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[00:00:03]

COMMISSIONER

[Landmark Commission Meeting on November 6, 2023.]

OFFIT, DISTRICT SIX.

COMMISSIONER OSA DISTRICT.

I THINK SOMETHING MIGHT BE WRONG ABOUT THE, I JUST, OKAY.

DISTRICT FIVE.

COMMISSIONER OFFIT.

I NEED TO PLEASE SAY IT ON FOR THE RECORD.

PRESENT.

THANK YOU.

DISTRICT SIX, COMMISSIONER HINOJOSA.

PRESENT.

DISTRICT SEVEN.

COMMISSIONER LIVINGSTON IS NOT IN THE, UH, IS ABSENT TODAY.

DISTRICT EIGHT, COMMISSIONER ACY, DISTRICT NINE.

COMMISSIONER RENO.

PRESENT.

DISTRICT 10.

COMMISSIONER DU IS NOT, UH, IN ATTENDANCE TODAY.

DISTRICT 11, COMMISSIONER GIBSON IS NOT IN ATTENDANCE TODAY.

DISTRICT 12.

COMMISSIONER ROTHENBERGER.

PRESENT.

DISTRICT 13.

COMMISSIONER POSI IS NOT IN ATTENDANCE TODAY.

DISTRICT 14.

COMMISSIONER, GUEST PRESENT.

DISTRICT 15.

COMMISSIONER BELVIN.

COMMISSIONER ANDERSON PRESENT.

COMMISSIONER CUMMINGS.

PRESENT.

AND CPC? UM, JOANNA HAMPTON IS NOT IN ATTENDANCE TODAY.

THANK YOU.

THANK YOU, ELAINE.

UM, LET ME ASK NOW IF WE HAVE ANY PUBLIC SPEAKERS HERE FOR SOMETHING OTHER THAN THE PARTICULAR CASE THEY'VE SIGNED UP FOR, FOR THE MINUTES OR ANYTHING.

USUALLY WE DO NOT HAVE ANY OF THOSE PUBLIC SPEAKERS.

, IN WHICH CASE, UM, DOES ANYBODY HAVE ANY QUESTIONS OR CORRECTIONS FOR THE MINUTES FROM LAST MEETING? IN WHICH CASE SOMEONE CERTAINLY HAS A MOTION.

RIGHT.

MOVE TO APPROVE.

THANK YOU.

COMMISSIONER PEL.

SECOND.

WHO? SECONDS.

SECOND.

THANK YOU.

COMMISSIONER ROTHENBERGER.

ALL THOSE IN FAVOR OF APPROVING THE MINUTES OF OUR LAST MEETING? AYE.

AYE.

AYE.

AND YOU OPPOSED? OKAY.

THAT HAS PASSED UNANIMOUSLY.

AND WE CAN GO ON TO OUR SPECIFIC ITEMS. UM, COMMISSIONER PEL, DID YOU HAVE SOME MOTIONS TO MAKE? I'M GONNA GO THROUGH THE LIST OF REGISTERED SPEAKERS THAT WE CURRENTLY HAVE, UH, HERE, BOTH IN PERSON OR ONLINE.

FELICIA SANTIAGO, ALEJANDRO GUERRERO, PATRICK PARKER, STEVEN UPCHURCH, CAROLYN HOWARD, BETH, JACOB, ALLISON REEVES.

IF YOUR NAME WAS NOT CALLED BUT YOU'RE HERE, PLEASE MAKE CERTAIN THAT YOU FILL OUT A FORM AND PROVIDE IT TO ELAINE.

ALL RIGHT.

I MOVE THAT WE TAKE THE, UM, FOLLOWING, UH, ITEMS OFF OF THE AGENDA.

CONSENT ITEMS ONE THROUGH EIGHT, FOLLOWED BY DISCUSSION ITEM ONE, DISCUSSION TWO, DISCUSSION ITEM THREE, ENDING WITH THE COURTESY REVIEW BEFORE MOVING ON TO OTHER BUSINESS.

, DO WE HAVE A SECOND ON THIS MOTION? NO, SHE JUST SAID WE'RE JUST ORDERING IT AND WE'LL DO ALL THE CONSENT ITEMS FIRST AND THEN THE OTHER ORDER.

DO WE HAVE A SECOND? SECOND.

SECOND.

SECOND.

THANK YOU.

COMMISSIONER ROTHENBERG.

ALL IN FAVOR OF ORDERING OUR AGENDA THIS MATTER.

AYE.

AYE.

AYE.

AYE.

ANY OPPOSED? ALRIGHT, THAT HAS CARRIED.

SO WE BEGIN, CAN WE, UH, CHAIR, MADAM CHAIR? CAN WE JUST REPEAT THE ORDER FOR US THAT WE'LL WRITE? OH, LET US RE OKAY.

IT WAS FIRST WE DO ALL THE CONSENT ITEMS. YEP.

THEN DISCUSSION, 1, 2, 3, COURTESY REVIEW AND OTHER BUSINESS.

THANK YOU.

OKAY.

AND NO ONE NEEDS TO RECUSE THEMSELVES ON ANY CONSENT ITEM AGENDA.

SO DOES ANYBODY WHO HAD SIGNED UP TO SPEAK ON A CONSENT AGENDA ITEM HAVE SOMETHING ADDITIONAL INFORMATION YOU NEED TO PRESENT US WITH? OR IF YOU WERE JUST HERE TO ASK FOR QUESTIONS? WE'RE JUST PREPARING TO VOTE.

OKAY.

MR. ANDERSON, DID YOU WISH TO REMOVE SOMETHING FROM CONSENT? YES.

UH, C THREE PLEASE.

57 17.

TREE MODE.

OKAY, SO COMMISSIONER PEL, WE'LL HAVE TO REORDER AGAIN.

WE WILL HEAR C THREE BEFORE WE HEAR D ONE.

OKAY.

I MOVE THAT WE, UH, REVISE THE

[00:05:01]

AGENDA FOR CONSENT, ITEMS ONE AND TWO, FOLLOWED BY CONSENT ITEMS FOUR THROUGH EIGHT.

THEN WE'LL DO CONSENT ITEM THREE, FOLLOWED BY DISCUSSION ITEM 1, 2, 3, THE COURTESY REVIEW FOLLOWED BY OTHER BUSINESS.

OKAY.

AND A SECOND, SECOND.

COMMISSIONER ROTHENBERGER.

THANK YOU.

ALL IN FAVOR? AYE.

AYE.

