♪ all through the town ♪ the bus driver on the bus goes ♪ ♪ move on back ♪ move on back ♪ all through the town (applause) >> we're going to stop at three, is that enough? 3, 2, 1! >> we did it! ♪ ♪ up early to watch this, we thank you. we know that this will be played

at subsequent times for others to be able to see what we are doing here. okay. also, the president is going to join us. she's the -- a commissioner of this committee. >> this is to address the infrastructure and transportation and that do not appear on the agenda. in addition to public comment, public comment will be held on each item on the agenda. >> there northeast public comment. >> i'm no. 3, consent agenda. all matters listed here under a constituted consent agenda are considered to be routine by the committee and will be acted on by a single vote of the committee. there will be no separate vote unless the member of the committee suggests and it will

be removed from the consent agenda and considered as a separate item. item 3a, approving the minutes of the meeting. >> i move for the approval. >> i second the motion. >> item no. 4, environmental program support. >> thank you, chair richardson, director and president tsen. this item will go to the board as an action item. i wanted to have a conversation here before taking it there because we kind of have two different paths going forward ahead of us. we have a contract with lang

engineering environmental to provide environmental conservation services to tida to monitor the navy's environmental program, and we brought them on in 2013. this is a selection process that actually had been contacted before i arrived to tida. they replaced amec engineering and infrastructure. the contract was original term of three years with two one-year optional extensions. a contract is scheduled to expire at the end of this fiscal year. i wanted to bring it to the board to discuss whether to issue a new rfq for the remainder of the navy's environmental work or to modify the existing contract through the projected remaining four

years of the work. bringing in now for discussion and board action because if we're going to issue a new rfq, we need to do so propermptly. so they do attempt the navy's base closure meetings. we attend the monthly meetings between the navy and the state regulators. it's also attended typically on the phone by sfpuc and other city agencies that do work on the island. they review and comment and advise tida on the navy's proposed work plans and other documents for the environmental program. they've also been invaluable in

20 2014. 2015, we had a lot of meetings to discuss the navy's environmental program. they assisted in both planning for those meetings and presenting materials, as well as in working with city agencies, particularly sfpuc to help establish standard work practices on the island where the navy has either not completed their environmental work or where they have completed their work but they are land use controls. the land use controls we have on the island are primarily related to hydrocarbons in ground water where they've been remediated to such an extent that there's no

longer a risk to off-gassing or other associated concerns, but they haven't been able to get 100% of the material out of the soil. and those are really standard ppe, personal protective equipment, criteria that are required in some of those circumstances. the environmental consultant has also been preparing a site management plan for tida, which is basically our program maintenance for doing annual and five-year reviews of ground water and other environmental conditions. those are eventually requirements which may sunset as long as we can send you to see that there's no rebound in ground water samples or soil-gas

monitoring. also, there are physical repairs like the repair of the former skeet shooting area in clipper cove where they armored the bottom of the cove, and that has to be resurveyed every five or ten years along with a survey of the bottom of the cove. they also assist us in preparing reports and supplemental technical information. in terms of the overall status of the program, we had our presentation last november's board meeting by the name of clark from the navy, but kind of the guiding document that's updated annually by the navy is their site management plan and the 2017 version of the site management plan anticipates the closure of the last site, site 12, in 2021. so we've got about four more

years of work to do through the final transfer. this map shows the open sites that the navy has. however, the majority of the work or the work has been completed on the majority of these sites. so the first group of sites, 30, 31, 30 north, 30 south, the has been issued and -- the foist has been issued and there should be a final fost issued within a week or two. also, the developer, tidc has been preparing for this so we can move forward early next month. in site 24, this was a former dry cleaning facility. the navy has completed their field work, which is a biological process of the

chemicals and soil gas and ground water results from the completion of that biological process, which we anticipate will happen before the end of this year. we should be able to transfer site 24 early next year. and then site 6 and 32 are areas where the navy has completed their work, but they anticipate or have requested to continue to hold that property until they have completed their work in site 12 because it's both a logistical lay-down area and a means of removing soil from site 12 without driving through the residential area. so they've requested to delay

