Inside SFO • PUBLIC ART • ICONS of PLACE INSIDE THIS ISSUE 2014 BOARD

2nd Quarter 2014

Art +Real Estate =_

inside SFO • PUBLIC ART • ICONS OF PLACE INSIDE THIS ISSUE 2014 BOARD

706 Mission Street/Aronson Building 3 Nancy Lundeen Lisa Bottom SFO and the Arts 4 Partner | Allen Matkins Leck Gamble Design Director, Principal | Gensler Mallory & Natsis LLP Director, Communications President

Icons of Place 5 Lora Estabrook Laurie Gustafson Director of Business Development Partner | Sedgwick LLP CB2 Builders The Value of Art in Corporate Spaces 6 President-Elect Director, Sponsorship Committee Helen Duong Lada Kocherovsky Public Art 7 Lease Administration Manager Associate Principal Boston Properties, LP Page & Turnbull Architects Past-President Director, Membership What is an Art Consultant 8 Stacie Goeddel Samantha Low Partner | Holland & Knight LLP Project Manager, Restaurants Report 9 Secretary/Delegate Special Projects Group. Hathaway Dinwiddie Jeanne Madden Construction Company Art and Real Estate 11 Regional Controller Director, Programs Boston Properties, LP California Conference 13 Treasurer/CFO Alaine Raven Business Development Manager A Word from Our Sponsors 15 First American Exchange Company Director, Community Affairs Team Be an Angel ANGEL PROFILE As you can see, each issue of the VIEW investigates a particular topic DONNA SCHUMACHER in detail, sharing the broad range of expertise and knowledge available Principal | Donna Schumacher Architecture within the CREW SF community. As the VIEW Angel, you will be recognized as the expert that you are by contributing your ideas and What it does: Architecture, Interiors and Art consultation connections to help us generate topics and writers. Please submit an idea and volunteer to be a VIEW Angel by contacting the VIEW staff. You HQ: San Francisco will grow wings! I promise. Topics for the next few issues are: Medical Founded: 1992 Office Space, SFO, Social Media, and Highrise Construction. Background: Master in Architecture from University of Pennsyl- vania, Philadelphia, MFA in Sculpture from California College THE CREW SF COMMUNICATIONS CALL of the Arts, Oakland; Architect of record for San Francisco Camerawork, San Francisco Art Commission Gallery, Project FOR 2014 VIEW ARTICLES Architect for Graham Gund Associates in Boston. Please submit your idea for a future article to the VIEW. Inspired CREW: Member 2011 to present, VIEW Editor, 2012 to present. by the upcoming topics? Law, real estate, leasing, architecture, Charities: San Francisco Zen Center, SevenTeepees gender equality and beyond. If you have an idea, even a tiny gem Junior draftsman for Cleveland Clinic Foundation of one, or maybe just the intent to participate, please email our First Job: editor at [email protected] to get the conversation started. We Extracirricular Passions: Long Distance Running, Meditation, Fine Art, Travel, Arts Journalism, Cities are here to help you launch your voice into the San Francisco real estate community! Travel Tip: If I am traveling to the third world, before walking out the door of my house, I take off every piece of jewelry that I typically wear every day, my gold bracelet that my father gave THE VIEW EDITORIAL STAFF me, my great grandmothers ring, even my earrings. Like shed- Editor Donna Schumacher ding a skin, it allows me the opportunity to walk unencumbered Editorial Review Yrene Chan by former expectations. It was suggested to me as a way to slip easily into different worlds without causing attention to the inevitable disparity of wealth. On a lighter note, a box of Contributers Alexandra Daraby Tessa Wilcox & flaxseed power bars are a nice alternative when the only thing Krystal Grubb Christine Sanford on the menu is lizard tail... Miriam Pelosi Deborah McCarthy Denali State Park back country, Alaska Donna Schumacher Julie Jacobson Recent Travel Highlight: Danielle Fox and Debbie Leiffer Top Pic SF Restaurants: Alta CA, Lolo, Bar Crudo Shelley Barry 15 Seconds of Fame: I was on the first plane out of Beijing after the Tienamen Square disaster in 1989, and ran Boston in 2013. Cover photograph: Amy Ellingson, Large Variation: Floating World Grouted 2’ x 2’ sample; overall dimensions 10’ x 108’ 8 ½” Birthplace: Rochester, M.N. Fabricated by Mosaika Art & Design, Montreal Commissioned by the San Francisco Arts Commission ©2014 CREW SF. All submissions are subject to editing for clarity and brevity, unless 2 otherwise noted. Last Piece of the Yerba Buena Puzzle: Mexican Museum and 706 Mission Street

© 2014 Miriam Montesinos, Pelosi Law Group and Donna Schumacher, Donna Schumacher Architecture In 1966, the San Francisco Redevelopment Agency (SFRA) and the Board of Supervisors designated the Yerba Buena Gardens neighborhood as an urban renewal target, a new Arts District that would enliven a key piece of urban real estate while protecting the cultural diversity of a world-class city.

Since that time, Yerba Buena Gardens has made incremen- tal yet dramatic changes, and has indeed emerged as a vibrant cultural center for San Francisco. The opening of the Moscone Convention Center (1981), the creation of Yerba Buena Center for the Arts (1993), the relocation of SFMOMA to the neighborhood (1995) and the addition of The Contem- porary Jewish Museum (2005), among other notable developments, have all contributed to a neighborhood renaissance. Moreover, with the numerous galleries, shopping areas, the- aters, high-end hotels and residential towers that have fol- lowed the area has become one of the most dynamic and bustling in San Francisco for live, work, or play.

The last major piece of the cultural puzzle is The Mexican Mu- seum, which was identified as a new addition to the area in1993. That’s when the Redevelopment Agency designated property adjacent to 706 Mission Street for the museum’s new home.

The Mexican Museum, initially located in the heart of San Fran- cisco’s Mission District, was founded in 1975 by local resident and artist Peter Rodríguez. The museum was the realization of Rodríguez’s vision that an institution be created in the United States to exhibit the aesthetic expression of the Mexican and Mexican-American -- later expanded to reflect the evolving scope of the Mexican, Chicano and broader Latino experience.

