confusion that exists because we are a charter. it's not a part of the charter of the city so that might be a -- or use another word similar to that. the other thing i found a little bit confusing is at the very beginning we talk about the world's most livable urban place and i guess by livability we imply ability to work in it, ability to enjoy it recreationally because we're not merely just addressing the environment for those who may liv5p$i(om here, but also for te who are here for a lot of other purposes too. as general as we can make it. and then under bullet points, which is our mission, i don't see anything mentioned -- i talk about fostering exemplary design, that's something new. but i see nothing mentioned about preserving our historic resources which is very important, and should be a bullet point because we have one of the new cities at least in america that has a great

cultural heritage and we have to make sure it isn't destroyed as much as it was in the 60's and in the past and we preserve the architecture we have of value. and finally the other part that is mentioned here we talk a little bit about we're a great place to work, these are values. but there has to be more emphasis on it being -- making it the most appealing place in the united states or probably in the world for people to work, and to locate their businesses. and, finally, for i think we need a bullet point that says something to the effect, encouraging spaces for appropriate cultural recreational, educational, hospitality and civic activities. so those are a lot of things that aren't mentioned in here. we're not just looking to create a great place to live but we want a great place for those other things which are a big part of our city. to the effect we can add some of

those, it's good to keep it general. when talking about certain communities to outreach to it gets to be too specific and might be interpreted as, you know, unequal protection under the law, where you're dealing with certain communities and giving them more favorable treatment than you are everybody in the city. everybody has to be treated the same and that's what this document should deal with and not give preferential treatment to some groups because of their situations. >> president fong: commissioner wu. >> vice president wu: i want to thank director rahaim for bringing this forward. thithere is a role for buildinge character of the department and seeing the shared values toward doing this work in the city. there is a reason people want to be planners in this city. to that end, i actually -- i like the values statements. i like especially these top ones about collaboration, education,

open dialogue. of course, we could administer, but i don't want to get into sort of wordsmithing -- not just word smithing, but sort of adding and focusing on which ones to include, which ones not to include. i think the mission statement is less successful because it called out these five bullet points in particular, i think that it's focused on these five bullet points only and is missing something. i don't know if it should be more of a reference to the code 101.1 items, or if it should be a reference to something else. but i think calling out design, calling out the environment, calling out our regional role, you know, you could name historic preservation, you could name equity, you could name inclusiveness, you could name affordableity. there's things you can put in there but i don't know that it have this long list.

so i think there needs to be more work and think about really how do we move the department towards some shared understanding, how do we work together toward shared understanding as to why we do this work and what our goals are. >> president fong: commissioner he hillis hngeddlee this is an internal document to guide the department so for that it's great and works, and i'd be supportive opinion we can all go through and wordsmith. when i read through it, the only thing that struck me is kind of a little odd was the deliberate column, value, which someone spoke of85(ñ in public comment. because this is a long term kind of year-long document. we do change our decisions as people disagree and things

evolve. so that one just struck me as odd. and i thought commissioner wu's comments about why we're calling out these kind of five specifics in the mission statement is a good commented. and i'd support that. but i think over all, you know, this isn't a great document and it's meant to be kind of inspirational and guide staff. so i'm over all supportive. >> president fong: commissioner sugaya. >> commissioner sugaya: yes. i'm too old and cynical to get into this kind of stuff. but i'm5xjpqpy going to make a n to continue, and have the staff consider the comments that were presented today, both from public and from commissioners. i think especially around the term charter, if something could be thought of. i think commissioner antonini suggested credo or something like that. you know, i don't know. but maybe something other than

charter. i think commissioner borden had some good comments, and commissioner wu. and without changing things, or adding things at this point, i think if commissioners can provide written input to the director, and have it come back to us at an appropriate time. >> president fong: i'll second that. i just wanted to add that it might be helpful the next version of this to lay out a little bit of how this actually is going to be used beyond a wallet card, if each division is going to sort of -- as framework it from this, write their own vision, specifically if new projects come about, how it's going to be used. and i think commissioner hillis talked about that. assuming that we get the next version, it's palatable to