ALL RIGHT.

THAT HAS PASSED.

SO, UM, IF, IF YOU WOULD LIKE TO CALL FOR MOTION ON THAT COMMISSIONER, MOVE TO APPROVE CONSENT TO ITEMS ONE THROUGH TWO AS WELL AS CONSENT ITEMS FOUR THROUGH EIGHT.

THANK YOU COMMISSIONER ROTHENBERG FOR A SECOND.

SO, ALL IN FAVOR OF FOLLOWING STAFF ON RECOMMENDATIONS ON THOSE ITEMS, PLEASE SAY AYE.

AYE.

AYE.

AYE.

ANY OPPOSED? ALL RIGHT.

IF YOU WERE HERE ON A CONSENT ITEM, IT HAS BEEN, UM, APPROVED IN, IN ACCORDANCE WITH WHAT THE STAFF RECOMMENDED WE DO.

SO, UM, THAT SHOULD END YOUR WORRIES FOR TODAY, .

AND NOW WE WILL MOVE ON TO CONSENT.

THREE.

STAFF WOULD PLEASE READ THAT? YES.

UM, CHRISTINA MANKOWSKI ON BEHALF OF CITY STAFF.

CONSENT ITEM NUMBER THREE.

ADDRESS IS 57 17 TREMONT STREET CA 2 3 4 0 5 8 CMM FOR THE JUNIOR HEIGHTS HISTORIC DISTRICT.

THE REQUEST A CERTIFICATE OF APPROPRIATENESS TO POUR A BROOM FINISHED CONCRETE DRIVEWAY ON THE SOUTHWEST SIDE OF THE MAIN STRUCTURE.

STAFF RECOMMENDATION THAT THE REQUEST FOR A CERTIFICATE OF APPROPRIATENESS FOR A BROOM FINISHED CONCRETE DRIVEWAY ON THE SOUTHEAST SOUTHWEST SIDE OF MAIN STRUCTURE BE APPROVED IN ACCORDANCE WITH THE DRAWINGS AND SPECIFICATIONS DATED 11 6 23.

THE PROPOSED WORK IS CONSISTENT WITH PRESERVATION CRITERIA.

SECTION 3.2 PERTAINING TO DRIVEWAYS THE STANDARDS IN CITY CODE SECTION 51 A DASH 4.501 G SIX C ROMAN ONE FOR CONTRIBUTING STRUCTURES AND THE SECRETARY OF THE INTERIOR'S STANDARDS TASK FORCE RECOMMENDATION THAT THE REQUEST FOR CERTIFICATE OF APPROPRIATENESS TO POUR A BROOM FINISHED CONCRETE DRIVEWAY ON THE SOUTHWEST SIDE OF THE MAIN STRUCTURE BE DENIED WITHOUT PREJUDICE FOR THE FOLLOWING REASONS.

EXISTING CONDITIONS OF CIRCULAR DRIVE, TOO MUCH CONCRETE AND CIRCULAR DRIVEWAY NOT APPROPRIATE.

CIRCULAR DRIVEWAY SHOULD BE REVIEWED.

AND THREE, TOO MUCH CONCRETE AND FRONT YARD CREATES AN ADVERSE EFFECT TO THE NEIGHBORHOOD.

FIRST SECTION 3.3.

THERE IS A NOTE APPLICANT HAS SUBMITTED REVISIONS POST TASK FORCE MEETING THAT ADDRESS ALL THE CONCERNS OF TASK FORCE.

AND I APOLOGIZE, I WASN'T SUPPOSED TO READ TASK FORCE, WAS IT? WELL, WE HADN'T ASSIGNED ANYBODY THAT JOB.

SO, WHO, WHICH COMMISSIONER SHALL VOLUNTEER TO READ TASK FORCE AND YOU JUST ONE YOU DIDN'T HAVE TO READ.

WE DO HAVE THE, UH, HANG ON.

I HAVEN'T GOTTEN A VOLUNTEER YET.

COMMISSIONER SHERMAN, WOULDN'T YOU ENJOY READING? UM, TASK FORCE.

OH, COMMISSIONER TAYLOR, DO YOU WANT TO JUMP IN AND READ TASK FORCES TODAY? SURE.

TASK FORCE RECOMMENDATIONS THAT THE REQUEST FOR THE CERTIFICATE APPROPRIATE TO EMPLOY BROOM FINISHED CONCRETE DRIVEWAY ON THE SOUTHWEST SIDE OF THE MAIN STRUCTURE BE DENIED WITHOUT PREJUDICE FOR THE FOLLOWING REASONS.

ONE.

EXISTING CONDITIONS OF CIRCULAR DRIVEWAY, TWO, TOO MUCH CONCRETE AND CIRCULAR DRIVEWAY NOT APPROPRIATE.

CIRCULAR DRIVEWAY SHOULD BE REVIEWED.

AND THREE, TOO MUCH CONCRETE IN FRONT YARD CREATES AN ADVERSE EFFECT TO THE NEIGHBORHOOD PER SECTION 3.3.

THANK YOU.

AND, UM, I BELIEVE WE HEARD IN OUR BRIEFING THAT THE, UM, THE CIRCULAR DRIVEWAY, WHATEVER ANYONE THINKS OF IT, IS PREEXISTING BEFORE THE HISTORIC DISTRICT AND FOR GRANDFATHER.

YES.

IS THAT ACCURATE STAFF? YEAH.

THANK YOU, CHRISTINE.

YOU'RE WELCOME.

UM, SO WHO HAS FURTHER QUESTIONS? THERE IS NO ONE SIGNED UP TO SPEAK ON THIS MATTER.

HE'S HERE.

THE APPLICANT IS HERE JUST TO ANSWER QUESTIONS THAT I .

OKAY.

WELL THEN PERHAPS THE APPLICANT SHOULD STEP FORWARD AND GIVE US THE NAME AND ADDRESS.

HELLO SIR.

HELLO.

UM, WOULD YOU BEGIN BY TELLING US YOUR

[00:10:01]

NAME AND YOUR ADDRESS? MY NAME'S PAUL GAMBINI.

ADDRESS IS 5 1 1 7 3 MONTH STREET.

ALL RIGHTY.

AND I NEED TO ASK YOU TO, UM, TO SWEAR OR AFFIRM THAT YOU'LL TELL US THE TRUTH TODAY.

AGAIN, SORRY.

UH, I, I LIKE, I NEED YOU TO PROMISE THAT YOU'RE GOING TO TELL THE TRUTH TODAY.