In 1982, The Mexican Museum moved to Fort Mason Cen- ter in the Marina District, where it currently has a permanent collection of over 15,500 art objects. This spectacular collection is unique in the nation and includes Pre-Hispanic, Co- lonial, Popular, Modern and Contemporary Mexican, Mexi- can-American, Latin American, Latino, and Chicano art. The museum has since become affiliated with the Smithsonian Institution, the nation’s largest museum network. historically important Aronson Building at 706 Mission Street, immediately adjacent to the museum site. Having successful- Thus, with the Yerba Buena site tapped for a permanent ly developed other projects in the area, Millennium Partners home, design began for what would be the largest Mexican believed in the centrality and popularity of the neighborhood museum in the United States. However, fundraising for the and was keenly interested to find a site for a new residential effort stalled, and nearly two decades passed. project.

“It just wasn’t our time,” said Andy Kluger, chairman of The “Teaming up with The Mexican Museum provided the perfect Mexican Museum’s Board of Trustees. “But we never relin- opportunity to create an integrated, mixed-use building near quished our dream of a world-class jewel of a museum in a large number of important cultural institutions,” said Sean Yerba Buena Garden Arts District.” Jeffries, Vice President of Millennium Partners.

Then, a few years ago, Millennium Partners entered the picture. The partnership also allowed Millennium Partners to increase Millennium Partners, a national firm that had recently built and the number of residential units by developing a residential opened the nearby Four Seasons Hotel, set its sights on the (continues on page 10) 3 SFO AND THE ARTS © 2014 Krystal Grubb, Gensler Fine art is a priority at SFO. From its Francisco Arts Commission. “Public architecture to its permanent museum art has allowed women the opportunity displays, the works shown are carefully to really get out and do major works selected to enrich the passenger at a major scale. Fifty-percent of arts experience of more than 44 million annual commission contracts are to women.” visitors. SFO’s love affair with art began Commissioned works at Terminal 2, following the launch of their official Public completed in 2011, Norie Sato and Janet Arts Program in 1977. Since then, it has Echelman’s pieces meld and augment expanded to encompass purchased with Terminal 2’s environment today. and commissioned works with rotating Air Over Under, Sato’s exterior façade exhibitions. Two distinct programs realize installation of 120 laminated glass pieces, SFO’s art: SFO Museum and San Francisco draws on our senses of perception. Every Arts Commission. Beating Second, Echelman’s three net- like sculptures float 120’ in circumference The SFO Museum, started in 1980, is run by from the ceiling at Terminal 2’s post- its own dedicated full-time staff of curators, security space. From indigo to purple, and registrars, designers, and preparators. In magenta to red-orange lights, the three 1999, the museum met a new benchmark sculptures of braided fibers and knotted by receiving official accreditation from twine glow at night. tects needed something in this space and the American Association of Museums. the artist dealt with the practical problems. The SFO Museum has twenty-five sites Terminal 3’s Boarding Area E opened in They created art that makes a moment.” throughout the airport, only nine beyond January 2014 with floor to ceiling glass as The San Francisco Arts Commission is security checkpoints. More than 90,000 well as many new commissioned and mu- currently coordinating six new pieces, commercial aviation artifacts and books seum art pieces. When Gensler’s architects including a 10’ x 109’ mosaic by Amy make up the museum’s permanent and designers envisioned a light feature at Ellingson. Of Ellingson’s work, Melissa collection. The pieces are typically the end of Boarding Area E they presented Mizell, Design Director with SF Gensler’s displayed in glass cases, but there are potential artists a challenge with a space Terminal 3 East team, says “the design is always exceptions to the rule with a brightly daylight from floor to ceiling glass. based on creating a separate living room few large-scale pieces. For example, Sky, a collaborative installation by Franka where the mosaic will be the expanse of Ethan Estess’ Last Dive at Farallones, an Dienhnelt and Claudia Reisenberger from the wall. It’s important to add moments of eight foot whale fluke sculpture made of Merge Conceptual Design, is a series of delight to the passenger experience, and reclaimed plastic foam, wood, and rope on 27 mirror-polished stainless steel spheres. art does such a great job with this.” The display in Terminal 3. Each sphere varies in size and holds an LED light source that subtly shifts in color mosaic will be installed later this year along The San Francisco International Airport’s and light. This creates an optical effect with the five new commissioned pieces.• public arts program is provided by a distorting the proportions of the spheres About the Author city agency, The San Francisco Arts themselves. “Like the sunset sky, when Commission (SFAC). The agency is well- you are in the space and look up you can Krystal Grubb is a designer in the architecture studio at known for its commissioned pieces at the experience the artificial light contained in Gensler in San Francisco. airport, but may not know they currently the globes,” says Pontious. “The archi- hold the most valuable collection of over 100 works in San Francisco outside of the city’s museums. Its backbone is rooted to local Bay Area artists with a significant number of works in the collection from California artists. Because the SFAC’s program started in the 1970s, the airport’s collection consistently encompasses major movements from the 70s to date.

Commissioned pieces for the airport start with a national request for quotation, or RFQ, by the SFAC. The selection process is layered with a series of panels and representatives. “Because it’s an open, public process women have been able to really prove themselves,” says Susan Pontious, Program Director for the San 4 Photo description: “The Bay Lights”, Western span of the Bay Bridge, San Francisco CA. Light display by Leo Villereal, Organized by Illuminating the Arts, Ben Davis, 2013 to 2026(?), the baylights.org ICONS of PLACE: the role of Art, Craft & Design in Place Making Strategies © 2014 Donna Schumacher, Donna Schumacher Architecture the community. Art has the unique potential to manifest com- City centers are attracting unprecedented numbers. People munity ethos in physical form. How? want to live and work in the heart of the downtown, close to On the scale of a city, this zeitgeist of desire is well illustrated culture, amenities, and public parks. Big cities, particularly ones by the Bay Lights project along the Bay Bridge in San Francis- with a visible history have become the happy epicenters of this co. Not funded by a public agency, nor sanctioned by a ma- shifting demographic. After years of neglect and disuse, sud- jor cultural institution, Bay Lights was the unique synergy of the denly downtowns are filled with people biking to work, parents creative culture of San Francisco on a multitude of levels. The walking with strollers, workers grabbing a beer after work and shimmering light display has anchored the Bay Bridge as a sig- couples ambling home hand in hand after a romantic night on nificant landmark and increased the allure of the entire Embar- the town. Why? In an age dominated by technology, commu- cadero waterfront. Paid for almost entirely by donations from nity is increasingly established through a shared system of val- local businesses, these donors consistently cite the project as an ues. While at first this trend might seem at odds with the close investment in the city, an investment in a cultural cachet that has physical proximity of urban living, it is in fact a direct by product. quantifiable monetary value. In what way? Historic downtowns naturally express a predefined character through their classic materials, turn of the century architecture For the individual development, Avalon Bay Developers tar- and their inherent stories. This historic architecture becomes the geted their residential project AVA 55 9th Street toward the signifier for the shared values of the communities of a techno- Millennials attracted to Tech Corridor employment along newly logically based society. developed Mid Market. The establishment of a sense of community was a key branding element to their newly construct- Contemporary architecture therefore has a more challenging ed project. For the architecture design by Solomon Cordwell task. Residential complexes, office interiors and even historic Buenz (SCB) of Chicago, this meant amenities such as shared cityscapes are more than ever in need of the establishment of a gathering spaces with large comfortable chairs and wifi access sense of place that goes beyond mere functional space. Place- (not dissimilar in design to work spaces of the technology com- making is defined as the intentional effort to build the experi- panies located near by), dog washing areas, a bike repair shop, ence, quality and character of a place based on the culture of and athletic facilities. (continues on page 14) 5 THE VALUE OF ART IN CORPORATE SPACES: Public and Permanent Programming

