don't do any of it, but once it's written in a code i think it's unfair for us to -- somebody who goes through all the steps, the code says if it's a landmark you can have these uses and they go through all these steps and then turn around well, we don't think your building counts, then we should have explicitly excluded it. otherwise it's very confusing. i think it's very unfair to owners to /sutd suddenly go through these steps and find because there's a desire to keep the showplace intact that we would turn their building down. that's my comment. >> thank you. commissioner johnck. i appreciate the discussion on the issues here, but i do believe it meets the requirements for landmark status in a very big way and i support the staff recommendation to designate the landmark and i will make two amendments to advise me on

where to make these amendments, but i'd like to like numeral six to delete the word appears and put the word meets. >> motion? >> seconded. >> thank you. >> commissioners on that motion to adopt recommendation of approval as amended to remove in item six, appears to, and change the word meet to meets. and adding publicly accessible interpretive display to the project. >> just to clarify to make sure the recommendation is clear for the board of supervisors, i would recommend that the

commission -- recommend the ordinance be amended to require a publicly accessible display as part of the landmark designation, that way the city attorney can put that language directly into the ordinance to enforce it. >> fine, agreed. >> is that acceptable to seconder? >> yes. >> on that motion, commissioner johnck. >> yes. >> jones. >> yes. >> matsuda >> yes. >> pearlman. >> yes. >> wolfram. >> yes. >> hasz. >> yes. >> that motion passes unanimously six to zero. there are no other items on your agenda. >> thank you. we will adjourn this meeting.

>> what if you could make a memorial that is more about information and you are never fixed and it can go wherever it wants to go? everyone who has donated to it could use it, host it, share it. >> for quite a great deal of team she was hired in 2005, she struggled with finding the correct and appropriate visual expression. >> it was a bench at one point. it was a darkened room at another point. but the theme always was a theme of how do we call people's attention to the issue of speci species extinction. >> many exhibits do make long

detailed explanations about species decline and biology of birds and that is very useful for lots of purposes. but i think it is also important to try to pull at the strings inside people. >> missing is not just about specific extinct or endangered species. it is about absence and a more fundamental level of not knowing what we are losing and we need to link species loss to habitat loss and really focuses much on the habitat. >> of course the overall mission of the academy has to do with two really fundamental and important questions. one of which is the nature of life. how did we get here? the second is the challenge of sustainability. if we are here how are we going to find a way to stay? these questions resonated very

strongly with maya. >> on average a species disappears every 20 minutes. this is the only media work that i have done. i might never do another one because i'm not a media artist per se but i have used the medium because it seemed to be the one that could allow me to convey the sounds and images here. memorials to me are different from artworks. they are artistic, but memorials have a function. >> it is a beautiful scupltural objective made with bronze and lined with red wood from water tanks in clear lake. that is the scupltural form that gives expression to maya's project. if you think about a cone or a

bull horn, they are used to get the attention of the crowd, often to communicate an important message. this project has a very important message and it is about our earth and what we are losing and what we are missing and what we don't even know is gone. >> so, what is missing is starting with an idea of loss, but in a funny way the shape of this cone is, whether you want to call it like the r.c.a. victor dog, it is listen to the earth and what if we could create a portal that could look at the past, the present and the future? >> you can change what is then missing by changing the software, by changing what is projected and missing. so, missing isn't a static installation. it is an installation that is going to grow and change over time. and she has worked to bring all of this information together from laboratory after laboratory including, fortunately, our great fwroup of researche e-- g

researchers at the california academy. >> this couldn't have been more site specific to this place and we think just visually in terms of its scupltural form it really holds its own against the architectural largest and grandeur of the building. it is an unusual compelling object. we think it will draw people out on the terrace, they will see the big cone and say what is that. then as they approach the cone tell hear these very unusual sounds that were obtained from the cornell orinthology lab. >> we have the largest recording of birds, mammals, frogs and insects and a huge library of videos. so this is an absolutely perfect opportunity for us to team up with a world renown, very creative inspirational artist and put the sounds and sights of the animals that we study into a brand-new context, a context that really allows people to

appreciate an esthetic way of the idea that we might live in the world without these sounds or sites. >> in the scientific realm it is shifting baselines. we get used to less and less, diminished expectations of what it was. >> when i came along lobsters six feet long and oysters 12 inches within they days all the oyster beds in new york, manhattan, the harbor would clean the water. so, just getting people to wake up to what was just literally there 200 years ago, 150 years ago. you see the object and say what is that. you come out and hear these intriguing sounds, sounds like i have never heard in my life. and then you step closer and you almost have a very intimate experience. >> we could link to different institutions around the globe,