YEAH, WE DO IT TO EVERYBODY.

IT'S NOT .

OKAY.

WHO HAS QUESTIONS FOR THE APPLICANT ABOUT THEIR REQUEST? I HAVE A QUESTION FOR THE APPLICANT.

IS THE REASON THAT YOU NEED TWO DRIVEWAYS? BECAUSE IF FOR CARS, ALL MY NEIGHBORS AND ALL THE STREET HAVE DRIVEWAY, CONCRETE, DRIVEWAY ONLY, ONLY MY HOUSE IS ONLY EMPTY IS WHY.

BUT YOU ALREADY HAVE ONE DRIVEWAY.

NO, NO, NO.

BUT THE CIRCULAR DRIVEWAY, NO, IT IS THE PREVIEW.

LIKE A, LIKE A ROUND.

BUT FOR THE CARS IT ASK FOR THE CARS.

THE, THE CIRCLE IS ONLY FOR WALK THE NEW ONE.

THIS IS FOR THE CARS LOOK.

SO YOU DON'T PUT CARS IN THE CIRCULAR DRIVEWAY? NO.

NO.

THEN WHY IS IT THERE WAS LIKE THAT I BOUGHT LIKE HOUSE LIKE THAT.

HE BOUGHT IT, IT WAS FREE BEFORE HIM.

WOULD YOU BE AMENABLE TO REMOVING THE FIRST DRIVEWAY TO PUT IN THE SECOND DRIVEWAY? BECAUSE I WANT SOME PRIVACY FOR THE, THE OWNERS, FOR THE, YOU KNOW, BECAUSE ALL MY NEIGHBOR HAS THE DRIVEWAY, LIKE NEIGHBORS.

THAT'S IT.

I GUESS.

I DON'T UNDERSTAND.

BUT HE JUST, UH, THE, THE DRIVEWAY THAT HE'S PROPOSING WAS THE ORIGINAL DRIVEWAY PRIOR TO THE CIRCULAR DRIVEWAY.

RIGHT? IT WAS PUT IN PRIOR TO HIM BUYING THE HOME.

SO HE WANTS TO BE ABLE TO DRIVE AND PARK, YOU KNOW, CLOSER UP BY THE HOUSE VERSUS JUST ON THE CIRCULAR DRIVEWAY.

UM, BECAUSE THAT WAS THERE BEFORE HIM AND BEFORE THE ORDINANCE.

IT IS GRANDFATHERED IN.

AND AS FAR AS THE CONCERNS OF THE TASK FORCE, WHETHER THERE'S TOO MUCH CONCRETE THAT IS OUT OF OUR JURISDICTION, WE, WE CANNOT, WE CANNOT SPEAK TO THAT.

WELL, I TEND TO AGREE WITH THE TASK FORCE THAT THERE'S TOO MUCH CONCRETE.

HE'S GOT A CIRCULAR DRIVE WHETHER HE USES IT OR NOT.

SO IF HE CHOOSES NOT TO HAVE THE CIRCULAR DRIVE, I WOULD SUGGEST SHE REMOVE THE CIRCULAR DRIVE AND PUT IN THE DRIVEWAY AS ORIGINAL.

BUT THAT'S JUST YOUR PREFERENCE.

IT HAS NOTHING TO DO.

WE CANNOT SPEAK TO THE AMOUNT OF CONCRETE IN THE FRONT YARD.

THAT'S, YEAH, I DON'T THINK IT'S WITHIN OUR PURVIEW TO REQUEST THE REMOVAL OF A GRANDFATHERED EXISTING THING.

EVEN IF WE THINK THAT IT WOULD BE BETTER IF IT WERE REMOVED.

WE DON'T HAVE THE ABILITY TO MAKE THAT A CONDITION OR INSIST SOMEONE DOES IT.

BUT DON'T WE HAVE THE ABILITY TO DENY A SECOND DRIVEWAY BECAUSE THERE'S TOO MUCH CONCRETE IN THE FRONT YARD? NO, NOT FOR OUR ORDINANCE.

WE DON'T.

NO.

WELL, WHAT ABOUT THE DESIGN OF THE, I I THINK THAT, I THINK THE DESIGN IS WRONG.

THERE'S, THERE'S TWO DRIVEWAYS.

I MEAN, THAT'S MY OPINION.

UH, PER THE ORDINANCE, IT IS APPROVABLE.

WELL, THERE'S A LOT OF THINGS THAT ARE APPROVAL.

I MEAN, I CAN'T DENY SOMETHING THAT'S CLEARLY ALL RIGHT.

UM, SO, UH, COMMISSIONER ANDERSON HAS EXPRESSED ONE POSSIBLE SOLUTION, WHICH IS THE REMOVAL OF THE DRIVEWAY, BUT THAT IS NOT SOMETHING WE CAN FORCE IF IS THE APPLICANT INTERESTED IN REMOVING THAT DRIVEWAY? HE DOES NOT WANT TO DO THAT.

SO THAT IS AN IDEA, BUT IT'S NOT ONE THAT WE CAN GO FORWARD.

DOES ANYBODY ELSE HAVE ANY OTHER QUESTIONS OR ANY OTHER, UM, THOUGHTS ON HOW TO RECTIFY THIS SITUATION? CAN I JUST SAY ONE MORE THING? I, IT'S NOT NECESSARILY THAT THE OTHER DRIVEWAY NEEDS TO GO AWAY, IT'S JUST THE SECOND DRIVEWAY SHOULD NOT BE APPROVED.

I UNDERSTAND.

WE CAN'T MOVE THE EXISTING DRIVEWAY.

OKAY.

SO WE HAVE, SO OUR, OUR DECISION IS SHOULD THE, THE PROPOSED NEW DRIVEWAY BE ALLOWED? DOES ANYBODY HAVE ANY MORE QUESTIONS FOR OUR APPLICANT TO CLARIFY THIS ISSUE? I HAVE A QUESTION FOR STAFF.

GO AHEAD.

UM, IF I'M UNDERSTANDING BOTH THE DRAWINGS AND FINISH, UM, ESSENTIALLY WHAT THE APPLICANT IS DOING AND ASKING FOR PERMISSION TO DO IS PUT BACK WHAT SHOULD HAVE AND WOULD HAVE BEEN THERE THUS RESTORING AT LEAST A PORTION OF, UM, THE HISTORICAL NATURE AND DESIGN OF THE PROPERTY.

IS THAT CORRECT? CORRECT.

