>> i'm officially stopping all of the covid related announcements and counting the hearings. we've been into this well over a year now, so i will just simply give the following direction that remote hearings require everyone's attention and most of all your patience. if you're not speaking, please mute your microphone and to enable public participation, sfgov tv will be broadcasting and is streaming this hearing live. another commission is going long and so as soon as that commission goes into closed session, i believe sfgov tv will broadcast our hearing live. we will receive public comment for each item on today's

agenda. comments or opportunities to speak are available by calling (415) 655-0001 and entering access code 187 422 9145. when we reach the item you are interested in, please press star 3 to be added to the queue. when you hear that your line has been unmuted, that is your indication to begin speaking. each speaker will be allowed up to 3 minutes and when you have 30 seconds remaining, you will hear a chime indicating your time is almost up. when you're allotted time is reached, i will announce your time is up and take the next queued to speak. best practices are to call from a quiet location and speak clearly and slowly. i'd like to take roll at this time. [roll call]

first on your agenda, commissioners, is general public comment. at this time, members of the public may address the commission of items interested of the public. with respect to agenda items, your opportunity to address the commission will be afforded when the item is reached in the meeting. each member of the public will address the commission for up to 3 minutes. members of the public, if you wish to speak to the -- under general public comment, you need to press star then 3 to be added to the queue and you will have 3 minutes. when you hear that your line has been unmuted, that's your indication to begin speaking. >> hi, good afternoon. can you hear me? >> clerk: we can. >> great. good afternoon, commissioners. this is bridget mayly. you will recall at your last meeting that i called into

general comment about the july 2020 landmark designation that i submitted for the golden gate carnegie library. designed by earnest coxstead this is one of seven libraries in san francisco. it's the only cox head library and it has not been previously landmarked. i'm requesting that during your commission comments and questions, you again ask for the status updates for this designation. i don't see anything on your agenda about it. the report that i submitted was thorough and i would really appreciate it if we can move this particular landmark designation forward. the one thing that i regret not embellishing more in the discussion that i provided in the report was the -- some more detail about the main reading room.

the previous six carnegie libraries that were designated, the reports noted quote, the spatial volume of the main reading room. so i used this same language to be consistent, but, sadly, there is a project uphill from this library which i'm sure you know a little bit about that's going to block the main light into the reading room. and so i'm asking that today you ask for more detail about moving this forward and i would also like to ask that when you move this particular library forward, you consider removing all of the language in the carnegie landmark designation reports to read, quote, the spatial volume in the main reading room and the natural light afforded by the general space. so, unfortunately, the ship has left the dock for the golden gate library branch. but hopefully we will be able

to recommend the other designation reports. thank you. >> clerk: okay. members of the public, last call for general public comment. seeing no additional requests to speak from members of the public. general public comment is closed and we can move on to department matters? excuse me, department announcements. >> hi, jonas. this is mar cell with department staff. i did want to provide a quick department update related to the general public comment related to the golden gate valley carnegie library. the department just wants to thank for submitting this draft nomination. we have been in active communication with the san francisco public library specifically with the c.o.o. about providing them the information related to the landmarking process and that

this library had been initiated, but unfortunately never made it forward to the next step related to landmark designation. so we are in active communication. we are aiming to bring this to the historic preservation in the summer. as you know, the public library has been under some operational constraints due to the covid-19 pandemic and so it's something that the department is very aware of, we have it on our task list and, again, we are aiming for this summer to bringing the recommendation and we will take into consideration the member of the public's recent comments.

>> jonas, you're on mute. >> clerk: i'm so sorry. we can move on to commission matters, item 2. president's report and commission announcements. >> thank you. at our last commission meeting, we had rick [inaudible] give us an update about the legacy business program and that he mentioned that he would be putting the applications on hold as he was given a new assignment to implement and to -- well, to plan and implement a new grant program related to entertainment businesses who have been greatly affected by the covid-19 pandemic. and so what we did was director hillis and jonas and i had a meeting with the director of small business to see what kind of support we could give and it

appears that after that discussion and a followup discussion with marcel of the planning staff is probably the best thing that we can do as the commission is to have planning staff write a letter to the mayor to ask for additional resources to be devoted to the legacy business program because this is a program that i know all of you have expressed a great interest and very strong support of and i think that if we were to find the additional resources for the office of small business, we can continue to move the very important and vital businesses that we appreciate forward. i just wanted to share that with you and we'll be asking staff to provide that letter soon because as i understand budget discussions will be taking place very shortly. thank you. >> secretary: thank you, commission president.

