and brought them on board in january of this year to begin the process of coordinating with the city agencies with mta and with dpt on the planning for the demolition work with the caveat that we come back to when we are ready to move into construction, for authorization of a second notice to proceed, to actually begin the demolition of the transit center and related facilities. the conditions for coming back on the second notice to proceed were that we certify full funding for phase one of the transit center, as we did hear in may. that the temporary terminal is ready for occupancy, and that the pension package for the transit center is ready for advertisement. if you heard earlier, we plan to advertise the package before the end of this month. the demolition activities, the pacing, the sequencing of the content we will be using, despite on the screen, the first weekend after we moved out of

the existing terminal, we will be focused on securing the existing terminal, and we will begin the following weekend on august 14 to demolish the ramps ago over the temporary terminal site across howard and beale street. contractually, we are limiting them to 16 days, three weekends, and two weeks so that mcgwire and hester can finish the terminal. the next segment of demolition will focus on the eastern ramps coming up to the eastern structure, and the heart of the demolition the new demolition structure itself, followed by the western lands back to harrison street. for the roadway over crossing, we have worked again workeddpt and mta. several of the streets have overhead timelines for the electric trolley buses. -- we have worked with dpt and

mta. we need to coordinate any take down on our lands with that work, so a number of our closures are limited to nights and/or weekends, and you can see here in the color coding all of the yellow ones are night and weekend closures. the seven crossing, we will see some of that demolition work during the week, and some of the minor crossings will actually be doing some of that work during the day, during the week. we have also done quite a bit of planning on each segment of the work. how we will place pedestrian cited, flag errors, and some use of 10 b officers from the san francisco police department to control traffic and direct traffic around the construction site. this just depicts the eastern and demolition.

the demolition of the fremont terminal where it spans fremont and voelker streets, the balance of the terminal demolition, and the western iraq demolition. and i can take any questions you have on the demolition contract or the notice to proceed. -- and the western iran -- the western ramp demolition. director cohen: i'm just trying to understand some of the things that have happened around site control. am i correct on this? for this item, there are some property transfers that have to occur with caltrain and other some things that have to come back to the city related to the transfer? >> you are referring to the cooperative agreement. you can address that. >> of the cooperative agreement, a number of parcels will be transferred to both the city and the tjpa for the project, and

among the parcels [inaudible] of the work for those are designated to go to the city for ultimate development. ecb north dakota tjpa -- the city and the tjpa have agreed that will go back to the redevelopment agency board of element. director cohen: does that have to go to the board of supervisors or redevelopment for that? >> it does not. director ford: mood and properly seconded. [inaudible] >> ok, and no members of the public have indicated they wished to address you on this item. daly aye. cohen aye. lloyd aye. ortiz aye. ford aye as well. item 12 is approved. director daly: i know it has been approved, but really

quickly, to make sure, is this going to be included on some of the community outreach stuff we're doing in terms of publicizing the schedule so folks in the area can try to get ready for it? >> absolutely. we have had a number of ongoing meetings regarding the entire schedule with all the neighbors in the area, and we are continuing to have even more community meetings, yes. director daly: ok, but specifically on the street closures? >> specifically on the street closures. am ok, we will move into item 13, approving the design concept and budgets for the four recommended artists -- james carpenter, julie chang, jenny holzer and ned kahn and authorizing the executive director to enter into an agreement with each of the artists for design development, construction documents, predicted mr. engine, an oversight of navigation and installation. >> is with great pleasure to present this to you. we are presenting four artists

where there are will be integrated into the station. hopefully, as we move along, we will be able to identify further funding with more opportunities. we are going to have fled clark and joe madsen presenting this item, but i do want to express our appreciation to jill and the san francisco arts association for their support and hard work in bringing this item to you today -- fred clark and jill madsen. director daly: before we get there, i do not want to sully the presentation and the beauty of this after the presentation, so really quickly right now, in the future, for me, this is the second one of these that i now on and it is beautiful, but i could just take an electronic version and be able to go through it and maybe save some of the cost. this is kind of nice paper and a