everybody what do we do with it next rather than just print it because there are foundational uses in any organization to have these types of mandates, or manifestos. >> commissioners this item doesn't necessarily require any notification but was there a date specific or just indefinitely? >> president fong: when ready. but thank you very much for bringing it back up, and taking the nudges, and bringing it before us. >> commissioners on the motion to continue, commissioner jip &c @&c"p% commissioner hillis, aye, commissioner sugaya, aye, commissioner wu, aye, commissioner president fong, aye. that passes 7-0. item 9, 1411 market street informational presentation on the proposed art installation. >> good afternoon, commissioners, aaron hollister, department staff. before you today is the public

art proposal -- public project at 1411 market street. the market was entitled in april 2007. it will contain two showers contained on a project site the on the west side of market street as to jesse street. it will be 35 stories with a tall story base along market street. the south tower will be 19 stories. the two towers will be connected via a nine story podium along 10th street. it contains approximately 19,000 square feet of commercial space. pursuant to planning code section the project requires a public art component value equal to 1% of the art construction cost of the project. the artist selected by the project is toper delaney, a

san francisco based artist who specializes in environmental art. her works can be found throughout the bay area, nationally, and internationally, plazas and private properties. she selected two occasions for public art installations. one installation would be on the normally fas of the tower in the form inspired by the the japanese art basketry. it will be located at grade level plaza located at 10th abilityd market streets and will contain etchings, cultural stone pieces, and installation of painted materials. the final location are to be submitted for review by the planning director in association with the planning commission, as to concept of the installation at 1411 market street. the department staff supports

the concept and location of the public art as proposed. this concludes my presentation. i would like to now introduce toper delaney for explanation of the art installation and inspiration behind the installations. thank you. >> good afternoon, commissioners. i'm toper delaney. do i have two or three hours? i'm very excited to share with you this public art installation. it is a wide and fully integrated installation, rather than a peetio piece of art. and it's -- sort of the generating principle here is the history of san francisco, and

also the currency of san francisco, and knowing something about how we've come to be here. so i took the idea of first the paving is a map of san francisco. if you'll look here, start over here, this is market street here, and this is 10th street here. so market street, as you know, cannot change. yep. it's paving. then as we go down 10th, we will be using standard specification of paving which is downtown specification of black with a mica in it. also, what is really exciting about this project will be integrating qr codes into this project so that, as you enter,

you can put -- if you have a smart phone, you can put your smart phone here, you can put your smart phone here, you can put your smart phone here. what will come up with that is explaining what these maps are, to the understanding of the history of san francisco. they're also graphically very nice. so that's the floor plain. so this map here is white gran it. and that granit is from the raymond quarry. i don't know if you know who it is. they are the people where all our curbs were generated from the raymond quarry. so everything that you see in san francisco, that was a stone curb, is from raymond. and that is a beautiful granite.

we will be using that granite in reference to the history but also the currency now. so that's one map. that's the coast. the other is the sacramento delta in here. and that references the fact of agriculture, how this city was built. the importance of the internal structure of the central valley, it's also -- maps are very beautiful to look at, as well. and how important our waterways are, both coastal and internal. and then moving to the internal part here, this map spans, and right at this point, right here, where i have my little pen here, is where the golden gate bridge is. so this gives you the coast line of here, california, and it's taken from a map in 1866, an

etching map. so, again, how important it is as ani úy entrance. there's obviously a metaphor here for the entrance. so that's the ground plain. and then as you enter this, you will see large stones. and these are the stones here. these are 11 to 12 feet tall. they are coming in from raymond also. and they will be situated -- this is horizonal -- but vertically. and they will be situated -- one will be situated here. one will be situated here. one will be situated here, which is a split. and another split as well. and then trees will be in between. what is particularly interesting about these two stones are that, at the height of 11 feet, which would probably be a little higher than that len tell right

there or at that lent el height, these are sound pieces. so when you talk into this one, you can hear into this one, what is being whispered. you are facing the stone to make this work. so these are also the idea of referencing talking to nature. so you'll probably see a let of people talking to stones. and they're not crazy. they're just, you know, involved. so that's a really nice aspect of this. the other aspect is that the scale, we don't see much scale on market street, of this nature. and we certainly don't see much scale that's approachable, and natural. we see -- you know, sort of art that is like interesting to someone, you know, if you know art history, you might get it. if you don't, you might not. the other aspect of taking