© 2014 Tessa Wilcox and Christine Sanford, Artsource Consulting Exposure to art at work has shown to encourage creativity and productivity, promote morale and open dialogue in the workplace. Although art plays an important role in sparking creativity in our society, few companies realize the potential of a uniquely tailored art program to enhance their goals as a business.

A study conducted by the Business Committee for the Arts Inc. (BCA), a non-profit founded by David Rockefeller to link art and business, and the International Association of Professional Art Advisors (IAPAA), surveyed 800 employees from 32 companies operating in the US. The study found that the overwhelming majority of employees agree that art reduces stress and encourages discussion and expression of opinions, with 94% of employees agreeing that art enhances the work environment. Furthermore, 73% of those surveyed said their view of the company would change negatively if the art in their workplace were removed.

In addition to enhancing the workplace for employees, the presence of art in a corporate space sets a tone that communicates the values of the ownership. This tone helps to convey a commitment to the arts community and to cultivating a creative workplace. Both public art and permanent collections help establish a company as a community participant and as a thought leader when it comes to creative workspace. Photography credits: http://www.nhbca.com/news_031208_workart.php Benedict, For building owners, incorporating art in gathering spaces such Sharon L. and Roper, Doug. (2006, May 14). Art in the workplace benefits both as lobbies and or outdoor plazas can stimulate interaction and employees and company. San Antonio Business Journal. Retrieved from http://www. make a location stand out as a place-making landmark in the bizjournals.com/sanantonio/stories/2006/05/15/focus2.html?page=all community. Public art gives people a sense of ownership of a that reinforces the unique profile of a property. space and can remind people to be more attentive to what’s around them. It also becomes a really important vehicle for civic Jeanne Myerson President and CEO of the Swig Company, dialogue, and cultural enrichment. in discussing the Mills building’s rotating exhibition program says they started the program, “to differentiate ourselves Public art programming can vary from commissioning a large from our property management competitors.” “While this outdoor work, acquiring permanent pieces for the lobby or program has been a long-standing and important component curating a rotating exhibition program. These types of public of our commitment to tenant service, it further connotes our art projects expose both employees and visitors to artwork in commitment to creativity, which is completely congruent with ways that wouldn’t be possible in the typical working day and business success.” environment. Artwork that promotes conversation and that reveals itself over time is the most effective and worthwhile. Selecting or commissioning art for these types of projects requires scholarship and vision. The vital role of the art consultant “Beyond our strong belief in the critical role of arts and culture in is to establish a direction for an art program that reflects the our lives every day; we endeavor to foster a sense of community mission of the company or the culture of the ownership helps in our buildings. The rotating art exhibit promotes tenant translate the vision into a successful art program. interaction as individuals share their impressions of the art, • and it transforms a path-of-travel into a point of connection.” About the authors Deborah Boyer, Senior Vice President of Asset Management at The Swig Company. Tessa Wilcox is a Principal and Co-Founder at Artsource Consulting in San Francisco. There is also a strong synergy between art and architecture. The integration of site-specific works of art in developments has proven a successful vehicle for helping to define public spaces, establishing Christine Sanford is a consultant at Artsource a destination for the visitor, and demonstrating an investment in Consulting in San Francisco. the cultural life of the community. Art can be a distinguishing factor 6 POINT OF VIEW PUBLIC ART: EYE OF BEHOLDER AND POCKET OF DEVELOPER © 2014 Alexandra Darraby, century development is artwork. Artwork, The Art Law Firm particularly contemporary art, has sky-high appreciation and unprecedented resale Such is the power of public art that value according to auction data publicly it is iconic on its own merit as well as available and statistical compilers. part of the canon of the city. Private developers—as well as public ones—are encouraged—and sometimes mandated--to acquire artwork and use artwork in a public ways as part of project budgets under a network of local, regional and national economic and tax incentive packages. In the 20th Century, these packages were commonly referred to as “Percent for Art Laws,” whether or not they existed as “laws” on the books.