fancy presentation is nice, but i do not on a coffee table, electronic version in the future for me. >> we appreciate that, and the reason these are printed for members of the public is because for some reason, depending on what kind of technology, laptop, you on, it is not very high resolution, they cannot see the actual coloration, which is very important. but for that, we would have just given you an electronic copy. it had to do with the resolution. not everybody has that. >> good morning, directors. i'm a senior principal with the architecture firm of polycarp pally, and the art program -- pelly clark pelly, and the program has been organized similarly to the art program, in the sense that it is being done in phases, so we are reporting

to you today on the conclusion of the concept phase of four or five pieces, and i must say that a great deal of work has been done. i think, where advanced even beyond the concept phase. let me frame how one might view this kind of program. first of all, although it is a five-artist program, which is relatively small, this is a very large building and a very large project, so each piece needed to be of the size and scope and scale appropriate to this very large building, so i think you are going to be seeing each individual artist dealing very successfully with just the sheer size of the building, the number of people who will be experiencing the art, and, of course, the importance of this building in the city of san francisco. second, there is a great variety of art. we have taken this opportunity to kind of expand the notion of art, 8 you will, well beyond the traditional concepts. so you're going to be seeing

some really exciting ideas that will challenge the public, that will be interesting every day that the building is being used, and i think, will expand people's understanding of the way art and architecture work together. the third issue, that is very important, is that the building and the arts need to be integrated. what we want to avoid is the stand that the art is simply being purchased and installed, so we have been working with each individual artist very closely to be absolutely certain that the art and architecture are really of one piece. next, an extremely importantly, these are very practical proposals. each of them has been vetted thoroughly in terms of technical perspective, costs, and stability. each artist has been working with contractors, with suppliers to be certain that these are actual pieces. finally, i find this very exciting. i think this will be a wonderful

addition to the city of san francisco. i think people using this building morning and night will find wonderful new things to see each time they enter the building, each time they experience the art. very pleased at how things have proceeded. jill has been personally responsible for advertising the for organizing all of it. i will ask her to speak now about the size, scope, and placement of the pieces. thank you. >> good morning, directors. it is a pleasure to be here. after your initial approval of authorizing me to an agreement with the five artists 10 months ago on september 10, 29 -- 2009, a great deal of work has transpired. the tjpa's public art program is voluntary, but it is consistent with san francisco's 41-year- old concern for our program and also consistent with the fta's policy for incorporation of art

in the transportation facilities. i think it is circular 94.1. they encourage transportation agencies to incorporate as much as 5% of the construction budget into the development of the an art program, and i'm proud to say, and, director for, you will find is of particular interest that a lot of the mta's projects is featured in a circular as one of the best of the nation -- director ford. this dates back to the 1990's, but i will get a copy of that for you. director ford: i appreciate that. thank you. >> four of the five artists will be presenting a proposal today. the fifth artist will present at a later date, and there has been over the past 10 months -- we have had, really, an intensive period of work with the tjpa

staff and the team to identify specific sites, a prominent architectural sites that we thought would be most visible and would most engage the public, so they were carefully chosen with that thought in mind. there will be a project for missions where. there are a two major projects in the grand concourse. there is a project in city park, and there is a project in shaw alley, which had previously been sort of passed through place, and now, it is going to be a destination, as you will see in the presentation that follows. i also would like to express my appreciation, both to the tjpa staff who have been so supportive, and to the team, who are like my right hand, particularly to victor, who works from the team who worked

so closely with me and produced the beautiful graphics that you will be viewing. it is truly a collaborative effort among the client, the architects, the arts commission, and the artists. i really think of this as an ideal project and something the city and county can learn from in terms of how we conduct our own business. in addition, i wanted to remind you that through the intergovernmental agreement established between the tjpa and san francisco arts commission, we established a committee consisting of five members. steering committee plays a very important role in this process. committee members include director kaplan, fred clark, director of cultural affairs, one of our arts commissioners, who is a practicing artist and professor at the san francisco

art institute, and bleak summers, who runs the art program at the san francisco international airport -- blake summers. we have convened the steering 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 mentione