those transfers until the end of 2020 when the bulk of field work in site 12 should be complete. and site 2 is just waste water transportation plant. that site doesn't have any ongoing work, but the schedule of that is tied to our schedule for developing new waste water plant rather than the navy's remediation efforts. so, again, in site 6 and 32, we'll need to do a finding of suitability to transfer prior to those properties transferring, but not a lot of technical work going on. it's really within site 12 where the bulk of the navy's efforts will continue to be for the next several years. and an area where retaining the experience, knowledge could be quite beneficial to us. so in site 12, there are both

circla, which are the chemical clean-up projects that are ongoing, as well as radiological investigation, which covers the entirety of site 12. on this flowchart from the site management plan, it came out a little fuzzy, but the areas in green are the scopes of work that the navy has completed on the right-hand side underneath the yellow header is the continuation of their chemical clean-up. and then on the left-hand side is their clean-up of radiologically impacted areas, particularly the swedas, the solid waste disposal areas. and then in the center of the page is the radiological work

plan. so we've discussed that the bulk of the radiological materials in site 12 were believed to have been disposed of in the solid waste disposal areas and then through the process of grading prior to the consideration of the housing, few items were moved into other areas. so this process in the middle is the process the navy will have to go through to develop a work plan record of decision to gain state concurrents that they have satisfactorily explored outside the solid waste disposal areas. in terms of the navy's schedule as embodied in the site management plan, the continued chemical clean-up outside of the

swda areas is going to mobilize this year, in the spring, and run for 14 months to complete into the spring of 2016. the feasibility study for the areas outside of the swdas is expected to be issued before the end of this year with the goal of achieving a record of decision in 2019. that will entail a lot of back and forth with particularly the california department of public health which has oversight of the navy's radiological programs. that record of decision will determine the nature and extent of the additional radiological field work that is required to close out site 12. and then the final solid waste disposal area, the bulk of expense that the navy will have as well as physical excavation

is the solid waste disposal at west side, which is on the right-hand side of the photograph of site 12 there. that work is anticipated to remobilize at the end of this calendar year and continue into 2020. so the recommendation that i propose to take to the board next month would be to extend the lang contracts through 2022 rather than issuing a new rfp. and that continuity will be important in updating and maintaining our site management plan as additional remediation sites are closed and transferred to us. but, also, in reviewing and commenting on the navy's circla documents and site plan for site 12 -- work plan for site 12,

there's been a lot of work with the department of public health over the last four years and the navy, and lang has been at the table for the parties with those communications. as we work forward to ensure that our interests in making sure that site 12 is cleaned up, i think it's important for us to reta retain langan until that period, but i welcome conversation. >> thank you very much for that assessment. questions and comments by commissioners? >> i would certainly agree with your recommendation. i think that the overview of what we've done with the environmental program shows how much progress has been done in these past few years, and we'll,

finally, after all these years, come to the final phase of remediation for treasure island. it's so important, i think, for there to be continuity, particularly because it's a very complicated program, and it's a very critical point as we come to these final remediation and the transfer of those properties so i would agree with your recommendation. i think our top priority is about public health and public safety. and there cannot be any drop with that oversight. so i would certainly concur with your recommendation. >> i would like to add some comment. you know, i think there are merits to extending the

contract. given all the arguments you laid out, familiarity of these sites in question and the historical knowledge is definitely something that we need to take into consideration. so the question that i have is that by retaining this contract, are we gaining time to expedite the transfer? i'm looking at your date here, that site 12, in particular, you're looking at 2019. so that will boost that calendar. >> this won't necessary cause the navy's schedule to be accelerated, but i think as we work with the navy and the

department of public health on the work plan for site 12 for city is so secure free release for the area in site 12. we have agreements with the navy to guard against or to protect our interests in the event that the navy either is unable to or elects not to pursue the work sufficient to secure a free release from california department of public health. and under the edcoma, we're not required to take any land from the navy that does not have free release. so essentially, failure to

achieve that would be a reopener of the conveyance agreement with the navy. secondarily, the edcoma contains provisions that if they're not able to accrue free release of site 12 since a portion of the residential area is intended to be constructed in a portion of site 12, that we could actually reconfigure the program to relocate housing that would otherwise have been located within site 12 to the area on the east side of the island that's currently proposed to be sports fields. that would trigger -- there would be some additional supplemental environmental work. under the edcoma, is navy would

