next rather than just print it because there are foundational uses in any organization to have these types of mandates, or manifestos. >> commissioners this item doesn't necessarily require any notification but was there a date specific or just indefinitely? >> president fong: when ready. but thank you very much for bringing it back up, and taking the nudges, and bringing it before us. >> commissioners on the motion to continue, commissioner jip &c @&c"p% commissioner hillis, aye, commissioner sugaya, aye, commissioner wu, aye, commissioner president fong, aye. that passes 7-0. item 9, 1411 market street informational presentation on the proposed art installation. >> good afternoon, commissioners, aaron hollister, department staff.

before you today is the public art proposal -- public project at 1411 market street. the market was entitled in april 2007. it will contain two showers contained on a project site the on the west side of market street as to jesse street. it will be 35 stories with a tall story base along market street. the south tower will be 19 stories. the two towers will be connected via a nine story podium along 10th street. it contains approximately 19,000 square feet of commercial space. pursuant to planning code section the project requires a public art component value equal to 1% of the art construction cost of the project. the artist selected by the project is toper delaney, a

san francisco based artist who specializes in environmental art. her works can be found throughout the bay area, nationally, and internationally, plazas and private properties. she selected two occasions for public art installations. one installation would be on the normally fas of the tower in the form inspired by the the japanese art basketry. it will be located at grade level plaza located at 10th abilityd market streets and will contain etchings, cultural stone pieces, and installation of painted materials. the final location are to be submitted for review by the planning director in association with the planning commission, as to concept of the installation at 1411 market street. the department staff supports

the concept and location of the public art as proposed. this concludes my presentation. i would like to now introduce toper delaney for explanation of the art installation and inspiration behind the installations. thank you. >> good afternoon, commissioners. i'm toper delaney. do i have two or three hours? i'm very excited to share with you this public art installation. it is a wide and fully integrated installation, rather than a peetio piece of art. and it's -- sort of the generating principle here is the history of san francisco, and

also the currency of san francisco, and knowing something about how we've come to be here. so i took the idea of first the paving is a map of san francisco. if you'll look here, start over here, this is market street here, and this is 10th street here. so market street, as you know, cannot change. yep. it's paving. then as we go down 10th, we will be using standard specification of paving which is downtown specification of black with a mica in it. also, what is really exciting about this project will be integrating qr codes into this project so that, as you enter,

you can put -- if you have a smart phone, you can put your smart phone here, you can put your smart phone here, you can put your smart phone here. what will come up with that is explaining what these maps are, to the understanding of the history of san francisco. they're also graphically very nice. so that's the floor plain. so this map here is white gran it. and that granit is from the raymond quarry. i don't know if you know who it is. they are the people where all our curbs were generated from the raymond quarry. so everything that you see in san francisco, that was a stone curb, is from raymond. and that is a beautiful granite.

we will be using that granite in reference to the history but also the currency now. so that's one map. that's the coast. the other is the sacramento delta in here. and that references the fact of agriculture, how this city was built. the importance of the internal structure of the central valley, it's also -- maps are very beautiful to look at, as well. and how important our waterways are, both coastal and internal. and then moving to the internal part here, this map spans, and right at this point, right here, where i have my little pen here, is where the golden gate bridge is. so this gives you the coast line of here, california, and it's taken from a map in 1866, an

etching map. so, again, how important it is as ani úy entrance. there's obviously a metaphor here for the entrance. so that's the ground plain. and then as you enter this, you will see large stones. and these are the stones here. these are 11 to 12 feet tall. they are coming in from raymond also. and they will be situated -- this is horizonal -- but vertically. and they will be situated -- one will be situated here. one will be situated here. one will be situated here, which is a split. and another split as well. and then trees will be in between. what is particularly interesting about these two stones are that, at the height of 11 feet, which would probably be a little higher than that len tell right

there or at that lent el height, these are sound pieces. so when you talk into this one, you can hear into this one, what is being whispered. you are facing the stone to make this work. so these are also the idea of referencing talking to nature. so you'll probably see a let of people talking to stones. and they're not crazy. they're just, you know, involved. so that's a really nice aspect of this. the other aspect is that the scale, we don't see much scale on market street, of this nature. and we certainly don't see much scale that's approachable, and natural. we see -- you know, sort of art that is like interesting to someone, you know, if you know art history, you might get it. if you don't, you might not. the other aspect of taking

