the people from all over california to compliment the style of those two towers arrest i'm looking forward of seeing the design and the architect terry. i'm trying to not miss pronounce that name. but i will say too it's more meaningful to have partner particle from china. that's meaningful to me it will represent our future in tourism in the enlightened challenge of students and there the leadership will open up a lot of conversations with our

businesses and argue resident in china to compliment what's going on in san francisco. i can't wait to see those up and in 2015 will be here how we work with all our agencies the particular reason to the d b i and the oothsz other agencies to make sure we compliment not only great transportation and neighborhoods this will be so inspiring for the rest of the country. congratulations to the partnership with china and also carl thank you for being such a great partner. you were there when the city was so successful and thank you to

our new partners. we're going to continue to roll out those relationships and for china and the u.s. to invest together we make a statement the businesses will have a stronger relationship for all the world to see. thank you very much (clapping) >> thank you, mayor lee. the residents and amenities of 201 folsom street will be warm and modern light filled spaces that show the lights of the city and it's landmarks. it's to be a vibrant community in downtown san francisco where we meet the waterfront. this new community will be

called - >> all right. (clapping) in whining a corn stor stone are a foundation stone are a tradition at every new development they're to bring a blessing and good luck and prosperity. to commemorate that event this foundation stone will be laid on the site (clapping) lumina begins construction and the sales center will be opened in 2014 and we hope to move the first people ♪ the summer of 2015.

this copy choose the project to create lumina. we wanted lumina to work with and compliment infinity which horrify we look forward to him bringing his vision to a new higher standard in san francisco. it's with great pleasure i get to introduce this gentleman (clapping) >> thank you very much. all of you. when i was asked to do this project i had to always think of my own inaccurate door neighbor that was the first high-rise in

san francisco that broke the rectangle of shapes that did hug the streets. i choose to do that when i think of san francisco i think p of the city on the bay where shapes used to come and still come from all over the world where people sale but it's difficult to do a design for the next generation of a building and that's what i tried to do here because there were some features that made infinity successful the curvature panoramic views along the sweeping kufrz of the

neighborhood. that was more romantic picturesque and had formed. in looking at this design we sought to capitalize on those things but still do something that was different. but this building a new one we've designed is instead a series of glass place of residence that are rotating about the building and as they climb to the top they reach the top to create a crown while the base is a creative rectangle. at the same time each time this creates a corner view that looks

out to the skyline and bay of the city. it's important to see where those two towers sit. first their shifted so they don't face each other. there are soft shapes that actually avoid each other and create a large distance between the towers. they sit on a green roof a new park in the sky that creates a setting that looks down to the park. this poumd that holds this park is surround by additional units that are the more urban units that follow the guy try of the

downtown area. and in the center of this new garden there's a multiple level clubhouse imagine around the vertical spice where there's a swooim pool and it's surrounding it and around it are a series of amenity spaces for the resident. light filters from the top of this garden so it creates a heart of the edge of the residential but still faces the street. so ex-what is it it distinguishes the building. it translates into lots of lights inside the unit. we know that light is a sustainable design. this will allow the buildings p

to be light filed and open up the views of san francisco. it is this that makes the name lumina. thank you very much >> thank you. now mayor lee and sherman and the other ceremony

>> (clapping) so this is a photograph of my father which was taken in 1986. it's one of the families farther photos it's the way i think of him. my father who could be very articulate was hesitate to speak about art. his own work or the art of others. i think he felt trapped by the formality and the permanent of his words they're often inadequate to express something complex. i am asked what it is like to

live with a artist man he was any greatly loved father. you i'm going to talk about something that's personal. so on the understanding that i am speaking to you as a daughter an admiring daughter. i will share many of my thoughts about my father with you. i'll speak about the berkley period you see so beautifully presented in the museum. for me all of his work is connected. all the work is a continuum about this particular person looked at the world. i should give you a few facts. he was born in 1922 in portland,

oregon and they moved back to san francisco when he was a young child and went on to stanford university where he studied law or medicine. he met my mother and went into the marine copper. i was born in 1945 and my brother in 1947. he died in 1993. this first work here was done in

1938. may grandmother took i am to see the first van gogh exhibit when he was young. apparently, it was considered my father is known for his sensitive to the light and color of a particular place. it's no coincide that those were titled to the places they were paint. all those places have a different quality of life. i'm going to show some works through the various periods of his career. during most of this time with the family was moving along with him until the time i got married

in los angeles this although was before i was born in stanford this is entitled paling wallet circle in 1943. that is in 1949 and the next picture also were we lthd in 1948 where he was a student and teaching at the art institute. we moved to albuquerque this is from 1951 and this second one from 1950 in his masters show. he then accepted the only teaching job that accepted him in illinois. we moved there for one year.

this picture is from 1953 and the second picture is number 6 which was also 1953. at the end of that academic were my parents move forward to berkley. the first picture is berkley number 52 and president obama put in emphasis private dierng room in the white house. this picture is seawall. from 1957 you can see he's moving away from a bit distraction toward the figure active. the next is a quash from 1956. he's always been interested in the angle of roads and what they

did to your prospective of the landscape. and finally the coffee from depends looking grand. and the afternoon they moved to los angeles where we taught at ucla and for a few years this first picture is very much in the representational mode although it's quite a bit distracted and there's some or are more abstract then others. ocean park 97 from 1970. we're beginning to get involved in the a bit distraction he did 1 hundred and 35 pictures.

