my staff has done a great job in pursuing that funding. most of these are funding a new fire boat for the department and the city, with approximately $2 million in fema grant funding equipment. including our self-contained breathing apparatus. we have also received grants for the [unintelligible] program, which all of your constituents know and appreciate is there for them on how to know and be better prepared for the city in its time of need. we continue to apply for grants as best we can. that concludes the formal part of my presentation and i am happy to answer questions at this time.

supervisor chu: thank you, chief. final question for me has to deal with the system that is in need of repair and work and is a very expensive system that does not reach all the way out to the western part of the city. it only goes so far, and once we hit that place in the sunset, we have those underground cistern that run out of water. i want to ask, what is the plan for addressing water needs, if there is an earthquake and fire is an issue in the area. we do not know what the plan would be, given a situation like that. >> a great question. water supply is the bread and butter of what we do in terms of being able to suppress fires.

it is the fires following the earthquake it is the most dangerous for the city. having said that, i am proud to have a city that realizes that fire is a problem in the city. we have many options. there is a lot of redundancy as it relates to fire suppression. we have a low pressure system that sets off the drinking water in the city. we also have the awss, but you are also right in certain parts of the city, anything west of the court or, we now have that capability. throughout the city we have cisterns with supplies of water under the ground and be used to augment in the event of maine failures. we have approximately 177 cisterns that call for repairing and a growing that system or

option, i would set. you are right, that is very much a temporary plant for us. we currently have four in various quarters of the city that carry hoses to do above ground water attacks, if you will. the portable water supply system is certainly something we would love to grow in terms of having additional resources, particularly out in the more vulnerable area, like the richmond and sunset district. it is proposed that if we were to have a full-blown water supply system, it would cost $8 million, but in the scheme of things it is something that we have fought vigorously for in terms of grant funding and today

we have not received any. we do have $250,000 to which we will apply rules to expand the pwss. the failures that we had in the sunset district, we would use the current system in terms of the portable water supply system. we could not include that we could include that in the eastern language, but we think that is worth considering. just to answer your question right now, there are different

options that we would use depending on what challenges we are faced with. but in terms of the expansion of the portable water supply system, we do continue to seek funding. >> and in connection with this project, we have golden gate park and we have lake merced. do we have hookups or the ability to tap into this system if we needed to? >> in terms of the reservoirs, there is a sunset, which was recently renovated. there is the fourth and seventh district merced reservoir. my understanding is that would require some work with puc to utilize that, as well as lake merced. there would be some piping needed, but that is something the fire department would support. the more redundancies, the more options that we have in terms

of water sources, the better off all of us will be. that is a continued discussion with puc. >> we do not have the ability to tap into those systems at the moment. >> for the park we have the ability to perform those tasks. >> i would love to continue that conversation with you. you're one is a revenue-based solution primary, it looks. is it your two the same? blixt it would be -- >> it would be with the budget office. the guards had not met the goal yet for the second year?

>> know, we have not. >> why don't we open this up for public comment. are there members of the public that wish to speak on item 1? >> ♪ don't budget me this way ♪ without your loved i want to stay alive ♪ ♪ i need your help ♪ del the this budget is way ♪ city, my heart is full of love and desire for you ♪ ♪ do the budgets ♪ do the best you can do ♪ you started this fire in my soul and i don't want the budget out of control. -- are of control ♪ ♪ we want to stay alive

♪ don't leave us this way ♪ ♪ city, my heart is full of love and desire for you ♪ ♪ so do the budget the best you can do ♪ ♪ you started this fire in my soul ♪ ♪ and i don't want the budget out-of-control ♪ ♪ why don't you set me free ♪ ♪ make it free ♪ we want to we ♪ want to stay alive ♪ make it right ♪ >> thank you. are there other members of the public that wish to speak on item number one? are there -- seeing none, thaits closed. are there any other items before us? thank you, we are adjourned.

>>. touring england was a time when robert as mentors were being challenged by a quickly growing middle-class. for endeavour's crew of new artists began to assert themselves, offering new definitions of the athletics of arts and beauty. over 180 objects of avant-garde design and art from the victorian england has been collected inside the legion of honor snoot exhibition, it's the cold of the ec. -- the cult of beauty. >> there was this group of

artists that were not only revolutionaries in their artistic expression but also in their personal lives and their interest in democratizing art in introducing beauty into the growing middle-class. >> one of the inspirations for the victorian avant-garde was the industrial revolution. quality household goods were now being mass-produced. artists responded by either creating elaborate unique court or by embracing technology and trying to share a beautiful creations with as many people as possible. >> william morris was in a difficult position, because he wanted the middle-class to be able to acquire really beautifully made objects. but the piece is that he actually made, you know, took so much handcrafting that there were quite expensive. i think he would have been pleased to know that there are things like restoration hardware anne craig and bare all

that tried to make available to the middle-class -- and crate and barrel that tried to make these things available to the middle class. >> over 60 lenders contributed art and craft to the exhibition. one of the partners is london's victoria and albert museum, which has been collecting the finest examples of victorian craft since queen victoria herself attended the groundbreaking ceremony. the artist of the victorian avant-garde believe that every object could contain an expression of beauty. the attention given when creating a towering sculpture should be the same as when creating a simple cottage gate. they embraced arts for arts own sake. whether in the curl of a flower or a stray lot of unpin hair. surprisingly, sensuality returned to public view during the victorian era. albert moore and others were

inspired by ancient greek sculptures and found new uses in modern times. >> many of these paintings are large. when you get close to them, they seem to wrap you in this luscious colors. there's a great sensuality to the paintings, even though there's nothing sexual going on in the pictures. the artists just took delight in luxurious fabrics and colors and beautiful women. >> symphony in white is a life- size portrait of the immense stress of james wisler. it is featured prominently in the exhibition. harmony in gray and green was an of socially judged as a disagreeable presentation of a disagreeable young lady. the first public reaction of this series was so divisive that led to court proceedings. today, they hang in london's tate gallery.

