right reading face is presented. the reason the position of the primary face remains an open question is jenny wants to conduct tests to better understand the possibilities of the materials. here's an animation that shows what the work might look like while scrolling text at the night time. >> i think we have one question. >> is the message permanent or is it going to change from time to time or what? >> she'll select text that could be quite long and she could end up with a program that would be up to 10 hours long and it would then just cycle. but the program itself would us a tenseably be permanent. so she would decide what it is and load it into the sign. >> ok. what i'm asking is by the wording. is the wording going to be permanent, the wording message is it going to change from time to time?

>> it would probably be about 10 hours of different content. does that answer the question? >> and when would the different languages come in? >> probably sbir mitt ently. so she might use to represent one author in a variety of languages. she may represent one author in one language and move to the next author in another language. the led will tie the sign's brightness. this feature will extend the led life span and produce energy con summingts by en-- consumption. the currently proposed technology is modular and it's been designed with ease of maintenance in mind. if it were to burn out after sustained use, the led bar

containing the -- it can be replaced with a fresh bar. this process can be performed by maintenance staff rather than an l.e.d. technician. so we'll end by showing you the final portion of this video, which is of the m.g.m. array entitled vegas. the technology used here is the same technology contemplated for transbay, the one big introduction to the design would be the introduction of glass to achieve double-sidedness. >> thank you. >> you're welcome. other questions that we can answer? >> it appears there's no questions. >> thank you very much. >> thank you. >> commissioners, a member of the public was going to attend who is a collector of jenny's

work who is in san francisco. did you get an e-mail? >> i did not. >> ok. she had a meeting conflict on the peninsula, but i saw her recently, and i said, so we have this big meeting coming up, can you tell me how long have you owned the piece? she said 10 years. and i said, may i ask often you've had to change the lightbulb or have some work done? and she said never. and she has it on display and on constantly. so i just thought i would add that point. so the next artist i'd like to introduce is ned kahn. i want to mention, both ned and jamie are winners of the mcarthur genius awards, so we have two mcarthur genius fellows on our artist team. ned, will you join me? ned has lived in san francisco for 20 years and worked at the

exploratorium during that time, and as his studio needs grew and his family grew, he moved to the north to pedaluma. so he's no longer a san francisco resident, but really sort of grew up here and he's worked on a number of public art projects for san francisco, transit-related. if you've ever taken bart to the airplane, when you arrive at the airplane station, there's a circular area surrounding the escalators covered with shimmering metal discs that reflect the wind and the movement of the trains and that was done by ned, as well as a variety of other pieces, ned is now known for his work with the elements with wind, with water, with light, and works on projects throughout the world with some of the most highly-recognized architects of the world.

this design that he'll be presenting today was submitted as part of the design competition. it was done by ned in collaboration with the peter walker associates and the pelley clark pelley team. so ned has worked on numerous projects in the past for san francisco, building a greenhouse starting with building a greenhouse at the county jail in san bruno, and almost 20 years ago. so we're well-familiar with him, and he's on our easiest and nicest artist to work with list. so here's ned. >> thank you, jill. good morning, everyone. >> good morning. >> so as jill mentioned, i was part of the initial competition team collaborating with pelley folks and with peter walker on up. and two things i mostly focused on was the top of the tower that

may or may not get built someday, and then i also worked on the rooftop garden. and the main thing i ended up focusing on was this long linear water feature. a lot of the work that i've done over the years, i kind of approach a project with a questions of what kind of interesting energy sources or phenomena will naturally be existing at this place. so a lot of my previous work has dealt with wind patterns and air currents and water movement and kind of the answer to the question of kind of an interesting energy source to tap into on this project for me was the buses driving through this building. so that hatched the idea of a water feature that would reveal the passage of the buses through building in realtime. so what you're looking at is a

rendering of the idea. basically this linear water feature running pretty much the whole length of the park on the roof with a nozzle of spring water located every four feet in the taping patterns. and then -- you guys have seen lots of these rendings of the buildings. but basically the buses drive through on a layer below the park. and the idea is that in the ceiling of the passageway where the buses drive through, that will would be these ultra sonic censors that would detect the passage of the bus and render that movement in water. and so just some of my thematic drawings. and basically, this will be a very simple fountain. a lot of modern fountains have elaborate computer control systems where you can choreograph the movement of water. in this fountain, there's no

computer. it's a wonderfully simple system. there's just an ultra sonic censor, and these are the technology that was developed for detecting water level in big shipping vessels and water tanks and fluid tanks. it's basically a beam of ultra sound that bounces off a liquid level and senses the height of the liquid. and there's wonderful robust indestructible technology. these things are designed to put in some tanks where you never have to go get them and do anything to them again. so the idea is that in this ceiling, there's one of these censors every four feet, and as the buses drive through, when the beam gets interrupted by a bus, it opens the and -- opens the valve and lets water flow. so every censor is linked to the nozzle directly above it. i think there's 256 of these nozzles and censor arrays.