be required to compensate tida for those costs. however, that would be a significant impact to the city. so what our interests are, are ensuring the navy take the measures that are sufficient to gain free release from the state and to clean up site 12. so i think that's not so much that we're looking to accelerate the schedule, but we're intending to ensure that we achieve certain outcomes, and the failure to achieve those outcomes would have a significant delay on the development side of things. so it's really about ensuring that the navy adheres to the schedule that they've set forward and achieves the outcomes they've committed to in the edcoma. >> so i presume you will

calendar this before the general board for the discussion and approval in the next couple of weeks? >> yeah. i plan to have this on the february agenda. >> okay. are there any public comment? seeing none. thank you. >> item no. 5, the pageant of the pacific murals. >> there's been a lot of discussion about the murals. in public comment, they're certainly well known and well regarded. peter somerdale on our staff managers our consultant contract for the storage and preservation of the murals as well as being a liaison with entities that have requested to borrow the murals

in the past. so he has a great deal of history on the murals, and i thought it would be good to present it here, not only for the members of the committee but now that we're being recorded, this will be a resource that people can access online to see this discussion of the murals. so with that, i will turn it over to peter somerville. >> give me one second here.

all right. sorry about that. for the record, peter somerville, here to provide you with an overview, like bob said, of the history of the cover murals. to be quick, about a artist himself. he was a noted mexican painter. illustrator of the mid- to 20th century. enjoyed early success in america doing car rickures in the new yorker. he continued through the '20s, '30s, '40s, and up to his death in the '60s.

he played an important role in the establishment of the mexican national dance program. so you will see a lot of his various interests reflected in the murals themselves. the murals themselves, he expected a commission to create a set of maps of the pacific region that would be displayed. each of the murals is actually an assembly of specific panels. there were six overall, four of which are 12 panels each, 16 feet by 24 feet, and two of which are four panels each, 9 feet by 14 feet. i thought this was an interesting quote from the ggie at the time of his letter, soliciting covarrubias that

gives you an idea of why he was of such interest to this project. the next few slides show images of the murals themselves. the murals hung at pacific house until the fair closed in 1940, at which point they were loaned to the museum of natural history in new york where they remained viewable until 1953 at which time they were placed into storage. they attempted to gift them to the museum, but the museum could not promise they would be displayed permanently in the museum. so at such point, they were returned to san francisco in the late 1950s.

the board accepted five of the murals and installed them in public display. you will note that six murals went and five came back. there is the sixth mural, art forms of the pacific, 12 panels, 16 feet by 24 feet that was not in the set when the murals were returned from new york to san francisco. so only five of the murals were received and installed, and only five, thus, are with tida today. there's research done by interested citizens into this potential whereabouts of the missing mural. it is still kind of a mystery that continues today, but at this point, unfortunately, it is somewhat of a cold trail. we hold out hope that stranger things have happened and we will reunite this mural with the set. it's important to note that he created six and the collection owned by tida is only five

murals. 2001, the ferry buildings renovation removed the space where the murals to be installed. they were of overwhelming size jurisdiction was transferred to tida by way of transfer agreement by the board of directors in 2001. this was agreeable to both sides. they agreed their redisplay to the public entity. the port was unable to find a location either at the port authority. the tida support staff decided to take possession. they were transferred to storage on treasure island in late 2001.

the san francisco fine arts museum approached tida with a proposal to loan the murals to the mexican government. they promised to provide registration store station -- restoration. cost for the conservation and restoration were paid by both a grant from the charles d. and francis field fund to the fine arts museum of san francisco as well as funding by the mexican government itself as well as the technical expertise for the restoration. this loan agreement between tida and the government of mexico was approved by the tida board on may 11th, 2005. at that time, the murals were transported to mexico. their conservation and restoration work was performed in mexico.

