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 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.

>> good afternoon. i'm the chief building inspector with the department building inspection. welcome to our brown bag lunch series. this is the regular third

thursday of every month event. we are finishing up with a talk about the outside lambs, an area that was previously considered uninhabitable. uninhabitable due to fog. [inaudible] but we have with us a couple of real experts in outside plans. -- i am outside -- in outside lands. woody has devoted a lot of his time and effort to the outside lands. >> we are a nonprofit in our 10th year, and we are dedicated to preserving and sharing the history of san francisco. >> it is great to have you here. and pat, who has a lot of

knowledge and brought to be sure today a lot of [inaudible] , and she can share with that -- she can share that with us as well, and we only regret that harvey the wonder dog could not be here. we talked about [inaudible] what area, generally, are we talking about? >> the term came from what was called the pueblo land when the san francisco peninsula was switched over from mexican ownership to american ownership. certain tracts were preserved, so there was a more orderly, even though it took decades, transfer of ownership of those lands, but there were also what were called pueblo lands, which were sort of a poem by the town, and then, there was a whole lot of discussion about what should happen to those -- which were sort of zero and -- sort of

owned by the town. >> so was san francisco's bordered upon at the time, or did that happen later? >> san mateo county did not exist when they originally chartered it. i think there were 16 counties, and a few years later, they said they were too large, so they doubled back and created san mateo county. >> this is an early map of an area that might have been known as san francisco, but it did not have a defined southern boundary yet. >> the city i believe was up larkin street, and everything west was counties. i think larkin was here.

that is the original charter. then in 1850, van ness, who was the supervisor, did the addition. it was called the western addition, even though it was in the middle of the city, because it was west of larkin. >> i did not understand that when i was a child. it always seemed that it was east of where everything i knew was. >> all this down here was county of san francisco, so there was a point in time where you could be in the county of san francisco, but not in the city you live in these outside lands. >> lead problem is if you look at the orientation, no. is up. we are going to turn it the way we are normally accustomed to seeing it. here is where the golden gate bridge is. here is where the bay bridge is. the county went all the way down

here, and about a year later, they moved the county to write about here, so this was county land or outside land, and this was the city. this was 1861, so the city has grown by this much. these were added, and they are basically pasture lands. that is where petrero street is. >> and out here, the rancho -- what is a rancho? >> it is a mexican land grant that we agreed to respect when we still california from the mexicans. we agreed to respect the land grants that existed, and there was a commission set up. regretfully, none of the land grants were legally bested, so most of them were taken away

from the mexicans. the other portion were pureblo lands, which would be considered entitled to four square leaks -- leagues. so 30 square miles with the possession of the pueblo of san francisco for public use, and that is how we got golden gate. when they acquired it as publicly, part of the treaty said you had to all mexican law, which set a certain amount of outside plants must be used for schools, playgrounds, open space. the original chaldea san francisco -- the original county of san francisco came from san mateo county. they decided it was too large a county, said the card off another county. at the time, the largest population in the state was in

san francisco. l.a. barely made a presidio. they had, like, 50 or 60 people. 90% of the population was in san francisco, and everyone down the peninsula is saying if they are in the county, san francisco has this huge population, we are going to have to go along with them, so they can't get off -- they carved it off. >> it looks like it is the richmond district, but a kind of shows what was on the west side town. a great deal of it was sam, and for that reason, people thought that the weather and the san -- it was really not a place that people wanted to live, and it was going to be very typical for san francisco -- very difficult for san francisco to expand west. >> if you look at the early maps, it was 3 miles wide by about 6 miles long, this huge

sand dunes that just moved around. >> here is an 1875 map of the laguna. says along the side of the map, high sand hills between the pacific ocean and the like. by the way, this had actually opened directly into the ocean. >> lake merced had a high water level. since we paid over much of the city, the water levels have dropped, but at one time, the late actually trade out into the ocean approximately where the dog diner is that now. somewhere in the 1870's, they saw the damage at the water in the late so it did not exit out uncontrolled, and for 10 years, people were drinking lake merced water as drinking water.

it is much bigger, too. if you go to san francisco state, the practice will appeal this part of the lake. i do daily city, that was part of the lake. it was huge. >> the southern area [inaudible] but there is a different area. >> there was a creek that came down basically through west portal and said that particular lake. >> that was filled in when they develop west portal, and they had the brilliant idea when they dug but,, they needed a place to put it, so they build the creek in with the tunnel muck. >> you can see in 1910, we are talking about after the earthquake, but outer richmond is still pretty sparsely settled. >> or anyone who ever wondered what richmond is named after, it

was a guy by the name of marsh, who was from richmond, england. >> australia? >> australia? >> george turner marsh. >> no trees at all. people see trees in the city and think they may have been made. sand and scrub. at some point, these are the lives were used recreational -- these outer lands were used recreational lly. . >> there is. we hoave -- what, the third? >> depends on it you are coming the addition. but they all burned down. that was around 1900, so if you

are ever stuck in traffic in the six-lane boulevard in 19th avenue, imagine what it was like back then. >> [inaudible] i would say this is after they began to develop some homesteading entries. >> it was a large chicken ranch out there. lawson chicken ranch was along 19th ave. >> [inaudible] >> not exactly. he donated the land later to the city, though. sort of the farm house feeling of the richmond. >> there is a water tower with a windmill in the back. >> right, get your water from wells. that was the early boathouses. looking at that map, sporting men would come out in the horses, have little races with their horses and carriages and the sea horse races, maybe get in a card game, have a drink of the way to the beach. >> but this was when there was

county land, so there was no gambling. the move people out to county for the race track. >> they were away from intense public scrutiny out there. >> my of the state is there were four racetracks in the city. -- my understanding. can you name them? >> pioneer, union, in the side, and oceanside. >> there ago. maybe there are more. >> we have a big article on race tracks on our website. outsidelands.org. >> the ingleside, you can still see that. >> they developed where that race track was, just south of ocean avenue, they kept the oval

of the race track and created urbano drive. >> i think we have some progress of that. >> that is the inner sunset. that is where >> lawrence lives > i do. >> you can see the inner sandbank. it is a big old sand hill. they had to do a lot of grading. >> in the building department, when we go out and look to people to building development, as soon as they squared away the top 6 inches or whatever is there, it is all sand. forever. in my yard, and there is nothing you can do about it. it is what there is. it was generally developed in response to the 1890's for mid- winter there, which was held in golden gate park. would the first buildings that was built in that area was a bar called the little shamrock,

and it is still there just west of lincoln, just west from ninth avenue. it was built to help service people who were working on the big winter fair. they are still hoping the neighborhood. >> it is an offshoot of the 1892-8093 columbian exposition in chicago. when they were done, san francisco said bring it here. >> that is the chicken ranch. the building to the east of that is the chicken ranch, and you can see beyond to the west all sand dunes and hollows and gullies. that is one of the row houses we were talking about. as late as 1910, there were crackdowns and vice raids on road houses all the way to the prohibition. people would to the west side of town to get a drink and to kind of escape public scrutiny. [laughter] >> that is a good way to say it.

>> that is the racetrack grandstand. >> that is huge. >> opening day in 1895 through 14,000 people. they put a train line to it. they had a street car line. it was a big deal in those days, horse racing was. >> reason really interesting progress about car bill. tell us about what cargo was. >> in 1895, adolph sutro owned a couple blocks of land, which were sand dunes. the pavement, the streets. south of golden gate park. there was a train line that brought people from downtown to the beaches. mostly, it was used on sundays. it went along with a good way to the beach. top of that, a few people started using old horse carts, which are essentially street cars that were pulled by horses.