sanctitude to the staff at sfgtv for televising us today. would you please call the first item? >> colleagues, thank you for convening today to hear this one important item. thank you to the members of the public for joining us. this is an amendment to the planning code to clarify the process for the construction of nonconforming uses that are destroyed by fire or acts of god. a fire was caused by an illegal marijuana growing operation that burned six houses. the owners of these properties have been engaging this city in reconstruction of their property. under the current planning code, that is a nonconforming use. the planning code has a process

for nonconforming uses that are destroyed by fires or acts of god that governs the time. , is somewhat vague. today's legislation would clarify the time period or the owner could restore a non comforming use. specifically, these additional modifications would do three things. it would change the times period in which an owner could reconstruct. this is roche -- retroactive to 2009 and make changes to section 188 of the planning code. i would like to bring in rogers from the planning department who could walk us through these additional changes. >> good afternoon, committee

members. i would like to convey the gratitude for making these changes to the planning code. the language is a little bit ambiguous. i think you pretty much covered it. this is in sections 181 and 188. it seems like a simple change. >> you have the language in front of you as well. >> no further questions. >> let's open it up for public comment. is there anyone from the public who would like to speak? >> good afternoon, supervisors. i do represent one of the owners of the warehouses who lost their opportunity to

rebuild because of the ambiguity. that happens to be a pdr use. i will like to thank supervisor cohen for clarifying the legislation. i do not know if you have the whole file with you. bob and larry suggesting this kind of revision would be an important thing to do. that is it. we are very comfortable with the planning department's suggestions for changes. >> ♪ you got that something i hope you will understand i want to protect those buildings from damage

i want a better plan i hope you help us when i walked by the buildings, i feel happy inside because of acts of god, you can hide you can hide you can hide you have to make those building strong that in case there are acts of god or fire i want a better plan and help it the best you can. ♪ >> is there any other members of the public who like to speak horsing beatles song? could we move this forward with a positive recommendation without recommendation? are there any other items before us?

without objection, the abutments are adopted. can we adopt this without objection? thank you. meeting adjourned. at thank you.

>> welcome to "culturewire." today we are at recology. they are celebrate 20 years of one of the most incredibly unique artist residency programs. we are here to learn more from one of the resident artists. welcome to the show, deborah. tell us how this program began 20 years ago. >> the program began 20 years ago. our founder was an environmentalist and an activist and an artist in the 1970's. she started these street sweeping campaigns in the city. she started with kids. they had an exhibition at city hall. city officials heard about her efforts and they invited her to this facility. we thought it would coincide with our efforts to get folks to

recycle, it is a great educational tool. since then, we have had 95 professional artists come through. >> how has the program changed over the years? how has the program -- what can the public has an artist engage with? >> for the most part, we worked with metal and wood, what you would expect from a program like ours. over the years, we tried to include artists and all types of mediums. conceptual artists, at installation, photographers, videographers. >> that has really expanded the program out. it is becoming so dynamic right now with your vision of interesting artists in gauging here. why would an artist when to come here? >> mainly, access to the materials. we also give them a lot of support. when they start, it is an empty

studio. they go out to the public area and -- we call it the big store. they go out shopping, take the materials that, and get to work. it is kind of like a reprieve, so they can really focus on their body of work. >> when you are talking about recology, do you have the only sculpture garden at the top? >> it is based on work that was done many years ago in new york. it is the only kind of structured, artist program. weit is beautiful. a lot of the plants you see were pulled out of the garbage, and we use our compost to transplant them. the pathway is lined with rubble from the earthquake from the freeways we tour about 5000

people a year to our facility, adults and children. we talk about recycling and conservation. they can meet the artists. >> fantastic. let's go meet some of your current artists. here we are with lauren. can you tell us how long have been here so far and what you're working on? >> we started our residency on june 1, so we came into the studio then and spent most of the first couple weeks just digging around in the trash. i am continuing my body of work, kind of making these hand- embroidered objects from our day-to-day life. >> can you describe some of the things you have been making here? this is amazing. >> i think i started a lot of my work about the qualities of light is in the weight. i have been thinking a lot about things floating through the air. it is also very windy down here. there is a piece of sheet music

up there that i have embroidered third. there is a pamphlet about hearing dea -- nearing death. this is a dead rabbit. this is what i am working on now. this is a greeting card that i found, making it embroidered. it is for a very special friend. >> while we were looking at this, i glanced down and this is amazing, and it is on top of a book, it is ridiculous and amazing. >> i am interested in the serendipity of these still life compositions. when he got to the garbage and to see the arrangement of objects that is completely spontaneous. it is probably one of the least thought of compositions. people are getting rid of this stuff. it holds no real value to them, because they're disposing of it. >> we're here in another recology studio with abel.

what attracted you to apply for this special program? >> who would not want to come to the dump? but is the first question. for me, being in a situation that you're not comfortable in has always been the best. >> what materials were you immediately attracted to when you started and so what was available here? >> there are a lot of books. that is one of the thing that hits me the most. books are good for understanding, language, and art in general. also being a graphic designer, going straight to the magazines and seeing all this printed material being discarded has also been part of my work. of course, always wood or any kind of plastic form or anything like that. >> job mr. some of the pieces you have made while you have been here. -- taught me through some of the pieces you have made while you have been here. >> the first thing that attracted me to this was the

printed surface. it was actually a poster. it was a silk screen watercolor, about 8 feet long. in terms of the flatwork, i work with a lot of cloddish. so being able to cut into it come at into it, removed parts, it is part of the process of negotiating the final form. >> how do you jump from the two dimensional work that you create to the three-dimensional? maybe going back from the 3f to 2d. >> everything is in the process of becoming. things are never said or settled. the sculptures are being made while i am doing the collages, and vice versa. it becomes a part of something else. there's always this figuring out of where things belong or where they could parapets something else. at the end goal is to possibly