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tv   [untitled]    July 16, 2010 11:30am-12:00pm PST

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garden in this very modern, light-filled space. a couple ofle. s that you'll see is the very base structure that will be done in white glass. what i appreciate about this is that it actually appears to morph into the steel white beams of the building, and there will be a couple slides that i'll show later that we can notice a marrying of those two lines together. the layer on top of that then is the garden elements, the poppies, the laurels, the humming birds coming through, growing, bursting out of the corners. in the detail that will follow, you'll see that with the lines overlapped, it will be a shifts of color, and it's going to be interesting play, with the way the natural light snift the day will also add an additional layering of colors that will create new patterns. the smaller detailed elements are those that i was alluding
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disturb -- alluding to earlier. they're very settle and we'll get them more closely in detail. do you have any questions at this point? because this is the slide that shows the full design. >> looks like there's no questions. >> ok. you can come back if you like. there is a 3-d rendering. again, as i mentioned, the steel white beams, the columns, they're going to tie the white pattern of the victorian ties into these steel beams. on top of that, again, are the garden elements. we worked really hard both the france arts commission, the gdpa, as well as the pcpa architecture firm to choose the colors here so that it really would feel very warm and inviting as people move in and out of this space, but even on a foggy san francisco day, it still feels sun lit in that
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you're in a laurel garden. another image that shows the visitors passing through. one of the things that was really important to me as i designed this was that we would create an environment that would be nurturing to people that are commuting in and out of their workdays as well as a place where families and children can explore and be encouraged to linger and find rest. >> can i ask you something? >> yes. >> what are the things going up the stairs? >> in the previous side, director? >> no, in the symbols. >> oh, that's signage.
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the plate holder for signage where the transit operators are. that will be evolved as the project evolved, as more technologies come into play. it's just a place holder for you now. so this last slide shows a detail of it, so it makes it easier to talk about it. as you can tell, it's a very expansive design. so going back again, you'll see the elements of the poppies and the laurels intersecting and overlapping with these subtle patterns and icons. one thing -- i hope that you can see it in the printouts perhaps better is that i'm really playing with the shifting of color. so as people are walking across the space, there's really a sense of movement, and it's not a stagnant floor, but something
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that feels alive. much as a garden would. i think it's going to reflect in the city park above as like i mentioned before, the light coming through the space and activating the design as well. any questions? >> thank you. >> thank you very much. >> i'd also like to add that the staff and the architects were so taken with the design that they've asked julie to, as marie ya says, sprinkle her design throughout the building, so there will be elements of the design continued, whether through corridors or passenger waiting lobbies, perhaps a band of humming birds will show up in the restrooms. we will work -- that will be developed during design development. weir not at that stage yet, but
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there will be some sense of the grand concourse throughout all parts of the building. dd now, alphabetically, it's my great pleasure to introduce the two studio managers of jenny holster's studio. jenny holster could not be us today because our meeting date kept shifting and she had made plans and canceled her plans and bought plane tickets and canceled her tickets and she was just unable to change her plans another time. so jenny is internationally renowned, she's in many, many museum collections. the guggenheim, the whitney, the new york moma, museums throughout the world. she's perhaps most or best-known for her text-based light work that you can see in times square, where all of a sudden instead of advertising, you'll
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see a phrase that says "lack of charisma can be fatal." and you'll say what is that? but it's art. jenny was really a pioneer in doing the kind of text-based light art. so i would like to introduce -- jenny will be working in the light column in the railing on the mezzanine level, and i'd like to introduce her two studio managers who have been just a dream to work with. very responsive. very knowledgeable about technology and really great partners in this project. emily and david will present jenny holster's proposal. >> hello, thanks so much for having us. while jenny can't be here, she wanted us to express her enthusiasm for this project and
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how she's so thrilled to hopefully be participating in it. i'm going to be giving a background and emily will be giving the particulars of this project. hopefully by looking at some of jenny's older projects, it will help you and the public to see hopefully what she's trying to achieve here. kind of operative in all of jenny's work are three ideas, to be harmonious with the architecture and place in which they are. this is really facilitated with kelly clark pelley. also to use architecture that's usable, that will serve as a delight and a diverse, something that could be useful. also a key idea that respects and incorporates the history of the area. it's really usable artwork. in this case, it means selecting
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text with the help of experts by writers from the bay area or those who write about the bay area, and also incorporating a number of languages. spanish, chinese, english, so that people who read the work will also have some kind of association and ownership of it. one of jenny's earliest projects was this in 1982 in new york city's times square. tto address people where they would be anyway. this is one of her texts "protect me from what i want." she would use existing signs early in her career. this was at the old candlestick park to get people where they would be congregating and gathering with her own writings. while she used the l.e.d. medium as something that she could use readily, that she could smuggle her ideas into, she later developed ways of using l.e.d.'s really as an architectural and sculptural moment.