item 3, consideration of adoption for draft minutes for april 21st, 2021. we should take public comment. members of the public, this is your opportunity to address the commission regarding the minutes. if you wish to do so, you need to press star 3. seeing no requests for the members of the public to speak. public comment is now closed and the minutes are before you, commissioners. >> commissioner: approve. >> commissioner: second. >> secretary: thank you, commissioners. on that notion to adopt the minutes, [roll call] can barely hear you, commissioner foley. [roll call] so moved, commissioners. that motion passes unanimously 7-0 and will place us under

item 4, commission comments and questions and, if i may, through the chair just simply remind the commissioners that your first architectural review committee hearing will be taking place in a couple of weeks and i would ask that the president make the appointments to the review committee for keeping things tidy. >> president: yes. thank you, jonas. i would like to reappoint the current members of the architectural committee commissioners glassco and perlman. >> secretary: thank you. as president, you will be the exofficio member. any other questions or comments for the commission? all rightment seeing none. we can move on to consideration of items proposed for continuance. item 5, case 2020co900 ines

avenue. is proposed for continuance to june 2nd, 2021. members of the public, if you wish to speak to the item proposed to be continued, you need to press star then 3 to be added to the queue seeing no public comment. the public comment is closed. now before you is the item to be continued. >> commissioner: i move to continue it. >> secretary: thank you, commissioners. on that motion to continue, [roll call] that motion passes unanimously 7-0. placing us under and the item listed under institutes a

consent calendar, it's considered to be routine and maybe acted upon by a single roll call vote in which event the matter shall be removed from the consent calendar. 965 c00a. this is a certificate of appropriateness and be considered at the end of today's agenda. seeing no requests to speak. commissioners, public comment is closed and the consent calendar is now before you. >> commissioner: motion to approve. >> commissioner: second. >> secretary: thank you, commissioners. on that motion to approve your consent calendar item, [roll call]

that motion passes unanimously placing us under your regular calendar for your sole item today. item 7, case number 2021-001721des. the making of fresco showing the building of a city. this is a landmark designation. >> hello. i'm a gallery department staff. i leave lee hskin is on the line if you'd like to speak before i start my presentation. >> thank you so much. i'm lee hefner.

good afternoon president matsuda and commissioners. we designated this landmark designation some months ago and thanks to planning staff marcel for moving quickly to get this together amid everything else that's is noted for the record. we, of course, initiated landmark designation in response to a highly publicized story that the sfai art institute was going through some turmoil and was going to be potentially leveraging this beautiful fresco in order to secure its financial future and that could have portended alteration or removal of said fresco and while we initiated in response to a moment of crisis, i think it's kind of

blossomed into something quite beautiful and different which is now a little bit of a trend where i think in the months ahead of you as pilar might aware, we will also be seeking to landmark the other two murals, frescos that diego rivera painted. these are jewels in the city and county of san francisco. while i think there's an argument interesting here that landmark number 85 i believe it is for the building at 800 chestnut i believe there's an argument that that landmark designation functionally preserves this mural in as much as removing a fresco would require alteration of that building. i think it's really important and powerful and profound to have these three murals individually landmarked in the city and county of san francisco and i think it's

something we can be really proud of. i also want to acknowledge the san francisco latino historical society who submitted a letter on this and particularly perez indication and former preservation leaders, and dr. carlos cordova as well as annie rivera who provided input to our office as we were moving forward through this process and, again, thanks to pillar and planning staff for really doing the leg work on this one and i look forward to the commission support of this item this afternoon. and hopefully coming before you in the months ahead on those other two landmark designations. thank you. >> thank you. we look forward to seeing you again. >> of course. >> all right. thank you, commissioners. i will now share my

presentation. all right. hello again. before you is a request for recommendation for landmark designation for making of a fresco showing the building of a city. as lee just mentioned, on january 5th, 2021, supervisor peskin has introduced a landmark designation of this fresco. but the landmark committee and board of supervisors voted to approve this resolution which became effective january 22nd, 2021, with the mayor's signature. making a fresco showing the building of the city is a produced fresco with the john

