the walker here.

right. uh, hey, are there any changes to the agenda? >> nope. great. okay. i'd like to welcome all persons interested in this meeting to attend in person at one. dr. carlton. good luck place room 416. this meeting is being streamed on s.f. of. while the technology grants us better accessibility for individuals listening to the meeting remotely, please be mindful that tech related difficulties may occur which could contribute to the gaps and delays as staff transitions the technology. please know that we are doing our best and we ask for your patience. >> i want to remind us of the policies and procedures for public meeting. at this meeting we are bound to follow the structure of our agenda and adhere to the best practices set out by the good government guide. at every public meeting there will be opportunity for general public comment where members may comment on any item pertaining to this body. public comment will be taken in person with remote access

provided for those who require an ada accommodation and respectfully we ask that you keep your public comment on the topic. each public comment is limited to three minutes. please understand that the committee does not contribute to dialog toward public comments. each comment will be documented from public records. the ringing and use of cell phones, pagers and similar soundiro documented person responsle am turning min. >> suggest everyone else who didn't remember do it now. please note that the fourth floor has a women's restroom located on the north side men's on the south east side just outside this room and an all gender restroom at the southwest side. in case of emergency, your nearest stair exit is at the southeast corner on the fourth floor right outside the store. there are stair exits located

on each corner of the floor. it is recommended to pull the fire alarm and use stairs. fire alarm is a variable tone and strobe lights will flash if strobe lights and alarms go off you must evacuate the building . wheelchair access entrances are located on vanessa avenue and grove street. please note that the wheelchair lift at the good lead place polk street is temporarily unavailable after multiple repairs that were followed by additional breakdowns. the wheelchair lift at the good lake entrance is being replaced for improved operation and reliability. we anticipate having a functioning lift after the completion of construction in may of 2025. there are elevators and accessible restrooms located on every floor. i will now turn it over to our program associates craig corporate for public comment instructions for members of the public who wish to comment on agenda items you will be asked to voice your comment at the podium. it is recommended but not required to fill out a public comment part.

i will start your three minutes when you speak using a visual timer. you will also receive a 32nd audible warning when when your time is up i will say your time is up. participants who wish to speak on other agenda items may listen for the next public comment opportunity. anyone who speaks during the public comment period at today's meeting can send a summary of their comments to be included in the minutes. if it is 150 words or less to craig's corpora and s.f. gov.org the summary may be rejected if it exceeds the prescribed word limit or is not an accurate summary of the speakers comments. persons attending the meeting and those unable to attend may submit written comments regarding the subject of the meeting. such comments will be made part of the official public record and will be brought to the attention of the committee. written comments should be submitted to our commission staff via email to craig dot corpora at s.f. gov dorji.

by 5 p.m. before the date of the meeting to ensure comments are shared with commissioners ahead of the meeting. please note that names and addresses included in these submittals will become part of the public record. submittals may be made anonymous anonymously written public comment submitted to sfa city staff will not be read aloud during the meeting. communication received after 5 p.m. before the date of the meeting may be delivered to s.f. ac staff and will be shared with the commissioners. if you need to request a reasonable accommodation under the ada or need to request language assistance you you must contact the program associate at least 48 hours in advance of the meeting. we will make every effort to accommodate all requests. >> commissioner snyder please begin the meeting when you're ready. great. >> i would like to start the meeting by reading our land acknowledgment statement. the san francisco arts commission acknowledges that we are on the unceded ancestral homeland of the rama. tosha loney who are original

inhabitants of the san francisco peninsula. >> as the indigenous stewards of this land and in accordance with their traditions the rama tosha loney have never ceded lost nor forgotten their responsibilities as the caretakers of this place as well as for all the peoples who reside in their traditional territory. >> as guests we recognize that we benefit from living and working on their traditional homeland. we wish to pay our respects by acknowledging the ancestors, elders and relatives of the rama church community and by affirming their sovereign rights as first peoples. as a department dedicated to promoting a diverse and equitable arts and culture environment in san francisco we are committed to supporting the traditional and contemporary evolution of the american indian community. >> i will now call item number two general public comment. >> is there any general public comment? if you would like to make a public comment please proceed to the podium and fill out an information card.

we are currently on item two. okay. as a reminder i'll start your your time when he began speaking. you'll see a visual timer and receive a 32nd audible warning before your time concludes. is there anyone who'd like to make a public comment on the current agenda item? okay. i see no public comment at this time. >> right. okay. i now call for item number three the consent calendar. discussion and possible action . >> i'm going to ask the commissioners for withdraws or recuse themselves at this time any withdrawals or recusals? >> no. great. commissioner schneider, i do have a recusal. i apologize. i didn't notice this before on item one of the consent calendar for artist chris grenier who i do have a working relationship with. >> okay.

i really hate to ask you to we can't do it. >> 3.10 i'm sorry we don't have quorum. >> we might have quorum. >> that's right. so we have city attorney and can we waive it? >> can we vote to waive it or no, we can we can table it. we can separate it from the forum and just vote on three two. >> okay. all right. so that's what we'll do. we will sever item one and go on to item two in the public comment. >> uh, let's see. okay, so we'll take item number two and in commissioner discussion or comments on item number two of the two of consent calendar. okay. no. and is there any public comment on item three? number two of the consent calendar? >> if you would like to make a public comment, please proceed

to the podium and fill out an information card. we are currently on item two. >> is there anyone who'd like to make a public comment? >> i see no public comment at this time. >> okay. okay. and now i'll ask for a motion and a second. >> i'll have a motion moved to approve. right. a second. second. right. thank you. all those in favor say aye? aye. okay. any opposed? the motion passes unanimously. okay. i am now calling item number four as fhc gallery's summer 2025 exhibition discussion and possible action discussion possible action for the director of culture affairs to approve artist honoraria in the amount of $3,000 to salma to i'm a baby 1500 to ricky dwyer 3000 to sandra ibarra 55 1500 to sasha kelly.

1500 to tiona nakia nickelodeon and 1500 to autumn wallace for the research and development of artwork for the exhibition. service attention to be held in the sfa gallery from may of a may 20th 2nd to august 23rd of 2025 and i would now like to introduce our introduce our director of galleries and public programs carolina bar eric a self-determined correctly arana barbara fernandez. >> thank you. good afternoon commissioners it's good to see you. i'll be presenting the artists of our upcoming 2025 exhibition in the main gallery. last summer i was pleased to present the curators of our first two exhibitions in 2025 and i'm excited to share the list of artists for our upcoming exhibition opening in

may 2020 2022 of this year curated by elena grosz and leila we for service tension explores the messiness and complexities of the body an interpolation of surface tension which signifies a resistant relationship between two surfaces the tiles. the title suggests power playful interrogate of sex and penetration. the exhibition themes consider abstraction as an esthetic tool for troubling masculinity within dynamics and sexual desire is about the artist's salima too am i babe i'm a bebe is a trans nigerian american chef and multimedia artist working in food film photography is sculpture and installation. his work centers on community activism, african diasporic culinary tradition and black

trans liberation. hurricane dwyer is an artist from the san francisco bay area currently working in brooklyn. his practice considers the intersections of material industry and the somatic his work acknowledges drapery as the negotiation the things never fall the same way twice, dyer had solo exhibitions at guerrero gallery and ugly trimble in san francisco and rupert in lithuania in 2022 he participated in the biennale de lille and in collaboration with nikki green. next we have sandra ibarra who sometimes works under the alias of lachica who is an oakland based artist from the us mexico border of el paso. juarez ibarra ibarra works across performance video and sculptures to address

objection and joy and the borders between proper and improper racialized gendered and subjects. their work has been featured in the broad museum in l.a. the anderson collection at stanford and the ica in los angeles among other places sasha kelly is an oakland based multidisciplinary artist using visual art, pop publishing and social engagement to explore topics of intimacy, collective archives and collaboration of black, brown and communities they have exhibited at the sonoma county museum so mit's cultural center and the berkeley arts museum. >> tiana became a claude and is a visual artist, filmmaker and curator whose work explores and critiques issues at the intersection of frieze, gender, sexuality and social

commentary. my client's interdisciplinary approach traverses documentary film, experimental video sculpture and sound installations. their work has been exhibited at the guggenheim museum in new york the whitney museum, the museum of modern art among others. tim wallace is a visual artist whose work across media to create paintings and sculptures that examine human sexuality, gender and the black femme experience. while this work has been exhibited at the armory show in new york the provincetown art museum, mass moca among others and their work is included in the collection of the studio the studio museum in harlem. >> about the curators as i mentioned, this exhibition is co-curated elena grose is an independent writer, curator and cultural critic living in oakland, california.

she specializes in interpretations of identity in fine arts photography and popular media. her research has been centered around conceptual and material abstractions of the body in the work of black, modern and contemporary artists and most recently in, artistic and literalist histories of the late 20th century. >> lila weaver is an artist, writer and curator based in oakland through film and architecture. they examined the performative elements connected to systems of belonging present in black gender by variant to embodiment. >> their research across disciplines exposed explores religion, black ecology symbols and colloquial language a transnational of blackness and practices of collectivity. we for has worked at princeton's university louis center for the arts, the

warriors institute of contemporary arts mcevoy foundation, berkeley arts museum, the kitchen and the museum of african diaspora. there are lecturer at stanford university thank you so much. >> do we have any commissioner or comments at this point and ask remind you to say your name with your comments? >> well i think this is a really intriguing exhibition. i'm the artist and what the curators will do with it. i'm really looking forward to it. hats off carolina. this one's a good one. yeah. i mean they all are but it's i'm very intrigued with this one and look forward to it. >> yeah. thank you. please come to the opening may 2020. may 22nd. >> okay.

