president goh: ok. commissioner fung: is this the first time you've spoken today? >> second. if they are willing to offer 3 feet on the second of all, that is more than adequate to address the appellants concerns. i did discuss this with the design team, and they thought that the proposal is completely code compliance. no discretionary use filed by the appellant at this point to make changes. if the permit holder is willing to offer that, we would recommend they be that the board adopt the changes. -- that maybe the board adopt the changes. director goldstein: is there any public comment? ok, seeing none, commissioners,

unless you have questions, the matter is submitted. commissioner fung: i attempted to frame their ingratiation a little bit during our last discussion, and i noted that in order to compromise somewhat, it looks from the plan that the removal of the closet on that side which approximates a three- foot reduction was a starting point, at least in my opinion, recognizing that the appellant's building is much more extensively than other buildings in the area, and i am prepared to recommend that we have a setback of 3 feet on the second-

floor, which would establish a development pattern for that bombing and perhaps other buildings in the neighborhood that would be more sustainable. commissioner hwang: i agree with that. president goh: any further motions? commissioner fung: i am going to make a motion to grant the permit with a three-foot pop out on the second floor, and adjacent to the kwans' property, and is that we're to the department? is it clear to everyone else? >> it is clear. the last time. i am sorry.

just guidance for us as to our next steps. do we have our architect to resubmit? >> -- commissioner fung: resubmit, and it will go forward on that basis. >> ok. commissioner fung: you can also speak to senior inspector duffy. director goldstein: and you can also call the office. my name is john kwan, property. we see that there is the set back on both floors. why are we having only 3 feet? commissioner fung: we have

already made our decision. president goh: it sounds like an argument. commissioner fung: i am afraid we have already made our decision. >> i strongly disagree. commissioner fung: i understand that you disagree. secretary pacheco: your motion is to grant the permit with commodification and a three-foot setback for the extension be provided, which is adjacent to the appellants' property line. commissioner fung: that is correct. secretary pacheco: on that motion, vice president garcia, commissioner hwang --

commissioner hwang: i just want to say that i would have voted for it without the modification. secretary pacheco: president goh. president goh: aye. item 12 was postponed. director goldstein: there are no further items on tonight's agenda. president goh: adjourned. captioned by the national captioning institute

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parks department. we have hundreds of programs for the young and young at heart. signup is easy, online, at mclaren lodge, or read any of our rec centers. queried about the cost? inquire about our scholarship opportunities. >> i am the director of visual arts programming at intersection for the arts. intersection for the arts is based in san francisco and has always been an organization that looks at larger social political issues through the lens of

practice, and we are here today at our exhibition of "chico and chang." the original inspiration was drawn from a restaurant chain in new york city. half of their menu is -- what struck me was the graphic pictures and a man in a hat on a rig truck carrying take that time is containers and in the black sea to representation of a mexican guy wearing a sombrero and caring a somali horn. it struck me that these two large, very subversive complex cultures could be boiled down to such simple representations. chico and chang primarily looks at four topic areas. one of the man was is whose stories are being told and how.

one of the artisans in the show has created an amazing body of work working with young adults calling themselves the dreamers. another piece of the exhibition talks about whose stories of exhibition are actually being told. one artist created a magnificent sculpture that sits right in the center of the exhibition. >> these pieces are the physical manifestation of a narrative of a child in memory. an important family friend give us a dining table, very important, and we are excited about it. my little brother and i were 11, 14. we were realizing that they were kind of hand prints everywhere on the bottom where no one would really see, and it became this kind of a weakening of what child labor is. it was almost like an exercise

to show a stranger that feeling we had at that moment. >> the second thing the exhibition covers is how the allocation is defined, a great example on the theme, sculpture called mexicali culture. another bay area artist who has done residencies in china and also to what, mexico. where immigrant communities really helped define how businesses look of a business' sign age and interior decoration, her sculptural piece kind of mismatches the two communities together, creating this wonderful, fantastical future look at what the present is today. first topic is where we can see where the two communities are intersecting and where they

start colliding. teresa fernandez did a sculptural installation, utilizing the ubiquitous blue, white, and read patterns of a rayon bag that many communities used to transport laundry and laundromats to buy groceries and such. she created a little installation kind of mucking up the interior of a household, covering up as many objects that are familiar to the i and the fabric. fourth area of investigation that the exhibition looks at is the larger concerns of the asian and latin communities intersecting with popular cultur one best example -- when he's exemplified is what you see when you enter into the culture.