hastings, clifford white and matthew barnes between may 1 and may 31, 1931, at the san francisco art institute which was known at the time as a california school of fine arts. this occupies the north wall of a student gallery now known as the diego rivera gallery of the original building at 5 chestnut street. 800 chestnut street. sorry. this as again was mentioned the 1926 building was designated san francisco landmark 1985 many years ago. as noted, the frecos are created in true fresco style and makes the work an integral part of the plaster wall. this project, the plaster of the fresco was installed that

are bolted to the underlying board form concrete wall of the building. just for reference for the commission, this is the same method of construction that was used for the history of medicine in california frescos by bernard zackheim which were recently designated as san francisco landmark number 289. making of a fresco covers the upper 2/3 of the wall of this large double height room in which this is located. centered in the unplastered wall below the fresco is an inside description which you can barely see in this image noting the fresco was given to a patron and board member at the time william aggressco. including in your packet, the making of a fresco demonstrates

familiar themes and is culturally and historically significant as the work of pre-eminent artist diego rivera. the fresco is also significant for its association with art, education, and sfai contributing to an fresco and influencing many generations of artist that is have taught or attended sfai. this artwork and the academic program and artists that evolved from it is also significant for new deal era works project administration for mural program. further, the fresco's also significant in association with the latinx arts communities for its direct lineage. the proposed period of significance is 1931 to one

thousand nine hundred seventy-four. diego rivera is one of the most important and famous mexican artists. one of los tres grandes. the mexican mural movement which has been called by some art historians, the only completely original contribution by american artists to the development of modern art. after emerging himself in middle european art during the 15 years he spent studying and living in europe. rivera returned to mexico and began his prolific career painting his monumental paintings on public buildings. his growing fame brought him to the attention of artists, museums, and art patrons in the united states in the mid 1920s. between 1930 and 1934, rivera painted artworks in san francisco, detroit, and new

york. his first and last artwork in the united states was in san francisco. first at the former stock exchange in 1931 and his last at the golden gate international exposition on treasure island in 1940. painted in 1941, i'm sorry 1931, at the end of rivera's first visit to san francisco, the making of the fresco was the large oes of the san francisco mural painted on this initial trip. and his first fresco in the united states for a public audience. in it, rivera said that he sought to depict a dynamic concherto of construction. artists working together to create a modernet fast. heavily influenced the new deal federal art programs of the 1930s and early 1940s. sfai's long standing academic

program in mural painting and frescos at the school also had a significant impact on mural painting in san francisco and throughout the u.s. and that created a vital program that providing a group of local items and mural paintings. you can see how this might have influenced the selection of the first new deal era art project which was at hoyt tower in late 1933 and early 1934. among the 26 artists that worked on the coit tower project that had worked and trained with rivera including clifford wight, bernard zakholm and victor armautoff. nearly all of those were

completed in the true [inaudible] in his book -- inaudible. >> secretary: you're cutting out on my end. i don't know if others are hearing it. >> yes? >> secretary: i apologize for interrupting you, but you cut out a little bit on my end. i don't know if other people experienced that, but if you stop broadcasting your video, it should resolve the issue. >> okay. let me see if i can figure out how to do that.

i'm sharing. sorry. >> secretary: oh, that might be a problem then. >> i'm afraid i don't know how to turn my camera off while i'm doing this. >> secretary: it seems to have cleared up. >> okay. let's hope that i can get -- i'm almost done. diego rivera significantly influenced san francisco muralists can technical and stylistic techniques being passed on as new artists watched him paint in person and sometimes worked as his assistants. by visiting the actual walls. in some instances, rivera's influences are particularly clear such as the bank of

america branch mural at mission and 16th, an 0mage where we see an interplay of monumental figures and scaffolding beams. the mission mural and community mural movement includes many artists and organizers who have been students at sfai or worked with other artists trained by rivera. as received one letter and one e-mail. one letter from the san francisco latino historical society and one e-mail in support of this landmark designation. staff has received one letter noting that it does not support the december anything nation and believes it exceeds the authority under article 10. the designation of the making of the fresco meets two of the

hisstor preservation committee's priorities for designation, property types that are underrepresented and properties that underrepresent associate, racial, or ethnic groups specifically in this case latinx among the city's designated landmarks. the department believes this meets the landmark status is warranted. the department recommends that the commission approves the recommendation for landmark designation of the making of a fresco showing the building of the city which would be forwarded to the board of supervisors. i believe representatives of sfai are available to respond to any questions on the commission. so that's an interesting new word i created. but they're not planning on making a presentation. thank you, that completes my presentation unless there are