that image there shows what the actual thing looks like. they'll be set into the corgations in the ceiling. a little hard to see, but kind of a cross section showing how the water will come up out of a grading system. it will be recycled water systems. so the water will reveal the passage of the bus. it's a very water and energy-efficient pattern. just some other renderings of other water features with similar nozzles, and then kind of the concept image of revealing the passage of these buses. so questions?

back over to jill? >> thank you very much, ned. >> lastly, i'm very pleased to announce the director of cultural affairs, a member of the steering committee, who would like to say a few words about the art program. >> thank you, board members, for this opportunity to address you. since i arrived in san francisco 2 1/2 years ago, i've had the pleasure of being associateed with many very exciting art events and installations here in san francisco. everything from the the two mya lynn sculptures instilled at the academy of science, to the chung wong that we have installed at the civic center. my association with the transbay project for me feels like one of the highlights. because you are bringing online to the city a building that will

be iconic, that will be a landmark for generations to coming and it has just been such a pleasure to work with the architectural team of pelley clark pelley, and their vision for this phenomenal facility. and the way we have been able to select these fabulous artists to identify works that complement the building. when you see how it excos with the concept of a park and the garden that is on the roof of the billing. when you look at ned kahn's interactive water fountain display and the way that it in realtime reflects the movement that is taking place underneath

that garden and highlights and manifests that movement symbolically for the visitors, you see how the architecture and the art really are working together. so it has just been, i think -- i'm urging you to approve. this although the san francisco arts commission doesn't have any jurisdiction over this project. we did, however, present all of the artists and their concepts to them. they wholeheartedly endorsed this plan and the selection of the artists. it's really great to see san francisco-based artists and internationally renowned artists like jenny holster and james carpenter and tim hawkinson all being part of this enormous fabulous project. thank you very much. >> thank you, luis. i'd like to, on behalf of the tkpa thank all the artists for your time here today and your presentations. it's all very much in line with what we're trying to achieve, which is a very light, open,

welcoming, joyful jewel for the city and county of san francisco for many generations to come. and you all in different and wonderful ways contribute to that goal that we have set for the program. thank you very much. >> motion to approve the design complex for the four recommended artist? >> second. >> it's been properly moved and second. let's call the roll. >> [roll call] >> five ayes. item 14 is approved. >> next item. >> authorizing the executive director for an amount not to exceed $44,000 with the downtown parking operator to provide 28 indoor parking spaces per day for cal tran's legal office and to maintain such an agreement so much as the total amount is not exceed budget in a total fiscal

year. >> deborah keith will report on this item. >> good morning, directors. deborah keith, outside counsel. the cooperative agreement between the state, the city, and the tjpa provides a reserve to the state, 28 parking spaces in the new transit center for legal counsel. the new transit center does not have a parking garage. in the alternative, the cooperative agreement provides that the tjpa will provide 28 parking spaces within a certain distance of the new transit center. this item would authorize the executive director to meet the terms of the cooperative agreement in a line item budgeted each fiscal year for the amount not to exceed that. >> it's been moved. >> seconded. >> seconded. >> no no members of the public have wished they wish to direct you. [roll call]

>> item 14 is approved. >> item number 15 is authorizing an amendment to the next item. construction manager general contractor services for the construction of the transbay building and related structures with the joint venture of web core to increase the time for construction services to 110,000,800 hours. >> bob will -- 110,800 hours. >> bob will report on this item. >> thank you. when we awarded the contract to web core own -- obiya shvings i, our initial plans for to move into construction into the fall of 2009. we are now going to be moving into construction here in august of 2010.

over this last year, web core has worked have been closely with the tjpa and with the design team evaluating the constructability providing input on the cost estimate, construction schedule, and value engineering efforts. the number of b that we will be preparing and the time period over which we will be preparing those bid packages has also extended out. so this contract modification is to increase the number of hours to reflect the additional effort from web core obiyashi over the past year, and through the bidding of the construction packages. if you have any questions, i'll be happy to take them. director cohen: what's the budget impact of the change? >> it's roughly -- i'm sorry. let me do the math real quickly.

it's about $6 million of additional fees and that fits within our overall budget for construction services. director cohen: it's well within the contingency planned in the original contract award? >> question. in our program budget. the original contract award was for the base 45,000 hours plus the 7.8% mark-up on the value. it's within our budget contingency. >> you said 45,000. you meant 45 million? >> 45,000 hours. >> oh, ok. just had to make sure there. there's a big difference. >> motion to approve? >> moved.