THANK YOU.

YOU'RE WELCOME.

IF THERE ARE ANY OTHER QUESTIONS OR IF NOT, DOES SOMEONE HAVE A MOTION THEY CAN MAKE COMMISSIONER PEL? OH, COMMISSIONER .

WHO WENT FIRST? COMMISSIONER SHERMAN.

DO YOU WANT MIKE? I DON'T.

OKAY.

I I COULDN'T LOOK BOTH DIRECTIONS, BUT COMMISSIONER SHERMAN.

SO CHRISTINA AND, UM, OKAY.

[00:15:01]

WOULD YOU BOTH CONCUR THAT THE ORDINANCE DIS ALLOWSS MULTIPLE DRIVEWAYS OR THE ORDINANCE ALLOWS FOR MULTIPLE DRIVEWAYS? IT'S SILENT ON MULTIPLE DRIVEWAYS.

IT'S SAYS NEW DRIVEWAYS, SIDEWALK STEPS AND WALKWAYS MUST BE CONSTRUCTED OF BRICK BRUSH FINISH, CONCRETE STONE OR OTHER APPROPRIATE MATERIAL, ARTIFICIAL GRASS, ARTIFICIALLY COLORED CONCRETE, ASPHALT EXPOSED AGGREGATE AND UH, OUTDOOR CARPET ARE NOT PERMITTED.

REPLACEMENT OF EXISTING WALKWAYS AND STEPS MUST BE CON UH, CONSISTENT WITH ORIGINAL STYLE.

IT SAYS NO NEW CIRCULAR DRIVEWAYS OR PARKING AREA ARE ALLOWED IN FRONT YARDS.

THAT'S ALL IT SAYS.

OKAY.

SO I GUESS THIS IS JUST A GAP, CORRECT? AND NOBODY FORESAW THIS GAP AND SO IT'S NOT, UM, IT'S NOT ADDRESSED.

ALRIGHT.

OKAY.

THANK YOU.

OKAY.

DOES ANYONE HAVE A MOTION? I'LL MAKE A MOTION.

KCA 2 34 DASH 0 5 8 CMM 57 7 57 17.

TREMONT, I MOVE THAT WE DENY WITHOUT PREJUDICE THAT THE PROPOSED, UH, WORK IS NOT COMPATIBLE WITH THE HISTORIC DISTRICT.

THE FINDING OF FACT THE PROPERTY SHOULD NOT HAVE TWO DRIVEWAYS.

SECOND.

WHO WAS THAT? WHO DID THE SECOND? WAS THAT YOU COMMISSIONER BELVIN? YES.

YES.

ALRIGHT.

WE LIKE TO MAKE SURE ELAINE KNOWS SO SHE CAN GET OUR NAMES DOWN IN THE MINUTES.

WE KIND OF START TO SOUND THE SAME SOMETIMES.

ALL RIGHT.

IS THERE ANY FURTHER DISCUSSION ON THIS BEFORE WE TAKE A VOTE ON THIS MOTION? I'D HAVE YOU ASK COMMISSIONER T UM, I'M GONNA VOTE AGAINST THAT MOTION.

I THINK IT'S A MISTAKE TO IMPOSE SOMETHING THAT'S NOT THERE.

UH, THIS WHOLE DISCUSSION ABOUT TWO DRIVEWAYS, IT'S NOT COVERED WITHIN THE ORDINANCE.

AND TO SIMPLY PULL THAT OUT OF THIN AIR AND ATTEMPT TO APPLY IT TO, UM, SOMETHING IS I THINK WRONG.

UH, IN ADDITION TO THAT, WE'RE LOOKING AT SOMEONE WHO IS ATTEMPTING TO PUT BACK IN AND CORRECT SOMETHING THAT HAPPENED PREVIOUS TO THERE.

UM, THE FACT THAT HE HAS A CIRCULAR DRIVEWAY THAT SOMEBODY ELSE PUT IN DOES NOT NEGATE THE FACT THAT HE'S ATTEMPTING TO RESTORE WHAT WAS THERE.

SO I'LL BE VOTING AGAINST THAT MOTION.

THANK YOU COMMISSIONER OFFIT.

DOES ANYONE ELSE HAVE ANY OTHER COMMENTS? ALRIGHT, THEN I'M GOING TO CALL FOR THE VOTE ON THIS MOTION.

ALL THOSE IN FAVOR, PLEASE SAY AYE.

AYE.

OKAY.

IT APPEARS THAT COMMISSIONER ANDERSON AND COMMISSIONER VELT ARE IN FAVOR OF THIS MOTION.

AND COMMISSIONER CUMMINGS SPEAK UP IF I MISSED YOU.

GO AHEAD.

OH, .

UH, AND ALL THOSE OPPOSED TO THIS MOTION, PLEASE SAY NAY.

IT'S NAY, NAY, NAY.

OKAY.

IT APPEARS THAT THIS MOTION HAS NOT CARRIED.

OKAY.

COMMISSIONER WOULD LIKE TO MAKE NEW MOTION IN REGARDS TO CONSENT ITEM 3 5 7 1 7 TREMONT STREET CA 2 3 4 0 5 8 CN.

I MOVE TO APPROVE PER STAFF RECOMMENDATIONS.

SECOND.

ALL RIGHT, THANK YOU.

UM, I MUST SAY THAT, UH, MR. ROTHENBERG, HE JUST SITS THERE NEXT DOOR SECONDS.

EVERYTHING I, I MUST SAY THAT I, I I, I CAN SEE WHY WE NOT MIGHT DISAPPROVE OF THE, UM, CIRCULAR DRIVEWAY, BUT IT IS PREEXISTING AND WE SEEM TO HAVE ABSOLUTELY NO AUTHORITY TO DO ANYTHING ABOUT IT.

AND THE ORDINANCE DOES NOT SEEM TO CONDEMN THE ADDITION OF ANOTHER DRIVEWAY THAT IS IN THE ORIGINAL SPOT.

SO IT MAKES IT REALLY HARD TO NOT SUPPORT THIS, THIS MOTION, EVEN IF IT'S NOT CHA KNOW EXACTLY COMING OUT THE WAY I MIGHT LIKE IT TO.

SO LEMME CALL FOR A VOTE.

YES, YOU MAY.

UM, MR. HEINI, I WISH THERE WERE SOMETHING MORE IN THIS ORDINANCE THAT WOULD DISALLOW A SECOND DRIVEWAY WITHOUT REMOVING THAT FIRST ONE.