>> i hope there aren't any other comments i'd like to make or are there any public comments for this? if you'd like to make a public comment please proceed to the podium and fill out an information card. we are currently on item five. is there anyone who would like to make a public comment on this current agenda item? >> i see no public comment at this time. then i am going to ask for a motion and a second and again commissioners please say your name when you make the motion or second move to approve. >> commissioner walker. >> second commissioner lew. thank you. okay. all those in favor say i i any opposed. >> passes unanimously. right. we look forward to it. thank you. >> i now i'm calling item number five art on market street poster series discussion and possible action to approve the final selection of works

for the first installment of 2025 art on market street poster series. and i will now turn this over to program associate craig cooper. >> go forward craig. thank you commissioners. i'm presenting the final selection of the first installment of the 2025 item market street poster series. >> as a reminder, this year is highlighting past poster projects organizing the works through the lens of people, places and things that reflect historical events notable individuals. everyday people. art and architecture that are significant to san francisco's culture cultural and physical landscape. this project also intersects with the continued work of shaping legacy program by calling attention to underrepresented communities and overlooked histories. we selected the work selected here or from a broad range of years with a diversity of individuals and subjects having

a strong and bold figurative presence. so the selection is chess players by rigo 94 from his 1994 series market street tales and red piece out from current maria's 20 sorry 2023 series boom town rose candy by maria ford for her 2005 series the pickpocket is del and phyllis by felicia carlyle and jessica hobbs from the 2005 series the wedding portraits series f market by helena keefe from her 2007 work muni maps. the theme of that year was urban systems travel and journeys and then dash by owen smith from his 2008 series dashiell dashiell mamet's san

francisco street artist by jonathan bernstein from his 2010 series meat market portraits of the street. the theme of that year was new images based on photographs and seasonal. williams and janice merritt cattani by kate haag and ivan aranda from the 2017 series summer of love trading cards. the theme of that year was the 50th anniversary of the summer of love. next we have the mother and child free huey rally by deborah sahm for the series i also from 2017 oh sorry went to fast. untitled by sylvia cordova for the 2018 series of body reorganized. the theme of that year was sanctuary city david brooks at

hospitality house by lukas brafman. similar for 2019 on whose shoulders the theme of that year was 24 seven. and then we have the transgender district by marcel pardo or risa for the 2020 series kin streets. the theme for that year was celebrating 50 years o gay pride in san francisco. >> jose soria by win mixture in pride as a protest al from 20 al from020 a son you are still here from kimberly are touches. 2021 series. it wasn't only a hotel. the theme from that year was imagining monuments for the future. and finally we have dr. dreams the super trans from skywatchers series toward

opulence and also from 2021. i worked with a graphic designer to create this frame to give the series a consistent look. and also we have a qr code and i'll be creating a web page that will have further information on each poster. the let's see here hey, sorry. one thing to note is that the final selection this is the final selection. however i'm still working on finding the print files for each work. and so it is possible that the works up for a not all the works up for approval will be installed when we get to the final time. so it might be there might be like a few less than we have approved. >> oh so it's a matter of whether you have the actual. >> yeah there's about five that i'm still trying to find the files for. >> do you have others that then would you have to substitute or

how would it work just. well i think i'm just i would just show the ten that we have the print files for and then i would put online the other five. >> so still have it in kind of the series i see. okay. all right. are there any. thank you. >> one more thing. okay. >> so installation of these works will be early march and will be up through the end of may. in the meantime we will approve the second section the second selection before the may vaccine meeting places will install in june and be up through the end of august. the third grouping will be approved before the august meeting and that will be things and that will be up from september through the end of the year. yeah. thanks. thank you. >> and commissioner comments or discussions on this incredible array of posters series.

this is quite remarkable to me and i can't even imagine. i didn't know you were an archivist, did you? >> mm hmm. yeah. a lot of work and we appreciate all the work and effort that you've put into this and any comments or discussions. >> yeah. i just love i take money all the time and i just love being on markets when these are up and watching people enjoy it to . so it's really one of the most sort of available public art things we do i think in many ways. so thank you for all of this for the program. and i'd like to make a motion to approve. >> oh yeah commercial lou here i really love the qr code integration. yeah, that's fantastic. i think it's also like online and offline they're more people enjoying them. and also we can live longer. yes. yeah. thank you so much for the great work. i think it's busy. congratulations craig and congratulate since to all

the other artists who get a second chance to shine and it just makes me want to say yay san francisco. you. all right, well, i we have a motion so i guess we should ask for a second and then we'll ask for a public comment. >> but it's the motion already was thrown out there. let's get a second. oh, second commission, lou okay ,now we can ask commissioner walker very okay then let's ask for public comment if you'd like to make a public comment please proceed to the podium and fill in information card. we are currently on item five. is there anyone who would like to make a public comment on this agenda item? >> you know public comment is still a comment. okay. and since we've already made the motion and the second i will ask for all those in favor say yay yay yay yay any opposed it passes unanimously. excellent. okay. and we now are on to item

number six discussion and possible action to approve the project plan for the 2026 art on market street poster series and we have program associate parris coates to introduce us to that. >> good afternoon everyone. i'm here today to present the 2026 art on market project plan. and just as a background reminder i will be taking this project over from craig. so that poster series he showed you is craig's last and i will be taking it on forward. so just a brief background the art market poster series has commissioned new artwork by artists on an annual basis since 1992. each year the program commissions for artists create a new body of work that responds to a specific theme which i'll get to each series is up for approximately three months. there are at least six unique poster designs on 15 bus shelters one market so 2026

theme is called now and then living memories the name is taken from a 2017 essay by writer, historian and activist rebecca solnit who lives in san francisco. artists will be encouraged to use primary sources such as libraries, archives, oral histories anything else they can come up with to create a cohesive series uncovering overlooked histories and memorializing new histories . there have been some past projects such as once upon a time in 2011 her personal landmarks in 2006 that have touched on sort of similar themes. >> however, this theme will encourage artists to dive deeper into a series of stories or a single story moment person or people movement. and this project will also intersect with the continued work of our mellon grant funded chipping legacy program. the project timeline if approved are for q will be

issued on february 24th. >> we'll have our artist review panel around mid april and we'll bring you those then those artists will develop their proposals over the late spring convene the panel meeting in june, bring the finalists to vicki and in june on june 18th and then hopefully have them under contract by august and then sale dates are the same as always and the budget for the design is not to exceed $12,000 for each artist and this fee includes artist fee design and all preparation work to complete at least six unique six unique poster designs. and that's it. thanks for your time. right. thank you paris. i appreciate that. are there any comments or discussion from the commissioners? anybody any comments there?

okay. well it looks like i'm very excited to see what you do with it and i'm sure will come out with some really fun and interesting images. >> so thank you for that and i will ask for public comment now. any public comment at this? if you'd like to make a public comment please proceed to the podium and fill out the information card. we are currently on item six. >> is there anyone who would like to make a public comment? i see no public comment. >> okay then i will ask for a motion and a second again please state your name when you make the motion. >> do i have a motion? so i moved commissioner first. >> second lou. great. >> thank you. all those in favor say yay yay yay a hall opposed say nay. >> it passes unanimously. thank you. okay.

i now call for item number seven a discussion and possible action to approve the final design of zaha's iowa buzz buzz a ceramic tile artwork by her roommate sato for the mission bay school project located at nelson rising lane and sixth street in mission bay and project manager ari davidson. >> go for it. good afternoon all. the construction of sfd works mission bay school located here with the red star is now slated to be completed in the fall of 2025 with partial school programing running for about a year and then fully opening for the 2026 2027 school year. the public art opportunity is a tile or mosaic artwork located on the exterior of the school's east entrance which will be used primarily by younger

students pre-k through fifth. and the artwork is approximately 330ft2. here's just a planned view locating that east entrance. so you may recall that room was serta's conceptual proposal was approved by the arts commission on september 6th, 2024. her concept refers to the japanese on a minor pia zadora loosely translated as buzz buzz that suggests the essence of many living things gathering in one spot and thus creating a murmur. zawadi iowa serves as a reminder and metaphor of the rich tapestry and diverse marine ecosystem within mission creek in the larger san francisco bay. the imagery highlights a selection of current marine life symbolizing the interdependence of animals and plants which adapt and embrace biodiversity as an essential component for a stronger, more resilient life. so here is the current proposed

final design seeking approval today the closer look at that the design was refined based on commissioner panel client and community feedback. the colors in this final version for example have softer softened to better sit with the surrounding architectural material palette which is somewhat earthy with soft yellows, reds and the sage like green metal panel which you can see surrounding the artwork immediately following the the approval of her proposal the artist reconnected with community members and discussed at length the mission creek ecosystem which helped to inform revisions to the plant and animals represented. the final characters include the california halibut, the brown pelican, great blue heron pacific rock crab kingfisher sea lion anchovy bat race seagull porpoise a family of

the american avocet she can see lemon mussels moon jelly and enemy rock weed die adam and mellow sierra perumal generated over 100 hand-painted and drawn elements in watercolor acrylic gouache oil pastel colored pencil charcoal and sumi ink. these works on paper have all been scanned and digitally composited and will be printed on high fired porcelain tile. her rummo is working hard to maintain a sense of the handmade in the final in the final fabricated tile in order to encourage an experience of tactility and haptic communication which she says are are both essential in the cognitive and emotional development of young persons. here's a view of the ground floor right showing the range of textures colors and hand-painted techniques. and this is a diagram that illustrates the starting point

of tile for each wall section. while eight tiles will start in the center along the window trim and move outward toward the edges. while b and c tiles start in the top center corners to make sure that the imagery lines up perfectly where there's where those two walls meet and you may or may not notice the subtle difference in the scale of imagery on wall a at the top which is slightly larger than the imagery below while a is meant to be experienced from far away as you walk toward the entrance. the imagery on the lower level is smaller, more human scaled and more detailed to enable close viewing and layers of discovery day after day especially for those young students. so here is a detail of some early test tiles with the proposed grout color and width in the center. this grout is called steel blue and the spacing is three 30s of an inch wide which is visually subtle but aligns with tile

product specifications for spacing. i also have a physical sample of the most recent test tile to share around and this is 99.9% final so just give me one moment. so the tile product is called cement m by the company care life it is an eight by eight inch porcelain tile. hi fired and then fired again after the image is digitally printed on it. this porcelain tile is just about as robust and strong as you can get for outdoor ceramic and it is anticipated to last for several decades. we are also going to hold on to a box of 25 blank tiles from the same batch in case any replacement is needed. hopefully not for several years to come. sfa c has a $25,000 set aside

for conservation and once that is used up maintenance scope will be transferred over to sfa usd who will also own this artwork once it is completed. so in other words this will not be accessioned into the civic art collection. >> beautiful. so i'm also sharing the current construction documentation which outlines the proposed tile grid pattern in relation to window and door trim exterior wall fixtures and school signage. these are not yet as built dimensions but the design team and contractors have advised that we can anticipate a tolerance of about one inch from this drawings measurement and so her roomba will be fabricating additional tiles that kind of bleed the image beyond the extent of the windows and walls to accommodate any small changes in field verified dimensions. >> the construction contractor will prep the walls with water proofing and a standard lasting scratch layer after which sfa cs installer will come in

and apply a cbt red guard anti crack waterproof membrane a quarter inch cement thick set mortar bed followed by the tile and grout application. >> here is our current approach to the expansion joint plan. it is not totally finalized but generally the joints will follow the lines of the facade architecture including doors and windows and just a few mentions about the artwork fabricator. magnolia editions is a fine art studio based in oakland and provides artists with technical expertise and access to large scale pigment based electronic printing processes. they have produced commissions for sfa ce including clare rojas at rose park station shown here louisiana burned off at sfo. both of these are ceramic as well as running mcsherry mukherji hung view and alice shaw also at sfo. >> and here's another example

of ceramic mosaic work by magnolia editions. this is artist julie cheng's interwoven which is an oakland sfa sea wall contract directly with a licensed tile installer certified tile and stone incorporated based in southern california. they are also installing an abstract mosaic located on the west entrance of mission bay school so they are already plugged into the construction schedule. architectural details and in communication with the project team and so i am seeking approval today for final design and construction documentation. once appro am seeking di 2025. and as i mentioned earlier, the school will be fully open in august 2026 for the 2627 school year. happy to answer any questions.