>> moved and seconded. madam secretary? >> no members of the public have indicated that wish to address you on this item. [roll call] >> item 15 is approved. >> now we're ready to move into closed session. >> that's right. at this time, you are scheduled to go into closed session. we have not received any indication that any member of the public wishes to address you on the item listed. we can go ahead and clear the room. >> let's prepare to move into closed session.

>> counsel will report on the announcement of closed session. >> conference regarding portions of cal tran, there is no action to report. >> with that, we adjourn this meeting. >> thank you.

>> welcome to culture wire. did you know the city of san francisco has an art collection consisting of 3,500 objects? it ranges from paintings and objects placed in public buildings to w.p.a. era murals and bronze busts in city hall to site specific sculptures. many of the large sculptural public works are in need of repair and a long-term solution is needed to ensure the treasures will be cared for.

the story of the arts commission's new program art care begins with venerable art dealer ruth bronstein. 2010 is her 50th year as an art dealer. at the helm of the bronstein key gallery she has represented some of the most notable bay area artists and continues to look for new talent. >> the artists that i represent and why do i choose them has to do with the background of what the gallery is about. i love the idea of finding new artist he is and watching them grow. it is the old fashioned way of having a gallery, which is having a stable. so, what you have there is a loyalty to them and the artist

is loyal to you. so, the whole philosophy behind th that, my philosophy hasn't changed since i started 49 years a ago. i take care of you and you take care of me. it has been that way ever since. >> she represents the estate of world renowned skuculptor peter vulkus who passed away in 2002. in 1971 he created a beloved untitled public work sited at seventh and brian. like many other public works of art it is in need of repair. ruth began conversations with the director of cultural affairs and art care was born. >> art care will be responsible to look at all the pieces and decide what pieces need the most repair to bring it back to what it was before.

that is what i'm after. so they will take that on the corn of seventh and brian. you can't see it as you ride down seventh street. you can only see it when you are in front of it. >> the skull -- sculpture is one of the tpeufirst pieces commissioned by the arts commission after the advent of the 1969 art enrichment ordinance so it is quite significant that we are planning to treat it as part of the art care program. art care has plans to take care of several other pieces in the collection including man lin choi's sculpture the monument to the korean community. it has been in the park over 0 years and has become a magnet for vandalism. we are looking at several henry march sculptures. one in front of the symphony building that needs to be

treated. we are looking at the yin and yang. a much loved piece but as a resu result. it was launched may 20, 2010. ruth was celebrated with a lifetime achievement award for her contribution to and influence of the bay area community. the award is embarrassing to me like mad but i have to learn to accept it. and good things are heard about people when they are dead and i'm hearing it while i'm alive. i look upon the award as an

opportunity for me to find a place for myself and keeping the art care program going. >> the arts commission director of programs addressed the crowd and asked for each member to consider donating funds to help save some of san francisco's most important neighborhood landmarks. >> as one of san francisco's living treasures, we respect you a and, frankly, we are in awe of your 50 years of tireless efforts as an early art entrepreneur. >> giving is contagious. i would like to be perhaps the first donation to art care and present you with a check to get the ball rolling. >> because i know the arts commission is very sincere about them i'm going to make a personal commitment of $10,000. >> what is significant about the program is the way it is set up allows us to treat the art works that have the most need, the

ones that our conservators are pointing out as most vulnerable as opposed to the most popular or most visible. >> art care is a fantastic opportunity for the public to get involved with these art works that are located in their back yard and ultimately belong to them as citizens of san francisco. >> i want to do something for the community and give back to what the community has done for me. it is a corny phrase but it is true, giving back. it is what it is. i will be able it see more pieces cleaned up. >> cull wire will -- culture wire will check back and see the fruits of conservation and revitalization efforts. if you would like to find out more or donate go to ff art commission.org. thanks for watching culture