different ways. as defined in the land use plan, those require access to the water in order to function. does it really have to happen? does it need water access to thrive? the policy experts presented today, it is for formal and more specific policy direction, measures to foster financial and other strategies to support current and long term protection of valuable and limited connections and facilities. our days as a dominant cargo

port are over. we still boast a very proud maritime portfolio, passengers moving across the docs. we don't of the largest commercial floating died drop -- dry dock in america and our home to pilots and marine exchanges, as well as others. it looks like after decades of effort, we are very close to building a middle-class cruise ship terminal. playing host to the 34th america's cup, i hope so. i look forward to that. the preservation policy as proposed in recognition of the changes that continue to hit -- continue to occur.

the first policy espy to encourage development and rehabilitation for current commercial uses or poor priority areas. to protect the natural deepwater berths for active maritime uses requiring such groups to utilize vessels no less than once per week and for a static maritime museums, etc.. 3, historical projects that incorporate facilities and or incorporate facilities to

incorporate maritime industrial activities. discouraging the location of modern, water-dependent commercial use facilities other than parks outside of waterfront access. five, maintaining adequate water depth of current deep water areas to accommodate activities by prioritizing funding of minimum levels in the annual counterplan. 6, promoting marine recreational uses for current developments and recreational uses. 7, prioritize independent uses for the purpose of accommodating non-maritime uses in public access corridors as otherwise identified in the land use plan. leslie, part of this policy was

the creation of a maritime policy fund, the purpose of which would be to create revenue sources for preparing neighborhoods and facilities that support numerous maritime needs. we will continue to work with our stakeholders to define funding options for this purpose, such as development contributions for rehabilitation projects. there are other ideas that we have that we welcome back to the port commission with at our next meeting. the policy is meant to guide staff in the importance of maritime assets for current maritime activity in accordance with long maritime history and perpetual mission.

why this policy? what is at risk? i would look -- i would like to quote another from port city. another from our architectural heritage. still working on the docks, i think this policy tries to look at the risk. "the tragedy for maritime use at the port is that you can prevail over particular issues hundreds of times, but you " -- you can only fail once and everyone is gone forever." thank you. >> thank you. public speakers? >> good afternoon,

commissioners. my name is [unintelligible] and i am the general manager for the shipyard in san francisco. thank you for putting together this maritime preservation policy. i see it as another example of the carnival splendor. a span of pop tarts and media. that ship could not have been docked here if it had not been for the forward thinking of port of san francisco in 2006 when they put together an agreement that allowed us to expand dry dock no. 2. that provides jobs, working closely with the port of san francisco. today we continue to work closely with the fort to

maintain access to the shipyard. i appreciate the hard work and effort that court staff has put into these challenges. i see the maritime preservation policy is another step in the process we must. i applaud the port and the commission for their efforts on the san francisco waterfront. thank you very much. >> thank you. >> i have got to. [laughter] -- i have got you [laughter] >> you did not read my card one time. one of the things when i worked at the presidio was i wrote a lark -- a lot of articles on history. so, you have to remember that

before big ships came here, they were all ready using raids. they voted from island to island -- boded from island to island. we need to connect the dots from the middle of nowhere. start with people. another aspect that your commissioners should delve into, the role of the coast guard's. someone that used to go to alaska to see the new with, thousands and thousands of them. they were introduced to alcohol and were dying, left to right and center.

he introduced protein and saved the villages. before the bay bridge was built, there was a connection between this area called the ferry building and our transportation. looking at the san francisco grid you can see that it lends itself in this direction. but i can go on and on, but the main thing is that we have to learn to connect the dots and we have to learn to be true to history so that future generations know what happened here. at one time they built ships. many of them were black. they came from haiti. they built some of the best ships. these are the guys, even though they were people of color, they

were given and were embraced by kings and queens because at that time anyone who could build a good ships, they could generate a lot of money. i am saying that because this area played an important role in the past. as peter was saying, we were not ready for the container shipping industry. but we can regain it. if we do creative financing and we think outside of the box. thank you very much. >> thank you. pola nixon? >> commissioners, director, my name is paul nixon.