>> that's great. thank you. i have to say i remember when you first came to us with this and the colors were very bold and i appreciate how they've worked with the palette of the building itself. so i think that's great. i also love the idea thathe its min life. i think it's really very well thought out and i like seeing the progression with it so. excellent. very well done. i'm very excited to see it finished. the one tile looks pretty amazing. anyway, any other comments from commissioners? >> yes. this is really beautiful. i wasn't. excuse me. commissioner walker. >> i wasn't on the commission when it first came through so it's just really beautiful to see and i. >> i actually spend a lot of time looking out and being in

mission bay. this is just such a beautiful that whole park area is just really beautiful with the existing public art that we have but this is going to be a beautiful addition and i really i want to just reinforce how important it is for the artists to be, you know, sort of trained through this, brought through this process with new materials probably and how two dimensional artists get to participate in our public art program because i think it's really significant and yeah, everybody that i talk to is really appreciative of this program and as someone who probably during covid in my knee replacement surgeries i got to know all the birds and animals and my neighborhood as i walked around and and there and also there are a lot of people i ran into in all of our neighborhoods that do the same thing. so it's really important and you know, it's it's important the outreach, you know, because there's a lot of

people who just really love every aspect of our city, especially the the animals and the birds that are in our different neighborhoods and each neighborhood has their their own like this the seagulls kind of are everywhere. >> anyway, really beautiful. i can't wait to see it in person and that tile is amazing. i'd love to have the actual vendor who does the thank you. >> right. thank you. and commissioner lou here i just want to congratulate you and your team and also the artist and the community. i think it's really amazing to see every single touchpoint everybody work together and i love the topic of biological diversity and it's so amazing to see how much thoughts and how much care that you put into the whole process. just really, really appreciative of the work you do. thank you so much. yeah. okay. all right, great. thank you. and i will now call for public comment. any public comment if you'd

like to make a public comment. please proceed to the podium and fill out an information card. we are currently on item number seven. is there anyone who would like to make a public comment? >> no. i see no requests for public comment. okay. all right. i will now ask for a motion and a second and i remind you to state your names. >> move to approve. commissioner walker second commissioner lou. >> right. and all those in favor say aye? aye aye. and anyou. thankgrea and now we move on to item number eight the discussion and possible action to approve the following artists for the potential purchase of artwork for the interior corridors of the jean friend recreation center as recommended by the jean friend recreation center

art artists review panel. we have a sheriff's account on contact. you know i'm just going to oh alcantara kimberly our tasha are rena ieng leo bear samina christine blanco. keith lucas francesca matteo johanna post sig jerome reyes fabiano rodriguez, charlene tan and mel vera cruz. >> and if i mispronounced my apologies anyway and we now have again project manager ari davidian go ari thank you again . so today i'm discussing the second of two public art opportunities at the jean

french recreation center located in san francisco's south of market neighborhood on sixth and folsom street. i want to take a moment to acknowledge the contentious history of urban development in selma a topic of discussion that camentis decades of rap. you are likely familiar with the legacy of the ai hotel in the adjacent neighborhood once known as manila town. >> the ai hotel despite being demolished in 1979, exemplifies the strength of community organizing for tenants rights. the events surrounding this residential building set the foundation for ongoing community led advocacy for justice in housing, employment, education, health and cultural preservation for san francisco's filipino community and beyond. in this explanatory doc document which is available for

public access, i have embedded a list of online resources thoughtfully recommended by the panelists of this public art opportunity who are also soma community members. it is with reference to these threads of history that the stage has been set for the jean french recreation center project and the public art opportunities therein. the initiation of the capital improvement project coincided with the second tech boom in the early 20 tens which deeply impacted the urban fabric of soma. so this image just purely for historical reference and not part of this public art opportunity is a photo from janet delaney's soma now series entitled millennium tower from vino alley 2011 and 2016 the city of san francisco officially recognized soma pilipinas as the filipino cultural heritage district. and in 2017 soma received state level recognition and as one of as one of 14 cultural districts

by the california arts council cited as a cultural social arts and service hub for filipinos throughout northern california. since 2014 san francisco recreation and park has worked with the soma community to envision improvements to to the jean friend rec recreation center which provides indoor and outdoor facilities and programs for youth, seniors and members of the community. now over 30 years in operation, the center will be rebuilt to create a safe, welcoming and modern resource for its constituents. rec and park is working with mark kevin yarrow associates and keith ranieri architects on the new design which is currently in the early stages of construction. in the new design the main entrance will be relocated to the pedestrian oriented harriet street. and here's just here's a view just inside the harriet street entrance where you can see the gym straight ahead. this is the site of the primary

public artwork which i will get to in a moment. the secondary public art opportunity is the two dimensional artwork purchased program which we are looking at today. it is for the direct purchase of existing 2d artworks to be framed and mounted along the prominent interior corridors of the center. >> here are two. here are the two corridors. the park corridor on the left serves primarily youth and runs parallel to the center's outdoor green space and interior gymnasium. the harriet corridor on the lower right serves primarily adults and elders with the main reception office on the at the front of the corridor followed by a multipurpose room and an adult fitness weight room at the end. here's a view of the harriet corridor with possible locations for 2d artwork highlighted in yellow. this is roughly 140ft2 of wall space and that end wall at the lower left may or may not be a

location for tv artwork. we will know before we finalize the artwork selection in may. that's kind of on the table but not certain. and here is the park corridor with approximately 170ft2 of wall space for 2d artwork. the goals of the jean friend rec center a project public art project are to illuminate the rich history and full diversity of san francisco's soma neighborhood including recognition of soma pilipinas the filipino cultural heritage district and to lift up the center as a destination and proud neighborhood asset. here is artist c.c. carpio. conceptu proposal for t primary public art opportunity in the gym. the concept barrio fiesta is about bringing communiti together and celebrating everyday heroes alongside well-known local and internationalilipino leaders. cc's proposal was approved by the arts cmission on june 3rd, 2024 and she is currently

working on her final design which i will share with the commission in the coming months. and you can see the windows underneath cc's artwork peer into the park corridor so we anticipate that some of the artwork that is selected for this two d program will be visible from the gym and you know both. both artwork opportunities will speak to each other in that in that sense. here's the view from within the park corridor with the gym on the left a view of the harriet corridor with a weight room on the right over the past couple of weeks. panelists reviewed 21 artists who had all scored a unanimous yes from the previous green friend review panel 1 in 2023 the artists applications were scored based on artistic merit aligning with the green friend public art project and civic art collection goals and the

artists or artwork demonstrate a meaningful connection to the neighborhood. and so the artist review panel met last week on february 13th and the tally of their scores indicate the following 12 artists recommended to be approved by the arts commission . once approved these artists will be invited to submit up to five artworks each after which s.f. staff will identify the final artwork selection based on available wall space and project budget. the intent is to purchase one artwork from each of these 12 artists so ideally everyone on this list wins. and so i am seeking approval of these 12 artists today. i will return at the end of may with a proposed list of final artworks to be purchased and we anticipate installation of these artworks in the spring of 2026. >> thank you. all right. thank you, ari. was there any commissioner

discussion or comments at this point on where we're at? >> okay. this looks like an interesting selection. and if you don't if somebody the work for whatever ever whatever reason it doesn't when you go to their studio and you look at the stuff and you go out doesn't quite work for whatever reason. >> what are the next steps? well, each artist is going to submit five artwork each so hopefully out of those five we will find one that is appropriate to the site and works well with the other selected artwork and they'll be given the parameters of the walls and the areas and stuff. great. okay. that makes sense. yeah they look really exciting and it should be really fun. >> what? i mean this recreation center is going to be amazing. >> so it should really be a wonderful asset for the community there and the neighborhood. what fun. okay.

