argument is correct. it's consistent with how the projects were developed. my question is is the property -- i didn't look at the size of the property but is the property large enough if some future -- if the garden were not included as a contributor to the property and some future owner wanted to split the property there is another space to be developed as a separate parse and he will a good argument to make sure it doesn't happen. >> >> understood. i don't know the dimensions of the side yard. looking at san francisco you can build a building in any size lot. >> but there are now guidelines for that. >> and also the question going back to the original landmark designation which specifically calls out the garden as an important feature of the property so that also may be a question for this body where such an issue to be raised. >> no. i am agreeing. i

applaud you for taking on shipo to say this is actually part of is and is significant with how the house is cited and the development of the properties and pacific heights and all of that. >> commissioner highland. >> i read that the property is smaller than it was. >> it is. it was smaller and from valerio to green street and other other properties associated with the family, if you will, on the lots. one the lot was split in 1971 so the property there is a 1916 cottage constructed for the daughter of edwin burr and a photographer and that might have significance with association with her but it is far enough away in its construction from the original

house and property that staff feels it's logical not to include that within the nomination and there's within that rear lot there is another property, the two daughters of edwin burr commissioned a residence on the property. it was completed in 1940 and just outside the period of significance and should be judged for its individual importance. >>i would completely agree that the cottage should be included in the nomination. i am wondered on the site and the extent of the site knowing it's already been reduced framing it in such a way that the boundaries of the site bring into the setting and the integrity of the resource since the garden itself has been completedly -- has no integrity left but the setting within the house within the boundaries of the garden are necessary in

order to maintain integrity of the house. >> i know that it's my understanding that ohp feels it contributes to the setting of the house which gets to the same issue but they didn't want to call it out as a contributing feature which in some respects i understand the logic. it has been relandscaped. it's no longer a designed historic landscape. at the same time the early pictures show the garden sitting there. there was irrigation for it and felt it was an important feature so i feel even in the state today which goes to your question it's integral and crucial to preserve the overall integrity of the property. >> any other comments, questions? i had one regarding the interior so in the narrative summary it just mentions that

there is the interior doesn't have integrity except for the third floor family room and i guess that is where the sky light is too which has the paneling and the original case work, and i am wondering if that might not be mentioned in the significance. seems like the third floor is a pretty significant space being so intact. yeah, scoot light and the paneling of that room. >> is that a [inaudible] light in the room on the second floor? >> [inaudible] >> hard to get light down there otherwise. >> any other comments before we take public comment? move to public comment. is there any public comment on this item? if so please come forward. state your name. >> good afternoon commissioners. mike beuller with san francisco heritage. i'm not going to speak to the contributing features, but i did want to talk about heritage's

relationship with the owner, and his future plans for the property. we were contacted by the owner when he was considering purchasing the property and i had a long conversation with him about potential incentives that would apply to this property, and i have to mention that he's -- he and his wife have been a wonderful steward of the property and followed all of our recommendations. this particular nomination was commissioned in anticipation of a future easement donation to heritage to further protect the property really in perpetuity so i wanted to mention that. i think that's important for the commission to understand. thank you. >> thank you. is there any other public comment? seeing none we will close public comment and bring it back to the

commission for a resolution. >>i move to recommend adopting this resolution in support of the nomination of the byrd house. >> second. >> with the additional comments. >> [inaudible] >> do we want to add -- >> well, -- >> [inaudible] >> i'm sorry. >> [inaudible] >> that's all right. >> [inaudible] >> well, i don't know. i think -- i mean if the commissioners agree whether comments are appropriate related to other criteria that this may add to its value. that application of the criteria should be considered and the nomination is supporting documentation. now, if you agree with that that would be -- i guess it would be a general comment and it would give further support to what we're saying about the cottage. >> maybe we should ask the

applicant or him if there are suggestion of additional criteria. >> we can certainly add a statement that the nomination leaves open the question about under criterion a for the cottage. i think that would be fine. i don't think that the report did look at significance under criterion b. edwin burr was a successful chemical engineer but no indication he was anymore than that and had a dramatic impact on the development of the city so i wouldn't go with "b". under d and if there are elements of the chemistry workshop that was still there and tell us something important that might be a question. generally d gets used more for buildings in ruins or archaeological resources and used the most. >> yeah, i know. >> and i don't think b or d are necessarily important but i think we certainly could add a comment about that.