supervision provided by tida. conservation and restoration work included removal of the smoke and grime and fingerprints and other human damage as well as touch-up work to the coloring and paint to certain panels. restoration work performed in mexico was performed by mexican technicians. this was a major source of pride for mexico at the time, considering his standing. after the restoration, this took place between 2006 and 2008, including displays in mexico city, pubela and finally at the 2007 event hosted by mexico and monterey. the next few slides are pictures

of these exhibits. again, they give you an idea of the size of the murals and the considerations for display. backup to give an example. this shows one of the largest murals against the smaller murals. economy at 16 by 24 feet. excuse me. the one on the left is economy, and the one on the left is transportation at 9 by 13 feet. so you get a sense of the size of both murals. one of the murals, upon completion of the mexican exhibit was requested by fine arts museum for a temporary loan. tida enter into this agreement for ongoing display of the murals. the murals are currently on

display, and this loan agreement has been extended annually by the tida board since 2008. staff tends to bring this year's extense for the approval at the february meeting. additional loans and exhibition. loans on display in mexico generated new interest in the work. loan agreements were enter into for display of the murals. one mural was sent to washington, dc as part of an exhibit on world's fair design. in 2011, three of the murals were displayed as part of the festival in 2007. the camm executed covarrubias.

at the top, it's the city hall and at the bottom, the national museum. remaining four murals, by which i mean the four not on display at the young museum are currently stored by a tida contract and are handled at an off-site climate controlled facility. they notate all the conservation and restoration work at the time of today. in 2016 and 2017, tida contracted for high resolution condition report photography of panels front and back. so we now have both reports stating their previous work and their existing conditions as well as photographs of those as well. the future of the murals is still being determined.

prior exhibitions have been conditioned due to their status as fine art that need to be considered for an appropriate display environment. some of those are listed here on the slide. mainly, they consist of appropriate temperature control, appropriate humidity control, lighting not to exceed certain specifications with a particular emphasis on keeping direct exposure of light off the murals, as well as basic protective measures to keep an enthusiastic public from touching it, spilling food on it, or otherwise creating human-induced damages. that brings me to the end of my presentation, and i would be happy to answer any questions. >> thank you, peter, for that

presentation. i'm sure we have questions. >> thank you, peter. the murals, where were they originally displayed? were they in building one or in different exhibition halls at the fair? >> they were originally displayed all together at pacific house, which was one of the buildings, pavilions of the fair that's no longer there. itis longer on the island. it was a variety of organizations and entities that sponsor buildings at the fair, so the murals themselves were at pacific house, which was one of those buildings, with the emphasis -- basically, the whole fair was the pacific region, but the pacific house was focused on that as well. >> well, they're wonderful. it's part of the history of treasure island. i'm glad to see that we're taking care of the murals and

making sure that they're being preserved in a way that they can be viewed in the future as well. >> thank you, peter. just some few questions i have. so someone, somewhere in the world is holding on to the art form of the pacific. so i presume that tida or the city has conveyed to all the museums in the world that this piece is missing. it might show up. who knows? because that's the nature of these things. do we have such a plan, if it shows up, for people to be on the lookout for it? it would be great to know this piece is out there, we presume, right? >> through our partners at the fine arts museum and the arts commission, certainly there's an

awareness that hopefully this mural is somewhere. certainly -- how would i say this? it's been such a long awareness for so long that there's probably one of two possibilities -- well, there's one of three possibilities. i think the worst is it fell off a ship somewhere and is at the bottom of the atlantic ocean. we always assume that if it is still somewhere, that someone has it and they know exactly what they have, and because of that, they're not interested in advertising it or sharing it or it is somewhere unknown what it is. so through fine arts museum, through the arts commission, through several interested public -- excuse me. private citizens in san francisco, there's been a lot of legwork done, to, just to extend the paper trail or chase down what happened to it between new york and san francisco. unfortunately, a lot of those

efforts have been unsuccessful, but it is certainly known in the art world. it is certainly a known mystery, and it's our hope that if the murals did surface one day, we would be able to reunite them all. but, realistically, like i said, if someone has it and knows what they have privately, they're hanging onto it for a specific reason. it's hard to go out around the world and make sure everyone knows we have this. we do everything to enforce that fact that we're looking for it and want to reunite them at any chance we get. >> you already said there's tremendous public interest on this particular artist. he's world renown. it's important that we have it

planned for exhibition, storage. i'm wondering, again, just to throw it out there, we have this substantial amount of money that we're going to be spending to purchase and bring arts to the island. somehow, we need to have a program for this particular piece of work that generates international interest, as it has already. just something i want to throw out there. at some point, it's going to be part and parcel of the landscape of treasure island. >> question. peter, how much is it costing us to store and conserve the panels that we have? on an annual basis? >> the storage costs, we have them stored along with the treasure island museum