>> is there any public comment if you'd like to make a public comment on item number eight, please come to the podium. is there anyone that like to make a public comment? i see no public comment. great. >> okay. i'm going to ask for a motion and a second and remind you to say your names please. do i have a motion move to approve commissioner walker? thank you. and a second second commissioner first. great. thank you. >> all those in favor say yay! yay yay! any opposed? and it passes unanimously. excellent. thank you very much. okay. we will now call on item number nine. >> uh portsmouth's. >> portsmouth square improvement project. so we have a sculpture discussion and a possible action to approve the vision. leon lee plus bowles for summer

mailing. lee and laura bowles for and kathy lou okay as finalists for portsmouth square improvement project sculpture opportunity as recommended by the artists review panel. do you want me to put these up or say it all together? >> you might as well say it all together. i'm going to present them all together. all right. i needed to know r and b is the integrated wall and discussion and possible action to approve chi yan gaya and cheng ma christine wong yap and jennifer woolford as finalists for the portsmouth square improvement project integrated while opportunity as recommended by the artists review panel and again i apologize for any mispronunciations and jackie von tresco so go for it. all right. thank you so much high

commissioners. good to see you all. very excited to be here today to present the six artist finalists recommended by the portsmouth square artist review panel for the renovated park sculpture and integrated clubhouse for all opportunities is the last time we discussed this project was back in may of 2024. when you review and approve the project plan which was presented by my former colleague allie tilly. given the time that has passed and the progress that we've made si, i'd like to just begin today's presentation with a brief overview of the site the capital improvement project and the artist selection process so far so portsmouth square is located at 733 kearny street in chinatown between clay and washington streets and is one of san francisco's most important historic cultural and civic spaces. >> the park is eligible for listing in the california registrar of historic resources due to its cultural significance and to the chinatown community and its association with pivotal moments in san francisco's history. >> situated above the portsmouth square garage, the

park is owned and operated by the san francisco recreation and parks department and a full renovation funded by the city's 2020 health and recovery bond is currently underway with construction getting ready to start later this fall. the new design for the park reflects a robust community engagement process and addresses the unique challenges for programing in this particular space and neighborhood. >> san francisco's chinatown is one of the most historically and culturally vibrant neighborhoods not only in california but in the united states. its rich history is intertwined with san francisco's own including the presence of chinese participants in the 1850 california statehood celebrations at portsmouth square. the neighborhood has been rooted in the same location for over a century maintaining continuity of history unmatched by other ethnic communities in the city. >> after the 1906 earthquake, the neighborhood was rapidly rebuilt in its original location led by merchant look tan eli contributing to the iconic architectural style that

defines san francisco's chinatown and other chinatowns across the country are chinatown is also home to one of the city's densest populaons including monolingual singers families living below the poverty poverty line and large in a large single room occupancy communy. its culture is a blend of immigrant traditions and adaptations to life in amica and the community's vibrant day to d life includes small businesses, community and arts organizations and other shared cultural praices. >> the square serves as the heart or living room of chinatown and it is hiorically significant having hosted key events like the declaration of california dependence as well as the proclamation of gold discovery in 1849. over the yea this park has been a ctical gathering space not only for san francisco residents but for those in chinatn as one of the few open spaces where folks can get together and enjoy time together as well as activities

. >> beginning in this fall the park will undergo a complete renovation and as i mentioned is funded by the 2020 health recovery bond. this design did not come about overnight. this was a result of a very extensive community feedback and collaborative design process and really reflects the neighborhood's significance and its civic significance and addresses the programmatic needs that are really unique to the chinatown neighborhood. the renovated park will include several community devine defined priorities including a large flexible outdoor event space with an elevated stage a new larger state of the art community clubhouse with an assembly area and meeting rooms a large exterior shaded structure and consolidated playground that will also have adult fitness equipment. it will be involving the removal of the existing and existing kearny street pedestrian bridge bridge and will include a perimeter park fence for night security as well as enhanced accessibility. there'll be extensive new plantings irrigation lighting

and furnishings, general seating and gathering areas and the garage's roof will be replaced with a new waterproofing and drainage system. additionally there is going to be extensive streetscape improvements adjacent to the park including a redesign a future redesign of walter ulam as the park's conceptual design was being developed. we work closely with and park and the design team to explore opportunities for integrating public art into the park. these early discussions revealed the need to approach the park's art and interpretive programs holistically, prompting a robust community engagement process that regent recently concluded and still is still continuing in some ways what resulted out of this process was the development of interpretive art and interpretive program master plan for the park which highlights the new public opportunity public art opportunities that align with the park's distinct goals and themes as well as our process for selecting artists for them over the course of the

past year and a half san francisco rec and park hosted a series of community meetings that invited the active participation and feedback of local chinatown residents and community partners. these sessions along signs alongside ongoing internal discussions with a defined group of key project partners including representatives from the chinatown arts and cultural coalition as well as chinese and asian american history experts and scholars were crucial in shaping the portsmouth's square art interpretation master plan and the process for its development. additionally arts commission staff and as well as staff from s.f. planning as well as members of the park design team consistently attended and participated in in these meetings actively listening and responding to the insightful questions and valuable and sometimes critical feedback that were brought to our attention and raised some key considerations during these discussions included potential

removal and relocation of existing monuments and plaques in the park. possible reinterpretation of existing monuments and plaques as well as new opportunities for interpretation and public art. >> further the master plan was guided by three core principles identified and lifted up by our community partners and these included community fortitude is it for us and by us art and activism does it inspire us and call us to action and site specificity? is it connected to portland square? >> it's important to highlight that without the steadfast advocacy and invaluable feedback from our chinatown community partners this process would have unfolded very differently or perhaps not at all. in october of 2023 the chinatown arts and cultural coalition submitted a letter to the arts commission and the recreation and parks department calling for a focus on chinese and asian-american art and history in portsmouth's squares, public art and its interpretive programs. this letter highlights a lack

of a lack of representation of chinese and asian-american artists and history in the current public artworks in the park noting that none of the seven monuments and plaques currently located there were created by asian artists or commemorate asian american history the chinatown arts and culture coalition with input from experts and scholars additionally developed a visioning document to guide the art interpretive program. this document emphasizes the importance of celebrating diverse stories and histories in the park and proposes renaming the square to better reflect its role in the community to flower garden corner. >> the vision also includes monuments and symbols honoring the community's rich history of art, activism and accountability and this input directly influence the culminating arts interpretive masterplan which guided our program for public art in the park moving forward i just want to make a quick note that this this based on the community guidance received through this process the plan recommends removing and relocating certain

monuments in the park while others will remain and this approach will ensure that the art and interpretation in this new design accurately reflects and honors the vibrant legacy of chinatown's communities past and present and future and their stories. >> so moving on to funding funding for the new and current artworks at portsmouth square comes from a combination of art enrichment and additional state and city funding sources. the total art enrichment allocation is 1,043,000 and $527 with nearly 500,000 dedicated to new public artworks for the park and their associated artist contracts. you'll notice that we have a higher than usual conservation set aside for this project and that is to manage the existing works in the park and to relocate others. >> there are two major new public art opportunities in portsmouth square the first being a human scale sculpture that will be located at the corner of entrance of walter ulam in washington street. this will be a sculpture that

will use mature durable materials like stone or metal. and then we also have an integrated art wall located on the interior, an adjacent exterior wall of the community clubhouse. this will be an approximately 600 square foot artwork and maybe comprised of materials like mosaic ceramic tile or even laser cut metal panels. >> the goals of the public portsmouth square sculpture opportunity align with the chinatown arts and cultural coalition's vision as well as the goals laid out in the arts and interpretation master plan for the park. they are that the artwork will act as a welcoming beacon to the portsmouth square plaza. it will be highly visible from the street and draw people into the park and will celebrate the history and values of san francisco's chinatown communities. >> we have a sculpture budget of 300 and 40,000 which will cover artist fees and associated costs for design and fabrication and transportation with a separate set aside of 23,000 for installation that will be managed by the arts commission

under a separate contract. >> the goals for the integrated wall opportunity in the clubhouse are that it will reflect the community culture and service of san francisco. san francisco's chinatown. it will create an impactful indoor and outdoor narrative experience and will enhance the connection between portsmouth square and the new community clubhouse. >> and that this work will also include a community engagement component that will be led by the selected artist. >> the budget for this project is 151,000 which will cover the costs for design fabrication and transportation with a separate installation budget of $30,000. >> to quickly recap how we got to this point of the artist review panel process. so as we all are well aware, chinatown has long fostered a vibrant arts culture and we decided that we were going to launch the chinatown artist registry in order to identify artists that we could consider not only for the portsmouth

square or work opportunities but for future and ongoing and upcoming capital projects in chinatown including the public health center and the markham light branch library. we launched our rfq in july 11th of last year. it was closed in october 7th and it was open to all artists residing in the u.s. or represented by a u.s. arts organization. >> we really were seeking to recruit artists with a meaningful connection to chinatown whether through previous or current residency or shared community culture and values. >> the chinese culture centers advocacy was absolutely and i can't underscore this enough instrumental in the success of our artists selection and the recruitment into this registry for these projects. we'd worked with them in the past specifically for the central subway rosa parks station artwork with you may and we decided we're going to formalize this relationship for portsmouth square to really bring them as a close partner to conduct outreach and recruitment of artists for this opportunity. they received a grant for this

work and together we partnered on shaping the registries request for qualifications, providing language access resources, providing technical support to artists and also conducting extensive and focused outreach outreach to grassroots chinatown artists whom we would otherwise not have an opportunity to reach. so i just want to lift up and personally recognize and thank the staff at the chinese culture center and johnny hoy y and gladys for their incredible work and ongoing invaluable partnership in this process. >> late last year we convened the portsmouth square artist qualification panel to review the 341 application ins that we received to the call. the panel consequently identified 16 artists for the portsmouth square sculpture opportunity shortlist and 51 artists for the integrated wall opportunity shortlist. that shortlist will also be used for the health center and the library as well. >> after the qualification

process we convened the full artist review panel for portsmouth square. you can see the participants listed here to evaluate the applications of the qualified shortlisted artists. this process recently culminated and as and recently i mean yesterday to identify three artists for each artwork opportunity to develop site specific conceptual design proposals which i will tell you about in just a moment. and again just want to to lift up the panelists and there are great care and intention that they not only gave to this process but also participating in the past two years and beyond of advocacy for arts and representation and chinatown. many of these folks were active participants in the master planning process for portsmouth square and it was great to have them as participants in this process as well. >> all right, so on to our finalists who i'm really excited to share with you today. so for the portsmouth square sculpture opportunity we met actually last month in january

and based on the criteria of artistic merit, relevant skills and experience and meaningful connection to s.f. chinatown, the panel recommended visioning kathy lou and the artist team lee and bowles fowler to develop site specific proposals for this sculpture project. vision is an interactive media and installation artist from chinatown san francisco through humor, crowdsourcing and virtual simulations visionary tells the everyday to showcase voices of those often forgotten. capturing the distinct perspectives of her audience and community vision has exhibited her work at the chinese culture center européenne, a center for the arts asian art museum and various chinatowns festivals most recently at the 2025 flower market fair which you may have seen. >> this is fusion's first time applying for public art hall and her first time as a finalist at leon ball's fall is a collaboration of artist summer mei ling lee and laura bowles for artists who have

executed public art projects in china, hong kong, europe and the u.s. their process relies heavily on site specific engagement listening and community empowerment and both have individually expansive gallery careers spanning decades countries and publications with work in private and public collections. this is again both artist first time being a finalist for public art opportunity with us and kathy lu who is a ceramic space artist who manipulates traditional chinese art imagery and presentation as a way to deconstruct the assumptions we have about cultural authenticity by creating ceramic sculptures and large scale installations. kathy explores what it means to be both asian and american while not entirely accepted as either unpacking her experiences of immigration and cultural hybridity and cultural assimilation become part of american identity is central to kathy's work. you may recognize her work also as a 2022 s.f. moma ceca awardee and she's also shown her work at berkeley art museum and other institutions locally

and nationwide. her first time being a finalist for one of our projects on to the integrated clubhouse wall art as finalists we had our final panel meeting yesterday at 4:00 using the same criteria our panelists recommended three artists for your approval to develop site specific conceptual design proposals for this project. >> the first is gargantuan yao ,an artist organizer and educator who is currently based in north carolina but has many years of experience as an artist and activist here in san francisco and san francisco's chinatown. >> gans art aims to humanize those who have been dehumanized by sharing their stories of marginalized communities. the work has been featured by the asian art museum, the san francisco anti displacement coalition and most recently as part of the art commission's 2022 art on market street poster series in collaboration with feedback wong.

