it's that type of thing. commissioner sugaya: thank you. president fong: commissioner antonini. commissioner antonini: there are a few different options that were presented by the d.r. requesters. i guess there was one that has a little bit of an offset. maybe i could ask project sponsor a couple questions about the need maybe for the height. i guess that's my largest because it seems like you're going, what, seven feet above the grade of the previous structure, is that what we're dealing with here? >> seven, not above the previous structure. this lot has been vacant for as long as anyone can remember. so it's feeven feet above -- commissioner antonini: their parapet wall, ok. i guess what i'm looking at is there any way to diminish the height of the two floors and

still keep it functional for the kinds of tasks that need to be done in there or to set back the upper floor a bit, i assume your rear wall would be uniform, but that was one suggestion they made? >> you know, the building was designed essentially without the 40-foot height limit in mind because we had no intention of doing that. the building was designed to the specifications of the tenant, the hopefully soon to be tenant that intends to occupy the building. he is always in the automobile repair business and he knows what he wants. so i gave him what he wants. commissioner antonini: so he pretty much and for your type of business that you would be leasing to, that's the kind of height they seem to need? >> correct. commissioner antonini: ok. >> and just a point of note, i have not seen any of the

proposed designs that i guess you guys have received. so i won't be able to comment on them. commissioner antonini: ok. i don't know if any commissioners have any other ideas. i certainly think this is a good project, i have no problem with it, but i'm wondering if there is some way that something could be worked out to minimize the impact to the occupants of the lofts. commissioner sugaya: it's conforming to blow the be -- below the height. commissioner pimentel: commissioner moore. commissioner moore: i feel a little bit between a rock and a hard place, although it is a residential, live, work unit, residential considerations don't seem to be helping us making decisions, i.e., that the rear balcony would be

considered like a light well and that there would be a responding setback on the building side to respect that adequate light comes into the light well and while we don't have these guidelines, i do think as we are now in the eastern neighborhood often finding more add jay seven sis between the residential and the null encouraged work space buildings that we might have to consider inventing some of these guidelines. because in the end, i think we need to find a way that residential, where it meets the requirement for open space and light and air is not being impacted. i'm not sure how this applies here and i wish there would be some guidance by which they could indeed shape a notch in that building edge in order to allow for at least a breaking

of the wall, it might not be as a full pullback, but it might be a notching. it might be a slanted shed roof which allows light to come into the work space in industrial type window like the typical industrial shed or something, just indeed responsive to a live-work loft type situation instead of just squaring it out as an industrial building. commissioner pimentel: director. >> i do think for the reason for the staff's recommendation is because there is an industrial area, there are live work units. however, if the commission is interested in making some sort of compromise, it does seem to me that just while the d.r. requester suggests an angled wall is a bad idea, it is not unusual in that and for the live work units in that neighborhood to have decks that are surrounded by other

buildings. it's just not. i have been in many of them myself. they're out door decks that are surrounded by other buildings. in the commission is interested in bringing some more light into that back rear deck, then simply angling the wall of the new addition which is a second floor which is a storage area, it seems to me to not compromise the function of the repair shop because it's a storage area, still gives them the floor area, still allows them to put some storage. the pages aren't numbered, but it's in the d.r. requester's package, it's angled roof. what they're suggesting is not a good idea, i would suggest otherwise to bring some light into the building. commissioner moore: perhaps ask the architect to consider whether the interior used as work space for the bumpers or whatever he described to us as to whether or not the industrial rule like a semished is indeed an appropriate response.