something that is -- is more of an ab traction of nature is that when you see, for instance, a sculpture on third and kearney, does anyone know who that is? generally not. who are these people? what happened here? and so i don't want to really get into that type of specific art. and i would like this to be a piece that, for the city, is a forever piece. it's not like oh, that was when they were doing high tech and stripes, and that was the time when they were doing splatters. so we really want to avoid that completely. it's also one of the windiest corners in the city, so windy that i'm told that the federal building decided not to build their building there because of

the amount of velocity that comes down fel street, coming across polk and market. i did the roof plaza for the bank of america adjacent to that building. and i installed 57 wind socks there. you can see them, and they work all the time. and they tell you what direction. so people actually learn about wind patterns, scientific aspects are integrated into this as well as cultural and social aspects. here, which are beautiful trees. these are populars. it's very important that the selection be correct here, because the -- of the wind. and as you all know, most of the plant material looks really out-of-sorts in this area, and barely alive. so it is essential that we have the right type of selection

here. we will also be having grasses vessels as i call them. and i'll give you a little picture of a model here. so these are the paths here coming across. and then a lot of greenery facing market street. again, market street is somewhat bereft of any kind of natural interventions. and i think this will be very pretty much no one's going to be sitting there because it's a north-facing plaza, and it is very windy. those two pretty much stop almost everyone from kind of lingering, given those two parameters. but i would like to be able to have an expressive environment for our community, where they can learn about where they are,

they can be excited about the history and the currency. so that's -- i've said enough there, i guess. and, also, we will have words in the stone that say here, and hear. so there will be two different hears there. again, as an artist i'm very interested to have people understand where they are, and why they're there. so that's that section. and then we've had a really wonderful time with the tower. and the tower is -- and i'm working with glenn rescolvo

and -- architects and asked if i could also work on this aspect of the building. and they said they would allow me to do that. and i based it on the concept of a building being a basket. and i particularly like japanese baskets, and the ar artistry of. so i took that idea and i developed a wall pattern, using form liners. and so this is the wall pattern here. it's a fairly complex pattern, with very tight restrictions. ige$jqm have three inches to wk within. so i found an incredible artist also, a manufacturer of form liners. and they allowed me to bring him in. and now we have a really

beautiful surface, where we would not have had one prior. so that's kind of it for the moment. and i know you're really business. it's been -- busy. it's been interesting, listening to the different issues. and i'd love to answer questions. i'm very excited about this. thank you. >> let's open it up to public comment first, and then to commissioners. is there any public comment on this item? seeing none, public comment is closed. commissioner moore. >> commissioner moore: this is remarkably exciting, particularly having it presented. to hear your priorities, wonderful. i will remember a piece of architect that happens to be in china at the temple of heaven where there is indeed a wall which does exactly this, and it is amazing experience to all of a sudden walk in a quiet space,

and your hearing voices, and you cannot even physically see the sounds. it's just a lovely experience where you are. there is a presence of people there, yet physically not there. he hadians, because you see them tracing celestial patterns, reminds you bringing the history plaza, together with the use of materials connecting us to the infrastructure. i think that just really thought provoking piece and i hope that there's somewhere in this area a little piece so people can read the complexity of what your doing. >> we do have the laudite approach, which is my approach, which is you can read it. i mean i don't use a qr code, but that neighborhood is twirt,

it's all of these very -- you know, everyone's got that phone moving. so i would prefer to read it. i think it will be something that people -- our tourists would come, because it talks about the layout of the city also. and we locate exactly where the project is in the map. and we do the scale of the map. so we have -- it's important for people to know scale, in my opinion. so it's -- this cross piece is exactly where the project is. so the two walkways literally cross the intersection of where the project is. so there is a marker, a survey marker in there that's actually larger than a survey marker. it's a brass marker that says everything about who the developers were -- iñ/$i:÷ grewp from new york and we always knew who the developers were. every building says who they were. here, who knows. so it's who they were, you know,