then this unentitled picture from 1975 is my particular favorite pieces. and then alienation park 1980 they're getting quite spare here. and unentitled work on paperwork 1946. he's beginning to explore some earlier forms. my parents left in 1988 and moved to hillsborough california because he was ill most of the time they lived there certainly after his studio 15 got up and going he never did any oil pa t paintin paintings. the second work is actually from 1990 that was painted when he

was sick and as many have you may know there's a historical tradition of artists cross-examine skulls when their contemplating their own death and my mother wouldn't allow this picture in the house. i choose this when he died and finally a drawing work on paper from 1991 which as you can see it's beginning to have some points of view from his very early work per everything also whether he had into someone else and the ideas were also there from the beginning to the end of his life. some of my favorite memories was

the way he taught me to see. i'm unable to look at certain places or things without thinking of him. there used to be an appealing building in berkley he loved. you were aware of the bricks underneath. the color it was painted and the effect of the under color that was now the top. there's a place as you approach the bay bridge on the way to san francisco where you can see the water. he would comment on the color of the day as opposed to the other. he taught me to see the variation as blue or yellow the shadow the classes can effect the color we see if we look at more completely and carefully.

though he think of a chair of a model at an we still recognize it when it's colors are pushed into a different part of the spectrum. he took a well-made pair of scissors or old well-worn tools. he appreciated form as it related to function. our life was organized around his life and it always ways. when we first moved to berkley we lived in a flat where the dining room was his office. later we moved and it's studio was in the backyard and at least part of the time we worked there

that he lived there he worked in this studio. i only knocked on that door once. i wasn't afraid it just wasn't done. my father had his studio in the house a number of times. i wasn't often in the studio but i had a memory of the studio in the actinic of our house. after i had to be taken out of the wizard of house movie my mother took me out of the studio where it was contacted with paint and there was a smell of turning tin that i sock with any father. he explained the difference

between infancy and reality then the next day i went to the movie with him and i mad it to the end of the 340e6. it was important that i understand that concept. now this next picture was made for our son in the 70s. as a grandfather he shared much of his fantastic sense of humor he, he generally shared his work with my children. this next picture is a dragon he drew and he did the drawing the outline of the drawings drawing and some of the details and he did a couple of scales and

handed it to my husband and said you finish the scales so my husband very careful did all those scales (laughter) and my father signed it here and had dick sign it there (laughter) >> my husband and i made a dollhouse for our daughter in 1975 and when my father heard he said to himself no house should be without painting. so he did this series of co- laugz on matchbook covers and on the back of each one is inscribed the date for my daughter and the one the one to the right it says egging on

sheila and r d-75 because those were all cut anti pieces of paper in catalogs and things like that and this pie started out apps i punched the wrong button. this piece started out as a larger sheila picture. let's see. he didn't like to shop so when a birthday or christmas came along he and my mother would make a card. this first card i was pregnant with my first card i wanted a rocking chair so my parents give us a little bit of money to buy that. the second part my son needed a

bed at some point he was growing very fast and my dad made the card. the forty my husband and i which to new york my parents give us a $100 we were supposed to buy some glasses and go to our favorite restaurants and to go here to look. and other dilates and we did have a wonderful time. and then finally there's a card that i will mention that we can't find. i hope someday we will but my mother needed and wanted a suit. and so my father knew this and got her that for her birthday -

he took a square of plywood and paint a suit and put a little handwriting on the top and said good for one suit so i hope we find the citizen i like it a lot. when i was little just what his profession was confused me. he referred to himself as a painter but he also painted houses occasionally. additionally he tailgate paints. the fathers of my friends didn't have paint under their fingernails and explaining this father of mine who was definitely not he'll carding was

tough. those next 23 photos were taken for the open museum they hired him to do a study a document of my parents' house just before they moved to los angeles. the way our varies houses looked inside was different the furniture wasn't conventional. he particle liked old wooden desk chairs. my parents and i resisted curtains and drapes because of the resulting loss of light. so the couch in our living room and i don't mean soft if a usually had our dog valentine

sleeping on that. our dishes didn't match but this is the 50s. in an era where everything was to be matched purse and shoes furniture and cups and sawsers nothing matched anything believe me it was wonderful but it was confusing to me. my father changed which was hanging on the walls. new works were in and out of the house. my father would hang one then another. there were drawings on every available he ledge and frames leaned against walls. and then on the walls. in my recall years they were

hung with abstract work. my friends would eventually point out they could make something as good. we are we were astonished not to find objective things in the pictures. this began to get k345ik9d as he began exploring configuration. i didn't know how to react to this painting. how would i talk about it. it clearly was a horse and the horse clearly had a rider. i was ultimately confounded. also during this time there were drawing of nude men and women and, of course, those drawings resulted in awe averted eyes but

only in very rare instances appreciation or understanding. my mother told me i lodged to live in an older house that was a simple variation of the house next door but in our house everything had a visual instance. this was in al r a bit can you we would gather the beer bottles and stare listed the bottles. then when the beer was brewed we'd label them whatever the batch number was. my mother is an excellent cook.