Photo description: Cloud Gate by British artist Anish The look, feel and overall appearance Kapoor sited in Millenium Park, Chicago, on the AT&T of the American urban landscape in Plaza, the artist’s first public outdoor work installed in the United States. Image copyright: Anish Kapoor. Photo the last 30 years is iconized by major copyright: City of Chicago public art commissions that source to development projects. AD Photo description: Detail of “Bouquet “ (2013) by Ko- Pulse of Development The objective is to provide public art, rean artist Choi TaeHoon installed at Ssuheo Center, a Anyone who has visited Chicago since 30-story complex in downtown Zhengzhou,China, de- or a monetary equivalent dedicated to 2004 knows the power of public art in a signed as an “Art Space” to introduce the concept of cultural purposes, as part of private real public toChina, as part of the Central Land Corporation’s public place, whether or not they know the estate development projects. Examples development project. Image: Choi Tae Hoon. Copy- name of the artist who created the 110- right. 2013. Courtesy of Baik Art, California abound within the USA and beyond. ton, 66 foot long elliptical sculpture called CEO Tony Hsieh of Zappos.com linked art as part of the project. Some public art Cloud Gate that anchors downtown’s Mil- public art as an anchor to the multimil- plans offer financial or tax incentives. Art- lenium Park. Children, arts aficionados, lion dollar ongoing Las Vegas Downtown work, when art is positioned as a cache, suits, retired folk, tourists, and just about Project, a real estate development and has--in addition to monetary value with everyone else who traverses the Park ex- cultural plan viewed as part of a grander potential market appreciation-- many presses delight and awe at Cloud Gate’s urban revitalization. immeasurable financial benefits as well as mirrored stainless steel surfaces, reflectiv- non-economic, value-added attractants ity and monumentality. Cloud Gate was The concept of public art was front and for the developer. These include appeal created by British artist Anish Kapoor for center with the display of an interactive to future buyers, anchor tenants and other Chicago, that architectural city of the mid- installation by sculptor Johannes Girar- lessees, as well as bolstering, or re-vital- West, but it belongs to the global culture doni at the 2014 annual TED event in izing the economic health and identity of that inhabits and visits Chicago. People in Vancouver, Canada, a technology, enter- the locality (which in turn may spur more Chicago don’t meet at Millenium Park; they tainment and design conference [hence development, business uptake, and pros- meet at Cloud Gate. Such is the power of the TED acronym] begun in the 1980s by pering sub-economies). Public art: public art that it is iconic on its own merit as American architect and designer Richard well as part of the canon of the city. Saul Wurman, and populated today by • attracts buyers, anchors and tenants innovators from the USA and elsewhere • brands buildings/projects Money, Value, and Market conceptualizing and implementing inter- • forges or revitalizes community Appreciation: the $$$ Value of disciplinary synergies. identity Public Art • functions as a crucible for media The big reveal for real estate industry Developer Query: What’s In it and publicity growth is artwork. The real estate indus- For Me, or Why a Developer Would • creates social media buzz, trending try is replete with metrics, values and ap- Add Artwork as Part of Project and promotion praisals, long on sales-lingo and re-sale Strategy • enhances developer as good community citizens gains, and focused on development, re- Re-sale value is only one calculable metric • enables liaisons with creative development and realty renewal opportu- in development decisions to use public nities. But the money metric patois of 21st community (continues on page 12) 7 What is an Art Consultant?

© 2014 SLATE Consulting An art consultant is a specialist who provides art programs for public spaces, businesses, and private collectors. An “art program” might be defined as a selection of artworks that has been created especially for the client, taking into account their particular taste, values, physical space, and budget. Art programs include both permanent acquisitions, and rotating exhibition programs. mous names that will impress, even if it means paying a premium? Are you more interested in local and emerging artists? KEY TO SUCCESS Or are you looking for value-driven options like open-edition Many factors are important to the success of an art consulting giclees and poster prints? project. The clearer you are about your own project before you approach an art consultant, the smoother the process will be. WHAT YOUR ART CONSULTANT WILL You may want to begin by considering the following: BRING TO THE TABLE All art consultants should bring this set of important skills and The more you know about your culture and corporate (1) Values: resources to the table: values, the better you are going to be at communicating those values to an art consultant. For example, a tech company might • Understanding the client’s values and taste and translating want art that communicates that they are innovative, out-of the those to art genres and styles. box thinkers. This would result in a very different program than one created for an investment firm who has been in business • Determining the number and placement of art works needed, for over 100 years and wants to communicate that they are taking into account the flow of traffic and architectural focal traditional, trustworthy and have significant assets. points. • Determining the scale of the work needed, taking into account (2) Project Types: Clarify what type of project you are planning: the size and shape of the wall, architectural proportions, and a. Fine art purchase for an existing or newly-renovated distance from the viewers. commercial space: permanent acquisition of higher-end and larger-scale contemporary artworks. • Determining the ideal media and designing framing solutions, taking into account lighting constraints, window positions, b. Every-day artwork that serves to complement office décor: and wall construction. Purchase of less-expensive original artworks by emerging artists, limited editions, photographs or poster prints. • Knowing where to find art that will satisfy the client’s needs, whether directly from artists’ studios, from art publishers, c. Rotating exhibitions: Appropriate for public lobbies in galleries, or from other art dealers. class A office buildings and active corporate campuses. These temporary exhibitions keep the environment activated, • A network of reliable subcontractors who support their proj- engaging and fresh, and they can satisfy a broader range of ects including art handlers, framers, shippers, display system tastes. purveyors, and agents who specialize in art insurance. • Project management skills to see a program through from d. Large scale public art for new construction: commissioned for a plaza, exterior, or lobby, often part of a percent for art scope development, budgeting, research, and presentations program, permanent investment. to the acquisition, delivery and installation. One thing that all art consultants have in common is that they (3) Timing: What is your time line for the project? Is there an important date or event for which you want to have art love their work, because they love art, they love people, and installed? Sometimes at the end of the fiscal year, clients are in they are passionate about bringing the two together, knowing a hurry to purchase art with remaining funds. Other times, they that they are enriching the lives of everyone who will come into are simply seeking a quote, in order to budget for art purchases contact with the artwork they place. • the following year. About the Authors (5) Decision-makers: It is important to identify decision-makers Danielle Fox and Shelley Barry are Prinicipal Part- early in the process, as changes to an approval committee can ners at SLATE Art Consulting, a full-service agency derail a project part way through, leaving everyone with the based in Oakland that provides art programs for ac- sense that effort has been wasted. Your art consultant should quisition and exhibition throughout the Bay Area. meet with the final decision-makers early in the planning process. Shelley Barry is a member of the East Bay CREW and sits on their Programs Committee. (6) Budget: How much are you willing to spend in total? How www.slateartconsulting.com much are you willing to spend for key pieces? Do you want fa-

8 RESTAURANT REPORT © 2014 Deborah McCarthy, McLellan Estate Co. San Francisco has an international reputa- tion for its beauty as well as its fine cui- sine, so it comes as no surprise that there would be restaurants catering to a desire for both. The inclusion of fine art in the design of a restaurant interior engages the senses alike creating a memorable experience for the eyes and taste buds. From the more contemporary (Wexler’s at 568 Sacramento Street), to the whimsical (Grand Café at 501 Geary Street) and the historical (Pied Piper Bar at 2 New Mont- gomery Street), these three examples il- lustrate the varying ways that this combi- nation can create stunning results.

The charcoal canopy flows over the diners the full length of the room an allusion to smoke from the pit at Wexler’s. Or, is the ceiling sculpture an allusion to the ribs on the plate? It’s left to the diner to draw their own conclusions as they embrace the smoke infused BBQ menu. Certainly the chef is something of an artist with skills used to infuse items from eggs to pie, as well as more traditional ribs. he ceiling art (designed by architecture and design firm Aidlin Darling Design) has a practical function. The sound lessoning acoustic properties contribute to the convivial atmosphere in this modern, almost too clean compact setting. the ceiling art also have practical function, some acoustic qualities to contribute to a convivial atmosphere in this modern, compact setting.