our second finalist is christine wong yap who is a visual artist and social practitioner who works in community engagement drawing, printmaking, publishing, textiles and public art through her hyper local participatory research projects she gathers and amplifies grassroots perspectives on belonging, resilience and mental well-being. christine has developed projects with the chinese culture center san francisco for freedoms, the library foundation of los angeles. the other ng and belonging institute at uc berkeley among many other institutions. >> and then lastly in jennifer kay woolford who is a san francisco artist and educator whose work plays with notions of hybridity, authenticity and global culture often with a humorous bent with a practice that is multidisciplinary but deeply rooted in drawing and painting. jennifer is committed to an intercultural approach that champions a broad diversity of communities. recent highlights include works shown at s.f. moma and the santa cruz museum of art and history as well as public

murals at the asian art museum in chinatown and for a new housing development in the haight. as you may recall, jennifer was recently selected for her first commission for the rachel sullivan park at ellsworth independent tomer. excited to work with her as a finalist for this project as well and all three of these artists will be our first time working together so really excited to work with them as they develop their proposals moving forward. >> so what's next after your approval today? hopefully we will be arranging an in-person orientation soon for all six finalists in chinatown. we're looking at march 10th if schedules align. we're going to give them about two months, maybe a little bit more to develop their proposals. those will be translated into chinese and and put on display for a minimum of three weeks for public comment. we will then reconvene our panel for the two separate opportunities during the week of june 7th and 16th. hopefully they will interview the artists and make a recommendation for one for each

opportunity to be selected for the commission. so hoping to have our artists under contract for both of these projects in august of this year. so i'm happy to answer any questions you have and thanks for your time and attention. >> thank you jackie. >> that's a lot of work to get. to lift it up doesn't come easy. well, i think it's great. i love the interaction with the community and all of them banding together because there were not the funds to do this before and this is just going to make such a huge difference there. so i'm delighted to see that. ah is there comments from the commissioners on this incredible project you're going forward? >> thank you. president i mean president of kdr actually i want to thank you for the team and also the artists and all the community coming together. this is very significant to me because this was actually the very first project five minute

after my online webex commission and swearing i was in kdr, i was like teleported to kdr. >> i mean ralph remember that i was like swearing and five minutes later i was in the room and that was the project literally i was like oh my god nothing small and simple. >> yeah it was it was four years ago and it's just so incredible to see how much team and community and artists are coming together and make it into a reality and it's also really beautiful that the community actually recommended the name flower corner flower garden and corner. i think it's also going to be really great to integrate with the flower market that's happening in chinatown. i think that's going to really kind of bringing the you know the beauty and the nature back to the community and i think it's also what the community wanted so so thrilled by the work and thank you again so much like everybody coming together to you know, bring

people together and it's also really great that this is like the first opportunity for a lot of artists to be selected as a finalist. so i'm so thrilled to see their work and again thank thanks very much for the work you do. >> thank you. i just want to highlight that because of the partnership with chinese culture center i think we saw close to 70% of our applicants to this call were first time applicants which is which is really an amazing statistic. >> so that that really sets us up well for working with a lot of first time artists and launching them into a new phase of their careers through these projects and i love the three core principle i kind of noted it which is you know, does it lift us up and also is it you know, for us and by us and also very importantly is it site specific? so i think this these are the principles not only apply for this particular project, i think it really applies to all the projects we do. >> so again, thank you. it's beautiful. yeah, it's thank you commissioner walker i was on

previously when we were discussing it fou years ago or however long it's been and i go to a lot of events in that park and every time i go i like am contemplating the whole new direction it's going to be and to see the actual artists and again when we lift these artists up for the first time in public art that changes their whole career. yeah and you know it's one of the things that i just it's one of my priorities is to lift artists up and support the businesses and yeah, it just this is a perfect example of how important that is. so thank you. >> all right. all right. if there are no other comments from the commissioners, we will go to public comment and a public comment if you'd like to make a public comment, please proceed to the podium and fill out an information card. we are currently on item nine.

is there anyone who would like to make a public comment on this item? >> i see no requests for public comment. right. okay commissioner i do have just one comment. >> sure i know portsmouth square is the oldest square in san francisco and that is one of those intersections between the culture and history of chinatown and the history of san francisco. yeah, i think there is a plaque there that denotes that. >> correct. and will that be integrated into the new site plan? can you repeat the last part of your question? >> sorry sorry. will that be integrated into the new site plan, the plaque that denotes that yes, there is going to be so many of the existing plaques are remaining there that denotes that and sort of marks key historical moments for the park and there'll be additional interpretive signage that will further expand upon those historical milestones and give additional context to those

moments. >> awesome. thank you. yeah. okay. thanks. right. okay. all right. well if there are no other additional comments and stuff i am going to ask for a motion and i have a motion and a second so moved lou back in first. >> great. okay. all those in favor say aye. >> aye aye. and of those opposed is nay and it passes unanimously. >> well done and we look forward. >> that's part right um airport okay i would like to call item number ten discussion and possible action to approve the project plan for the san francisco international airport c for c public art program and i would like to call up senior program manager amy owen. >> hi, amy. hi. thank you. great to see everyone. i'm happy to be sharing for

your approval this afternoon the public art project plan for courtyard four connector or c4c as part of the larger terminal three west modernization project. >> and this slide provides an aerial view of the overall site context. alongside this one we see terminal three here shaded in blue to the left and bookended by c4c in yellow. >> and just to recap the modernization project consists of the renovation and expansion of the west portion road and connector two f concourse of the terminal three facility at sfo and here we see the project site from a different vantage point in light blue bounded by the orange and yellow of the c, three, c3c and c4c areas c4c component of the larger t three west project is a new six story building that acts as a spatial link

between terminals while incorporating a mix of passenger and tenant functions . >> its primary goals as outlined here by the design team are to make the passenger journey more efficient and comfortable and the transition between terminal three and the itb, the international terminal building to provide a central operational office space for tenants and to provide expanded airline lounge space for passengers. the artwork opportunities for this project plan are both pre and post security and terminal three ties. >> the overall airport design hierarchy together through its thematic focus on a day in the life of san francisco emphasizing the urban experience of the city seen here articulated through a map of the crosstown trail which in many ways embodies this experience, the design team states in their description of the project in san francisco the weather sky and light changed dramatically throughout

a single day and is an ever unfolding backdrop to the theater that is our rich culture of food, art and life. >> and the overarching goal for the public art project is to create a continuous experience of art in terminal three west by commissioning major site identity artworks supported by a collection of purchased two dimensional artworks that reflect and celebrate the distinct character of san francisco and enhance and contribute to the rich civic art collection holdings at sfo. >> we're thrilled to have a range of exciting art opportunities emerging from the specific site context of c4c this slide captures the full scope of current art opportunities in play for the larger t three west modernization project on departures level two with c4c projects specifically noted by the blue stars for context and proximity here we have

three key art sites including the federal inspection and services or a fire art wall. the office glass art wall and the wheelchair lounge which is still in the preliminary stages of development. >> as for budget, the total art enrichment allocation for the c4c public art project plan is $3,300,000 which taking into consideration an administration and conservation costs brings us to a total artwork budget of $2,310,000. we anticipate our opportunity budgets for these opportunities ranging from approximately 125,000 to 700,000 for integrated work. the art budgets are inclusive of all artists fees as well as associated expenses for design ,engineering, fabrication, insurance, transportation and installation and consultation. this art enrichment budget may be combined with the art

enrichment budget for the larger terminal three west project in order to maximize art opportunities for the overall t three west project. i'll now walk you through each of the c4c opportunities in greater detail to give you a better sense of their scope and scale. firstly we have the fisa art wall opportunity. >> we envision the site will ideally consist of one continuous installation by a single artist in tile glass or other durable material. the area is roughly ten feet tall by 150ft of running wall space with expansive airside views. the corridor will aim to create a dynamic transitional moment for passengers on their journey between the itb and terminal three. and here's an elevation for additional site context. and next up we have the office glass art wall which sits in

close proximity to the previous office while opportunity. in contrast, this work will be produced in translucent glass or other durable translucent materials in order to allow the space to be permeated with light while still providing a level of opacity for security purposes. the wall area covers approximate only 12 by 72ft. for arriving international guests direct access to the customs hall located in the international terminal will be provided via this new office connector corridor. and here is another elevation for context of this specific site. >> and lastly we have the wheelchair lounge area which is a smaller space still very much in development. at present we anticipate available wall space in the range of 16 by 14ft with the possibility of integrated work pending the ability for appropriate wall preparation or a large scale to do purchase.