THAT SHOULDN'T REALLY BE THERE IN TERMS OF HISTORIC SIGNIFICANCE.

'CAUSE WHAT HAPPENS WHEN YOU HAVE ELEMENTS LIKE THAT, YOU KNOW, OVER TIME THEY CAN COME OUT AND IT CAN RESTORE MORE RHYTHM TO THE BLOCK FACE, WHICH ENHANCES THE WHOLE DISTRICT.

AND I CAN SEE WHY WE CAN'T REQUIRE YOU TO DO THAT.

HOWEVER, IF THERE WERE SOMETHING IN THIS ORDINANCE THAT DISALLOWED TWO DRIVEWAYS, I WOULD'VE SUPPORTED THE FIRST MOTION.

AND IN THIS CASE, I WOULD LIKE TO URGE YOU TO THINK VERY SERIOUSLY DOWN THE ROAD ABOUT REMOVING THAT CIRCULAR DRIVEWAY BECAUSE IT IS NOT TYPICAL OF THE PERIOD OF SIGNIFICANCE OF

[00:20:01]

THAT DISTRICT, AND IT WOULD ENHANCE THE DISTRICT.

MM-HMM.

.

AND SO I WOULD LIKE TO RESPECTFULLY SUGGEST THAT YOU SERIOUSLY CONSIDER IT, AND THAT'S THE MOST WE CAN DO, IN MY OPINION.

THANK YOU.

ALL RIGHT.

THANK YOU.

COMMISSIONER SHERMAN.

LET ME CALL FOR VOTE ON THIS MOTION.

ALL THOSE IN FAVOR, PLEASE SAY AYE.

AYE.

AYE.

ANY OPPOSED? NAYYY? DID I HAVE TWO NAYS? OKAY.

2, 2, 2 ARE OPPOSED, BUT IT STILL CARRIES BY MAJORITY.

SO SIR, YOU HAVE APPROVAL OF YOUR DRIVEWAY.

OKAY.

THANK, THANK YOU.

ALL RIGHT, THE NEXT, UM, THE NEXT ONE UP IS GOING TO BE D ONE.

THAT'S THE MAGNOLIA BUILDING ON COMMERCE STREET.

OKAY.

GOOD AFTERNOON, DR.

RHONDA DUNN PRESENTING ON BEHALF OF CITY STAFF.

DISCUSSION ITEM D ONE, THE SUBJECT PROPERTY IS LOCATED AT 1401 COMMERCE STREET.

IT'S THE MAGNOLIA BUILDING.

THE CASE NUMBER IS CA 2 3 4 5 0 5 3 RD.

THE REQUEST ARE AS FOLLOWS, ONE TO INSTALL MAIN ENTRANCE CANOPY ON SOUTH COMMERCE STREET ELEVATION.

THE SECOND REQUEST IS TO CONSTRUCT THREE STORY ADDITION ON THE EAST LOT ADJACENT TO EXISTING EAST ANNEX STAFF.

RECOMMENDATIONS ARE AS FOLLOWS, ONE, THAT THE REQUEST FOR A CERTIFICATE OF APPROPRIATENESS TO INSTALL MAIN ENTRANCE CANOPY ON SOUTH COMMERCE STREET ELEVATION BE APPROVED IN ACCORDANCE WITH DRAWINGS AND SPECIFICATIONS DATED 10 18 20 23 WITH THE FOLLOWING CONDITION THAT REVISED PLANS, ELEVATIONS, AND SECTIONS OF THE ENTRY MUST BE PROVIDED BY THE APPLICANT TO THE NATIONAL PARK SERVICE FOR REVIEW AND RE AND APPROVED BY NPS PRIOR TO THE COMMENCEMENT OF WORK IMPLEMENTATION OF THE RECOMMENDED CONDITION WOULD ALLOW THE PROPOSED WORK TO MEET THE STANDARDS IN CITY CODE SECTION 51 A DASH 4.501 SUBDIVISION, G SIX C ROMAN ONE FOR CONTRIBUTING STRUCTURES AND THE SECRETARY OF THE INTERIOR STANDARDS FOR REHABILITATION.

THE SECOND STAFF RECOMMENDATION IS THAT THE REQUEST FOR A CERTIFICATE OF APPROPRIATENESS TO CONSTRUCT THREE STORY ADDITION ON THE EAST LOT ADJACENT TO EXISTING EAST ANNEX BE APPROVED IN ACCORDANCE WITH DRAWINGS AND SPECIFICATIONS DATED 10 18 20 23 WITH THE FOLLOWING CONDITION THAT APPLICANT MUST SUBMIT AN AMENDMENT ADVISORY DETERMINATION FORM TO BOTH THE TEXAS HISTORICAL COMMISSION AND THE NATIONAL PARK SERVICE DETAILING THE REVISED PLANS TO THE ADDITION PRIOR TO THE COMMENCEMENT OF WORK IMPLEMENTATION OF THE RECOMMENDED CONDITION WOULD ALLOW THE PROPOSED WORK TO BE CONSISTENT WITH PRESERVATION CRITERION.

SECTION SIX, SUBDIVISION G PERTAINING TO BUILDABLE VOLUME.

THE STANDARDS IN CITY CODE SECTION 51 A DASH 4.501 SUBDIVISION, G SIX C ROMAN ONE FOR CONTRIBUTING STRUCTURES AND THE SECRETARY OF THE INTERIOR STANDARDS FOR REHABILITATION TASK FORCE, MR. PAL TASK FORCE RECOMMENDATIONS THAT THE REQUEST FOR A CERTIFICATE OF APPROPRIATENESS TO INSTALL MAIN ENTRANCE CANOPY ON SOUTH COMMERCE STREET ELEVATION TO BE APPROVED AS SUBMITTED.

THAT THE REQUEST FOR A CERTIFICATE OF APPROPRIATENESS TO CONSTRUCT THREE STORY EDITION ON THE ELO ADJACENT TO THE EXISTING EAST ANNEX BE APPROVED AS SUBMITTED.

THANK YOU.

WE HAVE SEVERAL PEOPLE SIGNED UP TO SPEAK ON THIS AND I GENERALLY TAKE THEM IN ORDER THOUGH I REALIZE THAT MANY OF YOU MAY BE PROFESSIONAL ASSOCIATES AND KIND OF KNOW HOW YOU WANT TO GO, BUT THE FIRST PERSON THAT I WOULD CALL ON WOULD BE FELICIA SANTIAGO.