what the year was, that kind of thing. really, the responsibility of the people who chose to do this big effort. >> vice president wu: thank you. commissioner antonini. >> commissioner antonini: thank you for what you're doing. it looks interesting. it's hard to visualize what the whole thing looks like because we heard about the different parts and maybe there is an overview of everything. but i had a few questions. looks like you have some kind of fence or screen, if i'm looking at the right thing, in the middle of the plaza somewhere. it looks like it's clear, some sort of clear material. >> sir, i don't understand the question. >> commissioner antonini: well i guess it's hard to really see which one it is. i'm not sure -- >> okay, that. yeah. there's nothing in -- >> commissioner antonini: that's something that is used somewhere else. is that right? >> no. >> commissioner antonini: it's a little hard to tell what's planned and what is somewhere else. >> oh, you know that's the edge

of the building. are you talking about the plastic? >> commissioner antonini: yeah. >> that's the edge of the building. >> commissioner antonini: you just did symbolic. >> symbolic. sorry. you get so into it -- >> commissionernv didn't understand what it is. a couple of things, i'm looking at some of your ideas for the foliage and not sure if i'm looking at things as you have planned but looks like in some of the places you have a higher type of foliage. there are some trees, obviously which are fine, but then they will be relatively high, looks like three foot high, two foot high greenish foliage. >> thank you. one specific grass, because of the wind, we need to have round material. and round material, sejs have edges, and rushes are round. so core ond um peck tore um is a

rush. the geometry of the wind as it moves does not tear the edge apart. it's very -- for some reason, i don't know why people don't understand this, but you have to have the wind pass through. that's why the peedial of the -- this particular popular is a flat peedial so the leaves move like this as a aspen. if you dot have a flat peedial like a sycamore ripped to pieces, all ofnpje the other ps on the other side which are frack mus, totally gone, out of the door in three months. >> commissioner antonini: the problem i have with that because it is windy everything blows there and we have a tendency to throw things on the ground in san francisco and not in garbage cans and it's an eyesore because it catches things. that's why we go with flat surfaces like lawns that are kept from catching junk because it looks terrible.

í cities's just others,tg don't have as much wind and peep are just as sloppy about throwing things away but it seems we have more junk here that is always getting caught in things that are higher. that's what i would advise you about keeping the foliage very low and as flat as possible. >> one of the things -- i understand what you're talking about because i don't understand -- because i'm in this -- you know, why people equate planter with a crash can, i don't understand. but that seems to be the thinking. but here, what's important is to see movement, i think. we don't see much movement in the city. everything is quite static. so when you come up, what's nice about this is you are seeing -- it's one material, it's not many, it's one particular material does extremely well in this type of environment. but also, the folks that run this building are like very -- i

don't know, i'd say very disciplined. they really -- they have no intention for this to look badly at all. >> commissioner antonini: well they'll maintain it. >> totally. they have a guard there. they're very much -- they're great. i mean they really -- we're like -- we definitely want greenery. they pushed this, and i thought it was terrific. >> commissioner antonini: and i like your stone ideas and the historical part of where the quarry is, that it came from. but, you know, we have an historic -- a lot of the statues and things along market have historic significance. if you know the history of san francisco, you know a lot of crab tree, a lot is fountain, you know the mechanics memorial which was the donohue brothers and the union ironworks pier 70. there's a reason why they're there and they are a important part of our history.

it wouldn't be the worst thing to have something that you can identify. there's this talk about a tribute to harvey milk and that might be a good place to put something. i'm not saying you need a statue of someone but sometimes it makes it more interesting if you can actually identify someone. i'm not telling you how to do your job, but that's why a lot of the places along market, as they are, because they have historic significance. >> and i completely agree with you. and that gives me the platform to discuss this, which is that we don't acknowledge where the natural elements of this city come from. so i'm acknowledging the invisible. i'm acknowledging raymond quarry, which was a huge, huge component of this city. and the extraordinary granite mountains that we live by. so you're right. i mean you're totally right. it would be horrible