something that is -- is more of an ab traction of nature is that when you see, for instance, a sculpture on third and kearney, does anyone know who that is? generally not. who are these people? what happened here? and so i don't want to really get into that type of specific art. and i would like this to be a piece that, for the city, is a forever piece. it's not like oh, that was when they were doing high tech and stripes, and that was the time when they were doing splatters. so we really want to avoid that completely. it's also one of the windiest corners in the city, so windy that i'm told that the federal building decided not to build

their building there because of the amount of velocity that comes down fel street, coming across polk and market. i did the roof plaza for the bank of america adjacent to that building. and i installed 57 wind socks there. you can see them, and they work all the time. and they tell you what direction. so people actually learn about wind patterns, scientific aspects are integrated into this as well as cultural and social aspects. here, which are beautiful trees. these are populars. it's very important that the selection be correct here, because the -- of the wind. and as you all know, most of the plant material looks really out-of-sorts in this area, and barely alive. so it is essential that we have the right type of selection

here. we will also be having grasses vessels as i call them. and i'll give you a little picture of a model here. so these are the paths here coming across. and then a lot of greenery facing market street. again, market street is somewhat bereft of any kind of natural interventions. and i think this will be very pretty much no one's going to be sitting there because it's a north-facing plaza, and it is very windy. those two pretty much stop almost everyone from kind of lingering, given those two parameters. but i would like to be able to have an expressive environment for our community, where they can learn about where they are,

they can be excited about the history and the currency. so that's -- i've said enough there, i guess. and, also, we will have words in the stone that say here, and hear. so there will be two different hears there. again, as an artist i'm very interested to have people understand where they are, and why they're there. so that's that section. and then we've had a really wonderful time with the tower. and the tower is -- and i'm working with glenn rescolvo

and -- architects and asked if i could also work on this aspect of the building. and they said they would allow me to do that. and i based it on the concept of a building being a basket. and i particularly like japanese baskets, and the ar artistry of. so i took that idea and i developed a wall pattern, using form liners. and so this is the wall pattern here. it's a fairly complex pattern, with very tight restrictions. ige$jqm have three inches to wk within. so i found an incredible artist also, a manufacturer of form liners. and they allowed me to bring him in.

and now we have a really beautiful surface, where we would not have had one prior. so that's kind of it for the moment. and i know you're really business. it's been -- busy. it's been interesting, listening to the different issues. and i'd love to answer questions. i'm very excited about this. thank you. >> let's open it up to public comment first, and then to commissioners. is there any public comment on this item? seeing none, public comment is closed. commissioner moore. >> commissioner moore: this is remarkably exciting, particularly having it presented. to hear your priorities, wonderful. i will remember a piece of architect that happens to be in china at the temple of heaven where there is indeed a wall which does exactly this, and it is amazing experience to all of a sudden walk in a quiet space,

and your hearing voices, and you cannot even physically see the sounds. it's just a lovely experience where you are. there is a presence of people there, yet physically not there. he hadians, because you see them tracing celestial patterns, reminds you bringing the history plaza, together with the use of materials connecting us to the infrastructure. i think that just really thought provoking piece and i hope that there's somewhere in this area a little piece so people can read the complexity of what your doing. >> we do have the laudite approach, which is my approach, which is you can read it. i mean i don't use a qr code, but that neighborhood is twirt,

it's all of these very -- you know, everyone's got that phone moving. so i would prefer to read it. i think it will be something that people -- our tourists would come, because it talks about the layout of the city also. and we locate exactly where the project is in the map. and we do the scale of the map. so we have -- it's important for people to know scale, in my opinion. so it's -- this cross piece is exactly where the project is. so the two walkways literally cross the intersection of where the project is. so there is a marker, a survey marker in there that's actually larger than a survey marker. it's a brass marker that says everything about who the developers were -- iñ/$i:÷ grewp from new york and we always knew who the developers were. every building says who they were. here, who knows.

