top is the artist building portion of the site. so this side, will help you get a bit more or a bit better sense of sort of where we are located out on the shipyard and you see the upper left-hand corner and it breaks into robinson street. and building 110 sits just below where robinson street is defined. and that building will actually be coming out and that was sort of a portion of the presentation with the commercial kitchen. and you can also see building 101, which currently houses approximately, 150 parts and that building will remain. these are some images of the site as it exists today. and i think that the most important one here is the top

left image which shows building 110, and you can actually see building 101 on the right-hand side there and we are actually going to be grading down that hill so that the finished elevation for the artist building will match the finished floor of building 101, so it is a fair amount of grading that will be going on for the new building. one thing that i noticed as i was looking at this is that there is actually a few colleagues that also worked on this project, throughout the past few years, and no longer with the company and reminded me of the length of the process and how we have come to this point today. and this is a overview of the landscape plan. and there are a number of things that i think are important that we were trying to accomplish in this plan and i will start at the upper

portion. the green patch and there will be planting and the opportunity for a sculpture piece that will be working with the artist community, and to find something that really fits within that space, that can sort of announce the presence and announce the entrance and into that area and site. we have the trees that will help to screen the park below up on galvez and as you walk down and you will pass the loading zone which is immediately to the left portion of the artist building and that walk sort of meanders around the frontage of the building where there are roll up doors that allow the access to the studios at that level so the people that have larger pieces of work and the people that have larger delivery requirements will probably utilize those space sos that

they can easily have the access whether by forklift or the other means into those studios at the ground level and within the artist plaza itself which is the area that appears striked in with trees and feeding, our goal here was to provide a place where collaboration for a communication to foster the community, one of the things that notable within the building 101 is that there is not a lot of space for the people to really come down and sit down and talk and so we are trying to create a space here where both with the arrangement of the seating as well as the opportunity for some outdoor tables and seating space for the people to be able to sit and relax and talk, and exchange ideas. over all, the plaza itself is meant to be a dual purpose space and so that durings the event and i don't know if you got out to the recent open house and during the events where there are large turn outs

of people that that space can also be used for the temporary parking and so this tree well is our space such that you can fit two to four cars in each one of those wells. and then lastly, the seating elements will be such that the artwork can be displayed during the events when the weather is nice, and you can actually, and there is a gallery that we will get to in a moment that can spill out into the courtyard and you can allow the display of artwork on top of the seating elements as well and so really happy with how this is come together. this next slide, i will not spend much time on but just as you elevations of the plaza itself along with the some sections of the building. these are examples of the vegetation, and the materials that we are expecting to use.

and a few things to call out. and on the upper left-hand side, we have got trees that will change colors with the season. and one of the things in general that we are trying to create are the visual interest, for the community itself and there is also inspiration that occurs outside of the building and just below that, there are or will be a permeable material that serves as the smaller band that exists in the courtyard itself. and at the ground space you will see some examples of some of the seating that we are looking to use, and one of the interesting, and they are all interesting and but, one that is sort of a dual function is the third one, which is the longer, wheel stop piece but it can actually when the plaza is not being used for parking, and can be used as a seating

element as well. >> but now, i will bring patty lock up from ibi to talk a little bit about the exterior design. and then, i will finish up with the floor plan as soon as she is done. >> >> the view that you see before you is the entry view off of horn and robinson and that is considered the main entry into the building and what we wanted to do was provide the interests along the street scape that will blend in with the new development and also have some relationship in context to the building 101 that remains. and so we have banded some of the buildings in a rhythm, and we also abided by the design

for the development guidelines and breaking up the facade and providing some change in elevation, as you moved across the building, face. and so, we have these blocks of panels, which are with color and also the opportunity to hopefully add the art or interest, as the artists see fit. and the front entry has a large, tall, and so that it established itself on the corner. this view is along robinson and the stairway on the south end of the building is where you will be able to walk up to the plaza from robinson and so, one

of the main issues in working with the artist is trying to create some space both in the light and in the air, and so that we are not too close to the building 101. and so we worked with them in how we can make the building not so massive at that corner. >> i just wanted to point out along the street scape sidewalk where you see the trees, those are where there are some roll up doors, where the artist can open up the larger areas and they will be able to display and or move their artwork in and out of the building. the same thing is happening along horn where you see the rows of trees, there is an actual light well. and it is on the opposite side of this model. but the idea also, is to have

the roll up doors, where you can have pieces be brought in and out of the studios more easily for some of the larger pieces. the building steps back at the highest level, and that is the requirement of the design for the development as well as, provides kind of a set back, and mod modulation to the building. >> this view is from the plaza side. and so we tried to integrate both the vegetation, the pavement and the building facade so that they worked together to kind of create an urban space as well as a break it up to make sure that it can be used more intimately as they see fit. there is also an entry, where at the inside corner of the building and that is the plaza

