the building on the corner of the diagram they showed. it is a point of interest. thanks to the lobbying efforts of my uncle that resulted in the preservation of hunt slain between being w and the museum. my family fully supports the museum. that is our bottom line. we're here to remind the board to take note of our interest in maintaining the integrity and usability of our property as the project was forward. we're pleased to have received a letter confirming the museum's intention to work with us as the designs the interface between our property and the museum. their letter appears to indicate they plan to preserve our fire escape windows and door which opened onto hot streak. we do hope that substantive

portion of that dialogue takes place before the final approval of the construction plan by the planning commission. we do anticipate a significant loss of natural light and we realize we have no legal right to that but wanted to mention that is a loss and also for the record we wanted to submit the letter we presented to the planning commission which outlined our concerns. supervisor mar: thank you. next speaker. >> good afternoon. i am the director of arts and culture marketing. my role is to ensure that visitors are aware of their rich cultural offerings to the city and use this offerings to entice travel to san francisco.

research tells us the cultural traveler spends more money into these long a period of improving assets will add to the economic health and add to quality. the travel industry is incredibly competitive and improving our assets insurers we remain competitive for the billions spent by travelers to san francisco. after a 17-year run as the favorite city, a san francisco is no. 2 to charleston, south carolina. the expansion will attract media and -- attract media and help us retain our edge with other great cultural destinations. we expect it will garner much media and coverage for san francisco. this will be great news for our hotels and other cultural institutions, restaurants, and

the tax base. thank you for supporting the expansion. supervisor mar: thank you. next speaker? >> ♪ moma, how i love yo, my dear old moma ♪ ♪ captioned by the national captioning institute --www.ncicap.org-- ♪ iw ould give the world to see you again ♪ ♪ moma, how i love you ♪ ♪ the districts north, east, west, and south will see you some more is decline ♪ when you relocate ♪ ♪ you are the moma i always

dreamed of musicaf ♪ ♪ you moved and that's the last i've seen aof my art heart ♪ ♪ it is the way you look like he smite are located there. ♪ you are the art work right brand of musical and -- artwork i have dreamed of ♪ supervisor mar: thank you. is there anyone else from the public who would like to speak? please come for. >> thank you.

on behalf of the w and sf moma. her concerns are about private use. the design does include alternative pedestrian access and a substitute for the excess weight. the public pedestrian ways preserved and it is undisputed the vacation of hunt street is in the public interest because it is impossible to build without it. the w's need for access will be accommodated. this does not occur until 2013. after the new fire station is built. we have plenty of time between now and then to resolve the issue of private access. the eir indicates that sfmoma must do so and we're more than willing to do that.

it suggests imposing a measure as a condition of the street vacation. you're within your rights to impose than as a condition. as greg should do, we are designing to accommodate the hotel's private needs and there is no reason we would have designed the museum in that way if we did not intend to provide the w with access to these provisions. that condition of approval or license agreement will accommodate the w's needs. for these reasons, the w's claim of damage is inconsistent and

premature. there is an extensive general plan including findings related to the urban design element as quoted in their water. we do feel that there is more than adequate means of accommodating their needs without delaying the street vacation or without requiring a private easement. i'm glad to answer any questions. supervisor wiener: in terms of you touched on this, the concern about it would not have anything to enforce, only the city could enforce it. there would be stuck at the planning department did not have the bandwidth or the desire to monitor the access. can you respond to that? >> what i suggested is where more than willing to negotiate a license agreement that would be parallel to the condition of approval that would be enforceable by the hotel.

supervisor wiener: when will that happen? >> we are in discussion with them now. i hope we could resolve that in the next several months. supervisor wienesupervisor mar:e to help the hotel feel it is enforceable and it is a priority of the development. thank you. >> thank you. supervisor mar: we have mike from the building trades. i am pleased this project is relatively non-controversial. it sounds like the issues can be dealt with fairly readily. i want to express my personal pride on working on the original museum and i think this extension will provide an opportunity for those of us in the trade to appreciate