so it's who they were, you know, what the year was, that kind of thing. really, the responsibility of the people who chose to do this big effort. >> vice president wu: thank you. commissioner antonini. >> commissioner antonini: thank you for what you're doing. it looks interesting. it's hard to visualize what the whole thing looks like because we heard about the different parts and maybe there is an overview of everything. but i had a few questions. looks like you have some kind of fence or screen, if i'm looking at the right thing, in the middle of the plaza somewhere. it looks like it's clear, some sort of clear material. >> sir, i don't understand the question. >> commissioner antonini: well i guess it's hard to really see which one it is. i'm not sure -- >> okay, that. yeah. there's nothing in -- >> commissioner antonini: that's something that is used somewhere else. is that right? >> no. >> commissioner antonini: it's a little hard to tell what's planned and what is somewhere else. >> oh, you know that's the edge

of the building. are you talking about the plastic? >> commissioner antonini: yeah. >> that's the edge of the building. >> commissioner antonini: you just did symbolic. >> symbolic. sorry. you get so into it -- >> commissionernv didn't understand what it is. a couple of things, i'm looking at some of your ideas for the foliage and not sure if i'm looking at things as you have planned but looks like in some of the places you have a higher type of foliage. there are some trees, obviously which are fine, but then they will be relatively high, looks like three foot high, two foot high greenish foliage. >> thank you. one specific grass, because of the wind, we need to have round material. and round material, sejs have edges, and rushes are round. so core ond um peck tore um is a

rush. the geometry of the wind as it moves does not tear the edge apart. it's very -- for some reason, i don't know why people don't understand this, but you have to have the wind pass through. that's why the peedial of the -- this particular popular is a flat peedial so the leaves move like this as a aspen. if you dot have a flat peedial like a sycamore ripped to pieces, all ofnpje the other ps on the other side which are frack mus, totally gone, out of the door in three months. >> commissioner antonini: the problem i have with that because it is windy everything blows there and we have a tendency to throw things on the ground in san francisco and not in garbage cans and it's an eyesore because it catches things. that's why we go with flat surfaces like lawns that are kept from catching junk because it looks terrible.

í cities's just others,tg don't have as much wind and peep are just as sloppy about throwing things away but it seems we have more junk here that is always getting caught in things that are higher. that's what i would advise you about keeping the foliage very low and as flat as possible. >> one of the things -- i understand what you're talking about because i don't understand -- because i'm in this -- you know, why people equate planter with a crash can, i don't understand. but that seems to be the thinking. but here, what's important is to see movement, i think. we don't see much movement in the city. everything is quite static. so when you come up, what's nice about this is you are seeing -- it's one material, it's not many, it's one particular material does extremely well in this type of environment. but also, the folks that run this building are like very -- i

don't know, i'd say very disciplined. they really -- they have no intention for this to look badly at all. >> commissioner antonini: well they'll maintain it. >> totally. they have a guard there. they're very much -- they're great. i mean they really -- we're like -- we definitely want greenery. they pushed this, and i thought it was terrific. >> commissioner antonini: and i like your stone ideas and the historical part of where the quarry is, that it came from. but, you know, we have an historic -- a lot of the statues and things along market have historic significance. if you know the history of san francisco, you know a lot of crab tree, a lot is fountain, you know the mechanics memorial which was the donohue brothers and the union ironworks pier 70. there's a reason why they're there and they are a important part of our history.

it wouldn't be the worst thing to have something that you can identify. there's this talk about a tribute to harvey milk and that might be a good place to put something. i'm not saying you need a statue of someone but sometimes it makes it more interesting if you can actually identify someone. i'm not telling you how to do your job, but that's why a lot of the places along market, as they are, because they have historic significance. >> and i completely agree with you. and that gives me the platform to discuss this, which is that we don't acknowledge where the natural elements of this city come from. so i'm acknowledging the invisible. i'm acknowledging raymond quarry, which was a huge, huge component of this city. and the extraordinary granite mountains that we live by. so you're right. i mean you're totally right. it would be horrible if we lost