side entry to the building. and again, it has a tall element to kind of draw the people down the plaza. >> and at both ends we have the required stairwells and one of the things that this stairwell also is trying to achieve is to set back away from td building 101 and we have opened the stairwell, so again you don't feel the mass of the building and it creates a decorative screen. and we tried to open the area so that you can see the views out across into the view corridor. >> some some of the materials that we are going to use are

corigated metal siding and the screen will be a mesh, wire screen and some of the lettering that we show as an example of this is to sign the building, and part of the graphics. and the colors are meant to be just soft colors, to compliment kind of the bay area, and just some more contemporary choice of colors. >> thank you, paty. so, moving into the inside of the building, which i think was obviously wanted to provide the great design, but, sort of the interior of the building is where a lot of the conversation took place over the past few years and so we will start at the ground plain and this level actually sits below the grade and so everything that you see inside of the l, if you will.

is actually front and hillside and so that is all, below grade. and then the exterior of this building sits along horn on the top and then robinson on the bottle and then patty mentioned all of the units have roll up doors and there is actually a light well to the upper portion of the site that allows access to those roll up doors along the upper side of this building. and i am sorry of this level. and on this level, you will find in particular, because likely there is to be where the musicians are located and so it will be within the concrete structure of the podium and to help to i hate to say, mute their sound, because we should all be listening to her, but it will help to preserve sort of the allow the people to selectively listen and that is how i will put it. and moving up to the second

level, a few things that are notable on this level, and actually the culmination of the discussions that we have been having, with the artists community. and the items that are circled in red, are locations for sinks and so you can see that they are regularly located throughout the corridor and so that tenants all have the easy access to water, for their work. and there are a lot of painters, for example, and so, that is easy access to those items or to those amenities is important and the blue space is a lobby, and it is a... i am sorry, a gallery, and it is a 1600 square foot gallery which is something that did not exist before but it was truly a nice amenity, and so for the things like when the open house occurs, or when the smaller gathers occur and that space can be used to really display

the art, and have events and catered events and things like that and there will actually be a kitchen in that space as well and there is a glass partition that you can sort of see on the left side of the lobby that actually separates the lobby from the gallery and so when the events are occurring that space can be opened up and form a larger gallery and when they are not, you can actually close it off and still see through, and see some of the artwork that is being displayed. this space, the gallery will also have the roll up doors so that during the events it can and the activity can spill out into the plaza which the weather is nice. >> one thing that you will notice, as we go through the floor plans, is some of the numerous sizes of the studios. one of the challenges that our architect had was within the context of the structural design of the building, to

really ensure that she was the best of her ability, matching artist space requirements, without compromising the structural needs of the building itself. on level five, which actually steps back a bit from the building line, or from the foot prints, you will find on the right-hand side, in blue, is a 400 square foot balcony that will overlook the shipyard to the south east. and this is another place that we really see as an opportunity to gather and relax, and unwind from work and discuss ideas with the colleagues. and you have will also see immediately to the or just above the balcony is a five story atrium and so it will be a wide open space that exists

from the ground floor and so i can already envision, someone coming up with a great piece of artwork that could be displayed there and visible from the exterior of the building. >> the roof plan, which is not quite visible to those on this side but to everyone who has a packet, displays the layout of photo votaic which will provide the solar power to the building and the space of getting back to the question of affordability and we see a savings to the operations and as a result of the incorporating them over 20 to $30,000 a year and i know the artists have the plans for that. savings as with related to the affordability of the studios. >> this is a project summary.

and we sort of reiterate some of the elements that we have discussed including the gallery size, and the number of spaces, and that will go into the new building and the over all square footage. and again, we have worked diligently, both with oci staff, and with the cutler and the star and the artist community, at large. and to really make sure that within the envelope of this building we are accommodating all of the required needs as well as some additional needs including some of the things that i did not mention, such as a kilne room and a spray room. >> i will close my portion of the presentation by discussing the parking as we go forward with the construction, there are two projects that are occurring and there is the commercial kitchen that is on

the lower left shand side of the site and following the kitchen there will be the artist building which is in the right-hand portion of the site. and i will because i can't read it here, i will refer to my notes. the items that we have labeled each of the parking locations and we have identified a specific number of spaces that can be accommodated in that square footage and the items there in red will be parking that will be in existence, during the what we are calling the interim period which includes the construction period, and what is presently available. and the items that are circled in blue, are items that will come on line at a future date. and future date, meaning, after the construction of the artist building itself. and you will notice, that on the right-hand portion of the site, in the clouded area, the robinson street build out, or the final grading and

orientation will not occur until the development really reaches around well past parcel b. and if you are orienting yourself, and we are moving sort of in a clockwise manner. and so, that place, which is h, parking area, h will be in existence all the way until that work commences. and at that point, we will begin the construction of the fisher street garage, which exists under the future mix used buildings, that are identified at the bottom of this page.