and once more and elevation for reference. so while these three opportunities have been identified as presented i should note that details may change as the designs are further refined. additional two dimensional integrated opportunities and purchases may also be added to this scope as the project develops. >> the artist selection process for the project will draw from the terminal three west pre-qualified pool of artists who indicated their interest in two dimensional integrated projects. following art's question protocol arts commission staff will present a short list to the terminal three west artist review panel who will identify three finalists who will be paid an honorarium for the development of conceptual or site specific proposals. the panel will reconvene to consider the artists finalists proposals in an interview format and will select one artist for recommendation to the arts commission for each

opportunity. >> so with your approval of this plan we will be convening the artist review panel in just a few weeks on march 10th to move forward with the selection process for these locations with the goal of having artists under contract by this summer and installing their works in the first quarter of february 2027 and the project plan as part of the explanatory documents. thank you. >> now to answer any questions. well thank you for this very well done presentation and showing us all the pieces and parts. i don't know anyone who was at the last four commission meeting we showed the fly through of the c4c building the exterior but just to give you an context and stuff what's involved and both the renovation of terminal three

and the c4c are going to be pretty major nice pieces of architecture and yeah plenty of budget for us to do some very exciting art so we're looking forward to it so that we pay. are there any excuse me commissioner a discussion or comments at this point like to say about this? my only quick comment would be for the glass wall if if part of the purpose is to make sure that it permits light to shine through to the other side, is there any consideration being taken for the colors that are used so that for example a lot of dark colors aren't used which would kind of be the antithesis of that? >> yeah, i think that will be something that we sort of research along the way as we develop projects with the artist and also in terms of exploring what materials may make sense for the site. >> yeah, yeah that's good to keep in mind. i know that this is something

that on the bus maintenance facility we worked very hard on making sure there was the glass panel aspect of that particular one of the artworks there to make sure the transparency is there. >> so you see the busses moving by. i would assume when you do this particular piece that you talk to people about transparency and movement because that's what's happened. yes, absolutely. and there was the airtrain when it came around to the hotel there we have the glass parakeets there that yeah very successful. so we've had some we have several projects that have similar kinds of things where i think we've been very conscious and i expect we will continue to be yes, absolutely right. okay. any other discussion or comments? >> okay. then i will call for public comment and i thank you very much. if you'd like to make a public

comment, please proceed to the podium and fill out an information card. we are currently on item number ten. is there anyone who'd like to make a public comment on this current agenda item? i see no requests for public comment. >> right. okay then i will ask for a final motion of i'll ask for a motion and a second so moved low and a second second walker thank you. >> and all those in favor say aye aye aye. >> and any opposed it passes unanimously. well done. we look forward to next steps. >> thank you. thank you. >> now we go for item number 11 san francisco international airport terminal three west the suspended sculpture we have a the suspenders suspended sculpture discussion and possible action to prove the finalists.

>> yeah sanford biggers trevor paglen i know i feel the same way lavar thomas and pay white to create conceptual proposals for the terminal three was suspended sculpture public art project as recommended by the artists review panel. we also have be the superhighway integrated wall discussion and possible action to approve the finalists item malay imaan or your on rupees c tut to create conceptual proposals for the terminal three was superhighway public art project as recommended by the artist review panel and we once again have senior program manager amy owen. >> can't get rid of me all sfo all the time. excellent. thank you. i'm super excited to be presenting for approval the sfo terminal three west suspended sculpture and superhighway integrated wall finalists that have been recommended by our

artist review panel. the group did an incredibly thoughtful review of an exceptionally competitive shortlist of semifinalists and i'm thrilled to be sharing the results with you as we just reviewed in prior c4c plan, the slide provides yet again a bird's eye view of the overall project site on the left and again a couple quick refreshers that the overall design direction for the project is a day in the life of san francisco and draws its inspiration from the rich cultural and environmental landscape of the bay area. >> the overarching goal for the public art project plan is to create a continuous experience of art in t three west by commissioning major site identity artworks that reflect and celebrate the distinct character of san francisco. as for budget the total art enrichment allocation for the terminal three west modernization project is

$15,676,500 which taking into consideration administration and conservation costs brings us to a total artwork budget of just under $11 million. we anticipate our opportunity is ranging from approximately 150,000 to 1 million for integrated work and as i mentioned previously the art enrichment budget for c4c may be combined with this budget in order to maximize our opportunities for the overall t three west project. >> as we've reviewed before, we're thrilled to have a range of exciting art opportunities emerging from all three levels of this expansive project. and this slide captures the full scope of current art opportunities at a glance our focus for today is outlined in the projects in blue. our next artist review panels will focus on the green 2d integrated projects which include the c4c opportunities we just reviewed this grouping of opportunities rounds out

phase one of the project slated to complete in the first quarter of 2027. the yellow section at the bottom indicate indicates phase two projects slated to launch at the end of 2028 and we plan to tackle the artist review process for these opportunities in the third and fourth quarters later this year. >> for additional context, this slide on the mezzanine level three maps out the suspended sculpture and superhighway integrated wall locations in plan and are each highlighted by blue stars. >> and i'll now walk you through our key opportunities for today as a refresher of their scope and scale. firstly we have an overview of the plaza skylight suspended sculpture opportunity. we envision the site may consist of a series of suspended sculptures or one continuous installation by a single artist. the area covers roughly 50 500ft2 beneath three banks of skylights with a 25 foot

ceiling height. and we'll aim to create a dynamic transitional moment between pre and post security. we anticipate a total art budget of $1 million for the project. >> this is a preliminary rendering of the site and the proposed l-shaped area for the artwork as illustrated here in this rendering with these dotted lines. and you can see how this work will really serve as a key wayfinding tool for the site. an expansive sightlines from throughout the plaza. >> and here are a few additional renderings to give you a sense of passenger flow and various modes of approach. >> in summary of our selection process we can be into the artist review panel on february 10th to review a shortlist of 11 applicants for the terminal three by suspended sculpture art opportunity. the panel identified four accomplished finalists to recommend for arts commission

approval to develop site specific conceptual design proposals for the project and are thrilled to be presenting them to you today. we have sanford biggers, a new york based artist raised in los angeles. his work is an interplay of narrative perspective and history that speaks to current happenings while examining the context that bore them. here we see a few views of his recent suspended public art project for the portland international airport. and next up we have trevor paglen, a new york based artist whose work explores the intersections between technology, time, space and human perception often adopting the visual language and materials of aviation and aerospace engineering. here we see a few examples of past work from his nonfunctional temporary satellite series. >> mm hmm. and lavar thomas who really needs no introduction to this group but is a bay area based

artist whose work across various media consistently combines strong conceptual foundations with esthetic beauty. here we see a few examples of her past suspended tambourine sculptures highlighting the instrument's egalitarian nature . and lastly we have pei white who lives and works between sonoma county and los angeles. her work is profoundly influenced by nature and the terrain of northern california and manifests in a variety of materials merging art, design, craft and architecture. here we see a few examples of her past work at the san jose museum of art and paddington square in london. >> our qualification panel was comprised of two arts professionals and representatives from both sfo museum and the design team. the panel reviewed the qualifications of each applicant and scored them using

the criteria of artistic merit ,relevant skills and experience. and appropriateness to the goals of the project and their voting yielded our four finalists. >> moving on to our second opportunity. we have the superhighway integrated wall a two part mural opportunity for a single artist. these murals will act as bookends to the expansive superhighway zone moving walkway which acts as a primary hub for passenger circulation between the b, c, four c and terminal three. the east end mural is sited at the top of the escalator from level to departures and is approximately eight feet high by 49ft wide. this is where passengers may be beginning or ending their journey along the superhighway and at the opposite end of the superhighway walkway we have the west end respite zone which

features a double height mural area at the staircase measuring 28ft high by 67ft wide. >> it also includes ample seating for rest and repose for weary passengers as the design team describes the superhighway as a whole as an intuitive path, a moment to breathe and an expression of movement and progression. >> so again in review of our process for this opportunity we convened the artist review panel also on february 10th to review a shortlist of 15 applicants for the superhighway integrated wall opportunity. the panel identified three very accomplished finalists to recommend for arts commission approval to develop site specific conceptual design proposals for the project and again thrilled to present them to you today. firstly we have adam m.a. an oakland based artist whose

large scale installations pull from quilts and textiles stained glass and mosaic to reveal abstract and laying landscapes, objects and architectural structures. her layered geometric shapes suggest transition movement and expand expansion and eamon or jaron is a los angeles based artist with bay area roots. his practice blends a wide range of visual styles drawing from indigenous and craft traditions. his abstract geometric paintings synthesized diverse art histories and employ the vocabularies of architecture marks, maps, hieroglyphics and astral charts. here we see examples of his work at the hmer museum and the bay parkway station in brooklyn. >> and lastly we have ruby seated an artist who lives and works in oakland trained in traditional indian painting. her practice centers primarily around multicultural visual storytelling and the female

figure as a symbolic reclamation of power in a shifting world. she is a recipient of the 2024 s.f. moma sikka award. and here we see works from her recent solo exhibition at the ica here in san francisco in 2023. >> and once more our panel summary which followed the same guidelines as our suspended opportunity previously reviewed and yielded our three finalists . >> and lastly here's a bird's eye view of our timeline for the overarching project with your approval of these finalists we plan to review their conceptual proposals with the artist review panel in the first half of may with the intention of bringing recommended finalists to the may 21st vac meeting and having artists under contract this summer. so thank you. happy to answer any questions. >> hey. this is the very impressive here.