maybe one per continent, maybe two or three in this country, then once they are all networked, they begin to communicate with one another and share information. in 2010 the website will launch, but it will be what you would call an informational website and then we are going to try to, by 2011, invite people to add a memory. so in a funny way the member rely grows and there is something organic about how this memorial begins to have legs so to speak. so we don't know quite where it will go but i promise to keep on it 10 years. my goal is to raise awareness and then either protect forests from being cut down or reforest in ways that promote biodiversity. >> biodiverse city often argued to be important for the world's human populations because all of the medicinal plants and uses that we can put to it and fiber

that it gives us and food that it gives us. while these are vital and important and worth literally hundreds of billions of dollars, the part that we also have to be able to communicate is the more spiritual sense of how important it is that we get to live side by side with all of these forms that have three billion years of history behind them and how tragic it would be not commercially and not in a utilitarian way but an emotio l emotional, psychological, spiritual way if we watch them one by one disappear. >> this is sort of a merger between art and science and advocacy in a funny way getting people to wake unand realize what is going on -- wake up and realize what is going on. so it is a memborial trying to get us to interpret history and look to the past. they have always been about lacking at the past so we proceed forward and maybe don't

commit the same mistakes. good afternoon and thank you for coming. i'm delighted to announce that our first effort is unleashed upon the world. [ applause ] . it's only been two-and-a-half years since the moment of conception of this idea. it's an amazing tribute to our community. it reached three levels of impossibility, of getting a permit and designing it and putting it on this structure and the impossibility of getting it funded. it really

is a tribute to so many and a lot of faces that i'm looking at this room tonight. it comes down to as always people. i'm going through a few moments here to give a real thanks to people who made this night and the next two years possible. i'm going to list a couple of company names, but i want to think of them as members of our community that made this project possible. that included, bloomberg, guchie, it includes the partners, magazine, california home and design, magazine, aluminum

illuminary sponsors and the folks tonight. and, you know that first level of impossibility. i'm going to list some agency names. it comes down to a lot of people in this room to make it possible. my first phone call in this project was to cal trans. in cal trans working together with the bay area with the mayor's office here in the county of san francisco and coast guard, official wild life, all of these came together to find a way when typically the system is designed to say no, people found a way to say yes to this project. the arts commission, this collusion support from the

san franciscmuseum of modern art. i apologize for the folks i will be missing because this is a cast of a thousand that made this happen. we certainly love our lawyers in this process. morrison who helped it become a very established and professional way in getting the contract involved in getting this project to an amazing legal footing. the technology network in san jose who made this a crucial project. i want to call out a thanks to or tactical team. we know how to make it small, not over 150 feet in the air. we have a

studio, zone engineering and i have to say thanks to hmr who has been a rock star and directly one of the reasons this is happening. an extremely talented project. thank you all. i also want to just take a moment to really acknowledge that while leo and i have done a lot of things m in this world, we would not be able to do it alone. there is only one person responsible for this project and that is executive director of the arts. luminarias. i can go on and on. i think i will throughout the night. do know that she's a special person and this entire

community owes her a debt of gratitude. i want to thank leo and his family for bringing the level of artistic integrity for this work that somehow slipped through the progress of a work of contemporary art parallel in art history. it has everything to do with leo and our interpretations with our discussion and that one minute that transformed how people will be receiving this project and how i can make this happen and lieutenant governor will join us at the ceremony at the bay light.org. i really want to

thank our mayor who is a visionary in his own right and common good and who i had the pleasure of working with other projects and he's making this city better every single day. people should know that mayor embraced this team, this project ma way that had nothing to do with really -- even, it was a matter of passion, a personal desire to see the work of art radiant and shine in our community it was an amazing gift. mayor lee, we owe you a great debt of gratitude. thank you so much. [ applause ] >> thank you. welcome everybody to the building in san francisco. gosh, your vision, i

have been living with this vision for almost two years now ever since our city engineer said, come with me to this event and you are going to be surprised how we can turn infrastructure to a piece of art. i have worked with so many projects with roads and buildings that we oftentimes cannot lift this heavy piece of metal or holes in the ground an construction and not be able to see the work of art that contributes to this city and future. amy, thank you for your incredible leadership on this. i met you first at this event here but was immediately sold on the possibility that we can unleash art in the most creative way. this is in fact a

beacon for our arts community, for a world class city and it has the ability to attract some $50 million of contributions to our economic vitality a huge base of fans that will visit our city. there is going to be 150 million visitors, i think it's going to be $97 million contribution to our committee already scaled by our travel association. so part of it is economics, but i actual, without even having those numbers in front of me knew that this was going to excite us. i actually know that when we unveil this tonight, the feeling that i'm going to be having, is we just won another world series because it's going