OKAY.

AND AGAIN, EACH AND EVERY PERSON HAS TO GIVE ME THEIR NAME AND ADDRESS AND PROMISE TO TELL THE TRUTH.

UH, YES.

IN FACT, I'D LIKE TO INTRODUCE BETH FIRST TO SPEAK, IF THAT'S ALL.

OKAY.

IS THAT BETH JACOB? YES, IT IS.

ALL RIGHT.

SO THAT'S WHO YOU WANT TO GO FIRST? THAT'S FINE.

OKAY, MA'AM, YOUR NAME AND ADDRESS? UH, BETH JACOB, 1207 COLISEUM STREET, NEW ORLEANS, LOUISIANA.

WELL, THAT'S FAR AWAY.

YEAH.

AND DO YOU, DO YOU

[00:25:01]

PROMISE TO TELL THE TRUTH HERE IN DALLAS ? I DO.

ALRIGHT, THANK YOU.

UH, YOU HADN'T HAVE THREE MINUTES TO, TO WHATEVER PRESENTATION OR INFORMATION YOU SHARE AND ELAINE TIMES YOU, UH, GOOD AFTERNOON.

UM, I'M A HISTORIC PRESERVATION CONSULTANT WITH BRIAN, EXCUSE ME, LLC.

AND WE ARE THE HISTORIC TAX CREDIT ADVISOR FOR THE PROJECT.

UH, I'M ALSO AN ARCHITECT.

I'VE TAUGHT HISTORIC PRESERVATION AND HAVE SERVED ON AND WORKED WITH, UH, SIMILAR HISTORIC COMMISSIONS.

SO I'M FAMILIAR WITH YOUR CONCERNS AND I'M HERE TO SPEAK IN SUPPORT OF THE PROJECT.

UH, I'LL START WITH THE ADDITION.

UM, IT WAS DESIGNED TO MEET THE SECRETARY OF THE INTERIOR STANDARDS, PARTICULARLY STANDARDS NINE AND 10.

UH, AND AS I'M SURE YOU ALREADY KNOW, MEETING SOI STANDARDS IS A REQUIREMENT FOR BOTH STATE AND FEDERAL TAX CREDITS.

SO I HAVE A COUPLE OF SPECIFIC COMMENTS, UM, RELATIVE TO HOW THE PROJECT MEETS THE STANDARDS.

UH, FIRST THE ADDITION IS DESIGNED TO BE DIFFERENTIATED FROM THE HISTORIC MAGNOLIA BUILDING.

NPS DISCOURAGES NEW ADDITIONS THAT MATCH A HISTORIC BUILDING TOO CLOSELY BECAUSE THAT CAN CONVEY A FALSE SENSE OF HISTORY.

UM, EACH PART OF A BUILDING SHOULD REPRESENT ITS TIME AND PLACE AND TELL THE STORY OF HOW A BUILDING HAS EVOLVED.

AND THAT'S, UH, IN OUR CASE.

UM, THE ADDITION READS CLEARLY AS A NEW ADDITION TO AN OLDER HISTORIC BUILDING.

SECOND, THE ADDITION IS COMPATIBLE WITH THE HISTORIC MAGNOLIA BUILDING.

UH, I KNOW THAT WHEN DEALING WITH CONTEMPORARY DESIGN COMPATIBILITY, UM, CAN BE TOUGH TO MEASURE, BUT IT CAN BE ACHIEVED THROUGH MASSING PROPORTION MATERIALS AND THE ALIGNMENT OF KEY FEATURES.

I WOULD SAY THIS, UH, ADDITION IS COMPATIBLE IN TERMS OF ITS SCALE AND MASSING BECAUSE IT'S CLEARLY SUBORDINATE TO THE MAIN BUILDING, TO THE PRIMARY BUILDING, UH, PROPORTIONS AND ALIGNMENT OF HORIZONTAL MAJOR HORIZONTAL FEATURES.

UH, NOTE THE BANDS ABOVE THE FIRST FLOOR ALIGNMENT OF THE PARAPET AND EVEN THE ALIGNMENT, UH, IN THE COURSING OF LIMESTONE PANELS.

UH, DETAILING CONTEMPORARY DETAILS, UH, DON'T COMPETE WITH THE ORNATE TRADITIONAL DETAILS OF THE, OF THE PRIMARY BUILDING AND MATERIALS.

IT HAS A NEUTRAL PALETTE THAT COMPLIMENTS THE MAIN BUILDING.

UH, THIRD POINT, THE ADDITION IS REVERSIBLE.

IT TOUCHES THE HISTORIC BUILDING ON AN ELEVATION THAT WAS ALREADY MODIFIED FOR THE PORT COSHER.

THE ADDITION COULD EASILY, UH, EXCUSE ME, BE REMOVED TO THE FUTURE DATE WITHOUT ANY IMPACT TO THE HISTORIC BUILDING.

UH, NOW REGARDING THE CANOPY, UM, AS YOU KNOW, N-P-N-P-S REQUIRED A REDUCTION IN SIZE AND THE NEW SMALLER DESIGN, WHICH YOU'LL SEE IN A MOMENT, UH, ALLOWS GREATER VISIBILITY WHEN LOOKING UP AT THE BUILDING.

THE GLASS ALLOWS TRANSPARENCY, IT'S SIMPLE AND ELEGANT AND ACHIEVES THE PURPOSE OF PROVIDING A PROTECTED HOTEL ENTRANCE.

UH, THE TEAM HAS BEEN WORKING REALLY HARD TO MEET THE REQUIREMENTS OF THE NATIONAL PARK SERVICE, TEXAS HISTORICAL COMMISSION AND THE DALLAS LANDMARKS COMMISSION.

UM, WE HOPE TO RECEIVE AN APPROVAL TODAY SO THAT THE PROJECT CAN CONTINUE TO MOVE FORWARD.

THANK YOU.

ALRIGHT, THANK YOU MA'AM.

AND STAY AWAY.

STAY AWAY, STAY AROUND IN CASE WE HAVE A QUESTION.

NO, DON'T STAY AWAY.

DON'T LEAVE YET, .

I'LL BE RIGHT HERE.

JUST BE RIGHT OVER THERE.

THAT'D BE FINE.

OKAY.

NOW IS IT TIME FOR FELICIA OR YOU, SIR? COME ON UP.

RIGHT.

OKAY.

AND YOU PROMISE TO TELL THE TRUTH, WE WOULD CERTAINLY EXPECT IT OF YOU.

