have a great addition to shut up, especially considering the shadows in the photo. the existing building already extends in such a nature. that already casts a shadow on the appellate of property. i do not think there would be net new addition of shadowed by the project.

-- of shadow by the project. commissioner fung: those shadows look like it is early afternoon already. thank you for your ipad. vice president garcia: do you charge the city when you use your ipad to help us out? >> the matter is submitted. president goh: commissioners? commissioner fung: i will start. i think it would -- just to summarize my view, because my questions are all geared that way, i would assume and it is probably correct that the portion of the appellant's building where there are no setbacks in her building

probably have no windows. at the point where there are starting to be setbacks, it appears there are a number of windows. she has mentioned a number of different floors. primarily on the second and third floor. i would concur with the zoning administrator's assessment of direct sunlight patterns going into that. it is not likely the addition will cast any further shadow. however, the addition does come closer to her building. therefore, in terms of ambient light, it affects it a little bit. in terms of the overall impact, we are talking about the permit

holder having made an accommodation by keeping his building off the property line. i think that is significant in this overall discussion. the issue of how much accommodation one makes with respect to the property line situation is usually very limited in our city and in the various types of projects we hear. i think this is significant accommodation. i do not see that the issues of light and air are significant enough for me to impact this particular permit. president goh: i agree with that. other comments? or is there a motion? vice president garcia: i agree with everything that has been said.

i guess in order to accommodate the appellant somewhat, not that i suspect mr. murphy of having made statements that he would restrict building or construction activities to monday through friday -- i do not know what hours he intended that to be. if mr. murphy would come forward and tell us what he considers to be reasonable hours? >> thank you, commissioners. bart murphy, a permit holder. the more hours we work, the quicker the job gets done. 7:30 to 6:00? vice president garcia: i would even be willing to give him half a day saturday. i do not think that is too interested. do you feel you need the saturday? i agree with your sentiments that the quicker it gets done the better off the appellant is

going to be. you need to come up here if you are going to address the board. commissioner fung: if mr. murphy offered the weekdays, i think that makes sense. we are seeing a boom of construction in the higher-end neighborhoods. i have firsthand experience with the pounding on the weekend, which is the only time i get off, you know? i think we days, if you can do it, is reasonable. 7:30 to 6:00 is a reasonable time. >> is there any way i can get an inspector to come and look at the property line? or is it too late for that? vice president garcia: for what

purpose? >> just to view the properly to -- the property line, to see -- as far as you have seen, there are no windows according to the drawings you have seen from him. i just wanted you to see how much like i do get. vice president garcia: -- light i do get. vice president garcia: i think we understand that. i do not mean this quickly, but you did had the opportunity to present to us, and we are trying to help you a little bit by constructing -- by restricting the construction hours from 7:30 to 6:00. >> i had no idea you could work 12 hours a day. commissioner fung: there is no limit within the building code. >> is that right? ok. vice president garcia: i would make a motion to uphold the permit and to add a restriction that construction only take

place on weekdays from 7:30 in the morning until 6:00 at night. >> that would be a motion to grant the appeal, which would require four votes, because you are conditioning the permit. vice president garcia: thank you, madam director. >> on that motion from the vice president to uphold the permit with the condition that construction be limited to monday through friday, 7:30 to 6:00. on that motion. commissioner fung: aye. president goh: aye. commissioner peterson: aye. >> commissioner hwang is absent. the permit is upheld with conditions. >> there are no further items this evening. vice president garcia: i wish you a productive, enjoyable trip to china. and your daughter. have a fabulous time.

president goh: thank you. we are adjourned. >> my father was a lebanese

>> hello. welcome to "culturewire." we are here today with bay area artist jody chanel, and we are here to see the plaza where your piece has just been installed. >> i have been doing large-scale paintings in the galleries and museums, and the idea that in the future, i could do something that would hang out a little bit longer than the duration of the installation the kind of appeal to me. i quickly found out about the san francisco arts commission school and realized there was a pre-qualified school you had to apply to, so i applied to the. >> how long did it take you to develop this work for the plaza?

>> this was a fast track project. design development was about a month. >> let's look at the beautiful mural. i have never seen a mural created on asphalt. >> the heat of the asphalt, a new layer of asphalt. then, these wire rope templates that were fabricated for the line work get laid down and literally stamped into the asphalt, and then everything was hand-painted. >> maybe you could talk about some of the symbolism, maybe starting in the middle and working out. >> [inaudible] the flower of industry. >> it is like a compass. there's an arrow pointing north. >> within the great bear consolation, there are two

pointed stars here. they typically lead one to the northstar, otherwise known as polaris. so i thought it has a layer of theme. >> let's talk about some of the other elements in the peace. we are walking along, and there is a weather vane. there's a sweet little bird hanging on the side. what kind of bird is that? >> [inaudible] the smallest of the gulf species, and it lives around the bay area. >> you want to talk about the types of flour patterns that you send? >> [inaudible] around 1926 or so by the dahlia society. >> what is this bird here? >> that is the california quail. >> coming up here, we had a

little blustery theme. what is this area here? >> this is supposed to be the side view, the expense of the golden gate bridge. >> there it is. >> there are really beautiful elements of architecture still around, i would say that it gives that feeling over to the work. >> what are your hopes for it? >> that in a way it just becomes part of the area. i think it is starting to have that feeling. people utilize it. they sit and, and have their lunch and play on -- they sit and, and have their lunch and play on that -- they sit and come and have their lunch and play on it. just for it to be part of the neighborhood. that is my hope.

