that something has not been properly misguided because the neighborhoods had a set of guidelines i talk about mr. washington knows me we would have other guiding principles i'm on the fence and not happy seeing the first building on the corner taken out and changed overall without it further guided by proper guidelines. >> commissioner richards. >> question to staff mr. washington or director ram i know we have residents design guidelines in the pipe there's a lot of stuff i completely understand would those changes to those guidelines employ to this property as you understand today are we apply an old set of

standards to a new issue? >> not really well, i would as a whole set of standards we'll look at all of the neighborhood throughout the city and realizing that the modifications that may occur in one area such this. >> right. >> a mid century development like something older in an establishment we try to look at each other individually there are certain basic standards for example coin and parcels it is accepted they be a little bit taller that's an standard in our residential guideline we implement that throughout the city we are always pushing back you know the top floor a back like

outer sunset we're moving back the top third floor because we don't want to change that streets facade in this particular neighborhood you don't have that really consistent pattern you've got a distinctive like like a country club for a southwest corner of the city built in 50s or 60s but a standard look but again those neighborhoods as families change and lifestyles change people want to expand and we look at the cost of property here in the city people want this as an option our role to try to keep those alternatives within reason so that your respectfully the

design and strictly in a neighborhood yet our providing on option for a homeownership. >> it is 7 o'clock it is a long day but when i opened up the narrative i recall you saying this edition meets the guidelines but maybe a better interpretation. >> as we study it we'll realize that you know we would like to think we improve as we go on and i spend a lot of day looking at these kinds of things and figure out ways to reduce the impacts on - >> is there anything in our professional opinion that could reduce the impacts further that are not significantly going to effect the scope.

>> the dr filer her concern is loss of sunlight she's on higher ground a distance between to homes that's a luxury this is an rh1 district they have tried to accommodate that as best they could but again per eastern sun and southern sun are 9th impacted the project sponsor made some concessions but the only real option that satisfies it roach the top floor that kills the project. >> okay. thank you. >> commissioner moore. >> sorry not right now. >> has there been an attempt to hold the building on the north side i know that is difficult given those buildings require an

exterior wall if that building holds broadway-sansome apartments back on this north side that will make the situation a little bit more acceptable. >> i think the project sponsor might be able to speak on that but if i'm looking at - today know the actual celebrate for the top floor often the interior side there. >> it is a 7 foot celebrate from the rear wall setback it is what with pitched roof on

top of. >> commissioner antonini. >> yeah. i think the only thing i think it is appropriate the edition is very well done the pitch looks like it belongs wasn't the house this is important in my opinion it looks like it could have been part of the original discussion and the separation is 7 foot 3 inches between thedr requesters house and the only change that can be made moved back a little bit then i'm not sure how much you'll cut off the size of the room i'm not sure than those there's a net our separation was 6 feet and the property line was in the middle the hours runs to my southeast but still get plenty

of light i'm exclaiming the room we do more and more most of paperwork the sun manages to find its way into there. i don't know that is two narrow of a separation it's learn any place else in the city. >> commissioner moore one quick look at the 8 hundred and 50 whatever square feet and do a slight pitching there is quite a bit bomber or bathroom but this is somewhat extremely difficult i think commissioner antonini i believe that a single story 6 feet rather than 3 story is a impacting for you if you're for the last thirty or 40 years and

all of a sudden get a vertical wall pvend pretend we're the ones on the ref end i'd like to see and i think that is possible a slithering further moving the north wall to pull it in that will think structurally different because you're not building right over the existing industry you have about companion but i'd like a to see that happen it will be great deal of respect to the joining house. >> would that be acceptable sir. >> thank you commissioner moore setback what i'll say on this we defer to the planning commission judgment we proposed a project that was what the project

sponsor is looking for you mentioned a cost of impact i'll remind you this is a dentist and his family so i will is that - i'll say also, we looked at this and be happy to make that a flat roof if this is something that makes the commission feel more comfortable but i'll say you know the critical thing for the project sponsor is just to have that floor to get the additional floor for their famous we'll defer to the wisdom of you all thank you. >> i'm not sure as to if you're responding to my question to pull it back. >> the response is that there will be significant costs aspects to that because of the structural not lining up not to say it can't happen but that's where the project sponsors is coming from setback it setback

i'll personally appreciate that to be at a acknowledgement we're our having a change in terms of the effect of the space your operating on that upper floor is sill s a good solution you might have to reorient a bathroom but the larger issue of the transformation of the neighborhood which is primarily impacted by the people on the north your corner situation given our lower is acceptable as much as i'd like to develop those guidelines as we move along we're going not to do that but i'll be supportive and take dr and ask the architect work with the department to pull the department back a little bit up to 3 feet to you allow that for