Whimsical sculpture of three giant frol- icking rabbits greets patrons on arrival at Grand Café in the entrance to the comfortable bar lounge. At the entry to the formal dining room fanciful hedgehogs welcome you, and acrobatic rabbits reach to the ceiling among the diners. These enchanting bronze sculptures by Albert Guibara add a sense of joy to the French Wexler Restaurant, photography by Matthew Millman. Architecture by Aidlin Darling Design. café atmosphere of the rooms. The joy Palace Hotel. This renowned American enhances the clubby atmosphere con- radiating from the sculptures cannot be painter and illustrator is known for his tributed to by the polished paneling and ignored and adds immeasurable to the use of saturated hues and idealized neo- comfortable chairs. atmosphere of celebration. Wonderful classical style. The vividly blue Pied Piper • accoutrements in an inviting, long estab- was originally commissioned for the 1909 About the Author lish restaurant where “The French café reopening of the Palace Hotel, follow- Deborah McCarthy serves as meets San Francisco’s gilt age.” ing the 1906 earthquake and fire. Valued the Director of Commercial The Pied Piper by Maxfield Parrish hangs today at close to $5 million dollars, the and Industrial Property prominently above the bar inside the painting dominates the north wall, and Management for McLellan Estate Co. based in Belmont, Ca. 9 (continued from page 3)

tower in the space above the museum. For The Mexican Mu- that allow for a more efficient and multifaceted building. seum, Millennium Partners’ involvement gave the institution Street frontage will be maximized by providing cultural and the financial backbone for the construction, providing the retail uses at the ground level, allowing the project to be in- jumpstart that the languishing Yerba Buena move needed. teractive along the entire Mission Street façade. Perhaps the greatest benefit of the design, though, will come from The The museum’s new location will be on four floors of a Millenni- Mexican Museum’s entry on Jessie Square, which will help um-owned residential building at 706 Mission. Millennium will complete the activation of the plaza and fill the key miss- also restore the historic Aronson Building as part of the project. ing component of the Yerba Buena Gardens development. Moreover, Millennium’s decision to donate $5 million to the The residential tower, in turn, will provide activity around- museum’s endowment fund provided the kick-off needed to the-clock as residents enjoy the many restaurants and other move the museum forward on fundraising. amenities in the neighborhood.

Mexican architect Enrique Norten of TEN Arquitectos is re- The architectural design of the project is as complex as sponsible for designing the museum’s interior and exterior the area it inhabits and the program it serves. It will tie to- – four floors and a focal point entry – while Handel- Archi gether the “old” of the Aronson Building and the “new” tects will design the exterior tower at 706 Mission Street. The of surrounding projects such as the St. Regis and the Four museum project will be overseen through a joint venture Seasons, by interweaving portions of a contemporary glass between A+D Architecture and Design and Pfau Long Ar- façade with the stone cladding and punched windows of a chitecture, local firms who have signed on as the museum classical building. The tower will be broken up into slivers of Architect-of-Record. the two alternating façade treatments to reduce the overall mass, and the top will be tapered, reflecting the articulation A+D has designed several structures for cultural and non- of the nearby 140 New Montgomery building. As such, it will profit organizations, including projects in the Mission District. blend in with the existing fabric of the neighborhood. Handel, which will be the Design and Architect-of-Record for the tower and the museum’s shell, has worked on several Groundbreaking is expected to take place in early 2015. The structures in New York, Boston and San Francisco, including projected grand opening date for The Mexican Museum is the World Trade Center memorial in New York. The firm also set for 2018. • would be responsible for rehabilitation of the historic Aron- About the Author son Building as part of the project. Miriam Montesinos is Of Counsel at the Pelosi The final building design will reflect the winning nature of Law Group, a boutique law practice with a focus this collaboration. By working together, The Mexican Muse- on land use and real estate. Donna Schumacher, um and Millennium Partners have been working on designs co-author.

Pivotal Keystone to the 706 Mission Street Project Located at 706 Mission, the ARONSON BUILDING was con- structed in 1903 and survived the 1906 Earthquake and Fire. This San Francisco historic treasure was designed by architects Hemenway & Miller in the “Chicago Style” and is therefore listed as a Category 1 building in San Francisco.

Page & Turnbull is serving as preservation architect for the rehabilitation of the Aronson Building. Their scope included a rigorous entitlement process allowing for the removal of non-historic additions, new openings on the north façade, a new roof top garden, and the adjacent construction of a new tower. Their scope also included a Historic Structures Report. As part of the rehabilitation, Page & Turnbull will lead efforts to repair the façade which features decorative terra cotta, a sheet metal cornice, cast iron pilasters, and a Colusa sandstone cornice.

706 Mission will be home to The Mexican Museum on the retail level floors and will anchor the adjacent tower designed by Handel Architects and developed by Millennium Partners to the streetscape on Mission.

