restriction out. >> you want a site that can accommodate the right number of units. but it does not necessarily have to be 40%. commissioner antonini: the only other thing i would say would be the density issue. i would think that whatever the appropriate density is for the entire parcel, there are instances where you are talking about it being three quarters of a mile away. i think whatever the appropriate density is in that area would be what is there. i have never been a proponent of the idea that just because it is an affordable project you can make a dancer and higher. i do not think that is appropriate. for your neighbor, the impacts are the same no matter who is living there. i think it has to be appropriate for where it is,

regardless of hot with the mechanism is used. commissioner moore: i could not agree more with what commissioner antonini says. preferably, we would like to have it on sight any way. the minimum would have to be equal or better than what is around it. the building itself cannot distinguish itself from housing around it if it is made up to be of high quality architecturally, fitting in context, and finish, and accessories, like anything else around it. president olague: that is all we have? commissioner sugaya: wait. as long as the mayor's office of housing is here, we were having a side conversation beforehand.

you mentioned a little bit about the upcoming nexus' study, right? >> this fall, we will be conducting a financial feasibility study. not in texas study. every five years, we review the financials of each program. we will be beginning that process on monday. it will be an intensive process of stakeholders. commissioner sugaya: thank you. commissioner antonini: not to testify on you that is of subject, but i have always had a problem with the ownership piece of it, which we see less of now. but for someone who is a younger age, or making a certain income -- often younger people

make more money as they get older. i know there is a fear and equity problem in there. whatever you can do now to address this concern -- when you on something, you own it, presumably, forever. your income changes and you would not qualify at a later stage in life, but at one time you were making not enough money to qualify. it is a fairness issue. president olague: there are no questions. >> you are not taking an action? president olague: we have to take an action. that is right. thank you for that reminder. [laughter] commissioner antonini: i would move to approve with modifications, which i assume are what is listed here.

yes. the motions in front of us. president olague: second. commissioner sugaya: are recommending not to have the 40% requirement? president olague: we can add that as a suggestion or can continue that to work on it. commissioner sugaya: work on it. >> we can add language to your resolution. president olague: are you ok with that? commissioner antonini: let's look at that anyway. i am not saying we are against that if it is necessary. but we can study effect could be deleted or modified. -- if that could be deleted or modified. >> shun the eagan, mayor's office of housing. -- sandra egan, mayor's office of housing. i have prepared some then that might be worth showing.

what we want to think about in terms of lowering the percentage requirement -- we could lower the percentage requirement and keep the unit requirements. it could be 40% of the units or 40% of the land. i do not know the answer, but we want to think about comparability to other options under section 14. i created a 100-unit building as an example of how the three options would pay -- would play -- on-site, paying the fee, or doing the land dedication. the dedication of the land pretty much equals 40% of the units that would be built. it is pretty comparable to doing on-site. it could even be cheaper. we would not want to lower its some much that it becomes -- it so much that it becomes more

favorable and we do not see any on-site units. that is to something to think about. president olague: that is a good point. commissioner antonini: let's restate that motion, or maybe i should be state it as the maker. i was calling to say the motion is to approve with modifications. because this is going to go to supervisors, is that right? basically with the idea that they would explore the idea of looking at the percentage of land that could be modified. we are not saying it has to be. it has been crafted for the carefully. i am not saying you have to do it, but at least look at it. president olague: yes. perfect. >> the motion on the floor is to approve with the recommendation that the supervisors look at the

40% threshold. on that motion -- commissioner antonini: aye. commissioner fong: aye. commissioner moore: aye. commissioner sugaya: aye. president olague: aye. >> thank you, commissioners. the motion passes unanimously. president olague: is there any general public comment at this time? seeing none, general public comment is closed and the meeting is adjourned.

supervisor chu: thank you very much, president chiu. i wanted to emphasize what supervisor cohen, and this is the same conversation we have had with the nominee, and i look forward to seeing mr. ramos and the conversations and the balance he has expressed to me, and also recognizing some of the challenges that different neighborhoods might have with having accessible transportation, usage of cars and how is he would balance that, given multiple demands there might be, such as large families among other things. so i look forward to that conversation. my parents immigrated to the united states about 30 years ago, and that probably was the most formative part of my background. growing up in an immigrant family, you learn many things. my parents raised me in southern california, and i grew up in the

restaurant business. they had a small restaurant at the time, and i was there every weekend working, and it taught me the value of working hard and what it meant to be part of a small business, a small family, and an immigrant family at that. growing up in an atmosphere in being impacted by the los angeles riots when it did occur. we were always worried watching the news to see whether or not the restaurant would be looted, whether it would go up in fire, so it was something that was a big concern and worry for my family at the time. i remember thinking even at that age how important it was to consider what the economics were in communities, whether people had or felt that they had opportunities or did not have opportunities, and what role it was that government played in those outcomes. >> [inaudible] supervisor chu: that is what really put me on the path to public policy.