further relief setback is that a motion i also, if the commission could consider the option of partially coming out towards the front we are maintaining a 15 foot setback. if it were to they went with perhaps a flat roof a butt on the side a butts the dr residents and look at the feasibility of taking that pushing it in or come out slight in order to contemplate i don't

know if that is feasible if you want to chime in >> i'll offer a couple of thoughts i'll be open to that we're glen eagle getting both is the territory i dislike design as a commission setback another issue i've heard the neighbor had concerns was privacy so we've been talking about sunlight in the discussion moving that back with the discussion of privacy those are bathroom windows we'll talk about treatment to the windows no whatever that frosting is that my relieve some of the concerns. >> commissioner antonini. >> i propose we move that 2 feet 9 inches when you add that it brings to 10 feet a significant separation between

the two hours and reconfigure their take a little bit away from the bedroom and move the bathroom the architect can figure out that that's my motion setback i'll leave the pitch it looks like it belongs. >> commissioner richards. >> commissioner moore. >> commissioner antonini i think the setback and i think mr. washington had a good idea and i'm sorry. could you repeat setback i understand i didn't hear all the - >> i don't want to condition it on 2 feet 9 it needs to rise in a way that is doable so it might be 2 feet 9 or 3 i'll leave that

up to you, you understand the intent for pulling it back if this medians it should be moved forward to the notch in the front i'll leave that up to you to create reasonable room sizes and we're not going for skooush. >> i'll accept those modifications as part of my motion between 2 foot 9 and 3 foot and ability for staff to move part of massing slightly further forward in keeping with the restrictions expressed by commissioner moore. >> second. >> commissioners there is a motion and a second to move the mass of edition. >> commissioner moore did i

have another item. >> that one plies the building wall will not stay in its current configuration that's understood. >> commissioner there is a motion and a second to for the sponsor to continue to work with the staff to 9 feet setback in order to well - basically that's it on that motion setback commissioner antonini setback commissioner johnson setback commissioner moore setback commissioner richards setback commissioner wu setback that places you on general public comment setback i have no speaker cards setback general public comment general

public comment is closed. meeting

(clapping.) ♪ ♪ ♪ ♪ ♪ i think we have more companies anywhere in the united states it's at the amazing statement we're not trying to be flashy or shocking just trying to create something new and original were >> one of the things about the conduct our you enter and turn your your back and just so the orchestra. the most contrary composer of this time if you accountability his music you would think he's a camera come important he become ill and it was crazy he at the end of his life and pushed the

boundary to think we're not acceptable at this point for sure it had a great influence he was a great influence on the harmonic language on the contemporary up to now. i thought it would be interesting because they have e he was contemporary we use him on this and his life was you kill our wife you get poisons all those things are great stories for on opera. i was leaving behind a little bit which those collaborative dancers i was really trying to focus on opera. a friend of mine said well, what would you really want to do i

said opera what is it not opera parallel. why isn't it are that i have the support now we can do that. i realized that was something that wasn't being done in san francisco no other organization was doing this as opposed to contemporary we are very blessed in san francisco to have organizations well, i thought that was going to be our speciality >> you create a conceptual idea for setting the opera and you spear ahead and work with the other sdierndz to create an overview vision that's the final product felt opera. ♪ ♪ ♪ ♪ >> i was very inspired to work

with him because the way he looked at the key is the way i looked at sports looking at the daily. >> so much our mandate is to try to enter disis particular work there's great dancers and theatre actresses and choirs we've worked with and great video artists is a great place to collect and collaborate. i had a model they have a professionally music yes, ma'am assemble and as a student i benefited from being around this professional on and on soccer ball and as a conductor i'd be able to work with them and it's helped my growth i had a dream of having a professional

residential on and on soccer ball to be an imperial >> it operates as a laboratory we germ a national the ideas technically and work with activity artists and designers and video all over the on any given project to further the way we tell stories to improve our ability to tell stories on stage. that's part of the opera lab >> i was to investigate that aspect of renaissance and new work so that's why this piece it is important it was a renaissance composer. >> there were young people that are not interested in seeing traditional opera and like the

quality and it's different it has a story telling quality every little detail is integrated and helps to capture the imagination and that's part of the opera how we can use those colors into the language of today. >> so one of the great things of the stories of opera and story combined with opera music it allows people to let go and be entertained and enjoy the music instead of putting on headphones. >> that's what is great about art sometimes everyone loves it because you have to, you know really great you have to have both some people don't like it and some people do we're

concerned about that. >> it's about thirty something out there that's risky. you know disliked by someone torn apart and that's the whole point of what we're drying to do >> you never take this for granted you make sure it is the best if you can. >> ♪ ♪ ♪ ♪ ♪