>> this piece refers to restaurants in tijuana. when you are driving, to speak chinese and you read chinese characters. you see these signs. i was trying to play with the idea of what you see and the direction you read. when you start mixing these different groups of people, different cultures, i like the idea. you can comment on somebody else's culture or someone else's understanding about culture. >> one of the hopes we have for visitors is that they go away taking a better understanding with the broadest and the breadth of issues impacting both the asian and latin communities here in california and how they spell out into the larger fabric of the communities we live and work in.

>> this lodge is home to some of the best fly casting pools in the world. these shallow concrete pools don't have fish. this is just a place where people come to practice their fly casting technique. ith was built in the 1930's and ever since, people have been coming here to get back to nature. every year, the world championship of fly casting is held in san francisco and visitors from all over the globe travel to be here. >> we are here with phil, general manage of san francisco rec and parks department at the

anglers lodge. what do you think about this? >> it is spectacular, travis from oregon, taught me a snake roll and a space cast. >> there are people from all over the world come to san francisco and say this is the place to be. >> yeah. it's amazing, we have teams from all over the world here today and they are thrilled. >> i flew from ireland to be here. and been practicing since for the competition. all the best casters in the world come here. my fellow countryman came in first place and james is on the current team and he is the head man. >> it's unique. will not see anything like it where you go to compete in the world. competitions in ireland, scotland, norway, japan, russia each year, the facilities here in the park are second to none. there is no complex in the world

that can touch it. >> i'm here with bob, and he has kindly agreed to tell me everything i need to know about casting. i'm going to suit up and next, we're in the water. >> what any gentleman should do. golden gate angling has free lessons the second saturday of every month. we have equipment show up on the 9:30 on the second saturday of every month and we'll teach them to fly cast. >> ok. we are in the water. >> let me acquaint you with the fly rod. >> nice to meet you. >> this is the lower grip and the upper grip. this is a reel and a fly line. we are going to use the flex of this rod to fling away. exactly as you moved your hands. >> that's it?

>> that's it. >> i'm a natural. >> push both arms forward and snap the lower hand into your tummy. push forward. >> i did gave it a try and had great time but i might need some more practice. i met someone else with real fly casting skills. her name is donna and she is an international fly casting champion. >> i have competed in the casting ponds in golden gate park in san francisco. i have been to japan and norway for fly casting competition. i spend my weekends here at the club and at the casting pond. it's a great place to learn and have fun. on a season day like this, it was the perfect spot to be. i find fly casting very relaxing and also at the same time very challenging sport.

takes me out into the nature. almost like drawing art in the air. and then i can make these beautiful loops out there. >> even though people from across the globe come here to compete, it's still a place where locals in the know relax and enjoy some rely unique scenery. until next time, get out and play!

>> 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." >> i came out to san francisco about seven years ago. i was trained as a carpenter. i got sick of the cold weather

and the hot weather. i wanted to pursue art. i thought i really be here for about three years. here i am, 7 years later. ♪ i have problems sleepwalking at night. i wanted to create a show about sleep. a mostly due painting kind of story telling. these are isolated subject matters, smaller studies for the larger paintings. i fell in love with it and wanted to create more of them. it is all charcoal on mylar. it is plastic. i was experimenting and discovered the charcoal moves

smoothly. it is like painting, building up layers of charcoal. it is very unforgiving. you have to be very precise with the mark-making. a mark dents the paper and leaves the material embedded. you have to go slowly. the drawings are really fragile. one wipe and they are gone completely. it is kind of like they're locked inside. all of the animals i am showing are dead. i wanted them to be taking -- taken as though they are sleeping, eternal sleep. i like to exaggerate the features of the animals. it gives it more of a surreal element.

it is a release subtle element. -- it is a really is subtle elements. the range of reactions people get is that normally they get what i am trying to achieve, the sense of calmness, it's really gentle state of mind -- a really gentle state of mind, i guess. ♪