an impact and we can't facilitate an alternative to address that. if there were a significant impact to a cultural landscape we would address that impact. >> do we want to say something like "in many cases like retenant features facade retention because that's the question. facade retention seems like a minimal amount of the structure. i don't know if that's getting too specific and maybe it is too specific. but minimal may seem like partial. >> i think that would be better to have implications. >> or no word at all. >> i think if we say historic

features such as retention then it can apply to something that isn't specifically, i don't know. that seems like a way to do it. >> it can be a hitching post >> that makes sense. >> commissioners, tim frye, that would be for the first sentence so that second paragraph to rephrase it to say," in many cases retentions of the historic features. >> any others? >> i move. >> then there is a motion to

adopt this resolution as amended on that motion. commissioner hasz, yes, commissioner john's, yes, commissioner matsuda, yes, commissioner hyland, yes, commissioner wolfram. that passes 6-0. i have no other matters on your agenda. >> can i say one thing. i think we might have made a mistake here. are you discussing the problem of that sentence on this? >> it feels like we are saying the same thing twice now. >> yes, tim frye department staff and the other thing we were discussing is because we introduced features then the rest of the paragraph is about facade retention. if the commission is open to it, i think we are capture the general intent of the discussion of the vote but we may need to massage a

couple of the words here. >> we should then retract that vote and settle on the exact verbiage now and set a motion to continue working on the language. we should retract that item. >> can we open that item? >> we certainly can, chair. you will be reopening it, but through the chair reopening item 7, if we could have' vote to retract that previous motion. >> motion to retract that motion. >> i second it. >> thank you, on the motion to retract the previous motion for item 7, commissioner hasz, yes, commissioner john's, yes, commissioners matsuda, ye, commissioner pearlman, yes, commissioner hyland, yes. that

resolution is hereby retracted. >> so do we need to reopen public comment or can we go to a new motion? okay, can i have a new motion to how we want to approve this resolution. >> or direct to staff. >> mr. frye, we were conferring about some of the language. i think it would be helpful to back up a second and get a better understanding of what the commission would like us to achieve. is it a matter of making it more general or -- our approach was the commission still had a desire to call out some aspect of the facade retention in the policy. so we shrunk it, added it to partial preservation and the first paragraph is meant to be very gentle -- general and the second

paragraph to cases where facade maybe an option. the easiest to do is to replace the second paragraph. >> i was going to open up that conversation. do we want to eliminate that second paragraph or make sure the resolution has facade retention. >> that was the basis of our discussion and sort of started it. i think it has to be wrapped in there. >> maybe we'll just leave it alone. >> i would make a recommendation to leave it alone. >> it's fine with me. >> does this mean we retract it. >> can we have a motion? >> i would like to make a motion to approve as it is presented to us. >> thank you. >> do i have a second? >> second. >> thank you, commissioners on

that motion to adopt the resolution for the preservation alternatives policy. on that motion, commissioner hasz, commissioner john's, yes, commissioner pearlman, hyland, wolfram. yes. that passes 6-0. >> before we close the hearing i would like to thank commissioner hasz for his great service as president. fantastic job. this hearing is adjourned. [ meeting is adjourned ] >> >>@p

>> a lot a ton with the community and we say to ourselves, there is this one and this one. we all compartmentalize them, we have our own agenda. our agenda is to create great work. if you are interested in that you are part of our community. >> hello and welcome to brava theater. >> we are trying to figure out a way to make a space where theater and presentation of live work is something that you think of the same way that you think of going to the movies. of course it has been complex in terms of economics, as it is for everyone now. artistically, we have done over 35 projects in four seasons, from producing dance, theater,

presenting music having a full- scale education program, and having more than 50,000 visitors in the building almost every year. a lot of our emerging artists to generate their first projects here, which is great. then we continue to try to support figuring out where those works can go. we have been blessed to have that work produced in new york going on to the edinburgh festival the warsaw theater festival. to me those are great things when you can watch artists who think there is nowhere else that might be interested in you being a woman of color and telling your story and then getting excited about it. that is our biggest accomplishment. having artists have become better artists. what is. sheri coming back to brava, here

you have this establish, amazing writer who has won a clue -- slew of awards. now she gets to director and work. even though she is this amazing, established writer, the truth is, she is being nurtured as a director and is being given some space to direct. >> the play is described as ceremony and -- where ceremony and theater me. in the indigenous tradition, when you turn 52, it is like the completion of an important era. the importance of the ceremony is to say, you are 52. whenever you have been caring for the first 52 years, it is time to let it go. really here, they have given me carte blanche to do this. i think it is nice for me in the sense of coming back 25 years later and seeing

personally my own evolution as an artist and thinker. the whole effort to put the chicano or indigenous woman's experience on center stage is in itself for euro-american theaters, a radical position. because of the state of theater it is a hard roll to hold up in institution. it is a hard road. i am looking at where we are 25 years later in the bay area looking at how hard it is for us to strive to keep our theater is going, etc. i like to think that i'm not struggling quite as hard personally, but what i mean by that, the intention, the commitment. particularly to produce works that would not be produced in other places, and also to really nurture women of color artists.

i think that is something that has not shifted for me in those 25 years, and it is good to see that brava remains committed to that kind of work. ♪ >> when people talk about the reflection of the community, we can only go from what we have on our staff. we have a south asian managing director, south african artistic director latino community out rich person. aside from the staff, the other people artists that we work with being a reflection of us yes the community is changing, but brava has always tried to be ahead of that trend. when i came in i tried to make it about the work that shows the eclectic mission district as well as serving the mission. those are the types of things

that i feel build one brava is >> welcome everybody i'm going to start the program well, to 1915 yeah. >> yeah. >> and if you look around you might see charlie chaplin and laura is here and if you look really closely that devil art smith that here so i'd like to start the show with first of all, how many were you at the palace of the fine arts did you have fun and go to the ugly this one my friend jan is here who originated it did light were breathing taking did you love them so let's peopl