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 alter nate the side on which the 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