so i pursued public policy both at occidental college where i went to school as an undergrad, and also uc berkeley where i pursued public policy. i work on public finance for a while after i graduated and came back to government to really pursue that. ever since then, i have stayed here and fallen in love with how wonderful the bay area is. it is a really great place to be. all around the room, you will see a lot of great financial institutions. talk to them. you will see people who can help you with financial aid. talk to them. he will see departments that might have summer job opportunities. talk to them. utilize your opportunities today. learn a little bit about what you should be thinking about in the future. generally, a very practical legislator. i like to look at what the impacts of legislation would be before really voting on it, so i think, depending on the issue,

you can move around, and that should be the way most people think, which is let's consider the facts of legislation before you actually consider it, irrespective of what spectrum it comes from and what spectrum it is perceived to be. sunset district is a great district. has many residents who are families. we have a lot of families in our district. lots of kids, seniors, people who have raised their families there for many generations. the big issue moving people is the state of the economy. how is it that we are going to be able to bring down the unemployment rate in san francisco? how is it that our future generations, our kids, and our youth are trained so they are able to take advantage of what is emerging? whether that is clean technology, technology in general, the health-care industry or other things that might be looking rosier in terms of future economic activity.

thank you. today, i am very happy to have come with you all and to bike in today. i was able to ride a bike that had a two-person seat on it. i was in the back, and we both paddle together, and one thing i wanted to say is if you bike to school or anywhere, make sure to always wear a helmet. make sure to be safe, and of course, have fun, right? in terms of interesting jobs, this has to be one of the most interesting jobs. you work on a whole host of issues all year round, and you meet so many interesting people around the way, so i really enjoyed that.

>> 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 for all kinds of organizations all across the country. >> thank you very much for showing us around today. i really appreciate you taking the time to let me get better acquainted with the operation and also to share with our "culturewire" team.

>> welcome to the department of building inspection thursday brown bag lunch. i'm laurence cornfield cleave building inspector. these are the taugs we do of interests to the public to share information about the city and san francisco's departments.

today we will talk about habitability in housing. it's something the department focuses on intensively. we had a whole section of inspectors who do nothing but look at residential buildings to make sure standards are middle east. we have chief building inspect or rosemary. we have codes that reflect standards that the city has adopt todd make sure housing is safe, healthy is appropriately comfort and usable. it's an interesting change that has taken place in the code in the last 20 years or so. where standards have gone from safety and fire resistiveness

and health to include a broader range of issues much and in many cases the department of building inspection now enforces the american with disabilities act the way it's translate todd california accessibility laws we enforce disabled access. a civil rights issue. we support the new mailbox legislation. the new requirements about door bells are now in the code. there are other issues that are coming into the codes. habitability is no longer health and safety. habitability includes how warm you are and other stuff. dcht building inspection has standards the owner of a building is required to meet all of the standards of the building code and the housing code. the owner's responsibility to meet those standards. we do not always go out and say,

your rainwater is leaking, fix it. it's the owner's responsibility to pay attention and fix stuff much there is a range of responsibilities on the tenants. we will talk about what the owner's responsibility and the tenant's responsibility. i think it's important to realize that the owner in the law is the person who is always responsible for the maintenance and upkeep and habitability of their property and units. even if the tenant may not be the best housekeeper. the owner is still responsible for the building's condition. the first item has to do with a real safety issue which is exits much an exit has to get you to the street or public way. so, you check exits from you enforce habitability standards? >> absolutely. exits also includes fire escapes

and it's very important to always consider an exit something that allows you to get in and out of the builds and emergency personnel to get in the build nothing a situation where there could be a fire or other type of emergency. that means that these aggress locations a stairway system, these are not good places for storage. we want to make sure we don't have the potted plants. the although they are great places to dry clothy, we don't want those things on these areas in the event of an emergency situation where there is confusion, we need to have proper clearance so emergency personnel can get in the building and assist those that occupy the building and be able to get out. >> one of the basis of the code the concept is you delay, y