committee to look at the preliminary concept, to give their sign off of the preliminary concept, to give feedback to the artist, to raise issues of concern, and there have probably been three or four meetings when the committee was convened and the proposal was reviewed as part of the bidding process. we have also had the opportunity -- through a conference call or meetings in person, to meet with contractors and the various subcontractors, to talk about architectural and engineering coordination issues, and i want to assure you that we have also -- we are very conscious of future maintenance and operational concerns, and we have engaged in a conservation firm, and they have begun to already evaluate a preliminary proposal, pending your review and approval today. we will continue to work with them during design development

and have a full report for you presented at a subsequent date, as we return to you with the final proposals and ask you to enter into contracts for full implementation. today's vote will really just be to authorize the artist, to continue design development, to assist with the construction documents, and to supervise and provide quality control during implementation, so we are really just voting on the artist fee today. we are not voting on implementing the proposals. you have been provided with a standard for the typical contract that will be issued to the artists. there may be some modifications, but it is more or less the standard arts commission city attorney contract. with the tjpa mta requirements

fall behind. excuse my laryngitis. -- folded in. you you agree, we will proceed to meet with the citizens advisory committee in july. we did not -- or september. we did not wish to do that without your prior approval of the concepts. it would make no sense, so that is a very important part of our process as well. at this point, i have the great pleasure of introducing each of the artists who have flown here from various parts of the country or come here or taken public transit, and i will introduce each one individually. the first person on our agenda is james carpenter. jamie, will you join me? james carpenter design associates. we have had the great pleasure of working with james on the international airport where he has done the wonderful kayak-

like skylights in the international arrivals building, and he is uniquely known for his work with light. he is considered the architect's artist, and for the way he is seamlessly able to incorporate his ideas and creativity into the building design, so with that, this is gene e. carpenter -- jamie carpenter. >> the morning. i'm delighted to have the chance to present to you this morning. i would just reiterate the comment that this has been a remarkable opportunity as an artist to work very closely, collaborative with the caltrans -- tjpa staff. it has been a seamless and close level of cooperation, which i think you will see the results in different proposals. my own project for the site actually have to do with pedestrian access, primarily. there are several sites that

other artists are working on, but we have focused on what is called shaw alley, which as you may or may not know, is a very much used pedestrian access, and in new construction, we wanted to encourage this pedestrian access, both through the site itself and on with to areas south of the site, so the goal here was to take this passageway as it goes through underneath the building and tried to emphasize and distinguish its presence and create a place that would not only attract people in and of itself, but also lead people to the site, to the cafe s and do another ongoing pedestrian site. i guess advancing some of the images here, our own work in my studio -- let's see, is that -- showing you there the site for

shaw alley, and briefly to talk to you about our previous work so you get a sense of what the nature of the work is, these are some previous projects. this is in new york city, quite close to lincoln center. it is a large public wall that has a field of glass elements that for jet off the wall, and those glass elements basically capture light and project light and color across its surface. it's very much i debates a wall on the building that was otherwise nondescript, and it serves the role of activating this neighborhood -- it activates a wall on the building. another project that illustrates some of our work using light is in chattanooga, tennessee. these are very tall lighting towers that basically extend the city's main street out to be river in chattanooga.

the tennessee river. and allows for gatherings on this large pure -- pier around these lighting elements. the point of this is that the use of light in creating spaces or gathering people is something quite consistent with our work, and in this case, it you have been to the international terminal, these are the large trusses that support that mean move -- main roof and within the stresses are these fabric structures and glass that capture light and project light and color down to the floor, so this idea of using light as a way of defining a new space is very much part of this proposal, and in order to do so, we are proposing to modify and change the materials that are used on the ground plane, so when you approach this particular passage