those statues. i mean we should have more. but this one, i want to acknowledge what has brought us here, the beauty of california, the extraordinary landscape of california, and what makes us unique. >> commissioner antonini: i understand your symbolism somewhat like when they built the bank of america building many years ago, and the carn elian stone that was used. >> the black heart of the banker, that one? >> commissioner antonini: not that, no. i was just there yesterday, and looking at the very nice bust of apg&e, which is inside. no. the outer color of the building is car nilian. >> culture of wisconsin. >> commissioner antonini: comes out of wisconsin but car nilian is a reference to the color and a lot of california

car nilian bay. >> yeah, there you are go. that's nice. that's really nice. >> commissioner antonini: so reference to that. so i understand what you're doing. you're using the material to -- >> i want to celebrate the invisible, which we don't see. >> commissioner antonini: well thank you. very interesting. >> thank youz%( :í. >> vice president wu: commissioner borden. >> commissioner borden: i just love the extensive nature, the treatment of the building as well as the space. i)zjpuiñ think that while therea place for statues and singular art installations the way the art has been so interwoven throughout the entire project, providing so many elements to the actual, to the intangible i think is incredible, and i wish -- i would like to hold this up as an example of what i would like to see more of because there's so much visual for the eyes but so much more to that, that's been creative here. i guess it sounds to me like they gave you license to kind of

be diverse in coming up with -- >> partiall partially. we work together. that's what's so great about this team. with glenn and myself and other members, it's been a really good experience. >> commissioner borden: well thank you. >> vice president wu: commissioner hillis hngeddle i want to thank you, i think this is great and thank you for coming to explain it to us because you bring it to life and thank you to for responding -- i think it's great that this public art responds to this site. you've taken a lot into consideration that -- this corridor, which is windy and people aren't going to linger and north-facing. thank you, i think it's a great proposal. >> thank you. >> vice president wu: i think that's it for comments from commissioners. thank you for your presentation and time and work on this. >> thank you. >> can we take a break please. >> vice president wu: let's go to public comment and then take a break.

is there any general public comment? sorry. >> commissioners, at this time we'll be moving to your general public comment section of the calendar not to exceed 158( 1. minutes. at this time member of the public may address the commission on items which are within the jurisdiction of the commission. with respect to agenda items your opportunity to address the commission will be afforded when the item is reached in the meeting. i have no speaker cards, commissioners. >> vice president wu: general public comment? seeing none, general public comment is closed. the commission will break for 20 minutes. >> the planning commission meeting is in recess.

>> commissioners, i'd like to welcome everyone back to san francisco's planning commission regular hearing for thursday, january 17, 2013. we left off just before your regular calendar, so we will proceed to item 10. fiscal year 2012-13 supplemental budget appropriation. this is a non-action item and it's only informational. >> thank you opinion good afternoon, commissioners. john rahaim, planning department. we are here today with the first of two budget items this week. this item is actually for this fiscal year, and then we are proposing a supplemental budget request for this year. we are in an unusual situation this year, where our revenues have exceeded expectations because of the increased numbers of applications. as you know, the vast majority of the revenues of the department come from fee revenues from proposed projects. so we are proposing this year to

go back to the board, before the end of the fiscal year, and propose the use of some supplemental funds. the next item is the first of several discussions on the work plan and budget for the coming fiscal year. but this item is for the supplemental are this year and we are having an informational hearing and we hope to have an item in it front of you for action next week to continue on with the board. with that i'll introduce keith demartini martin irntioi who abo over the details. >> thank you. good afternoon. keith demartini martini, it's my pleasure to present an overview of this fiscal year's supplemental appropriation for our department and secretary iowna and i have copies. as director rahaim mentioned this is a supplemental budget appropriation for this currently four. under charter section 4.1024.3

the department is requesting -- will be requesting the planning commission's approval of our request, when we come back next week. they a an agenda idea for next week's agenda on this. so just before i get started with the details of the supplemental appropriation request i will have an overview of what we are projecting as far as revenues and expenditures which is the basis for our request. in this current year fiscal year budget we did assume overall volume projected growth of approximately 3% from last fiscal year and through about six months of actual data that we've been able to analyze so far through december, we are experiencing that 3% growth approximately, with some variation among some of the