>> is such a beautiful addition to our public art in san francisco. thank you for joining us. it was nice to meet you. and thank you for telling us about your beautiful mural. thanks for watching "culturewire." >> welcome to "culturewire." since december 2005, the museum of the african diaspora, known locally,moad, has presented programs that celebrate and explore the culture, history, and art of people with african descent throughout the and added states and throughout the world. the director of cultural affairs recently met with the museum director. to learn more about the current expedition, textural rhythms, constructing the jazz tradition,

contemporary african american quilts. >> welcome to "culturewire." today, we are at the museum of the african diaspora, which is celebrating its fifth anniversary occupying one of the premier cultural district in the world, the yerba buena cultural arts center in san francisco. joining me is the cultural art director. tell us what moad's mission is. what does it do? >> the museum of the african diaspora showcases the history, art, and cultural richness that resulted from the dispersal of africans throughout the world. we do that through compelling and innovative exhibitions, public programs, and education programs. our goal is to celebrate and

present for appreciation to our broad and diverse public the controversial energy contributions of people of african descent to world culture in all aspects in all areas, including politics, culture, economics, education, just in all aspects of cultural forms of expression. >> one of the fascinating things since 2005 when the museum was established, is that it has become clear from science that all of humanity originates in africa. how does that influence the education programs or presentation here at moad? >> obviously, being able to attenuate that, and there is a sign at the door that says, "when did you know that you were african?" our point is that we share a common dna, and it connects us

on a number of different levels. this institution is an institution available to everyone, a resourced for everyone. >> you have both permanent and temporary exhibitions, right? >> we do. our temporary exhibition program is one that we are restructuring. i have been here now for about a year and a few months, and as a former curator, i'm very interested in this aspect of developing the visual arts program. part of what we are looking at is using the four core seems that define our program -- origins, migration and movement, transformation, an adaptation -- as a framework for our thinking about the kinds of exhibits we present. >> we want everybody to come and see the permanent exhibition. there might be a special opportunity to visit with the current show that you currently have, which is constructing the jazz tradition, which is a very striking exhibition of quilts.

>> it is a compelling exhibit on a number of different levels. visually, it is compelling. in terms of the subject matter, in terms of the approach to materials, it is so rich and diverse. it is a colorful show, a show that is deep in content, and we know something of the history of the "'s tradition within the african-american community. it is a tradition that came from africa, has its roots in africa, but during slavery, this was a combination of things. one was a way to be able to communicate with each other, a way to create beautiful objects, and a way to create functional, utilitarian objects for the family and community. the other part that makes it so interesting is the focus on jazz. there are two attritions being celebrated here. certainly, the tradition as we know it -- these are not traditional quilts. they have their roots in traditional aspects, but what

you will find in this exhibition are works that include materials on the surface, new processes, copying, and putting photographic images on the surface. you will find packets sewn onto the surface, so the methodology from traditional " making has changed from how traditional quilt makers use the medium. >> our visitors can visit the web site, which we will be showing on the segment, so follow the link to the website, and get all of the latest information about all these events related to this exhibition, and, of course, you guys are very active. throughout the year, with all kinds of special programs. >> yes, we are. this is what i'm so excited about. >> this may take us off track a little bit, but a couple of things i wanted to highlight is

that the creation of moad is one of the flagship creations of the redevelopment of san francisco. it is housed inside -- what is the building? the regency, right? >> the st. regis museum tower. >> the st. regis museum tower, which is one of the development projects that was promoted by the redevelopment agency is what allows the city to -- and the development agency to give form and establish moad in the yerba buena cultural district. now, we are looking at governor brown oppose a proposal, which means that in the future, it he is successful, they would not have had the rebel the agency to promote these economic and cultural projects. it is something that has relevance today in terms of public policy today, what is

going to happen in the future if we do not have a redevelopment agency to promote this development. >> yes. moad is the result or culmination of a public/private partnership that included the redevelopment agency and former mayor brown, and included the developer of this area. we had an opportunity to develop, create important cultural components of this public/private partnership. i understand the concern. i'm delighted they are here and will continue to be here and will continue to do the good work we are doing. >> absolutely. thank you so much for being part of "culturewire." >> thank you for having me. >> for more information about the museum of the african the museum of the african diaspora, visit moadsf.org.