walking to the exhibition, you might be distracted by objects that seem to modern war appeared to be at least art deco era. forward thinking victorian artists emerged the economical ambitions of 18th-century cottage's style furniture with the asymmetrical design elements of japanese art that was introduced to london in 1862. >> so you come out with these very beautiful and sleek design worms that the artist combined -- a design forms. very modern. our visitors are really surprised that so many of the works at a very modern feel to them. >> they believe that no object needed to be considered worthless or low class. each thing, existing in its own place, was the best thing for its place. and what first seems to be idle

showiness, shows the richness of today and yesterday. >> it is exciting to have a project you have worked on for so long coming in know, come to your own museum. and museum curators are among the luckiest professionals, because we get to share with tens of thousands of people the things that give us enjoy and the things that explain to our visitors the relationship between art and society. art is not just a frivolous, you know, sidebar. it is a very important expression of culture and morals. this particular moment, the artists were interested in community. >> san francisco is the exclusive american host for the cult of beauty exhibition. the legion of honor is website has more information about the artists and tips for planning

your visit. learn more at the website. thank you for watching>> when sr

died, he was working on one of the biggest shows of his career, matter and spirit. it is a retrospective look at the many faces and faces of the life of an innovative artist from the california clay

movement. stephen de staebler's developed in an area dominated by abstract expression. even his peers saw his form. >> he was able to find a middle ground in which he balanced the ideas of human figuration and representation with abstraction and found it even more meaningful to negotiate that duality. >> another challenge was to create art from a meeting that was typically viewed as kraft material. his transforming moment was an accident in the studio. an oversized vertical sculpture began to collapse under its own weight and spread onto the floor. he sought a new tradition before him, landscape sculpture.

>> you feel this extended human form underneath the surface of the earth struggling to emerge. eventually, it does. it articulates his idea that the earth is like flesh, and the archaeology and geology in the earth are like the bones, the structure of the earth. this tied in with his idea of mother earth, with the sense that we are all tied to nature and the earth. >> a half dozen bay area museums and private collectors loan the massive sculptures to the museum for its matter and spirit retrospective. but the most unusual contributions came from stephen himself. a wall of autobiographical masks and hence from the early decades of his private study. >> he had one of the most beautiful studios i have ever been in. when you walk in, your first impression is of these monumental figures that you see

in the exhibition, but if you went into the back corner of his studio, there was a series of shells with these diminutive figures. he told me, these are the heart of my studio. these little, and held intimate study is that he referred to as his sketchbook. a painter might make drawings. stephen de staebler made miniature sculptures. >> during the 1970's, he was inspired by the monuments of egypt. he assembled a large rocks of clay into figures that resembled the ancient kings and queens. he credited a weathered appearance by rubbing glazes' into the clay while still wet. the misfires from his killed were brought in his backyard in his berkeley home. he called it his boneyard. in the last year of his life, he dug up the artifacts from his own history, and the bones were rearranged, in the were slimmer

figures with wings. >> even if you knew nothing about his life or career, you sensed there was an artist dealing with this fundamental issue of life and death, the cake, netting back together, and you feel there is an attempt to deal with mortality and immortality. there is a seeking of spiritual meaning in an existential stage. >> during his 50-year career, stephen de staebler worked to form and out of the clay of the ground and give it a breath of life. matter and spirit gathers the many expressions of his meditations. and gives the viewer and insight into the artist's life. learn more about the retrospective on line at >> sanrio famous for the designs for hello kitty.

i thought i would try to make it as cute as possible. that way people might want to read the stories. then people might be open to learn about the deities and the culture. ♪ they reached out to make about five or six years ago because of the book published. they appreciated that my work was clearly driven from my research and investigation. after i contributed my artwork, the museum was really beside themselves. they really took to it. the museum reached out to me to see if i would be interested in my own space inside the museum. i tell them that would be a dream come true. it is the classical, beautiful indian mythology through the

lens of modern design and illustration and storytelling. they're all of these great sketch as i did for the maharajah exhibition. i get a lot of feedback on my artwork and books. they complement. they say how original the work is. i am the first person to say that this is so derived from all of this great artwork and storytelling of the past. the research i put into all of my books and work is a product of how we do things that a-- at pixar. sometimes you will see him depicted monkey-like or as superman. i wanted to honor his monkey coloring. i decided to paint him white

with a darker face. it is nice to breathe new life into it in a way that is reverent and honors the past but also lets them breathe and have fun. it is almost a european notion to bring these symbols and icons from southeast asia. they decorate their deities. it was a god they interacted with every day in a human way. the most important thing has been to create work that is appealing to me. i want to see vishnu to pick did in a modern way. it dawned on me by reinterpreting the deities in a way that is modern and reverent to the history, i am building a ri