collection items that were gifted to tida from the navy five, seven years back. probably the annual yearly costs for all of that storage -- i don't have it immediately in front of me, but it's under $8,000. that's for all the murals, crates, and all the packaged items from the museum's collection. considering the works, considering the jobs that our art handler does, that's a very reasonable yearly amount. >> i think the hope is that they will eventually be unveiled either on a permanent or a temporary basis so that people can certainly see. is there some sort of interest by the treasure island museum group? >> just to touch on your first point, yes, we're all in agreement that ultimately the panels -- the public is much better served by the murals being out on display rather than in crates, so we continue to

make sure that appropriate entities interested in borrowing the murals for exhibitions know that we're willing to work with them. like i showed earlier, we have done several exhibits in the past, and we are, obviously, open to accepting proposals for additional appropriate loans down the line. the treasure island museum, i know that they have certainly expressed interest in support for finding a permanent home on the island for the murals. i don't know, again, based on the size, if the actual kind of museum facility, whatever shape that may take, is ultimately where the murals will be housed. bob can speak of this more. as we're getting into assessing the buildings, one, two, and three, for uses, some of the environmental conditions necessary for displaying the murals will be considered as we're looking at the improvements and changes to those buildings with a potential eye for installing them in one

or two of those buildings. >> one of the things that we're working on is an rfq for an architectural and engineering services with emphasis on preservati preservation architect to assist us in doing an assessment of several of the historical buildings, notably buildings one, two, three, and the torpedo building, so assess what will be required to continue the life of those from a seismic perspective, the just of replacing windows in building one, for example, will be a significant expense. so from a seismic preservation and also from an access perspective, building one has

never had elevator access above the second floor. so we'll have to figure out how we'll get to the third and fourth floors with elevator access. as part of that, we would also include an assessment of what it would take to environmentally control some of those buildings, as they're currently all steam-heated to the extent they're heated at all and naturally ventilated. this will require some environmental control as well as potentially some natural lighting control. so that will be one of the aspects going forward, given these historic buildings, because of their size, give us the ability to display the pieces as a collection. the other alternative would be to display one or more of them in separate locations or on a rotating basis, but that's going

to be part of our evaluation for our historic buildings in particular as we move forward. >> excellent. >> so, lastly, so we have five remaining and four that's on the tida. so the other one is at the deyoung museum. originally, you mentioned there were six. >> correct. so covarrubias painted six. tida took five from the port with the art mural, the missing mural. four of them are currently in storage. the fifth is on display at the deyoung on temporary loan. >> okay. thank you so much. >> i think i will just add that the deyoung loan is temporary and ongoing. they do understand that we do have a vision down the line for installing all five on treasure island. so there's an understanding for both parties, though it has been a beneficial long-term loan, we

hope to have a date where we'll ask to take that mural back from the deyoung because we'll be putting all five up on the island. >> it's great that they're sharing it with the public and taking care of it. if we could give the rest of them to restore -- >> i know if they had more wall space, they would like to put up more. >> thank you for that excellent work. you will keep us posted. >> thank you. >> thank you. >> item no. 6, discussion of future agenda items by directors. >> none at this point. >> as i mentioned at the board meeting last week, i think the march meeting will come with an update on the waste water planning and our progress there, but we'll also be flushing out an agenda for february. >> thank you. any public comment? seeing none, thank you,

everyone. >> adjourne adjourned. >> shop & dine in the 49 promotes local businesses and challenges residents to do their shop & dine in the 49 with within the 49 square miles of san francisco by supporting local services within the neighborhood we help san francisco remain unique successful and vibrant so where will you shop & dine in the 49 my name is jim woods i'm the founder of woods beer company and the proprietor of woods copy

k open 2 henry adams what makes us unique is that we're reintegrated brooeg the beer and serving that cross the table people are sitting next to the xurpz drinking alongside we're having a lot of ingredient that get there's a lot to do the district of retail shop having that really close connection with the consumer allows us to do exciting things we decided to come to treasure island because we saw it as an amazing opportunity can't be beat the views and real estate that great county starting to develop on treasure island like minded business owners with last week products and want to get on the ground floor a no-brainer for us when you you, you buying local goods made locally our supporting small business those are not created an, an sprinkle

scale with all the machines and one person procreating them people are making them by hand as a result more interesting and can't get that of minor or anywhere else and san francisco a hot bed for local manufacturing in support that is what keeps your city vibrant we'll make a compelling place to live and visit i think that local business is the lifeblood of san francisco and a vibrant community >> 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 ♪ >> about two years ago now i had my first child. and i thought when i come back, you know, i'm going to get back in the swing of things and i'll find a spot. and it wasn't really that way when i got back to work.