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this is at the guggenheim where she had a retrospective in 1989. she was able to develop this even further when the guggenheim commissioned her to do a project there. this was in 1997. and like this project, jenny was able to collaborate very early on with frank when this piece was put together. also very important for this project was jenny to incorporate a number of languages. english, spanish, the bosk language, so that people who would read this would feel some kind of connection. this is a project that jenny did in berlin. this is at the entrance to the members of parliament. it was to address those walking in, but also to use speeches from actual members of past parliaments so that there's a real connection to the people who would be using that place and the artwork itself. and while jenny's work always has a utilitarian aspect, she
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also wants it to be beautiful. this is at the national gary in berlin. this is a project jenny did for the table arts convention center in pittsburgh. she used three novels by pittsburgh writers who were also writing about pittsburgh. she wanted people to really get a sense of the place to make something that was beautiful, that was lasting, that people could identify with, who might pass this by daily, but also with the text there's so much language, never would be something where you would see the same thing if you walked by. this is important for jenny's proposal. this is an installation in san diego. jenny wanted to reflect languages that are there. so this artwork has both spanish and english. this is a project jenny did in collaboration with jamie
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carpenter, who's here. this is one of the first buildings built after the events of september 11, and she used as an office building. jenny wanted to do was incorporate text that spoke to the joy of new york city. this was access to believe the visitors that would walk by, but she wanted to make something that people who work there daily would be able to see. this is another image from the world trade. this is one of jenny's latest projects using l.e.d. technology. this is at the m.g.m. grand in las vegas. one of the more interesting things about this project was she was able to use new technology, video technology that would really make effects that were spectacular, grand, but also subtle. i'll be showing you some video of that later on so you can get a sovense what -- sense of what jenny could imagine having at the transbay transit center.
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>> for transbay, jenny is proposing just over 90 feet that will display white horizontally scrolling test. the sign's composition will be elegant and well-married to the underlying structure. great white l.e.d.'s will be set into aluminum bars, each 11 feet tall and one inch wide and deep that will be mounted vertically to articulate the curve. the glass. because the vertical balls will be installed at four-inch intervals, it will be semitransparent, allowing visitors to see the artwork and one another and the architecture. so the sign's components will be minimal. the texts they display will be highly resolved, crisp, and vivid, even during periods of bright sun.
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from its position on the curved portion of the glass enclosure, it will have a strong presence in the building. skoaling text will be evident from the grand concourse and the escalators. the l.e.d. bars themselves will -- jenny will use the transmissive and reflective qualities of the glass to create an artwork that will be double-sided. the artwork's primary face, the position of which remains to be determined, will display light that is transmitted from the l.e.d.'s directly through the glass. the artwork's secondary face, a mirror image of the primary face, will display light that is transmitted from the l.e.d. to the glass and then reflected back ward on itself. the position of the bars will remain fixed and the secondary face will always be a mirror image of the primary face. through programming, jenny can alter nate the side on which the
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right reading face is presented. the reason the position of the primary face remains an open question is jenny wants to conduct tests to better understand the possibilities of the materials. here's an animation that shows what the work might look like while scrolling text at the night time. >> i think we have one question. >> is the message permanent or is it going to change from time to time or what? >> she'll select text that could be quite long and she could end up with a program that would be up to 10 hours long and it would then just cycle. but the program itself would us a tenseably be permanent. so she would decide what it is and load it into the sign. >> ok. what i'm asking is by the wording. is the wording going to be permanent, the wording message is it going to change from time to time?