to bring that kind of excitement into city. and to have this timed in a way in which we have just finished the 75th anniversary of the celebration of the bay bridge, we have opened the auditorium and on our bay for the first time we have just finished the world series and the 55 sealing on our bay is a celebration for san francisco and this incredible rebounds that this city is experiencing can really only be complimented by the arts, because allows the arts to celebrate all the other things that we are trying to do economically to be covered, i think is an incredible cap on our future on what we can experience and exemplify to the

rest of the world. this leaves me to an appreciation to the artist that he has not only visualized what 25,000 led lights can do but discovered a fashion in which will not see the same pattern at any time experience. this is kind that have innovation that we are experiencing in san francisco that creativeness, that we've always wanted to have from our arts community to us with all the other things that we are doing in struggling everyday and sometimes there are good stories but art has always been an inspiration to me. you can imagine anything you want in these lights. the artist will say that leo has always said it and documented in so many other

interviews to give yourself a chance to work with these 25,000 light is. to me it's the mustache. it will be for every child in us, the ability to celebrate, to see what's good and what we have done here, but i think it will be the beacon for world class to happen here in san francisco. i look forward to -- we talked about this being a 2-year commitment. but we all know with the success this has, we are already and i will predict that people, including myself will want this to be on going certainly during my lifetime. [ applause ] >> so i have every expectation we'll about be right there hand in hand celebrating with you to

create even more art in the city. by the way, it's budget time, so tom in the art commission, you have done very well with the opening of this timing with everybody else that we have the proper level of art to be creative, to bless us with all the things that are so positive and to exemplify the arts community for what it's done. with that, i would like to introduce our artist leo villa real. >> thank you so much. i'm beyond thrilled to be here today. this has been an incredible 2-and-a-half years from the initial idea when ben davis asked me to consider the bridge and how it can be turned into a canvas and having thought about it and created an assimilation on the computer,

animation that so many people saw and were inspired to get behind and enabled to happen. so many people to thank, but certainly folks at cal trans and mayor's office, governors office. there were so many hoops we had to jump through. getting the permit was one of the miracles. i thank you for believing in public art and helping us get this done. amy has been amazing, our executive art director. [ applause ] amy was able to shepherd this impossible project through all the intricacies, i'm in incredibly grateful for her

help, grateful for his efforts in another monumental task. he's raised $6 million of our $8 million. this project is an incredible gift by our pat patrons through the city. this is an incredible piece. you don't have to buy a ticket. it's there and available. a very universal quality, it has some response to it. it's operating on a very primal level. i think we the technical team that put this piece up has been remarkable. zad and zoon has been a lifesaver.

incredible individual who has never said no to me. everything is always been possible and bringing the team together to actually install this work. to make a photo shop simulation and 3d animation project. it was in incredibly inspiring. i went out there on a cloudy day and it was incredible magic that was happening. i knew this was going to be fine if i can channel the interaction of all these systems into my work. so i'm very grateful for everyone who helps install this piece. we had lane closures.

everything happened from 5 a.m. there were hundreds of thousands of cars and the contractors installing this 550 feet over the water. incredibly challenging work but here we are. i would like to thank my team and studio, everyone helping, our lead programmer, transit for helping with all our networking, there is a lot of behind-the-scenes of help that nobody will know about, we have computers, wireless connections, i want to thank timothy child's who helps us invent this custom clip which we used to hang these lights on the bridge. there was a lot of behind-the-scenes that's it's

taken to bring this work to a reality. i guess our patrons are also, that's a whole other -- unleashing generosity in the way that we have just really bologna way blown -- away. incredible innovation at work and thankful to phillips for their equipment and standing behind they are technology and helping us achieve what we have done i guess we are here and ready to punch the button on the computer. we are using a laptop tonight and it's going to go on at 9:00. i'm just incredibly grateful and keep

pinching myself that this is happening. i'm incredibly overwhelmed that this is happening and i'm eager to share this work with all of you. thank you. >> reschedule for the next available date, thank you. >> the city of san francisco sfgtv meeting of the san francisco police commission occurring march 12, 2014, will begin shortly. >>

>> good morning, everyone. the meeting will come to order. welcome to the transportation authority finance committee and i'm cohen and to my left are katie tang and commissioner david chew. the clerk of the committee is mrs. erica chang and i'd like to take a moment to acknowledge and thank jim smith and nono for their wonderful work at sfgovtv and helping broadcast it meeting. are there any announcements? >> no announcements. >> could you call 2 of 4, the consent calendar. >> it