buildings in san francisco. >> the trans-america was built way before. it's a pretty conventional foundation design. >> i have heard about this thing called the triangle of life and up you are supposed to go to the edge of your bed to save yourself. is there anything of value to that ? >> yes, if you are in your room. you should drop, cover and hold onto something. if you are in school, same thing, kitchen same thing. if you happen to be in your bed, and you rollover your bed, it's not a bad place to be. >> the reality is when we have a major earthquake the ground shaking so pronounced that you are not going to be able to get up and go anywhere. you are pretty much staying where you are when that earthquake hits.

you are not going to be able to stand up and run with gravity. >> you want to get under the door frame but you are not moving to great distances. >> where can i buy a richter scale? >> mr. richter is selling it. we are going to put a plug in for cold hardware. they are not available. it's a rather complex. >> in fact we don't even use the richter scale anymore. we use a moment magnitude. the richter scale was early technology. >> probably a myth that i hear most often is my building is just fine in the loma prieta earthquake so everything is fine. is that true ?

>> loma prieta was different. the ground acceleration here was quite moderate and the duration was moderate. so anyone that believes they survived a big earthquake and their building has been tested is sadly mistaken. >> we are planning for the bigger earthquake closer to san francisco and a fault totally independent. >> much stronger than the loma prieta earthquake. >> so people who were here in '89 they should say 3 times as strong and twice as long and that will give them more of an occasion of the earthquake we would have. 10 percent isn't really the threshold of damage. when you triple it you cross

that line. it's much more damage in earthquake. >> i want to thank you, harvey, thanks pat for >> i love teaching. it is such an exhilarating experience when people began to feel their own creativity. >> this really is a place where all people can come and take a class and fill part of the community. this is very enriching as an artist. a lot of folks take these classes and take their digital imagery and turn it into negatives. >> there are not many black and white darkrooms available anymore. that is a really big draw. >> this is a signature piece.

this is the bill largest darkroom in the u.s.. >> there are a lot of people that want to get into that dark room. >> i think it is the heart of this place. you feel it when you come in. >> the people who just started taking pictures, so this is really an intersection for many generations of photographers and this is a great place to learn because if you need people from different areas and also everyone who works here is working in photography.

>> we get to build the community here. this is different. first of all, this is a great location. it is in a less-populated area. >> of lot of people come here just so that they can participate in this program. it is a great opportunity for people who have a little bit of photographic experience. the people have a lot, they can really come together and share a love and a passion. >> we offer everything from traditional black and white darkrooms to learning how to process your first roll of film.

we offer classes and workshops in digital camera, digital printing. we offer classes basically in the shooting, ton the town at night, treasure island. there is a way for the programs exploring everyone who would like to spend the day on this program. >> hello, my name is jennifer. >> my name is simone. we are going on a field trip to take pictures up the hill. >> c'mon, c'mon, c'mon. >> actually, i have been here a lot.

i have never looked closely enough to see everything. now, i get to take pictures. >> we want to try to get them to be more creative with it. we let them to be free with them but at the same time, we give them a little bit of direction. >> you can focus in here. >> that was cool. >> if you see that? >> behind the city, behind the houses, behind those hills. the see any more hills? >> these kids are wonderful. they get to explore, they get to see different things. >> we let them explore a little bit.

they get their best. if their parents ever ask, we can learn -- they can say that they learned about the depth of field or the rule of thirds or that the shadows can give a good contrast. some of the things they come up with are fantastic. that is what we're trying to encourage. these kids can bring up the creativity and also the love for photography. >> a lot of people come into my classes and they don't feel like they really are creative and through the process of working and showing them and giving them some tips and ideas. >> this is kind of the best kept secret. you should come on and take a class. we have orientations on most

saturdays. this is a really wonderful location and is the real jewel to the community. >> ready to develop your photography skills? the harvey milk photo center focuses on adult classes. and saturday workshops expose youth and adults to photography classes.

>> just a few steps away from union square is a quiet corner stone of san francisco's our community to the meridian gallery has a 20-year history of supporting visual arts. experimental music concert, and also readings. >> give us this day our daily bread at least three times a day. and lead us not into temptation to often on weekdays. [laughter] >> meridians' stands apart from the commercial galleries around union square, and it is because of their core mission, to increase social, philosophical, and spiritual change my isolated individuals and communities. >> it gives a statement, the idea that a significant art of any kind, in any discipline, creates change.

>> it is philosophy that attracted david linger to mount a show at meridian. >> you want to feel like your work this summer that it can do some good. i felt like at meridian, it could do some good. we did not even talk about price until the day before the show. of course, meridian needs to support itself and support the community. but that was not the first consideration, so that made me very happy. >> his work is printed porcelain. he transfers images onto and spoils the surface a fragile shes of clay. each one, only one-tenth of an inch thick. >> it took about two years to get it down. i would say i lose 30% of the pieces that i made. something happens to them. they cracked, the break during the process. it is very complex. they fall apart. but it is worth it to me. there are photographs i took 1 hours 99 the former soviet union. these are blown up to a gigantic

images. they lose resolution. i do not mind that, because my images are about the images, but they're also about the idea, which is why there is text all over the entire surface. >> marie in moved into the mansion on powell street just five years ago. its galleries are housed in one of the very rare single family residences around union square. for the 100th anniversary of the mansion, meridian hosted a series of special events, including a world premiere reading by lawrence ferlinghetti. >> the birth of an american corporate fascism, the next to last free states radio, the next-to-last independent newspaper raising hell, the next-to-last independent bookstore with a mind of its own, the next to last leftie

looking for obama nirvana. [laughter] the first day of the wall street occupation set forth upon this continent a new revolutionary nation. [applause] >> in addition to its own programming as -- of artist talks, meridian has been a downtown host for san francisco states well-known port trees center. recent luminaries have included david meltzer, steve dixon, and jack hirsch man. >> you can black as out of the press, blog and arrest us, tear gas, mace, and shoot us, as we know very well, you will, but this time we're not turning back. we know you are finished. desperate, near the end. hysterical in your

flabbergastlyness. amen. >> after the readings, the crowd headed to a reception upstairs by wandering through the other gallery rooms in the historic home. the third floor is not usually reserved for just parties, however. it is the stage for live performances. ♪ under the guidance of musical curators, these three, meridian has maintained a strong commitment to new music, compositions that are innovative, experimental, and sometimes challenging. sound art is an artistic and event that usually receives short shrift from most galleries because san francisco is musicians have responded by

showing strong support for the programming. ♪ looking into meridian's future, she says she wants to keep doing the same thing that she has been doing since 1989. to enlighten and disturbed. >> i really believe that all the arts have a serious function and that it helps us find out who we are in a much wider sense than we were before we experienced that work of art. ♪