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>> it would probably be about 10 hours of different content. does that answer the question? >> and when would the different languages come in? >> probably sbir mitt ently. so she might use to represent one author in a variety of languages. she may represent one author in one language and move to the next author in another language. the led will tie the sign's brightness. this feature will extend the led life span and produce energy con summingts by en-- consumption. the currently proposed technology is modular and it's been designed with ease of maintenance in mind. if it were to burn out after sustained use, the led bar
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containing the -- it can be replaced with a fresh bar. this process can be performed by maintenance staff rather than an l.e.d. technician. so we'll end by showing you the final portion of this video, which is of the m.g.m. array entitled vegas. the technology used here is the same technology contemplated for transbay, the one big introduction to the design would be the introduction of glass to achieve double-sidedness. >> thank you. >> you're welcome. other questions that we can answer? >> it appears there's no questions. >> thank you very much. >> thank you. >> commissioners, a member of the public was going to attend who is a collector of jenny's
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work who is in san francisco. did you get an e-mail? >> i did not. >> ok. she had a meeting conflict on the peninsula, but i saw her recently, and i said, so we have this big meeting coming up, can you tell me how long have you owned the piece? she said 10 years. and i said, may i ask often you've had to change the lightbulb or have some work done? and she said never. and she has it on display and on constantly. so i just thought i would add that point. so the next artist i'd like to introduce is ned kahn. i want to mention, both ned and jamie are winners of the mcarthur genius awards, so we have two mcarthur genius fellows on our artist team. ned, will you join me? ned has lived in san francisco for 20 years and worked at the
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exploratorium during that time, and as his studio needs grew and his family grew, he moved to the north to pedaluma. so he's no longer a san francisco resident, but really sort of grew up here and he's worked on a number of public art projects for san francisco, transit-related. if you've ever taken bart to the airplane, when you arrive at the airplane station, there's a circular area surrounding the escalators covered with shimmering metal discs that reflect the wind and the movement of the trains and that was done by ned, as well as a variety of other pieces, ned is now known for his work with the elements with wind, with water, with light, and works on projects throughout the world with some of the most highly-recognized architects of
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the world. this design that he'll be presenting today was submitted as part of the design competition. it was done by ned in collaboration with the peter walker associates and the pelley clark pelley team. so ned has worked on numerous projects in the past for san francisco, building a greenhouse starting with building a greenhouse at the county jail in san bruno, and almost 20 years ago. so we're well-familiar with him, and he's on our easiest and nicest artist to work with list. so here's ned. >> thank you, jill. good morning, everyone. >> good morning. >> so as jill mentioned, i was part of the initial competition team collaborating with pelley folks and with peter walker on up. and two things i mostly focused
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on was the top of the tower that may or may not get built someday, and then i also worked on the rooftop garden. and the main thing i ended up focusing on was this long linear water feature. a lot of the work that i've done over the years, i kind of approach a project with a questions of what kind of interesting energy sources or phenomena will naturally be existing at this place. so a lot of my previous work has dealt with wind patterns and air currents and water movement and kind of the answer to the question of kind of an interesting energy source to tap into on this project for me was the buses driving through this building. so that hatched the idea of a water feature that would reveal the passage of the buses through building in realtime. so what you're looking at is a
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rendering of the idea. basically this linear water feature running pretty much the whole length of the park on the roof with a nozzle of spring water located every four feet in the taping patterns. and then -- you guys have seen lots of these rendings of the buildings. but basically the buses drive through on a layer below the park. and the idea is that in the ceiling of the passageway where the buses drive through, that will would be these ultra sonic censors that would detect the passage of the bus and render that movement in water. and so just some of my thematic drawings. and basically, this will be a very simple fountain. a lot of modern fountains have elaborate computer control systems where you can choreograph the movement of
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water. in this fountain, there's no computer. it's a wonderfully simple system. there's just an ultra sonic censor, and these are the technology that was developed for detecting water level in big shipping vessels and water tanks and fluid tanks. it's basically a beam of ultra sound that bounces off a liquid level and senses the height of the liquid. and there's wonderful robust indestructible technology. these things are designed to put in some tanks where you never have to go get them and do anything to them again. so the idea is that in this ceiling, there's one of these censors every four feet, and as the buses drive through, when the beam gets interrupted by a bus, it opens the and -- opens the valve and lets water flow. so every censor is linked to the nozzle directly above it. i think there's 256 of these
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nozzles and censor arrays. that image there shows what the actual thing looks like. they'll be set into the corgations in the ceiling. a little hard to see, but kind of a cross section showing how the water will come up out of a grading system. it will be recycled water systems. so the water will reveal the passage of the bus. it's a very water and energy-efficient pattern. just some other renderings of other water features with similar nozzles, and then kind of the concept image of revealing the passage of these buses. so questions?