craftsmanship, to exercise that crashed and ship and be rewarded by a fine building. supervisor mar: thank you. is anyone else from the public who would like to speak? public comment is closed. did you have any closing remarks? >> thank you. supervisor wiener: i move that we move the three items forward with positive recommendation. i do appreciate the concerns expressed by the w. it sounds like they are resolvable and i do not think they have requested we postpone consideration of this. it sounds like it would be a significant delay which is not seem warranted. this is a very important

project, an enormous amount of time and energy has gone into it. from what i can tell legally it is supported and i believe we should move forward with the understanding that negotiations will happen to ensure the w continues to have access. supervisor mar: i wanted to thank the design team for accommodating the fire department with a brand new firehouse and the generosity toward the city as well in this project. it should be wonderful also with the new exhibits, not just the fischer collection but the others as well and hopefully make san francisco a tremendous destination with the region of the center and the transbay terminal in close proximity. thank you for the great design and the work. can we move this without objection? thank you. all three items.

is there any other business before us? our meeting is adjourned. thank you, neverland. -- everyone.

>> hello. welcome to "culturewire." we are here today with bay area artist jody chanel, and we are here to see the plaza where your piece has just been installed. >> i have been doing large-scale paintings in the galleries and museums, and the idea that in the future, i could do something that would hang out a little bit longer than the duration of the installation the kind of appeal to me. i quickly found out about the san francisco arts commission school and realized there was a pre-qualified school you had to apply to, so i applied to the. >> how long did it take you to develop this work for the plaza? >> this was a fast track project.

design development was about a month. >> let's look at the beautiful mural. i have never seen a mural created on asphalt. >> the heat of the asphalt, a new layer of asphalt. then, these wire rope templates that were fabricated for the line work get laid down and literally stamped into the asphalt, and then everything was hand-painted. >> maybe you could talk about some of the symbolism, maybe starting in the middle and working out. >> [inaudible] the flower of industry. >> it is like a compass. there's an arrow pointing north. >> within the great bear consolation, there are two pointed stars here. they typically lead one to the

northstar, otherwise known as polaris. so i thought it has a layer of theme. >> let's talk about some of the other elements in the peace. we are walking along, and there is a weather vane. there's a sweet little bird hanging on the side. what kind of bird is that? >> [inaudible] the smallest of the gulf species, and it lives around the bay area. >> you want to talk about the types of flour patterns that you send? >> [inaudible] around 1926 or so by the dahlia society. >> what is this bird here? >> that is the california quail. >> coming up here, we had a little blustery theme. what is this area here? >> this is supposed to be the

side view, the expense of the golden gate bridge. >> there it is. >> there are really beautiful elements of architecture still around, i would say that it gives that feeling over to the work. >> what are your hopes for it? >> that in a way it just becomes part of the area. i think it is starting to have that feeling. people utilize it. they sit and, and have their lunch and play on -- they sit and, and have their lunch and play on that -- they sit and come and have their lunch and play on it. just for it to be part of the neighborhood. that is my hope. >> is such a beautiful addition to our public art in san francisco. thank you for joining us. it was nice to meet you.

and thank you for telling us about your beautiful mural. thanks for watching "culturewire."

>> i came out to san francisco about seven years ago. i was trained as a carpenter. i got sick of the cold weather and the hot weather. i wanted to pursue art. i thought i really be here for about three years.

here i am, 7 years later. ♪ i have problems sleepwalking at night. i wanted to create a show about sleep. a mostly due painting kind of story telling. these are isolated subject matters, smaller studies for the larger paintings. i fell in love with it and wanted to create more of them. it is all charcoal on mylar. it is plastic. i was experimenting and discovered the charcoal moves smoothly. it is like painting, building up

layers of charcoal. it is very unforgiving. you have to be very precise with the mark-making. a mark dents the paper and leaves the material embedded. you have to go slowly. the drawings are really fragile. one wipe and they are gone completely. it is kind of like they're locked inside. all of the animals i am showing are dead. i wanted them to be taking -- taken as though they are sleeping, eternal sleep. i like to exaggerate the features of the animals. it gives it more of a surreal element. it is a release subtle element.

-- it is a really is subtle elements. the range of reactions people get is that normally they get what i am trying to achieve, the sense of calmness, it's really gentle state of mind -- a really gentle state of mind, i guess. ♪