10 The physical environment needs to sup- complementary mix that includes artists Art and Real Estate port the expansion of businesses populat- and creative entrepreneurs, benefits ten- © 2014 Kim Frentz Edmonds, ed by individuals who seek stimulation and ants and owner, and the neighborhoods Ventura Partners innovation, not just in their work life, but in and communities they inhabit. the multiple environments they populate. The intersection of art and real estate can This new wave of reverence for the cutting It is within this context that we find new take many forms. Large scale public art edge, and seeing the world differently, opportunities and new models for turning becomes the component that can tie a has also brought new opportunities bricks and mortar into space that supports building into the community. Storefront for organizations that program for the this new type of interaction. When busi- galleries provide ground floor interest that “creatives” in our communities. Rather nesses that rely on original thinking and can increase foot traffic and support retail than incorporating art and artists into an new ideas are looking for locations, they attraction in emerging neighborhoods. environment where business dominates, are attracted by the environment that will Artists have fed the transition of economi- we are seeing real estate projects in which give them an advantage in attracting the cally depressed areas into vibrant destina- the arts organizations and artists are the best and brightest. One way to manifest tion districts. predominant actors. New ways of offering this energy is by integrating the work of space, such as coworking, promotes cross These phenomena are still relevant in the artists, and the artists themselves, into the pollination of ideas between individuals development world today, but there is an- “workplace”. and breaks down physical barriers to other role for art and artists that is grow- Previously, having an interesting gallery collaboration. Even more important is the ing. No longer seen as window dressing, space and art studios on site, would have infrastructure to curate this interaction as or providing the catalyst for gentrification provided the “amenity” that could set part of the overall management process. that results in displacement of the very art- your project apart. Having visual access ists who created the transition, the new vi- Projects established to serve the needs to works of beauty and their creators pro- sion integrates art and artists into the very of artists for work and creative space vided an edge. In our new world how- fabric of community and business devel- often have the programming in place ever, this type of static interface isn’t re- opment for long term collaboration. to support creative processes and ally enough. The new model requires that interaction with the community. Some The Bay Area is home to some of the most there is real and meaningful interaction businesses and individuals are willing to creative individuals and companies in the between the individuals who occupy vari- pay a premium for space that includes world and the current real estate boom ous roles (artists, entrepreneurs, develop- integration with creative entrepreneurs. has been greatly influenced by the expan- ers, designers). This is accomplished by This supports the long term sustainability sion of leading edge companies. These creating space that promotes communi- of the projects, and bodes well for their companies have one foot firmly planted cation and collaboration, and implement- ability to adapt as new trends emerge. in commerce, but are dependent upon a ing programs that foster this interplay. When you put the artists at the forefront, more expansive vision and fostering new Not every business is large enough, or the sky is the limit. ways of viewing the world. How do you has the bandwidth, to develop and man- • feed this type of creativity? A number of age the complex ecosystem for which the About the author influential companies have decided that titans of Silicon Valley are known. This Kim Edmonds Frentz, Presi- one way to keep fresh ideas flowing, is to provides an opportunity for real estate dent and CEO of Ventura incorporate art and artists into the fabric partners, Ventura Partners developers to create intentional com- of their businesses. A number of technol- provides professional de- munities that meet these same criteria. ogy companies have artists in residence velopment consulting and Focusing on tenant mix has long been property management services, offering interacting with engineers and other cre- the foundation of retail development and comprehensive support for property own- ators on a regular basis. can be expanded into other venues. This ers and tenants.

NEIGHBORHOOD

MACLA Downtown Gateway

A new public space has recently been built in front of MACLA.

11 (continued from page 7) The issue, ironically, is that a successful public art integration into a development The Public Art Calculus: Costing project is a potential for copyright claims the Public Art Project if the public art agreements do not spec- The calculus varies among ordinances, ify the rights. The studio contended that policies, and programs, but generally the public art was so integrated into the speaking a percentage of hard construc- architecture and the design that the copy- tion costs of the development are estab- rightable features of the artwork could not lished as the budget cost for the art proj- be separated from the utilitarian features ect; the percentages also vary, but can of the lights, gates, street walls and other range from 1% to 5%. The costing usu- architectural components. The copyright ally functions as a cap for all costs, and is concept of “conceptual separability” in Photo description: Metaspace V2 featured in 2014 at TED not equal to the price of the art, or the Conference is an interactive immersive light-soundscape this context means that the protected price the artist is paid; in short, all related that empowers public perception by the use of innova- copyrightable expression cannot be ex- and incidental costs are subsumed, in- tive sensor technology that imbues light with sound, the tracted from the unprotected utility of the type of aural and visual stimuli that creates a cache in cluding fabrication, insurance, transpor- 21st century public spaces. Image: Johannes Girardoni. work, and therefor is not protected. The tation, installation, engineering, experts, Copyright. 2013. Courtesy of Girardoni Studio. Ninth Circuit Court of Appeal agreed with consultants, materials and the like. the studio, and an infringement claim was in a permanent and inseparable way (in le- not successful. Exemptions and Exclusions: gal terms, when the object “appertains”), Who’s In? Who’s Out? then the artwork, with some exception, is The take-away for developers is that the deemed part of the realty. In short, there Some real estate developments projects project team’s lawyer needs to know how are actually two avenues for real estate are exempt, and some laws and poli- to evaluate the public art in terms of its developers to increase investment poten- cies have threshold qualifications that intellectual property anatomy in the con- tial—as well as cultural cache—using art exclude projects by permit valuation, text of the overall project, as well as how as an integral part of the project: stand- size, and purpose. The percent laws to array the IP rights, and obtain the ap- alone personal property or real property. and set-asides vary, as stated above, propriate licenses and assignments. The legal protections differ. so it is necessary to investigate any that Stewardship: Hidden Costs of might impact the particular venue and No developer should even think about Maintaining Cultural Cache and the specific private development proj- buying, installing or commissioning public Artistic Legacy ect. Typically industrial and commercial art without reckoning on the conundrum The urban landscape needs to be sus- development is exempted under regu- of 21st century copyright. The more inte- tained as much as farmer’s fields, but in latory schemes where the project does grated and successful the public art proj- the case of public art, it can’t lie fallow. not meet a financial threshold, whether ect, the greater the need for clarity of the Graffiti, trespass, defacement, and relat- that number is $5 million or $10 million, ownership rights in the copyright. and however the development valuation ed city realities like pigeons, pollution, is determined. Single use dedicated Gotham City was surreally aglow in the the homeless, vandals result in public properties like churches, hospitals and movie, Batman Forever, conjuring up spaces and artworks being exposed to schools ordinarily are exempt. Realty veritissimo and contributing to the box potential stress. used exclusively by non-profit organi- office appeal. But Gotham was actu- The biggest public art scandal in the zations in furtherance of their missions, ally a building on Figueroa Street in Los 20th century was the deconstruction, premises used for purposes that relate Angeles, and the Bat Gates were cre- and midnight removal, of internation- to national security, or hazardous, in- ated by a public artist under a percent ally acclaimed artist Richard Serra’s fectious or toxic materials, and single- for art program administered by the monumental sculpture Tilted Arc. The purpose use residential development now defunct California Redevelopment sculpture in New York’s federal plaza are typically excluded. Agency. The artist sued Warner Brothers was described by detractors as a collec- for copyright infringement, claiming his tion area for the the pigeon colonies of Public art is a draw for the project public art design of a street wall, futuris- southern Manhattan and their detritus. and the development team, and may tic pillars, bat-shaped gates, light treat- ultimately contribute to new project ments and other features enhancing the Maintenance and conservation plans financing. A healthy portfolio is one building were copyrightable artworks need to be discussed with the artist and banks invest in and hedge funds take copied and used in the film set design builders during the conceptual stage, risks on. AD and promotional movie merchandise , so that appropriate materials, and satis- without credit or payment. The studio factory alternatives, can be explored in Object or Realty? claimed it received permission from the terms of aesthetics as well as durability Artwork is personal property in the par- owner of the Los Angeles-based de- and feasibility. Ordinary wear and tear is lance of law, insurance and financing. But velopment company that then-owned not actionable by an artist as a matter of not always. When artwork is incorporated the building. or “attached” to the building or structure (continues on page 13)