that's what really got me to think about the challenges that new mothers face when they come back to work. ♪ >> when it comes to innovative ideas and policies, san francisco is known to pave the way, fighting for social justice or advocating for the environment, our city serves as the example and leader many times over. and this year, it leads the nation again, but for a new reason. being the most supportive city of nursing mothers in the work place. >> i was inspired to work on legislation to help moms return to work, one of my legislative aids had a baby while working in the office and when she returned we had luckily just converted a bathroom at city hall into a lactation room. she was pumping a couple times a day and had it not been for the room around the hallway, i don't know if she could have continued

to provide breast milk for her baby. not all returning mothers have the same access, even though there's existing state laws on the issues. >> these moms usually work in low paying jobs and returning to work sooner and they don't feel well-supported at work. >> we started out by having legislation to mandate that all city offices and departments have accommodations for mothers to return to work and lactate. but this year we passed legislation for private companies to have lactation policies for all new moms returning to work. >> with the newcome -- accommodations, moms should have those to return back to work. >> what are legislation? >> we wanted to make it applicable to all, we created a set of standards that can be

achievable by everyone. >> do you have a few minutes today to give us a quick tour. >> i would love to. let's go. >> this is such an inviting space. what makes this a lactation room? >> as legislation requires it has the minimum standards, a seat, a surface to place your breast on, a clean space that doesn't have toxic chemicals or storage or anything like that. and we have electricity, we have plenty of outlets for pumps, for fridge. the things that make it a little extra, the fridge is in the room. and the sink is in the room. our legislation does require a fridge and sink nearby but it's all right in here. you can wash your pump and put your milk away and you don't have to put it in a fridge that you share with co-workers. >> the new standards will be applied to all businesses and places of employment in san

francisco. but are they achievable for the smaller employers in the city? >> i think small businesses rightfully have some concerns about providing lactation accommodations for employees, however we left a lot of leeway in the legislation to account for small businesses that may have small footprints. for example, we don't mandate that you have a lactation room, but rather lactation space. in city hall we have a lactation pod here open to the public. ♪ ♪ >> so the more we can change, especially in government offices, the more we can support women. >> i think for the work place to really offer support and encouragement for pumping and breast feeding mothers is necessary. >> what is most important about the legislation is that number

one, we require that an employer have a lactation policy in place and then have a conversation with a new hire as well as an employee who requests parental leave. otherwise a lot of times moms don't feel comfortable asking their boss for lactation accommodations. really it's hard to go back to the office after you have become a mom, you're leaving your heart outside of your body. when you can provide your child food from your body and know you're connecting with them in that way, i know it means a lot to a mommy motionlely and physically be able to do that. and businesses and employers can just provide a space. if they don't have a room, they can provide a small space that is private and free from intrusion to help moms pump and that will attract moms to working in san francisco. >> if you want more information visit

sfdph.org/breastfeedingatwork. ♪ ♪ >> they tend to come up here and drive right up to the vehicle and in and out of their car and into the victim's vehicle, i would say from 10-15 seconds is all it takes to break into a car and they're gone. yeah, we get a lot of break-ins in the area. we try to -- >> i just want to say goodbye. thank you. >> sometimes that's all it takes. >> i never leave anything in my car. >> we let them know there's been a lot of vehicle break-ins in this area specifically, they

target this area, rental cars or vehicles with visible items. >> this is just warning about vehicle break-ins. take a look at it. >> if we can get them to take it with them, take it out of the cars, it helps. an -- welcome to members of ocii and the public. madam secretary, please call the first item. >> thank you. first order of business is item one, roll call. commission members please respond when i call your name.