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back over to jill? >> thank you very much, ned. >> lastly, i'm very pleased to announce the director of cultural affairs, a member of the steering committee, who would like to say a few words about the art program. >> thank you, board members, for this opportunity to address you. since i arrived in san francisco 2 1/2 years ago, i've had the pleasure of being associateed with many very exciting art events and installations here in san francisco. everything from the the two mya lynn sculptures instilled at the academy of science, to the chung wong that we have installed at the civic center. my association with the transbay project for me feels like one of the highlights. because you are bringing online
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to the city a building that will be iconic, that will be a landmark for generations to coming and it has just been such a pleasure to work with the architectural team of pelley clark pelley, and their vision for this phenomenal facility. and the way we have been able to select these fabulous artists to identify works that complement the building. when you see how it excos with the concept of a park and the garden that is on the roof of the billing. when you look at ned kahn's interactive water fountain display and the way that it in realtime reflects the movement that is taking place underneath
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that garden and highlights and manifests that movement symbolically for the visitors, you see how the architecture and the art really are working together. so it has just been, i think -- i'm urging you to approve. this although the san francisco arts commission doesn't have any jurisdiction over this project. we did, however, present all of the artists and their concepts to them. they wholeheartedly endorsed this plan and the selection of the artists. it's really great to see san francisco-based artists and internationally renowned artists like jenny holster and james carpenter and tim hawkinson all being part of this enormous fabulous project. thank you very much. >> thank you, luis. i'd like to, on behalf of the tkpa thank all the artists for your time here today and your presentations. it's all very much in line with what we're trying to achieve, which is a very light, open,
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welcoming, joyful jewel for the city and county of san francisco for many generations to come. and you all in different and wonderful ways contribute to that goal that we have set for the program. thank you very much. >> motion to approve the design complex for the four recommended artist? >> second. >> it's been properly moved and second. let's call the roll. >> [roll call] >> five ayes. item 14 is approved. >> next item. >> authorizing the executive director for an amount not to exceed $44,000 with the downtown parking operator to provide 28 indoor parking spaces per day for cal tran's legal office and to maintain such an agreement so much as the total amount is not exceed budget in a total fiscal
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year. >> deborah keith will report on this item. >> good morning, directors. deborah keith, outside counsel. the cooperative agreement between the state, the city, and the tjpa provides a reserve to the state, 28 parking spaces in the new transit center for legal counsel. the new transit center does not have a parking garage. in the alternative, the cooperative agreement provides that the tjpa will provide 28 parking spaces within a certain distance of the new transit center. this item would authorize the executive director to meet the terms of the cooperative agreement in a line item budgeted each fiscal year for the amount not to exceed that. >> it's been moved. >> seconded. >> seconded. >> no no members of the public have wished they wish to direct you. [roll call]
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>> item 14 is approved. >> item number 15 is authorizing an amendment to the next item. construction manager general contractor services for the construction of the transbay building and related structures with the joint venture of web core to increase the time for construction services to 110,000,800 hours. >> bob will -- 110,800 hours. >> bob will report on this item. >> thank you. when we awarded the contract to web core own -- obiya shvings i, our initial plans for to move into construction into the fall of 2009. we are now going to be moving into construction here