12 CALIFORNIA Conference

© 2014 Julie Jacobson Every two years, the CREW California chapters from San Francisco, Silicon Val- ley, East Bay, Sacramento, Inland Empire, Los Angeles, Orange County and San Diego join together for business opportunities, networking, and to hear about the overall issues facing California and its impact in our industry. This year, nearly 200 people attended the event from April 24 – 26 at the Hyatt Regency San Francisco. As the growth of technology in the last decade continues to be heav- From left to right: Jennifer Hafner, Lisa Stockert, Clancy Simon, Helen Duong, Julie Jacobson, Valerie Concello ily impacted by real estate professionals and businesses worldwide, the tagline of LoopNet, among other pronounced orga- This event proved to be a great opportu- the conference – Evolve:2014 – came to nizations. Notably, Congresswoman Jack- nity to meet and build relationships with represent this year’s theme. ie Speier took the stage as the opening friends, colleagues, clients, and potential speaker, providing an informative overview business partners. Be sure to be on the The dynamic event started with a Welcome of the large issues facing California today lookout for upcoming events throughout Reception at the Hyatt Embarcadero on as the commercial real estate industry con- all of our regions in California. Thursday, April 24th, with optional dine- tinues to change so rapidly. • around tours. Friday’s programs included About the author representation from well-known people There was also an optional leisure tour Julie Jacobson, at pioneering organizations like DropBox, on Saturday to Wine Country– Cheers Treadwell and Rollo VMWare, AutoDesk, RealConnex, Realty- to those who decided to stay around for Mogul.com, RealCrowd, Auction.com, and even more networking!

(continued from page 12) Who Should the Developer Pick for About the author the Public Art Team? Alexandra Darraby is princi- moral rights, but by contract, artists and pal and founder of the Art agencies can—and often do-- require A successful public art project is a creative collaboration among professionals, Law Firm. A significant part developers and owners periodically to of the expertise of the prac- and both the developer and the creative inspect, protect, maintain, conserve and tice is devoted to public safeguard public art. All parties need team are entitled to the best legal ex- art. Clients of the Firm include private to be realistic about costs and practi- pertise. From ground zero conception developers, artists, architects, designers calities. In addition to periodic assess- through implementation, the project re- and governmental agencies. In the USA ments, reasonable conservation plans quires a holistic and integrated analysis and abroad, Ms. Darraby has extensive calling for 3-5 year condition reports and approach. An art lawyer can navi- experience in negotiating, commissioning and contracting public artworks and and treatment analysis are important as- gate the complex, intertwined, and often urban development projects. She is con- pects of stewardship. interdependent issues of construction, public safety, negligence, access, egress sulted on insurance, risk management, valuation, real property and intellectual Regardless of cost, some raw materi- and ingress, insurance, modifications property laws, moral rights, and duties als and construction techniques sim- and alterations, maintenance, copyright, of care. Alexandra Darraby is the cur- ply cannot endure in pristine shape, trademark, moral rights, and more. rent chair of New Media for the American or even good condition, in perpetuity. Bar Association International Section, and The Christopher Columbus sculpture The public art team should consist of its former chair of Intellectual Property, a in Columbus circle anchoring the mas- the developer, the architects, including member of the Executive Committee for sive Time Warner building was subject landscape architects, an art consultant, the California State Bar, International to intensive analysis to treat its pitted a communications and media consul- Law Section, a consultant to developers, surfaces and surface losses. Contem- tant, a project manager, and an art law- studios, production companies, governmental agencies, and others, a court-ap- porary conservation measures in 2010- yer. Obviously as the project develops pointed expert witness, and author of the 2012 revealed earlier restorations that and an artist is selected, the artist becomes a central member of the team. comprehensive treatise, ART ARTIFACT experts could not completely over- ARCHITECTURE & MUSEUM LAW, 17th come, even with modern technology edition published in April 2014 by Thom- and new techniques. son Reuters West.

13 (continued from page 5)

Architecture to create a space unique to their values, mission statement and community. For the entry area, rather than the traditional reception desk, the visitor is greeted by an inviting collection of comfortable seating indicative of a welcoming atmosphere of collaboration. The kitchen is located directly opposite this reception area to enable employees to grab a frothy cappuccino from the kitchen for newly arrived guests or long winded meetings. The main working space is separated only by sliding translucent walls, and as such is easily visible to workers in the primary space, known as the bullpen.

The space incorporates one of a kind, art- Photo description: “And My Room Still Rocked Like a Boat on the Sea (Caruso’s Dream)” by Brian Goggin and Dorka Keen, photograph by Michael Rauner ist designed elements emblematic of the Stearns Consulting mission. A custom designed glass coffee table with an inter- changeable district map of San Francisco is the focal point of the aforementioned reception area. Transforming from work (with strategic meetings with dry erase pens) to play (with green army men lined up in battle), the table is a memorable feature to visitors and employees alike. Surrounding the table, glass shelves display numerous awards acquired by the firm while a nearby wall is filled with brightly colored campaign slogans, both illustrating a pride in work and accomplishment. For the conference room, a large ten foot by five foot map was created by layering laser cut felt designs based on the Mission Creek Watershed, echoing the firms commitment to the environment as well as buffering noise in the otherwise reverberant space.