>> okay. i think that would be good. >> and the interior comments. >> and the interior comments that i marked out. >> and the support of -- >> that's right. part of the resolution. who is making the motion originally? >> yes, i agree with those. >> yeah, and i will second the motion. >> so -- catch that. >> can we repeat the amendments ? >> we're adopting the findings -- we're adopting this resolution that is before us with the additional -- with the addition of suggesting that criterion a could be looked at for under the significance -- >> [inaudible] >> that it's left open -- >> under criterion a. >> under criterion a. that the interior of the third floor should be considered in the

significance section and was there another comment? i think that was it. >> thank you. okay. commissioners there is a motion and a second to adopt a resolution in support of the nomination to the national register with the addition of suggesting criterion a before the reviewed -- the third floor be considered and that's it. great. on that motion commissioner. >> yes. >> commissioner. >> yes. >> commissioner. >> yes. >> commissioner. >> yes. >> commissioner. >> yes. >> commissioner vice president. >> yes. >> so moved commissioners. that motion passes 6-0. >> okay. i believe that concludes our hearing and the hearing is adjourned thank you. [gavel]

>> i'm your host of "culturewire," and today, here at electric works in san francisco. nice to see you today. thanks for inviting us in and showing us your amazing facility today. >> my pleasure. >> how long has electric works been around? >> electric works has been in san francisco since the beginning of 2007. we moved here from brisbane from our old innovation. we do printmaking, gallery shows, and we have a fabulous retail store where there are

lots of fun things to find. >> we will look at all of that as we walk around. it is incredible to me how many different things you do. how is it you identify that san francisco was in need of all these different services? >> it came from stepping out of graduate school in 1972. i wrote a little thing about how this is an idea, how our world should work. it should have printmaking, archiving, a gallery. it should have a retail store. in 1972, i wanted to have art sales, point-of-sale at the grocery store. >> so you go through the manifesto. with the bay area should have. you are making art incredibly accessible in so many different ways, so that is a good segue. let's take a walk around the facilities. here we are in your gallery space. can you tell me about the current show?

>> the current show is jeff chadsey. he is working on mylar velum, a smooth, beautiful drawing surface. i do not know anyone that draws as well as he does. it is perfect, following the contours and making the shape of the body. >> your gallery represents artists from all over, not just the bay area, an artist that work in a lot of different media. how to use some of what you look for in artists you represent? >> it is dependent on people are confident with their materials. that is a really important thing. there is enough stuff in the world already. >> you also have in his current show an artist who makes sculpture out of some really interesting types of materials. let's go over and take a look at that. here we are in a smaller space. project gallery.

>> artists used the parameters of this space to find relationships between the work that is not out in the big gallery. >> i noticed a lot of artists doing really site-specific work. >> this is a pile of balloons, something that is so familiar, like a child's balloon. in this proportion, suddenly, it becomes something out of a dream. >> or a nightmare. >> may be a nightmare. >> this one over here is even harder to figure out what the initial material is. >> this is made out of puffy paint. often, kids use it to decorate their clothes. she has made all these lines of paint. >> for the pieces we are looking at, is there a core of foam or something in the middle of these pieces that she built on top of? >> i'm not telling. >> ah, a secret.

>> this silver is aluminum foil, crumbled of aluminum foil. her aesthetic is very much that quiet, japanese spatial thing that i really admire. their attention to the materiality of the things of the world. >> this is a nice juxtaposition you have going on right now. you have a more established artists alongside and emerging artists. is that something important to you as well? >> very important in this space, to have artists who really have not shown much. now let's look at other aspects of electric works operation. let's go to the bookstore. >> ok. >> in all seriousness, here we are in your store. this is the first space you encounter when you come in off the street. it has evolved since you open

here into the most amazingly curious selection of things. >> this was the project for the berkeley art museum. it was -- this is from william wiley's retrospective, when he got up onstage to sing a song, 270 people put on the cat. >> it is not just a bookstore. it is a store. can you talk us through some of your favorites? >> these are made in china, but they are made out of cattails. >> these pieces of here, you have a whale head and various animals and their health over there, and they are jewelry. >> we do fund raisers for nonprofits, so we are doing a project for the magic theater, so there are some pretty funny cartoons. they are probably not for prime time. >> you sort of have a kind of

holistic relationship where you might do merchandise in the store that promotes their work and practice, and also, prince for them. maybe we should go back and look at the print operation now. >> let's go. >> before we go into the print shop, i noticed some incredible items you have talked back here. what are we standing in front of? >> this is william wiley, only one earth. this is a print edition. there are only eight total, and what we wanted to do was expand the idea of printmaking. this is really an art object. there we go. >> besides the punball machine, what do you produce in limited edition? >> there is the slot machine.

if you win the super jackpot, you have saved the world. >> what about work? >> the right design, it was three volumes with lithographs in each volume. the cab of count dracula with 20 lithographs inside and lined with beaver fur. really special. >> let's move on to the print shop. >> ok. the core of what we do is making things. this is an example. this is a print project that will be a fund-raiser for the contemporary music players. we decided to put it in the portfolio so you could either frame at or have it on your bookshelf. >> so nonprofits can come to you, not just visual are nonprofits, but just nonprofits can come to you, and you will produce prints for them to sell, and the profits, they can keep.