way, the actual paving materials would be related to blood said lee different than those materials in the adjacent areas of the terminal building. some of those flooring pieces are also made of glass, and they have lights below them, so there is an integrated light element that moves across the ground plane, and we are simultaneously utilizing other services, including stealing plane -- cieling plane to establish this feel like. you can see on the left, there are these acrylic element that extend down below the undulating ceiling of the transit center, and each of those acrylic elements is also lit. when you have is on the ground plane, a series of lighting elements, and they correspond to a series of lighting elements on the ceiling, thereby creating

the very distinct space that is very well lit and very distinct from the surrounding environment. in addition to that, there's also a series of binges that move through the space that are eliminated, and it offers people the opportunity to sit down and gather in this location -- series of benches. it also allows you to move up into the transit center itself. the notion is night time shown here. it is very distinct. has a great presence in of itself, using a light and the benches in detail. small bins has a built-in lighting element in it made up of a cast stone material as well as metal and glass together. the light sources we are investigating at the moment are using led systems, which as you know, are quite long lasting in durable figures. the notion is establish this very wonderful space that people

will gather to. they can into the transit center through this and passed through this pedestrian environment and move to the adjacent pedestrian streets. that is the extent of our proposal today. i guess i would be happy to answer a few questions if you so desire. director ford: questions? [inaudible] >> thank you very much. and i would also like to comment and thank jamie because we decided on the site, he had investigated and develop proposals for four other sites, and for one reason or another, those sites did not work out, so thank you very much for your extra exceptional work. the next item -- artist i would like to introduce is julie

chang. julie is a local artist who until very recently lived a few blocks away from the transbay terminal. this is her first public art project, and we are always pleased to bring new artists into our program, but we found her work so beautiful and compelling it was an opportunity we could not resist, and her presentation to the committee was so thorough and her explanation of how she could translate her ideas that were previously done in temporary materials into permanent material was extremely convincing and well thought out. julie recently received her msa from stanford university, and in the process is developing her proposal, her initial proposal, which was due november 14. she gave birth to her baby, so

to me, she is a wonder woman, the fact that she could do all this work, have a baby, and she will be working on the 23 or -- 23,000 or 24,000 square foot trust of floor. the project, part of it is included in the architecture budget, and part of it will be paid from the arts budget. it is an approach that we hope to utilize in the central subway as well. julie, it is my pleasure. >> thank you. as she mentioned, i live and work in san francisco, said this makes it a particular privilege and honor to present my work to you. as she mentioned, the proposal i am presenting is the trust of a floor, designed for the grand home, and it will be over 20,000

square feet, which to date, will make it the largest in the nation, so that is the largest we will have in the city. excuse me. the transit center, as you know, is going to be an incredible opportunity for the residents of this city as well as across the bay area. at the same time, it presents the potential to celebrate the spirit of the neighborhood, city, and region that we live and work in. first for this project, what i was initially inspired by was the san francisco architecture and its juxtaposition of the victorian and modern, for which we are best known. we are best known. i am showing you a few of the elements thative drawn -- that i

have drawn from to create this project. you might also notice some elements that i found were used, including california laurel, poppy, and humming bird. other elements that i was inspired by were the diversity of the cultures across the bay area. so in my work, i draw from pot earns as a way to subtley reference these intersections. you can see here across cultures. there are markers, lines, shapes that repeat themselves and we find -- i'm a little nervous to

be here. i look at these elements that really appear across culture. we identify them, we may not know exactly where they come from, but there's something to them that is memorable to us, or that we find as a similarity to. so all these together, -- so that being said, using those elements as a way to structure the design that i'm presenting to you here. here is a large scale full format image of the design across the grand hall. the circle to the left represents the light well. oh, go aheadness. >> are you ok? >> if you'll let me add for a

second, the color on the main monitor, it is washed out and nothing like the true vibrancy of the colors that julie is working on. i've been down to the toronto factory with her, and as she's using colors and mixing samples to be presented to the directors. the colors will be vibrant and rich and utilize a matrix of glass instead of more of a speckled base, it will use a glass matrix and brass divider strips and inserts. >> i think the microphone always makes me a little nervous. so look at my design here, if i can just focus on that, like i mentioned before, i was inspired by the jux -- juxtaposition of the victorian and modern. i wanted to evoke a victorian