THANK YOU, SIR.

WHO, WHO IS NEXT FROM YOUR GROUP? OR FELICIA? NOW IT'S FELICIA'S TURN.

OKAY, GOOD.

I WONDER IF YOU WERE GONNA LET HER TALK OR NOT.

CHAIR PERSON.

WE COULDN'T HEAR.

YOU COULDN'T HEAR? NO.

LET US CHECK

[00:30:01]

THE MICROPHONE.

UH, TESTING ONE, TWO, THREE.

COULD YOU HEAR THAT? YES.

ALRIGHT.

SO EVERYBODY NEEDS TO BE SURE THEY'RE SPEAKING INTO THE MICROPHONE.

IT'S JUST NOT THAT SENSITIVE.

UNDERSTOOD.

OKAY, SO, HI EVERYONE.

MY NAME IS FELICIA SANTIAGO.

AND YOUR ADDRESS? IT IS 1 0 8 3 3 SCOTT SPRING LANE HERE IN DALLAS, TEXAS.

OKAY.

AND YOU PROMISE TO TELL THE TRUTH? I SURE DO.

THANK YOU.

I'D ALSO LIKE TO INVITE, UH, MY OTHER TEAMMATES UP HERE.

WE'LL GO AHEAD AND PRESENT, UH, IN ORDER TO KEEP OUR FLOW GOING.

OKAY.

OH, SO I'M BRINGING UP PATRICK AND ALEJANDRO.

OKAY.

AND EACH OF THEM HAS TO DO THE WHOLE ROUTINE.

OKAY.

.

HI EVERYONE.

ALEJANDRO GUERRERO.

I'M A RESIDENT OF DALLAS, UH, DESIGN DIRECTOR WITH CANCER AND DESIGN DIRECTOR OF THE PROJECT IN, IN REVIEW.

AND YOU'RE TRUTHFUL? YES, MA'AM.

OKAY.

WE CERTAINLY HOPE SO.

AND, UM, PATRICK.

HI, PATRICK PARKER, 87 14 SANTA CLARA, HERE IN DALLAS, UH, PROJECT ARCHITECT AND I AM TRUTHFUL.

OKAY, , YOU ONLY HAVE TO BE TRUTHFUL TODAY.

YOU CAN LIE AFTER THAT TO OTHER PEOPLE.

I DON'T CARE.

OKAY.

ALRIGHT.

SO, UM, TECHNICALLY YOU EACH HAVE THREE MINUTES, BUT OF COURSE IF, IF YOU, IF YOU CAN'T GET DONE WITH WHAT YOU NEED TO PRESENT, IT'S CERTAINLY POSSIBLE FOR US TO GRANT MORE TIME.

SO LET'S JUST START THREE MINUTES AND SEE HOW THAT GOES.

WE WILL DO OUR BEST.

YES.

THANK YOU.

UM, SO AS, UH, YOU HAVE HEARD FROM OTHERS AND STEVEN, UH, JUST AHEAD OF US, UH, WE HAVE LISTENED TO YOUR COMMENTS FROM THE, THE PREVIOUS TWO ITEMS THAT WERE DENIED WITHOUT PREJUDICE.

AND THOSE ARE THE TWO ITEMS THAT ARE BEFORE YOU HERE TODAY.

THAT IS THE CANOPY AS WELL AS THE BUILDING ADDITION.

SO WHAT I'D LIKE TO DO IS JUST VERY BRIEFLY RE REFRESH WHAT WAS SAID LAST TIME SO THAT WE CAN, UH, CONTINUE TO SHOW YOU WHAT OUR UPDATES ARE AND THAT WILL HELP PUT EVERYBODY INTO THE SAME PAGE.

UH, SO PREVIOUSLY THE CANOPY WAS, UH, DENIED HERE WITH THE LANDMARK COMMISSIONERS.

UM, AND THE DISCUSSION REFLECTED, UH, THE CHARACTER OF THE HISTORIC PROPERTY AND THE DISTRICT.

AND THOSE REASONS WERE LISTED OUT FOR ALFRED BOSS'S WORK OF, UH, OTHER ENTRANCES OF, OF HIS BUILDINGS.

UM, WE DID LOOK UP OTHER EXAMPLES, SO WE HAVE THAT TO SHARE WITH YOU AS WELL, AND WE'LL GET TO THAT IN A MOMENT.

UH, THE OTHER COMMENT ON THE CANOPY WAS ABOUT OTHER LANDMARKED DESIGNATED BUILDINGS AND THEIR CANOPIES, WHAT IS HERE LOCALLY WITHIN THE, THE AREA OF THE MAGNOLIA BUILDING.

WE ALSO HAVE THAT TO SHARE WITH YOU AS WELL, IF YOU DO HAVE QUESTIONS.

UM, OTHERWISE WE WILL JUST STICK TO THE DESIGN THAT WE HAVE, BUT WE'RE, WE'RE CERTAINLY HAPPY TO PULL UP THOSE EXAMPLES.

AND THE LAST ITEM, WHICH I IMAGINE WILL TAKE UP MOST OF OUR TIME HERE IS THE BUILDING EDITION.

UH, SO YOU'VE ALREADY HEARD FROM OTHERS.

THE BUILDING EDITION HAS, UM, ALSO A PART OF OUR PACKAGE THAT'S GOING TOWARDS TAX CREDITS AT THE STATE AND FEDERAL LEVEL.

WE HAVE CONTINUED TO UPDATE OUR DESIGN, STUDY IT, AND, UM, ADDRESS EVERYBODY'S COMMENTS AS WE'RE BALANCING THC, NATIONAL PARK SERVICE AND HERE LANDMARK.

SO THOSE COMMENTS PREVIOUSLY, UM, SPOKE TO THE ADVERSE EFFECT OF THE CHARACTER OF THE HISTORIC PROPERTY.

UM, ALSO IT WAS MENTIONED THAT THE ADDITION IS A DISTRACTION FROM THE CONTRIBUTING PROPERTY DUE TO INCOMPATIBLE DESIGN.

AND A LOT OF OUR DISCUSSION WILL, WILL FOCUS ON THAT AND BETTER CLARIFY, UH, WHAT A DISTRACTION IS, VER VERSUS ORNAMENTATION AND ARCHITECTURAL STYLE.

SO I'LL GO AHEAD AND TURN IT OVER, UH, TO MY COLLEAGUES HERE.

ALL RIGHT.

JUST MAKING SURE THIS ONE WORKS.