>> the return on investment is usually four times to 10 times the amount of investment. this is for the bio reserve in mexico, and this is one of the artists we represent. >> you also make prints for the artists that you represent. over here are some large prints by a phenomenal artist. >> he writes these beautiful things. anyone who has told you paradise is a book of rules is -- has only appeared through the windows. this is from all over coffee. we are contract printers for all kinds of organizations all across the country. >> thank you very much for showing us around today. i really appreciate you taking the time to let me get better acquainted with the operation and also to share with our "culturewire" team.

>> hi. welcome to san francisco. stay safe and exploring how you can stay in your home safely after an earthquake. let's look at common earthquake myths. >> we are here at the urban center on mission street in san francisco. we have 3 guest today. we have david constructional engineer and bill harvey. i want to talk about urban myths. what do you think about earthquakes, can you tell if they are coming in advance? >> he's sleeping during those earthquakes? >> have you noticed him take

any special? >> no. he sleeps right through them. there is no truth that i'm aware of with harvey that dogs are aware of an impending earthquake. >> you hear the myth all the time. suppose the dog helps you get up, is it going to help you do something >> i hear they are aware of small vibrations. but yes, i read extensively that dogs cannot realize earthquakes. >> today is a spectacular day in san francisco and sometimes people would say this is earthquake weather. is this earthquake weather? >> no. not that i have heard of. no such thing. >> there is no such thing. >> we are talking about the weather in a daily or weekly

cycle. there is no relationship. i have heard it's hot or cold weather or rain. i'm not sure which is the myth. >> how about time of day? >> yes. it happens when it's least convenient. when it happens people say we were lucky and when they don't. it's terrible timing. it's never a good time for an earthquake. >> but we are going to have one. >> how about the ground swallowing people into the ground? >> like the earth that collapsed? it's not like the tv shows. >> the earth does move and it bumps up and you get a ground fracture but it's not something

that opens up and sucks you up into haddes. >> it's not going anywhere. we are going to have a lot of damage, but this myth that california is going to the ocean is not real. >> southern california is moving north. it's coming up from the south to the north. >> you would have to invest the million year cycle, not weeks or years. maybe millions of years from now, part of los angeles will be in the bay area. >> for better or worse. >> yes. >> this is a tough question. >> those other ones weren't tough. >> this is a really easy

challenge. are the smaller ones less stress? >> yes. the amount released in small earthquakes is that they are so small in you need many of those. >> i think would you probably have to have maybe hundreds of magnitude earthquakes of 4.7. >> so small earthquakes are not making our lives better in the future? >> not anyway that you can count on. >> i have heard that buildings in san francisco are on rollers and isolated? >> it's not true. it's a conventional foundation like almost all the circumstances 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 >> 7 and a half million renovation is part of the clean and safe neighbor's park fund which was on the ballot four years ago and look at how that public investment has transformed our neighborhood. >> the playground is unique in that it serves a number of age groups, unlike many of the other properties, it serves small children with the children's play grounds and clubhouses that has basketball courts, it has an outdoor soccer field and so there were a lot of people that came to the table that had their wish list and we did our best to

make sure that we kind of divided up spaces and made sure that we kept the old features of the playground but we were able to enhance all of those features. >> the playground and the soccer field and the tennis fields and it is such a key part of this neighborhood. >> we want kids to be here. we want families to be here and we want people to have athletic opportunities. >> we are given a real responsibility to insure that the public's money is used appropriately and that something really special comes

of these projects. we generally have about an opportunity every 50 years to redo these spaces. and it is really, really rewarding to see children and families benefit, you know, from the change of culture, at each one of these properties >> and as a result of, what you see behind us, more kids are playing on our soccer fields than ever before. we have more girls playing sports than we have ever had before. [ applause ] fp >> and we are sending a strong message that san francisco families are welcome and we want you to stay. >> this park is open. ♪

good morning. everybody. thank you for joining us for this meeting of the budget and finances committee meeting. i would like to