questions. >> secretary: thank you pilar. we should take public comment. members of the public, if you'd like to make public comment on this item, please press star 3 to be added to the queue. when you hear your line unmuted, that's your indication to begin speaking. >> good afternoon, commissioners. this is ann cervantes. i want to address that we're involved in the latino context statement, most of our founding members and we need to talk about how important latino historical assets to be included in the documentation, the citywide context. the context is the statement in process of incorporating comments from our readers and in first voice so there's a connection to the community rather than being the only source of books.

there are two significant latinos from the 1920 and 30 movement. the artist and julio arce who was the editor and owner of hispano america which was located in north beach. but, in this period, the reason why i bring it out is that it was the spanish in your opinions that covered the movement and that diego rivera brought to the city. what i want to say and it's already been saying because it was social realism in public art and the mural is schools in

the 60s which we call the historic period of -- i've lost my train of thought -- historic period, we have it designated as the economic, political, and cultural empowerment period between 1966 and 1999. but these people were influenced by that and use their approach that these earlier muralists did into expressing the social distance issues that were in the mission district and the poster art of the time period. the work of rene yanes. all of these had that connection in and that connection for starting the mural movement in the mission

district. he initiated the public art movement here in san francisco which is an important latino historical asset that we need to start documenting the contribution of the latinos in the development of the city and county of san francisco. and so, we're in support of leaving this piece of public art in the building that it was designed for. thank you, commissioners. >> good afternoon commissioners. some of you may know that i published several items in the last several years regarding new deal art.

i want to compliment pilar for the excellent presentation she has prepared and i especially want to emphasize the period of significance that was chosen extending all the way to 1974. she and i discussed the period of significance and i'm pleased that it extends as it does and cervantes comment which you just heard that would also support significance and i would certainly endorse everything she's just said. i'm happy to take any questions if you have any. thank you. >> hi good afternoon commissioners. i stayed on after public comment for this item

particularly. i'm thrilled to see this coming before you and for this mural and now understanding the other diego rivera murals will be landmarked i want to point out and i believe the skylight is original but i haven't had a chance to read the full designation report. i think that understanding and viewing this mural in the room is enhanced by the natural light that is provided by the high clear story windows and the skylight and given where we are with a change to a main reading room of a carnegie library that has a similar high level of window light, i would just implore you to consider what -- how the natural light plays into this room and how it

affords an understanding i would also say that viewing the mural from the other side of the room gives one a different perspective on the mural and so i know this room is used as a gallery space, but perhaps, you know, the features could include something like, you know, the opens of the room. i mean, i know it says double height. but i would hate to see, you know, kind of a permanent gallery space that would impact how you view the mural. thank you. >> hi, this is allen martinez. good afternoon commissioners. i want to -- i agree with

everything that's been set before. i want to point out a of oop things, but if you look at the way the scaffolding is arranged, it perfectly complements the frame of the roof. and if you notice the rungs of the ladder up the scaffolding also the paint colors are reflected and as bridget maylee mentioned, the main source of light is the skylight and if you look at the shadows in the painting especially around the white shirt on the back of the artist, it looks like the light is coming from the skylight. so the light from the painting matches the source of the light from the room. if this mural was moved

somewhere else, it wouldn't have the same impact because it was really designed to harmonize. and it's also important rivera was all about his work being seen by the public. so it's important to keep his work in the general realm. when we talk about the murals it wasn't just what they look like that was influential, it's the very idea that art should be political and that the artist as a personal responsibility to be politically engaged. this is also his legacy. it isn't just what the art looks like it's that art should be political. at the recent show the opinion, the estimate of the importance of this art in world art

history has only gone up if with the decades. the importance of these artists worldwide and their influence truly has been worldwide, you see that particularly in third world countries where their influence has been phenomenal and so, these are masterpieces that should stay in san francisco and should stay in the rooms that they were designed for. thank you. >> secretary: go ahead,

caller. we'll go to the next caller. mr. christianer. >> yes. can you hear me? >> my name is mark kushner. i'm the chief operating officer of sfai. we don't have any formal presentation and our board share was in the queue as well. we just want to thank everybody. we agree with everybody on the historic significance of the mural. the main part that we wanted to register was our attorney daniel fratten who is not available today submitted a letter indicating that we don't believe the city has the authority to landmark this as its personal property, the feasibility studies have now shown that it's movable unlike some of the other murals referred to. it's more like the city college