garden in this very modern, light-filled space. a couple ofle. s that you'll see is the very base structure that will be done in white glass. what i appreciate about this is that it actually appears to morph into the steel white beams of the building, and there will be a couple slides that i'll show later that we can notice a marrying of those two lines together. the layer on top of that then is the garden elements, the poppies, the laurels, the humming birds coming through, growing, bursting out of the corners. in the detail that will follow, you'll see that with the lines overlapped, it will be a shifts of color, and it's going to be interesting play, with the way the natural light snift the day will also add an additional layering of colors that will create new patterns. the smaller detailed elements are those that i was alluding

disturb -- alluding to earlier. they're very settle and we'll get them more closely in detail. do you have any questions at this point? because this is the slide that shows the full design. >> looks like there's no questions. >> ok. you can come back if you like. there is a 3-d rendering. again, as i mentioned, the steel white beams, the columns, they're going to tie the white pattern of the victorian ties into these steel beams. on top of that, again, are the garden elements. we worked really hard both the france arts commission, the gdpa, as well as the pcpa architecture firm to choose the colors here so that it really would feel very warm and inviting as people move in and out of this space, but even on a foggy san francisco day, it still feels sun lit in that

you're in a laurel garden. another image that shows the visitors passing through. one of the things that was really important to me as i designed this was that we would create an environment that would be nurturing to people that are commuting in and out of their workdays as well as a place where families and children can explore and be encouraged to linger and find rest. >> can i ask you something? >> yes. >> what are the things going up the stairs? >> in the previous side, director? >> no, in the symbols.

>> oh, that's signage. the plate holder for signage where the transit operators are. that will be evolved as the project evolved, as more technologies come into play. it's just a place holder for you now. so this last slide shows a detail of it, so it makes it easier to talk about it. as you can tell, it's a very expansive design. so going back again, you'll see the elements of the poppies and the laurels intersecting and overlapping with these subtle patterns and icons. one thing -- i hope that you can see it in the printouts perhaps better is that i'm really playing with the shifting of color. so as people are walking across the space, there's really a sense of movement, and it's not a stagnant floor, but something

that feels alive. much as a garden would. i think it's going to reflect in the city park above as like i mentioned before, the light coming through the space and activating the design as well. any questions? >> thank you. >> thank you very much. >> i'd also like to add that the staff and the architects were so taken with the design that they've asked julie to, as marie ya says, sprinkle her design throughout the building, so there will be elements of the design continued, whether through corridors or passenger waiting lobbies, perhaps a band of humming birds will show up in the restrooms. we will work -- that will be developed during design development. weir not at that stage yet, but

there will be some sense of the grand concourse throughout all parts of the building. dd now, alphabetically, it's my great pleasure to introduce the two studio managers of jenny holster's studio. jenny holster could not be us today because our meeting date kept shifting and she had made plans and canceled her plans and bought plane tickets and canceled her tickets and she was just unable to change her plans another time. so jenny is internationally renowned, she's in many, many museum collections. the guggenheim, the whitney, the new york moma, museums throughout the world. she's perhaps most or best-known for her text-based light work that you can see in times square, where all of a sudden instead of advertising, you'll

see a phrase that says "lack of charisma can be fatal." and you'll say what is that? but it's art. jenny was really a pioneer in doing the kind of text-based light art. so i would like to introduce -- jenny will be working in the light column in the railing on the mezzanine level, and i'd like to introduce her two studio managers who have been just a dream to work with. very responsive. very knowledgeable about technology and really great partners in this project. emily and david will present jenny holster's proposal. >> hello, thanks so much for having us. while jenny can't be here, she wanted us to express her

enthusiasm for this project and how she's so thrilled to hopefully be participating in it. i'm going to be giving a background and emily will be giving the particulars of this project. hopefully by looking at some of jenny's older projects, it will help you and the public to see hopefully what she's trying to achieve here. kind of operative in all of jenny's work are three ideas, to be harmonious with the architecture and place in which they are. this is really facilitated with kelly clark pelley. also to use architecture that's usable, that will serve as a delight and a diverse, something that could be useful. also a key idea that respects and incorporates the history of the area. it's really usable artwork.