i am a new member of the central waterfront valley committee. i think it was more than 10 years ago. at the same time that the central waterfront advisory committee began, about 10 years ago, the people on that committee, we got together and came up with the idea of a powered boat water trail in san francisco. that has gone through the legislature. it has gone through a process that could take years and years. just last month, $1 million was given to [unintelligible] for the beginning process of setting up a water trail.

this $1 million that was given for what they call, in the plan, non-motorized small boats, this million dollars contains a lot of money for education. this is why i am speaking on this particular issue. the sixth point had to deal with oceangoing vessels. as far as human powerboats, processes are being set up already for education of the boaters, kayakers, like we have many of here. out rigging to new people. a process set up to help them understand the needs of others in the area.

in the past we have worked with the harbor safety committee on these issues. i think that we thoroughly endorsed these ideas because we need some education. oceangoing vessels, the maritime industry here, needs some education on how these things work. for example, what do you know about swimming from candlestick park to hyde park? when would that be done? would that be an interference with shipping? well, i piloted one of those swims. they happen at 6:00 i am in the morning and there was not one boat out there. the swimmers swim right under the bay bridge in the middle. there are a lot of things that do not conflict and a lot of

communication that should happen between these groups. i fully endorse this. i hope the to go along with this. i am sure that we will talk about it later at the central waterfront advisory group. >> thank you. is there any other public comment on this item? >> madam chair, i would like to say to the executive director, absolutely wonderful job. you took the skeletal framework as outlined in january. you nailed it on the head as what kind of concept, at least in my vision, of being a longtime san francisco resident, how proud i am of this moment. you nailed it. i want to thank you and your staff. >> question? i have one question.

the reason i'm fascinated with water taxis, and i know we have started to make a little bit of a dent in that, i a understand it is a requirement that they incorporate a water taxi and landing. i am not quite sure how encouraging that kind of transportation and use -- i cannot pick it up in any one of these points. it is something to throw out there. i think it is something we want to continue to do. >> yeah. that is a good point. they have entered into agreement for water taxi service. hopefully, it will commence this summer or this spring. i think the goal of the policy, we want to encourage investment in maritime activity.

we don't want to preclude water taxis or any other type of commercial use. with development opportunities going forward, i think we are saying the same thing. >> may be called out a little bit more. >> exactly. >> i think the whole plan sounds wonderful. very impressed. kudos to my colleagues. i did have one question about prohibition, the vessel's leave the birth no more than once a week. will there be something in there for circumstances? >> by all means. the intent was we have a very limited number of natural deepwater berths that don't require dredging.

the concern was that by putting the static vessels there, what there would be, obviously, some flexibility on that. the idea was not to take up deepwater berths forever for an office ferryboat. >> the example used earlier was the cruise ship that came in. >> exactly. >> i'd like to commend commissioner crowley for this policy. i think it is long overdue. >> thank you. >> thank you very much. >> item 11, new business. is there any public comment on new business?

item 12, public comment. i have a speaker card. >> commissioner, i have spoken to many times. i want to thank you for listening to me. i have been coming here every four months just to see that things are more or less flowing. one of the reasons i do this is because i have a blog. i take pictures. i write. it is good to know people are not just writing by remote control. thank you very much. >> thank you. is there any other public comment? commissioners? motion to adjourn the meeting? >> second. >> all in favor? meeting adjourned at 4:47 pm.

thank you.