could you come up and discuss that with us, please. >> so your question as i understand it is essentially how i would respond to that proposal? commissioner moore: yeah. >> indeed that proposal as was alluded to by the d.r. requester if the first meeting, i think, with the d.r. requester is when mr. dan kennedy stormed out of the room very angrily. he does have a short temper and he just keeps going back to the same thing, which is i could put up a 40-foot building here, so why do i need to compromise when i have already -- when i'm proposing to put up a 26-foot building. so, yes, certainly an angled wall could be done, the floor area, the useable floor area in

that back storage section would be somewhat compromised, but it's not -- we built out the lot to the size that was available, so, yes, if it had to be angled back, it could be done. physically, there is no reason why it couldn't be done. commissioner moore: you have a 10-foot ceiling height upstairs, from seven-foot up, you create a fully usable work space and then the window going back, the issues here, the commission needs to be concerned about balancing that indeed we have this unusual live work situation, which is still a live situation as well as by definition a work situation and we would be interested in some adjacecy. perhaps if mr. kennedy would not lose his temper in front of the commission and listen to what our concerns are. we are hear to speak at a level that needs to be an idea we

need to discuss and pose to him. so i would like to suggest that we encourage the applicant whose architect to consider that and we're not talking about an extreme. i can't understand why he would not want to notch the building back all the way, but a shed type tilting of the wall as a light plane might be of interest to both parties. president fong: commissioner antonini. commissioner antonini: i like that idea and it might have benefits for auto repair area. many times you see places on the second floor where they're doing a lot of the auto work, they have some fairly large windows that might be part of the roof to allow some light in there and obviously most of the work is done with artificial

light, it wouldn't hurt to get a little natural light in there. i'm thinking if commissioner moore would be reseptemberive, i'm not sure if you rank from seven to 10 and the distance of five feet, i'm not sure how far you want it to go. commissioner moore: i would leave to the architect to discuss, the overall room of detailing and the type of windows that is available, probably some industrial shed. i would leave it up to you because we obviously want to guarantee the maximum use ability of the work floor for the owner, however, we would like to have it as a visual light feature and with respect to diminishing the wall effect on the adjoining property. if you could work with that as an idea, that would be greatly appreciated. >> my just sort of thinking on the go here, we may also want to have -- there is a concern also for their privacy, so once we start putting a window in

there we're going to have to be sympathetic to the height of that so that we don't have people peering out the window into their private space. commissioner moore: seven feet up, i think you have to be on a ladder and inside the room to peer out. that would be hard to do. president fong: commissioner sugaya. commissioner sugaya: given the arguments and the d.r. requesters that perhaps we should also throw in the mix the consideration for bringing the wall back some distance. i'm not suggesting what that would be. but if you look at their angled roof equals a bad idea diagram, they're saying something that they'll be looking at an angled roof and, you know, that's going to be, well, anyway, so maybe a consideration, i know you lose square footage in the other instance, but some consideration of bringing the

rear wall back x number of feet might be thrown into the mix as a consideration also. or as another possibility. i would also like to point out that the angles from the summer sun and winter sun are very simplistic. your backyards essentially face northwest, i think it is, and there is no sun coming from that direction if these plans are accurate. so the angles that are drawn on here are really the right angles. >> my reason for suggesting that angle is six because i was trying to avoid losing square footage. since it was a storage area, it seemed like if it didn't have full head height, they could use it for storage. that was the thought there. i think the d.r. requesters appropriately raised the drainage issue. the drainage has to be worked out. all of that is workable in

these kind of situations. i was just trying to figure out way for them not to lose square footage since it is well below the building height and well below the number of stories that they could have. commissioner moore: i would agree with you partially also if you pull the wall back and get into other structural issues which i think is not quite appropriate to a simple building like that. i probably just deal with the window and some kind of arc strect really interesting form. >> commissioners, if i may, commissioner moore, you did mention seven feet. perhaps what we can compromise on is giving them a seven-foot floor to ceiling height at the back wall which allows them enough for storage and at that point a 45-degree angle to the proposed roof height. >> i'm sorry, i didn't understand that at all. what we said was that

originally we would take a look at the plan and -- president fong: the public portion is closed until you're called upon, i'm sorry. commissioner moore: i think you summarized it correctly. >> to repeat, it is a floor to ceiling height of seven feet from the existing second floor and at that point a 45 dre angle increases to the existing roof height. so you have basically an angled roof at the rear. >> which is pretty close to what has been suggested here. >> correct, except it would be seven feet he is second floor the point where it begins. president fong: commissioner antonini. commissioner antonini: i'm fine with that. i don't know if we would take d.r., i would make a motion, the only answer i need from you is the depth to which that rake curse. it's from seven to 10 -- 45 degrees. >> it starts at the seven-foot