one that's movable. it's not painted on the wall. it's painted on a third wall that's connected to the wall and movable. and so we're not aware of the city ever landmarking personal property. and so and ironically due to our lease and preserve our rights, our legal rights as this is one of our also asking me to share finally that we've heard the community loud and clear and we're not planning to move it at this time and that's the official policy of the board at this time. >> good afternoon

commissioners. speaking in designation of the mural as an i really wanted to focus on one point regarding the sfluns on new deal making of the city and the coit tower muralist noting simply that noun some of the vast majority of them were many of them albro

and white distanced diego rivera in mexico and observed his practice. but really, i just wanted to emphasize the connection between the coit tower site and the san francisco art institute site. while the mural may be movable, i really want to emphasize the physical connection and proximity of these two sites. it allows visitors to visit the art institute on russian hill as this commission was likely well aware, coit towers national historic landmark status is pending. in my view the diego rivera

mural likely merits an mhl status and i ask you to support the nomination. thank you. >> i've already spoken. thanks. >> secretary: okay. members of the public, last call for public comment on this item. seeing no additional requests to speak for members of the public. commissioners. >> commissioner john. >> this issue of whether it can be -- the fresco can be landmarked because it is personal property is one that i

find to be troubling and i'd like to know if our city attorney can provide us some guidance on this question. >> yeah. our city attorney is available in advance of this meeting so maybe we could ask her to explain how a landmark designation is seen as a regulatory action rather than a taking action. if the city -- andrea, can you elaborate for the commission

only limited to building. we belief a particular feature in this case the mural is subject to landmarking. and the fact that something may be taken away from the building arguably you could take, you could remodify any feature from any building and that would not necessarily make it personal property. i believe the department's position is that this is intrinsically linked to the building as public speakers have attested as well. so and not.

>> thank you. commissioner nageswaran. >> commissioner: so, of course i looked at it and i read the letter from sfai attorney and got me to thinking about and so a couple of things i wanted to mention for everybody to hear so there's the four different diego rivera murals that are going to be coming up and i want to be careful how we approach this one so that as we go to the other ones that there aren't similar conditions. the stock exchange tower is a private tower and in the other three are relatively public

spaces. coit tower which is a private institution presumably and university of california building is what i'm gleaning. and then, with landmarks hbc's landmark one fresco which is similar from what the planning department said, it's similarly done with movable panels and with this mural is within the states it's originally done. i'm not totally clear on the city attorney that it isn't personal property just to have it be movable. but what i want to understand is that when it was originally done was at the property of the university of california or the property of sfai, that's one

thing to understand and then, of course, it is with enough space that it has that impact so i can totally see how they're interconnected. i appreciate that sfai had mentioned that. they don't plan to take it down soon. i want to mention another set of murals and old main public library which is now the asian art museum. i worked on that project, you know, more than 20 years ago she had an idea to bring light in and there was a lot of back and forth of what to do with these murals and there's also litigation which failed and they were allowed to take the murals out and ten of them and

four of them are in the treasurer's office at city hall. i believe and so at the end of the day, they were preserved and kept, you know, in together. the four that are and i want to understand a little bit better who owns the mural or the fresco and as far as like the way that diego rivera did it, i didn't get it out of whatever was in the documentation, but in my mind, i've done a little bit of work and i know that

class work can be delicate. so something that needs to be resolved before we continue with this edition or not. >> i'm going to make sure we look at this designation as its own designation. we're asked today to support and just to consider resolution to recommend article 10 landmark of this particular fresco. so of the diego rivera fresco period. so i understand and appreciate

i'm going to ask the city ownership inquiry that you had. >> they would own the fresco itself and to have a lease on the building that belongs to the region. i'm not and the fresco to answer the commissioner's question about whether the fresco who did it belong to at the moment. >> yeah. so my understanding from the research was that at the time the fresco was painted, it was

a commission that was paid for or rivera was paid by william garsol who was a board member of sfai or the california's fine arts at the time and he made the donation and sort of gave the that was being created in place to the institution. those two sfai -- sorry. california institute of fine arts the school i believe their board for a long time was the san francisco art association that was the affiliated board that was running managed the school. but, at that point, i believe once it was sort of giving to