Culture is defined as the quality of a society that arises from a concern for what is regarded by the culture as excellent. As Photo description: SF District Map Table for Stearns Consulting. technology continues to seep into ever For the art selection, Avalon Bay enlisted hotel during the 1906 earthquake, cultivat- more intimate levels of our lives, the de- Black Rock Arts Foundation (of Burning ing an existing story of place unique to the sire for an expression of that shared value Man fame) a community based choice specific area. According to Goggin, “The of excellence increases. The role of art in from the start. Enhancing the city mandat- opera star Enrico Caruso was awakened the creation of place becomes an impera- ed One Percent for Art requirement with by the Great Calamity of April 18, 1906, tive for competitive real estate projects.• a added grant from BRAF, Avalon went while he was staying at the Palace Hotel. About the Author beyond the required public art quota em- He did not know if he was awake or still bracing the potential of art in their brand- dreaming as he walked out to the window Donna Schumacher is the Founder and Creative Direc- ing of place. The cascading waterfall of and viewed the result of the earthquake”. tor of Donna Schumacher wire glass and steel pianos cantilevered On the smaller scale of an architectural Architecture, a boutique ar- from the building is a highly visible and chitecture firm specializing interior, both corporate and retail environ- theatrical work, calling attention to itself in the integration of art and architecture as the iconic representation of place. The ments benefit from the physical expres- from interior to exterior, from art consul- work by artist team, Brian Goggin and sion of company culture. When political tation to the design of signature spaces. Dorka Keehn is a sculptural abstraction of consulting firm, Stearns Consulting moved Building stories... the night Enrico Caruso slept in a nearby closer to City Hall and the Tech Corridor, they commissioned Donna Schumacher 14 THANK YOU 2014 SPONSORS for your generous support as we work together, powering the success of women in the commercial real estate industry.

PLATINUM GOLD SILVER Cardno ATC CB2 Builders GCI General Contractors Greene Radovsky Grosvenor Americas Hudson Pacific Properties Kilroy Realty A WORD FROM OUR SPONSORS MBH Architects AND THAT WORD IS... NicholsBooth Architects Page & Turnbull Paradigm General Contractors Innovative Performance Partnership Sheppard Mullin Richter SSL Law Firm LLP offers a full ar- Our name is a family, and so are We plan, we adapt and we’re ray of real estate, land use and we. proactive. With over one hun- & Hampton LLP environmental legal services to dred years of experience, we Stein & Lubin LLP Haworth, founded in 1948, has a wide range of clients through- know it takes a team to get the The Swig Company out California and the nation, been lead by three genera- job done. From the moment we tions of the Haworth family. The THANK YOU 2014 SPONSORSWCD for your generous support as we work together, powering the from offices in San Francisco, first engage with our clients, we success of women in the commercial real estate industry. San Rafael and Seattle. From founder, G.W. Haworth, bor- actively collaborate and think WRA, Inc inception, SSL has embraced an rowed his parents’ life savings ahead. We don’t stop until we innovative law firm model that to expand his woodworking deliver what you believe to be PLATINUM GOLD SILVER has enabled us to provide ex- operation in the family garage. the best value for your project. Cardno ATC Engineering-minded son, Dick, JOIN TODAY | WWW.CREWSF.ORG CB2 Builders traordinary service to our clients This approach drives all of our GCI General Contractors at flexible, creative and eco- devised a way to pre-wire par- client relationships. Greene Radovsky nomical rates and fee structures. titions from within, making Grosvenor Americas Haworth the pioneer creating True collaboration is a strategic Hudson Pacific Properties Kilroy Realty Our model has been largely modular power for the work- meeting of minds. With Hatha- way Dinwiddie, you’re assured MBH Architects influenced by our partners’ ex- space. NicholsBooth Architects perience as in house counsel a proactive partnership. We ac- Page & Turnbull for large real estate investment Haworth has continued to in- tively involve a complex team Paradigm General Contractors novate and developed a kit-of- of consultants, contractors, Sheppard Mullin Richter firms, home builders and tech- & Hampton LLP nology and finance companies, parts that allows the freedom architects, and more, planning Stein & Lubin LLP through which we gained an THANKto accommodate YOU 2014 workstylesSPONSORS each for activity your to generous keep you, supportthe as we work together, powering the The Swig Company and cultures. Haworth’s Inte- client, informed along the way. WCD important understanding of our success of women in the commercial real estate industry. WRA, Inc grated Palette™ is a result of clients’ need for smart, flexible No job is too big or too small extensive research, vast knowl- and value-providing counsel. PLATINUM GOLD – we relish new challenges. SILVER JOIN TODAY | WWW.CREWSF.ORG edge and global influences. Our adaptive process features Cardno ATC Our attorneys’ many years of CB2 Builders a unique blend of past expe- experience enable them to Our logics strategy encompass- GCI General Contractors rience and forward thinking Greene Radovsky identify and advise clients on es everything from the building architecture to product that adjusts to each partner Grosvenor Americas issues that warrant expertise Hudson Pacific Properties and their goals. “We’ve been beyond that of a typical real es- materials. This includes mov- Kilroy Realty there, done that,” but each MBH Architects tate attorney. able walls, access flooring and partnership poses its own cir- NicholsBooth Architects modular power units that plug Page & Turnbull Our understanding of our cli- and play from the utility closet cumstances to which we can Paradigm General Contractors ents’ business allows us to struc- to the worksurface. respond. Hathaway Dinwiddie’s Sheppard Mullin Richter ture, negotiate and complete leadership in the construction & Hampton LLP This strategy will continue to Stein & Lubin LLP a transaction or proceed with a industry is built upon the pro- The Swig Company case more quickly and efficiently, ensureHaworth products today, fessionalism and dedication WCD WRA, Inc avoiding delay, allowing for is- and those we develop in the of our employees, combined future, can easily adapt and in- sues to be addressed appropri- with the integrity of our client JOIN TODAY | WWW.CREWSF.ORG ately from the outset of the trans- tegrate. relationships. This foundation action or case, and enhancing The ultimate result: more sus- has fostered a culture that in- our ability to further our clients’ tainable interiors Partner with corporates client focus, inno- goals. SSL views its relationship us. Get to know us. vative thinking, proactivity and with clients as a partnership, and teamwork to deliver superior we are committed to the success Your interior space is an impor- services. of our clients. SSL also is very tant investment in your people, proud of our achievement in sus- productivity and image. Togeth- taining a truly diverse workplace. er, we can make your environ- We are certified as a Women’s ments work harder for you. Business Enterprise by Astra Women’s Business Alliance, the Supplier Clearinghouse and the California PUC.

15 THANK YOU 2014 SPONSORS for your generous support as we work together, powering the success of women in the commercial real estate industry.

PLATINUM GOLD SILVER Cardno ATC CB2 Builders GCI General Contractors Greene Radovsky Grosvenor Americas Hudson Pacific Properties Kilroy Realty MBH Architects NicholsBooth Architects Page & Turnbull Paradigm General Contractors Sheppard Mullin Richter & Hampton LLP Stein & Lubin LLP The Swig Company WCD WRA, Inc JOIN TODAY | WWW.CREWSF.ORG

13TH ANNUAL GOLF TOURNAMENT CREWSAN FRANCISCO

Claremont Country Club Oakland, California Monday, August 25th 2014

Art +Real Estate =_