in this case, it means selecting text with the help of experts by writers from the bay area or those who write about the bay area, and also incorporating a number of languages. spanish, chinese, english, so that people who read the work will also have some kind of association and ownership of it. one of jenny's earliest projects was this in 1982 in new york city's times square. tto address people where they would be anyway. this is one of her texts "protect me from what i want." she would use existing signs early in her career. this was at the old candlestick park to get people where they would be congregating and gathering with her own writings. while she used the l.e.d. medium as something that she could use readily, that she could smuggle her ideas into, she later developed ways of using l.e.d.'s really as an architectural and

sculptural moment. this is at the guggenheim where she had a retrospective in 1989. she was able to develop this even further when the guggenheim commissioned her to do a project there. this was in 1997. and like this project, jenny was able to collaborate very early on with frank when this piece was put together. also very important for this project was jenny to incorporate a number of languages. english, spanish, the bosk language, so that people who would read this would feel some kind of connection. this is a project that jenny did in berlin. this is at the entrance to the members of parliament. it was to address those walking in, but also to use speeches from actual members of past parliaments so that there's a real connection to the people who would be using that place and the artwork itself. and while jenny's work always

has a utilitarian aspect, she also wants it to be beautiful. this is at the national gary in berlin. this is a project jenny did for the table arts convention center in pittsburgh. she used three novels by pittsburgh writers who were also writing about pittsburgh. she wanted people to really get a sense of the place to make something that was beautiful, that was lasting, that people could identify with, who might pass this by daily, but also with the text there's so much language, never would be something where you would see the same thing if you walked by. this is important for jenny's proposal. this is an installation in san diego. jenny wanted to reflect languages that are there. so this artwork has both spanish and english. this is a project jenny did in

collaboration with jamie carpenter, who's here. this is one of the first buildings built after the events of september 11, and she used as an office building. jenny wanted to do was incorporate text that spoke to the joy of new york city. this was access to believe the visitors that would walk by, but she wanted to make something that people who work there daily would be able to see. this is another image from the world trade. this is one of jenny's latest projects using l.e.d. technology. this is at the m.g.m. grand in las vegas. one of the more interesting things about this project was she was able to use new technology, video technology that would really make effects that were spectacular, grand, but also subtle. i'll be showing you some video of that later on so you can get a sovense what -- sense of what jenny could imagine having at the transbay transit center.

>> for transbay, jenny is proposing just over 90 feet that will display white horizontally scrolling test. the sign's composition will be elegant and well-married to the underlying structure. great white l.e.d.'s will be set into aluminum bars, each 11 feet tall and one inch wide and deep that will be mounted vertically to articulate the curve. the glass. because the vertical balls will be installed at four-inch intervals, it will be semitransparent, allowing visitors to see the artwork and one another and the architecture. so the sign's components will be minimal. the texts they display will be highly resolved, crisp, and vivid, even during periods of bright sun.

from its position on the curved portion of the glass enclosure, it will have a strong presence in the building. skoaling text will be evident from the grand concourse and the escalators. the l.e.d. bars themselves will -- jenny will use the transmissive and reflective qualities of the glass to create an artwork that will be double-sided. the artwork's primary face, the position of which remains to be determined, will display light that is transmitted from the l.e.d.'s directly through the glass. the artwork's secondary face, a mirror image of the primary face, will display light that is transmitted from the l.e.d. to the glass and then reflected back ward on itself. the position of the bars will remain fixed and the secondary face will always be a mirror image of the primary face. through programming, jenny can

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