>> and i think we're all very excited to see what is produced. >> me too. yeah. i mean really some incredible artists with amazing opportunities. so we look forward to it. are any commission inner comments or discussion? >> no. okay. then we will go on. i thank you very much and we will go on to public comment. >> there's no public present. >> public comment is closed. okay that takes care of that. all right. i would like to. >> where am i here. okay. time for a motion. so moved though. and a second. second. commissioner walker. great. all those in favor i any opposed and it passes unanimously. well done and we look forward to it. >> yeah. okay. and now we're on to item number

12. >> hunters point shipyard. >> discussion and possible action to approve the acceptance of eight artworks at hunter's point shipyard into the civic art collection pending approval of the joint community facilities agreement by the director of cultural affairs and pending board of supervisors approval of the transfer of the hundred point shipyards, parks and art works to the city and county of san francisco. and we have the bay view horn by jerry parrish 2015 bronze hal cannon jessica bodner 2015 steel visions from the past visions of the future marion coleman 2015 porcelain enamel and fiber collage the stream of consciousness heidi harden with colette crutcher and michael as

gore 2013 mosaic and ceramic tiles frame by mildred howard 2015 bronze refrain walter hood 2015 steel flotilla eric powell 2015 steel and the butterfly girl jace ann webster 2015 stainless steel and i would like to introduce civic art collection and public art program director mary chu and senior registrar alison cummings. well allison go for it. >> i'm going to start off with a brief background introduction. i didn't know where who was doing what. so thank you, commissioners. just to provide some background, the office of community investment and infrastructure known as oci is the successor to the former san francisco redevelopment agency and is working with the recreation and parks department as well as us the arts commission to transfer ownership and maintenance of

the hunters point shipyard phase one parks and public artworks to the city and county of san francisco. for some background in 2009 the redevelopment commission ten public art pieces for the shipyard which were then installed in 2015. we are recommending that the arts commission accession and the following eight artworks as you just read into the civic art collection. the two remaining artworks titled got gigantic v by matthew passmore and rebar group and nautical swing by matthew geller are functional pieces. they are a swing and a play structure which in agreement with oci and rec and park are better managed by the recreation and parks department. we are currently working with oca and rec and park on a joint community facilities agreement to ensure that the arts commission has the funding needed for the ongoing care and maintenance of these eight artworks. and acceptance into the collection will be contingent on this agreement.

so we are recommending that the director of cultural affairs review and approve the agreement to meet oca his goal of transfer of assets to the city by the board by july 1st of 2025. so i will now turn it over to alison to provide you with a brief overview of these eight artworks. thank you mary. so on screen we have a map of phase one hunter's point shipyard and a map showing the location within the park. of the works that we are talking about today. >> first we have bayview horne by jerry ross barish. and some of you may be familiar with these works as mary mentioned. these have been installed for ten years now and you've likely visited the park and the shipyard. this is haile colon by jessica kay bogner.

>> visions from the past and visions of the future by marian coleman. stream of consciousness by heidi harden collect pressure frame by mildred howard and refrain by walter hood. these two pieces are in conversation with each other you can see walter's piece as you look through the frame down the pathway flotilla. this is the fence that's located around this promontory by eric powell and butterfly girl by jason webster. and that's it. >> thank you. all right. any discussion or comments or questions from the commissioners? no. okay then is there public

comment? >> there's no public present. >> public comment is closed. okay. all right then do i have a motion move to approve walker second second low. >> all those in favor? yeah, i any nays? it passes unanimous. >> i thank you very much. thank you. all right, mary. >> okay. we now go on to item number 13 discussion and possible action to approve as install the completed artwork titled pacific transit 2024 by jesse schlesinger at judith street and 43rd avenue and judith street and lower great highway. >> the artwork is composed of ten sculptures made of concrete stone and bronze. >> seven sculptures are located at 43rd avenue and three are located at lower grade highway . the sculptures range in size from 4 foot to 7 foot tall

and from one to 1.5ft wide. and i would like to introduce project manager marcus davies. >> hi mark. good afternoon, commissioners. this one's a long time coming. i am pleased to present just this lesson jr's completed artwork as installed to pacific transit 2024. this project begun in 2017 is the outcome of close collaborations between the arts commission, san francisco planning recreation and parks public works judah st merchants the la play a part council and district four supervisors katy tang gordon ma and joel and gaudio. and was conceived by a community led initiative to improve the quality of public space along the outer judah corridor. >> the work is installed in two locations in the city's outer sunset neighborhood. one group of seven sculptures is located near the northwest corner of judah street at 43rd avenue bordering the far out west community garden which hosts free quarterly outdoor film free quarterly outdoor

film series and a second grouping of three sculptures is located at judah and the lower great highway across from the end judah train terminus and fronting the art deco restrooms and pathways to ocean beach. project artist jesse schlesinger is a multidisciplinary visual artist working in sculpture site specific installation drawing and photography. his work is fundamentally concerned with place and how the natural environment, architectural context and historical precedent contribute to experience and understanding. labor and craft are key elements of his practice. jesse is a founding artist of the minnesota street project artist studios sfmoma seca award finalist and the 2018 and 2020 artist fellow of the nea japan u.s. friendship commission. he's also has very close ties with a number of projects that are focused in this neighborhood commercial and otherwise just close connections to the to the community itself.

>> the work was installed in two mobilizations by outdoor fine art services and is permitted through a use agreement with recreation and parks as owners of the sidewalk zone at lower grade highway and a major encroachment permit with public works as owners of the judah and 43rd avenue sidewalk. >> a few words about the artwork itself. pacific transit evokes san francisco's unique western edge where the geometry of the urban grid meets the wild openness of the shoreline and the ocean. the work is composed of concrete pedestals supporting organic forms cast in bronze from found objects are carved from stone quarried in the california foothills. each object bears traces of movement and transformation like wave tossed driftwood or stones washed from the mountains. >> the work is designed to weather and wear in the elements embracing an ongoing

process suggesting a similar overlap of human and geologic time found in small objects pocketed at the beach. the sculptures are scaled to the pedestrian experience ranging in size size from 4 to 7ft tall and one to 1.5ft wide. all individual objects are installed within the sidewalk furnishing or edge zones two feet from curb in accordance with accessibility requirements and each piece is treated with a section of sacrificial graffiti coating for vandalism abatement. arts commission staff is actively working with our community partners to plan a dedication event in march likely a saturday and we'll be sure to send an invite to all the commissioners as soon as a date is confirmed. so with that i'll conclude my presentation and i'm happy to answer any questions you may have. >> great. thank you, marcus. i know this has definitely been a long time coming. >> i'm glad you're in the kitchen. all the details and and what you can and can't do and how to go about it was all worked out. i know it wasn't easy and i

congratulate you on thank you. the final implementation and finishing it. >> do we have any comments from the commissioners or questions ? >> discussion. congrats marcus. yes. >> yeah exactly right. is there any public comment on item number 13 on the judith street sculptures? >> there's no public present. >> public comment is closed right. >> so i would like to call for motion a move to approve walker second lou right. >> all those in favor say yay yay yay. any opposed? >> and it passes unanimously. thank you, everybody. >> okay. >> the item number 14. >> staff report discussion and i would like to introduce civic art collection public art

program director mary chiu. >> thank you, commissioners. i have some just very brief announcements. one is we have an open rfq. it's a temporary mural in the atrium of the public library's main branch. the goal of the artwork is to create or the project is to create a temporary vinyl mural that conveys the importance of internet generational knowledge and wisdom sharing from an indigenous perspective. the deadline is march third. >> and then lastly i hope to see you all at tomorrow's annual convening at the herbst theater at 5 p.m.. and that concludes my report. >> thank you. okay. we are now on to item number 15 new business and announcement rents. >> do we have any comment or all? >> oh i'm sorry public comment for item number 14 please. >> thank you. there's no public present. >> it has to be on there.

thank you. no, you were correct. okay. or your call item number 15 new business and announcements. is there any new business and announcements anybody would like to say other than the convening tomorrow? >> amy i'm to the convening. >> yes. yes. chair snare in absentia of chair ferris just the distant ferris. >> thank you for being here. anyway, i want to say that chair ferris in your state right now so thank you. i really appreciate it. yes. tomorrow is the convening of the arts commission. >> it's our annual convenience ,our first one that we've had in person. and believe it or not because we had all these years of those years of covid and then we had a virtual and so this is in person and we already have over

500 rsvp fees and so a lot of people are interested in they're coming. i'll be emceeing and doing a keynote. all of our directors epping, glen, mary chu and well evan glenn is deputy director and denise's absentia and mary chu carolyn i write about fernandes or i'll be presenting president chuck collins will be presenting and we'll have our legacy grantees awardees and they'll be all past our past recent past and present awardees. so it's going to be a nice evening and then afterwards the people will get a chance to go to the gallery and see the show that's currently up and so that will be an opportunity as well. so it's going to be a good evening. it's a long day tomorrow but it's going to be a fun day tomorrow and so we encourage everybody to come and show up. >> we have something nice planned for everybody so thank you.

>> all right. thank you. anything else? no. okay. i guess i need to ask if there's public comment. >> no comment public no public? >> no comment. then i will go to item number 16 which is adjournment right

my name is mark, the general manager of condor beach in san francisco. condor was created [indiscernible] when it started in 1964, the club becoming the first adult entertainment, club regal in america, that was something big, that was huge. condor givers you a little of everything. we open in the day on the weekends so we have a live band that play and night time we transform where the entertains come on and we have the gentleman's club vibe along with the sports vibe. we show the ufc and boxing events and major sports and do little things like [indiscernible] comedy nights you can find what

we are doing through our website. condor gives you a little bit of everything that you want when you want to go out and have a good time. being here in north beach and part of san francisco we put a lot of ourselves in the business. the good work we were able to do over the last decade to build it and make it what it is today t. is a honor to say, we are one of few businesses in san francisco that is a legacy business. >> i, my name is peat. independent books on clement street in

san francisco. green apple is a locally owned independent book store in the richmond district since 1967. the store has grown from 1150 square feet to 5 thousand. we have hundred thousand books. new, used, children books, all subjects. there is lots of stairs and nooks and crannies so lots of places to get lost and discover things you might not know existed. we go out of the way in new books to support small presses and bring university press books into the store and just corky things not every store may have. used books we see books from the community that we get all our books over the counter downstair s so it is reflection of what people are reading. brings they bring to sell us are in the community so we can buy them and recycle them in the community. the good parts of having a small business in san francisco are

really the customers and people who live here are curious, interested in a wide variety of topics and ideas. they come from all over the country and world, so it is really whatever serving or goods you are providing there is probably a customer for it in san francisco. >> my name is kristen cline the owner of two vintage stores in san francisco. vacation is a leave 11 years old. started in the tenderloin. it is vintage shop we buy from the public and keep in the store for avenue wn. it is an electic store. we moved from the tenderloin to north beach in 2022 in december we opened up our sister store 4 doors down.