the school that was the ownership at that point. and i also wanted to mention just in terms of how it was -- our understanding in terms of how it was painted or how it was created in the space was not that it was intended to be movable. the third wall which was -- it's a typical construction technique from that period and to today, you know, there's a lot of reasons to use such a system including that there may have been underlying issues with the board form concrete wall behind it. and, yeah, to allow the two elements to sort of move separately definitely protects from water infiltration and damage from that. and it seems to have been a -- i can't speak to rivera's

frescos in mexico, but, you know, it does seem to be that something from you see in the local artists that trained with him and the artwork that they had done that they did use a similar system and like i said, the murals at the ucsf pernasis have a similar type of construction. i think they are very different in character, this fresco from the dcsf system that rivera used for that artwork that was done in 1940 because that was actually undertaken and he painted that in public view on treasure island as part of the golden gate exposition and it

was always intended to be movable from that site to a more permanent location. i'd say the making of a fresco at sfai in contrast was painted in place. i don't see any records to indicate that they anticipated moving it or having it be considered moveable in the same way as some of rivera's other works. >> commissioner nageswaran, are you -- >> commissioner: so i had like it sounds like the original that was sfai owned the mural early on, but the building is -- has it always been owned by university of california and to

president matsuda, would the designation include the aspects of the room or just the fresco itself? >> president: the issue before us. so pilar, can you clarify that for us, please? >> i'm sure i can try to do so. so we did identify a list of character defining features associated with the fresco. and they're meant to sort of address the structural support, construction, and visual depiction and expression of the fresco and they include sort of the structural system that supports it, the layers of plaster that are used to create it into which the pigments themselves become combined.

so the size, shape, and form and the materials involved including the posts that you see that go sort of all the way down the wall. the double height headmented solid wall where it's located, we call those the open russs of the underside of the roof because it again credits back to some of the commenters. it was about getting, noting the sort of spatial qualities of the room and that you would want to maintain those spatial qualities so that the visual expression of the fresco would be maintained and then just sort of the placement in general in relation to surrounding features including the height above the floor and the way it extends to the roof line and to the corners of the wall. i should also mention that because there's also the existing landmark designation

of that building in which it's located, we didn't include many other fiscal features of the room or the building itself because it seemed like those would be part of the -- that separate designation. >> you mean the designation that happened in 1977. >> yeah. sorry. >> thank you. >> but you do include three aspects of the room in that summary you had for character defining features. so that's -- those are part of the building. right? >> yes. in the sense that they relate back to how you sort of experienced the fresco and that you can actually see it and parts of it aren't covered or

its relationship to the rest of the room isn't changed. it is -- go ahead. >> so really it's the setting that you're describing versus a character defining feature? >> yes. [please stand by]

"the making of a fresco showing . >> -- including people like javier martinez, obviously, and

rivera. and at this point, the craft of rivera, and his fellow artists, hastings and barnes. and based on all of that and the information in the presentation, i will be supporting approval. >> thank you. commissioner johns? >> this is as if it was forgotten at the time of originally being landmarked. so when i started reading about this, i was like it was originally marked at a time when the building was landmarked, so it feels like we're just coming back and

saying this was a piece that was just left out at that time, but it should have been in there from the 1970s. but in terms of sophistication, we are light years ahead of the history and the depth that we understand the history, so that -- and i think the most important point, and it's one that i was going to make, is the idea of putting the plastic

on -- i'd agree with all the other commissioners that i would, you know, certainly support this. >> thank you. commissioner johns? >> thank you. you know, this is one of those other times when i think we

started to wander into the most delicious fields of speculation. we do know that the fresco wasn't painted right on the cement wall. the property isn't something for us to decide, whether it's a personal property -- what i'd like to do is set all that aside and vote on this matter on the assumption that it is proper to legally designate this fresco. if i were convinced that it is not proper to landmark this

fresco for some legal reason other than the artistic landmark -- i think we should leave the legal issues of who owns it and whether or not it is proper to leave it to someone else is an issue for another day. >> i just just wanted to add one thing and hope that the commission would support me on this. in the resolution, i think miss

cervantes mentioned that this kind of led to the movement of the murals in the mission district. i think you clearly stated that in number 8 in your resolution. the only thing i wanted to add was the h.p.c. had made social and racial equity in all projects that have come before them, and i'd like to include that particular phrase in the resolution because i think it does support the artist, diego rivera, and he is a member of a community that really has been underrepresented and underappreciated in our san francisco history. and mr. martinez brought up a good point about the mural being harmonized for the space.