height commissioner antonini: that will determine it. >> at that point it angles into 45 degrees. ok. so take d.r. and approve the project with a raked roof at 45 degrees from the rear line of the project at seven feet to a height of 10 feet to a death of 10 feet. president fong: is there a second to that? commissioner moore: second. >> ammunitioners, the motion on the floor is to take d.r. and approve the project with the modifications that commissioner moore and antonini have stated and summarized by -- commissioner moore: i would like to add a clarification that we encourage the addition

of the wall facing would be of light color and add light and a feeling of some kind of finish to it. >> is that ok? >> that's fine. >> including that the wall color be of light color and some sort of finish. on that motion -- >> can i clarify that? >> yep. >> is it the wall or just the wall, we're not talking about the roof? commissioner moore: the roof is not, the roof, we cannot dictate that we want to make sure that the wall is not dark and foreboding but indeed the wall is a positive surface as the open deck will face this wall. >> ok, so it's the wall that is

light in color, not the roof. on that motion, commissioner antonini. >> aye. >> commissioner borden. >> aye. >> commissioner miguel. >> aye. >> commissioner sugaya. >> aye. >> commissioner wu. >> aye. >> commissioner fong. >> aye. >> thank you, commissioners, that motion passed. commissioner, you're at public comment. president fong: there any public comment? seeing none, the meeting is 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 the new california

academy of sciences opened in 2008, it quickly became one of the top tourist magnets in the city. part of the cal academies' astronomical success is the weekly nightlife party. >> i am joined by helen, who is here to school me on all the nocturnal activities that are getting ready to take place here. tell us a little about what we can expect to see at nightlife. >> we open up the doors every thursday night at the california academy of sciences. there are certain things you can see every week you can go to the museum, visit the planetarium, and we bring in bars and a deejay or band. it is a different feel from during the day, something different every week. tonight , we have beer and music. -- tonight we have great beer and music. it is beer week. we have a dozen local brewers in

african hall. we have a deejays to set up throughout the museum and a live performance at 9:00 p.m. tonight. >> what has been your favorite part as a participant or as an observer? >> my favorite part is to walk around the aquarium in to see people with a drink in their hands, getting to know maybe somebody new, may be looking for a day, or chatting with friends. there jellyfish. i mean, they are beautiful. >> the culmination of the animals. >> it is very impressive. we do not have this at home. >> tell us a little about some of the spider's we see here on display. >> at the california academy of sciences, there is a very large collection of preserved and live specimens, which are the evidence about evolution. we have the assassin spiders, which are spiders that

exclusively kill and eat other spiders. they are under the microscope here. research done and the california academy's i rhinology lab suggests that the assassin spiders have been doing this for over 150 million years. this glassed in room is a real scientific laboratory, and the people in that room are preparing specimens of vertebrate, that is mammals and birds. the way they do this is to remove the skin, sew it together in a relatively lifelike pose, and ensure that it does not decompose. >> i am a really big class actress fan, so i am here to see them, and beer week. >> i wanted to learn something and have fun. >> i always enjoy it. i am not all is well -- always

working as i am tonight. sometimes i come to enjoy the music and to dance. ♪ >> culturewire covers the arts in san francisco, and one of my favorite culture artists is here tonight. jason, thank you for being on culturewire. tell us about some of your posters that we have here today. >> most of the posters here are four specific shows or tours. i am hired by the bands or the venue. >> what is the inspiration behind these posters? >> no, disease of the related to the bay and, of course. music -- it is related to the band, of course the musical content or isn't related to the bed. album covers can come from anywhere. ♪

♪ >> class actress was great. we have been having so much fun. i did not realize how beautiful the cal academy looks than that. what other events take place here? >> we do corporate events that night on a regular basis. but nightlife is your best bet to come in as a regular person pharmacy the academy at night, and visit with friends. calacademy.org/nightlife. we have details for the next few weeks. you can get tickets online in

advance or at the door. >> thank you so much. thank you for watching culturewire on sf gov tv. culturewire on sf gov tv. >> thank you, president yee