>> as it is common for the approval and there are a few items that remain to be resolved in the future design stages and so the oci staff

recommends the approval of these changes and designs subject to a number of conditions. and such as that we want to see the samples of the materials and the finishes and the detailing and as we always do, and seating elements in the plaza are subject to the review and i will work on the star with that item and the elements that will visually separate the plaza from the parking area and we want to be sure that the necessary improvements to the parking areas that have been shown by him a second ago will be completed before any existing parking is removed. and so the artists will always have access to the sufficient parking. and as you have seen on the

commercial kitchen, replacement kitchen design, we want to be sure that the location of the access for the future for the possible future connection for the collection >> we always have the regular community outed reach that includes the endorsement from the caa and because it was a benefit to the community we have numerous meetings with the shipyard artists.

>> i would like to introduce the board members who are here today. and karin, i just saw karin, who is the head of the of the chair of the real estate committee and stacey is the vice president of star and barbara is a board member and scott who is hiding back there is the newest board member and we are happy to have him rejoin after being one of the original co-founders, and richard bolingbrook is the past president and the board member of the star. >> today star is here to speak in support of the design and this is a major step in securing the future of the 130

artists who will be displaced by the redevelopment and the nearly 300 artists ha the shipyard lived with the threat of eviction for more than 25 years, from month to month, they did not know what was going to happen out there, in 2004, and an agreement was reached, with the developer urbine that there would be no net loss of the space on the shipyard in the course of the development and today, nearly ten years later, we are here to support the design, of the artist studio, replacement building. >> this is precedent setting and in most urban development, the loss of the studio is damage. and this was a process started by the businessman scott madison and the artists of the hope and a long time shipyard tenant and over the years they

were supposed by nancy palosy and many hunter artists and the advocacy continues and is currently led by star, the non-profit co-founded by madison and hope and others and during the course of planning for the replacement building, oci met with and responded to the concerns of artists on numerous occasions. and the concerns have been many. and all concerns were acknowledged and most were resolved with the positive out come, in many out comes. and agreed to make the modifications, and in january of 2014, we learned the projected nutrient rate would cause a 50 percent increase in rent for 50 percent of the artists being relocated and despite this was below market rent rate.

for the artist that had been there for many years at a lower rate this was a shock. and ocii and star conducted a survey to determine whether or not artists would actually be able to afford to move into the new building. and well, some were happy with the rent rate and design and others were quite concerned. and some artists were able to down size the studios to reach the affordable threshold in response to the affordability problem, star proposed a fund to help offset the difference between the old and the nutrient rate for the qualified low income artists and we are planning on using the hud requirement the hud and the housing requirement to determine, who meets that standard. we asked them to as he mentioned they are projected to be between 20,000 to $30,000 a year and so that could help quite a bit.

and initially, linar rejected the proposal because it was not required and to their credit, they agreed to supply the solar power and make the other design adjustments that would help ensure the artists will be able to relocate. and the agreement to provide the solar is beyond any legal requirement, and we applaud their decision. and ocii staff and lenar worked with the artists throughout the project and some wanted more space and wider doors and more sinks and various modifications and the architect has spent a great deal of time reconfiguring the studio sizes in the building footprint to make the building work for all of the artists displaced and i am sure that if patty has to do it again, who knows what will happen to her. and parking was the next major concern and after the design approval was presented to the artists in 2013, we heard back

from many artists that they were really concerned about this, and you have got 300 artists. today you saw the plan for the new parking and the new parking plan which is roughly, close to 200 permit spaces and we believe that this parking plan, will satisfy the day-to-day needs of the facility for open studios and other events, we also have a commitment from ocii that they will help us work out, those issues, for overflow parking and when those events occur. and as we meet today, we believe that no artist will be left behind.

>> thank you. i want to give the small enterprise participation numbers, and for this project, they have and we have approximately 35 percent of the sbi participation and although, that is below the 50 percent, goal and we estimate that all good faith efforts in hiring the professional services providers and the reason why, the numbers is below 50 percent, is that ibi group, the architect, is not an sbi, and the ibi group and the architects for the master plan and as such have worked with the artist community really closely in the time leading up to the 2010 entitlement documents and they were known and trusted in the artists and all decided to retain them for the design of the replacement studios and moving forward. and also provided estimates from at least 90,000 workforce hours during construction and these are also subject to the local hiring goals. and the ceo and the location plan which is a document that

needs to be approved before any notices to vacate are distributed and because we anticipate that the commercial kitchen will receive the notice in november and we will present a relocation plan and a couple of months in advance of that. but the construction is under way, and the stuff will also be working on the management structure for the future artist buildings, and the buildings will in accordance with the long range property management plan to transfer with the face and in anticipation of that transfer, we are making sure that the city's department of real estate is involved in all of these conversations around the management structure and also, solicitation of the management entity and we will be keeping the commission informed about any milestones that we reach on this