commissioner pearlman, i am in agreement with you. when i read the building was landmarked in 1977, why this was not called out. maybe we just inferred or, i don't know, just thought it was going to be a part of it, but i'm glad that we have the opportunity to call it out now and recognize it and appreciate it. so if anyone on the mission would like to make a motion with my one amendment. >> i move to approve your one amendment. >> second. >> clerk: commissioner matsuda, i believe that commissioner so is requesting to speak. >> oh, i'm sorry. i did not see that. commissioner so? >> thank you. i just wanted to say i am going

to support the motion, but just some comments with respect to the mural with respect to architectural spaces and with respect to the mural, first, i hope it's being landmarked. the project sponsors or the ownership of the property or the mural, the ownership, whatever it is, could allow them some avenues to create some other ways to protect and reserve and preserve this amazing and important piece of art and culture not just representing san francisco but the latinx community in san francisco. it's a community that's historically been underserved and protect, and it's a part of the history. and i also wanted to touch on the light and the art itself.

i agree with that. i agree that when you commission an artist to do a work in a space, it's a masterpiece, and it resonates to the spatial proportions of that volume of space, but now, we're talking about we need to preserve it, and the quality of the fresco itself [inaudible] be sensitive to the type of light that will be shining on it, so i don't know if, in this resolution, we'll be requesting to have an art specialist to actually consult with them to look into -- the sky light might be interfering with the quality of the fresco.

i don't want to be adding more when we have 155 pages, but we need to bring on board some of these specialists when restoring mural and these special artists. being this world, i am pretty familiar with artists in the city that are really well versed to do that. i just want to share that, as a part of moving forward, we will be seeing more of these coming our way, but in general, i am in support of this motion. >> clerk: okay. commissioners, if there's nothing further, and i'm not sure if the maker of the motion wanted to include commissioner so's comments? >> i think commissioner so was not intending to add it to the motion. was that correct, commissioner

so? >> a two-fold question. i'm not intending to, but i wanted to ask if there's any verbiage that would kick in, once it's being land marked, the process of preserving and processing this mural will be -- because now we're starting to talk about the space, right, but natural sun light is great for art but sometimes not to great for the art. just want to make sure that we're not -- we're giving some latitude -- let me put it this way. we need to defer to experts for restoring art mural. instead of keeping the sky light the way it is in the space, we need to study the impact to it.

i guess this is a question to miss pilar. is this a procedure of part of the space [inaudible]. >> right. so as part of the designation, we identify the character defining features that we think are most significant to be maintained and to represent the -- the historical significance of the [inaudible] to be landmarked. i don't know how in land marked you would go about conducting that preservation, maintenance, or historic work? in article 10, future restoration, maintenance, etc., would be reviewed against these character defining features

that are identified and against appropriate preservation techniques and with appropriate restoration professionals and consultants involved, so that would be a future project level review, and what's before you today is speaking more to the historical significance and what are those features that are being called out that we want to maintain for the future. the character designing features as specified in the passed ordinance do not include the sky lights specifically. >> thank you. i have no desire to amend any of my comments to it. i think the sky light is just part of a conversation discussion as a competition for

the space and a uniqueness of this piece of mural, but we should just keep the 155 pages the way it is. >> clerk: in that case, commissioners, there's a motion that has been seconded to adopt a recommendation for approval with the amendments read into the record by commissioner matsuda. on that motion -- [roll call] >> clerk: so moved, commissioners. that motion passes unanimously 7-0, and now you're all free to drink margaritas for the rest

of your afternoon. >> hey, jonas, do you know what time the a.r.c. is going to be on the 19th? >> clerk: it will likely be at 11:30 because there are two items that are asking to be considered. >> okay. thanks, jonas. >> clerk: take care, everyone.

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>> tuesday may 4th, 2021 we'll call this meeting to order. >> would you call roll [roll call] >> clerk: welcome. >> our next item is the approval of the minutes of the health commission meeting of april 20th, 2021. thank you to commissioners for providing edit for the minutes. upon reviewing the minutes as amended, are there any further