this is vacation and that is called work. we pay attention to the quality of things. we do everything from antique clothes from 1800s up to modern. i try to buy things that are relevant and wearable for all typeoffs people. we have customers that are in there 70 and we got customers 17. everything is affordable as possible, but specialize in a lot of things that are expensive. you see a lot of shirts on the walls. those are super collectible and we have a big collection of those. we do vintage denim and 1930 and 40 clothe. we are saving from being gone forever. my second shop is with business partner sam and that is a a collective, 10 different sellers all under the one roof. it is fun watching people come

into the shop, because you hear a lot of oo and a h or my mom had this or this looks like grandmas and i had thish in the 70 or this is what i wore in high school. the kids are trying it on. we have shoppers that know the store and come here as a destination, but the random foot traffic is always cool to see them discovering something that maybe they haven't seen before. i love san francisco and i feel i would never want to do this anywhere else. [music] my name is-the coowner of chalosism and, my name is annie, the coowner of

chalos. >> we [indiscernible] like original style. and-it is more american and then coffee, local coffee. i am one of the chalos. so, my father is gonzalo [indiscernible] chalos means--i always been involved in food industry. we used to have a food restaurant and then i been in different parts of the world in spain, in the u.s., back in the days food industry, so it is my thing. and then, it was my-follow her to her country so that is why we opened chalos. >> i was born and raised in the sunset district. moving back from being abroad so long i

have been over 8 years. this neighborhood meant a lot to me. when we saw the space, i was like, that's it. this area i'm very familiar with. in the last 5 to 10 years it changed a lot. it is really good for young families. you dont need to leave the neighborhood anymore and what i like most about it, most of the businesses have local residents within district 4, the sunset area with their own businesses so it gives the community feel to it. one neat thing we have here is we have fride and baked-one of the only [indiscernible] everything is made from scratch. everything made fresh. we make the food when you order it. we have 15 different flavors. a lot of vegetarian, investigateen and churros are made every day. we have a new addition, a

breakfast burrito made fresh, that is the key to success. cheese, tater tots and bacon or breakfast sausage t. is a big burrito. that is a big hit. we have a full expresso bar. the most popular drink is the--it is very popular. but we have solid expresso drinks. chalos is open wednesday to sunday, wednesday-saturday 9 to 5 and sunday 9 to 3. [indiscernible] normal activity on taraval. [music] .

>> (music). >> my name is package scott i'm a general manager and vice president of the yerba buena ice skating and bowling center. >> we opened in 98, we are celebrating our 25 anniversary. the last ice relation at 48 avenue with the redevelopment agency started to reconstruct a yerba buena the city had suggested how about around ice skating we have a podium we run from the tiny to the we have a

whiff adult community of beginners and entering meats and so many people that only to san francisco and california for the east coast who grew up circulating and when they finding a pair they fall in love with that. >> my favorite ring it is a beautiful skyline and yeah. it is really nice (background noise.) our bowling center is adorable perfect for conference party and birthday party or have a good time and children's activity and wonderful playground and a great area to relax and enjoy the view it is 35 part of the city and a lot of great places to go around and have lunch. skating is fun

for the whole family we have an amazing program a huge adult population sea sorry about that in his skating and is or have a ton of programs it is walkable in their yerba buena community. we have everything you need. if i forgot our socks we have those and we charge a.d. mythics, inc., if you have no skates the general public typically e traditionally have public skating and open on the weekends and multiple sessions for everyone to . >> (music).

>> the ferry building one of san francisco most famous that as many of 15 thousand commuters pass through that each gay. >> one of the things that one has to keep in mind regarding san francisco is how young the city we are. and nothing is really happening here before the

gold rush. there was a small spanish in the presiding and were couriers and fisherman that will come in to rest and repair their ships but at any given time three hundred people in san francisco. and then the gold rush happened. by 182948 individuals we are here to start a new life. >> by 1850 roughly 16 thousand ships in the bay and left town in search of gold leaving their ships behind so they scraped and had the ships in the bay and

corinne woods. with sand the way that san francisco was and when you look at a map of san francisco have a unique street grid and one of the thing is those streets started off in extremely long piers. but by 1875 they know they needed more so the ferry building was built and it was a long affair and the first cars turned around at the ferry building and picking up people and goods and then last night the street light cars the trams came to that area also. but by the late 1880s we needed something better than the ferry building. a bond issue was passed for $600,000. to build a

new ferry building i would say 800 thousand for a studio apartment in san francisco they thought that was a grand ferry building had a competition to hire an architecture and choose a young aspiring architect and in the long paris and san francisco had grand plans for this transit station. so he proposed the beautiful new building i wanted it wider, there is none tonight. than that actually is but the price of concrete quitclaim two how and was not completed and killed. but it opened a greater claim and became fully operational before 1898 and first carriages and horses for the primary mode of transportation but market street

was built up for serve tram lines and streetcars could go up to the door to embarcadero to hospitals and mission street up to nob hill and the fisherman's area. and then the earthquake hit in 190 six the ferry building collapsed the only thing had to be corrected once the facade of the tower. and 80 percent of the city would not survive the buildings collapsed the streets budges and the trams were running and buildings had to highland during the fire after the actuate tried to stop the mask fire in the city so

think of a dennis herrera devastation of a cable car they were a mess the streets were torn up and really, really wanted to have a popular sense they were on top of that but two weeks after the earthquake kind of rigged a way getting a streetcar to run not on the cable track ran electrical wires to get the streetcars to run and 2 was pretty controversial tram system wanted electrical cars but the earthquake gave them to chance to show how electrical cars and we're going to get on top this. >> take 10 years for the city to rebuild. side ferry use was increasing for a international

exhibition in 1950 and people didn't realize how much of a community center the ferry building was. it was the center for celebration. the upper level of ferry building was a gathering place. also whenever there was a war like the filipino war or world war two had a parade on market street and the ferry building would have banners and to give you an idea how central to the citywide that is what page brown wanted to to be a gathering place in that ferry building hay day the busiest translation place in the world how people got around transit and the city is dependent on that in 1915 of an important year that was the year

of our international exposition 18 million living in san francisco and that was supposedly to celebrate the open of panama differential but back in business after the earthquake and 22 different ferry boats to alamed and one had the and 80 trips a day a way of life and in 1918 san francisco was hit hard by the flu pandemic and city had mask mandates and anyone caught without a doubt a mask had a risk ever being arrested and san francisco was hit hard by the pandemic like other places and rules about masks wearing and what we're supposed to be more than two people without our masks on i read was that on the

ferry those guys wanted to smoke their pipes and taking off their masks and getting from trouble so two would be hauled away. >> the way the ferry building was originally built the lower level with the natural light was used for take it off lunge storage. the second floor was where passengers offloaded and all those people would spill out and central stairway of the building that is interesting point to talk about because such a large building one major stairway and we're talking about over 40 thousand people one of the cost measures was not building a pedestrian bridge

with the ferry building and the embarcadero on market street was actually added in and in 1918 but within 20 years to have san francisco bay the later shipbuilding port in the world and the pacific we need the iron that. as the ferry system was at the peak two bridges to reach san francisco. and automobiles were a popular item that people wanted to drive themselves around instead of the ferry as a result marin and other roots varnished. the dramatic draw in ferry usage was staggering who was using the ferry that was a novelty rather than a transportation but the ferry line stopped one by one because

everyone was getting cars and wanted to drive and cars were a big deal. take the care ferry and to san francisco and spend the day or for a saturday drive but really, really changed having the car ferry. >> when the bay bridge was built had a train that went along the lower level so that was a major stay and end up where our sales force transit center is now another way of getting into the city little by little the ferry stopped having a purpose. >> what happened in the 40 and 50's because of this downturn we were trying to find a purpose a number of proposals for a world trade center and wanted to build

it own the philly in a terrible idea objective never gotten down including one that had too tall towers a trade center in new york but a tower in between that was a part of ferry building and completely impractical. after the cars the tower administration wanted to keep americans deployed and have the infrastructure for the united states. so they had an intrastate free plan the plan for major freeway systems to go throughout san francisco. and so the developers came up with the bay bridge and worked their way along embarcadero. the plans

were to be very, very efficient for that through town he once the san francisco saw had human services agency happening 200 though people figure out city hall offender that the embarcadero free was dropped and we had the great free to no where. which cut us off from the ferry building and our store line and created in 1989 and gave us the opportunity to tear down the free. and that was the renaissance of ferry building. >> that land was developed for a new ferry building and whom new embarcadero how to handle travel and needed a concept for

the building didn't want- that was when a plan was developed for the liquor store. >> the san francisco ferry building has many that ups and downs and had a huge hay day dribbled adopt to almost nothing and after the earthquake had a shove of adrenaline to revise the waterfront and it moved around the bay and plans for more so think investment in the future and feel that by making a reliable ferry system once the ferry building will be there to

surface. >> television. >> (music). >> my name is vet at a original artist based in san

francisco. >> i love it i love it i've never seen something else and we see how the people see which is happening and what is going on. kind of cool i wanted to be part of that. >> i saw it 2, 3, 4, 5 minutes you yeah. >> so we have you - yeah. i started going when i was young but not the type of kid would get food but this is something i really have been progressing on a talent from like other artists. >> this is amazing. >> this is so good yeah, it is

so good like the artists. >> i love it. >> what a great project. >> part of the part for have i grants. >> yeah. i love it. >> i serve in for 2 two years now and i really am fortunate to live in a place for art. >> an effort creating places it serve san francisco soul and that makes them want to see this place; right? with the experience of art in san jose experience in from the get-go sometimes our environmentalist has created tests but we have an opportunity for that and have artists in the storefront part of project you can walk in and

experience and hoping we'll be there for a long time. >> this is the first farther easy way of going to spaces i didn't know how it is really cool it would be and we're forced to be in the moment when we're test and creating something really cool. >> makes us feel good. >> as far (unintelligible) done all temporary and took them down i like the temporary aspect base (unintelligible) (microphone distorted) not permanent can enjoy it.

>> special commission meeting today if we could go ahead and my name is joaquin torres president of the commission and we are ready to call roll for today's meeting friday, january 13th at 3:07 p.m. yes, starting off with president walking towards president commercially rolando president commission we want to come. present commissioner marian pike's item three this is the acknowledgment of the raw

from public records. the ringing and use of cell phones, pagers and similar sounding producing electronic devices are prohibited at this meeting. the chair may order the removal from the meeting room of any

approval today for final design and construction documentation. once approved by the full commission on march 3rd, tile fabrication will start so i think that's great. i also love the idea that she went out and spoke with the community and in terms of

>> right. and all those in favor say aye?

aye aye. and any opposed. >> and it passes unanimously. well done.

history of urban development in selma a topic of discussion that came up several times during the panel meeting. selma has experienced many