>> i'm your host of "culturewire," and today, here at electric works in san francisco. nice to see you today. thanks for inviting us in and showing us your amazing facility today. >> my pleasure. >> how long has electric works been around? >> electric works has been in san francisco since the

beginning of 2007. we moved here from brisbane from our old innovation. we do printmaking, gallery shows, and we have a fabulous retail store where there are lots of fun things to find. >> we will look at all of that as we walk around. it is incredible to me how many different things you do. how is it you identify that san francisco was in need of all these different services? >> it came from stepping out of graduate school in 1972. i wrote a little thing about how this is an idea, how our world should work. it should have printmaking, archiving, a gallery. it should have a retail store. in 1972, i wanted to have art sales, point-of-sale at the grocery store. >> so you go through the manifesto. with the bay area should have. you are making art incredibly

accessible in so many different ways, so that is a good segue. let's take a walk around the facilities. here we are in your gallery space. can you tell me about the current show? >> the current show is jeff chadsey. he is working on mylar velum, a smooth, beautiful drawing surface. i do not know anyone that draws as well as he does. it is perfect, following the contours and making the shape of the body. >> your gallery represents artists from all over, not just the bay area, an artist that work in a lot of different media. how to use some of what you look for in artists you represent? >> it is dependent on people are confident with their materials. that is a really important thing. there is enough stuff in the world already. >> you also have in his current

show an artist who makes sculpture out of some really interesting types of materials. let's go over and take a look at that. here we are in a smaller space. project gallery. >> artists used the parameters of this space to find relationships between the work that is not out in the big gallery. >> i noticed a lot of artists doing really site-specific work. >> this is a pile of balloons, something that is so familiar, like a child's balloon. in this proportion, suddenly, it becomes something out of a dream. >> or a nightmare. >> may be a nightmare. >> this one over here is even harder to figure out what the initial material is. >> this is made out of puffy paint. often, kids use it to decorate their clothes. she has made all these lines of paint. >> for the pieces we are looking

at, is there a core of foam or something in the middle of these pieces that she built on top of? >> i'm not telling. >> ah, a secret. >> this silver is aluminum foil, crumbled of aluminum foil. her aesthetic is very much that quiet, japanese spatial thing that i really admire. their attention to the materiality of the things of the world. >> this is a nice juxtaposition you have going on right now. you have a more established artists alongside and emerging artists. is that something important to you as well? >> very important in this space, to have artists who really have not shown much. now let's look at other aspects of electric works operation. let's go to the bookstore. >> ok.

>> in all seriousness, here we are in your store. this is the first space you encounter when you come in off the street. it has evolved since you open here into the most amazingly curious selection of things. >> this was the project for the berkeley art museum. it was -- this is from william wiley's retrospective, when he got up onstage to sing a song, 270 people put on the cat. >> it is not just a bookstore. it is a store. can you talk us through some of your favorites? >> these are made in china, but they are made out of cattails. >> these pieces of here, you have a whale head and various animals and their health over there, and they are jewelry. >> we do fund raisers for nonprofits, so we are doing a project for the magic theater,

so there are some pretty funny cartoons. they are probably not for prime time. >> you sort of have a kind of holistic relationship where you might do merchandise in the store that promotes their work and practice, and also, prince for them. maybe we should go back and look at the print operation now. >> let's go. >> before we go into the print shop, i noticed some incredible items you have talked back here. what are we standing in front of? >> this is william wiley, only one earth. this is a print edition. there are only eight total, and what we wanted to do was expand the idea of printmaking. this is really an art object.

there we go. >> besides the punball machine, what do you produce in limited edition? >> there is the slot machine. if you win the super jackpot, you have saved the world. >> what about work? >> the right design, it was three volumes with lithographs in each volume. the cab of count dracula with 20 lithographs inside and lined with beaver fur. really special. >> let's move on to the print shop. >> ok. the core of what we do is making things. this is an example. this is a print project that will be a fund-raiser for the contemporary music players. we decided to put it in the portfolio so you could either frame at or have it on your

bookshelf. >> so nonprofits can come to you, not just visual are nonprofits, but just nonprofits can come to you, and you will produce prints for them to sell, and the profits, they can keep. >> the return on investment is usually four times to 10 times the amount of investment. this is for the bio reserve in mexico, and this is one of the artists we represent. >> you also make prints for the artists that you represent. over here are some large prints by a phenomenal artist. >> he writes these beautiful things. anyone who has told you paradise is a book of rules is -- has only appeared through the windows. this is from all over coffee. we are contract printers for all kinds of organizations all kinds of organizations all across the country.