SOUNDS GOOD.

SO, UM, LOT, MOST OF THE DECK THAT WE'RE GONNA RUN OVER TODAY IS WHAT WE'VE SEEN BEFORE AND WHAT I BELIEVE, UH, THIS PANEL HAS, UH, SEEN OVER THE PAST.

SECOND.

CAN THE PEOPLE AT HOME HEAR THIS NEXT SPEAKER? I WANNA MAKE SURE THE MICROPHONE'S WORKING.

YES.

YES WE CAN.

OKAY, GOOD.

JUST IF YOU CAN'T HEAR SOMETHING, YOU'LL HAVE TO HOLLER OUT TO US BECAUSE WE, WE CAN HEAR THEM WITHOUT THE MICROPHONE .

OKAY, WE WANNA CHEW ON IT NOW.

.

ALRIGHT.

SO, UH, WE HAD THE DECK THAT WE LOOKED AT PREVIOUSLY, WHICH MUCH OF THE HISTORIC CONTEXT WE TALKED ABOUT BEFORE, JUST ILLUSTRATING SOME OF THE DUE DILIGENCE WE'VE DONE ON THIS PROPERTY.

AGAIN, UH, A MAGNOLIA BUILDINGS VERY NEAR AND DEAR TO ME OF OUR HEART'S, BEEN PART OF, UH, UH, A SIGNIFICANT DISTRICT, YOU KNOW, WITH A OFFICE WAS ONCE, UH, A BAKER HOTEL, THE ORIENTAL HOTEL, AND ALL THE OTHER PROPERTIES THAT ARE CLOSE BY.

DONE LOTS OF RESEARCH ON TERRA AT BOSTON.

UM, HE HAS A FEW PROJECTS THAT ARE HERE IN TOWN, OBVIOUSLY MAPLE TERRACE, THAT'S UNDERGOING CONSTRUC, UH, RENOVATION, THE HILTON TUNNEL, WHICH IS NOW THE INDIGO AND A FEW OTHERS.

UM, WE'VE FOUND SOME DRAWINGS, UH, AND AGAIN, THIS IS KIND OF NEAT TOO, UH, FOR THE BASEMENT ACTIVATION.

THE CONTRACTORS STOLE AROUND TODAY.

SO THEY WERE ABLE TO SHARE SOME OF THESE PHOTOS.

BUT AGAIN, SOME OF THE INFORMATION THAT WE'VE DUG UP IN THE PAST, WHICH HAS HELPED INFLUENCE, UH, SOME OF THE THINGS THAT WE'RE DOING CURRENTLY IN THE PRESENT.

UM, THESE ONES SHOW AGAIN, THE MODIFICATIONS THAT HAVE OCCURRED AT THE MAGNOLIA OVER THE

[00:35:01]

PAST FEW YEARS.

WE KNOW ABOUT THE MINI WING THAT WAS ADDED ON THE NORTHEAST CORNER, UH, TO ADD AIR CONDITIONING.

AND OF COURSE WE HAVE, UH, UH, THE GRANITE FACADE THAT WAS ADDED IN THE, UH, 15TH, WHICH, UH, FORTUNATELY WAS TAKEN OFF, UH, IN THE EIGHTIES.

SO WE GOT PRETTY CLOSE BACK TO WHERE WE STARTED TODAY.

AND SO WHAT WE'RE STARTING TO SUGGEST IS THE MODIFICATIONS, IF WE LOOK AT THE BOTTOM RIGHT IMAGE, WAS, UH, WHERE THE MOTOR COURT IS TODAY.

AND JUST PULLING OFF THAT NON HISTORIC FACADE FOR OUR BUILDING ADDITION WE'LL TALK TO HERE IN MOMENTARILY MATERIAL.

SO FIRST WE'RE GONNA LEAD INTO THE CANOPY DESIGN, UH, ONE OF THE ARCHITECTURAL ELEMENTS THAT WE'RE, UH, SUGGESTING TODAY.

UH, WE'VE PULLED SOME, UH, IMAGES FOR SOME PRECEDENTS, BOTH, UH, KLINE HERE, WHICH WE SEE ON THE PAGE FOR MANY, UH, HISTORIC BUILDINGS OF THESE INTERVENTIONS, WHICH, UH, ADDED TO THE BUILDING TASTEFULLY.

UH, AND THEN WE HAVE, UH, OTHER ADDITIONS TOO THAT MORE RECTAL LINEAR, UH, SOME OF THESE WE'LL SEE THAT ARE, UH, MORE INVASIVE THAN WHAT WE'RE, UH, DESCRIBING TODAY.

WE SEE SEVERAL TIEBACKS.

WE SEE HOW THEY'RE, UH, CONNECTED THROUGH THE HISTORIC FACADE, SOME OF THE STONES AND THIS LIMESTONE.

AND THEN WE SEE EXAMPLES OF WHAT WE HAVE AROUND TOWN TODAY.

UH, JUST NEXT TO US IN THE MIDDLE IMAGE IS ADOLPHUS, UH, THAT CANOPY THERE.

AND OF COURSE, THE IMAGE TO THE RIGHT IS HOTEL INDIGO, WHICH IS ANOTHER OUTFIT BLOSSOM PROJECT THAT PROJECTS QUITE A BIT OUT AS WELL.

AN IMAGE ON THE LEFT IS A, A MORE CONTEMPORARY, UH, ADDITION, AND THE, UH, WHICH I BELIEVE IS ELEVATED IN THEIR BALLROOM WITH THE METAL CANOPY AS WELL.

SO WE'RE USING THOSE TO, UH, AS PRECEDENT, NOT NECESSARILY IMAGES HERE IN DOWNTOWN, BUT THE ONES WE SHOWN BEFORE AS TO HOW WE'RE GOING TO INFORM WHAT WE WOULD LIKE TO DO AT THIS PROJECT.

SO I'M SHOWING EXISTING CONDITIONS AND WHAT WE PRESENTED LAST TIME, THE CONCERNS, AS WE ALREADY ADDRESSED BEFORE, WAS THAT IT WAS TOO BIG AND IT, UH, INTERFERED WITH SOME OF THE, UH, CURRENT ARCHITECTURE OF THE BUILDING.

SO I'LL MOVE ON TO A CURRENT EXHIBIT, AND I'LL TRADE BACK AND FORTH BETWEEN MYSELF AND ALEJANDRO.

YOU WANNA START SPEAKING AS WELL.

THIS IS ONE OF OUR REVISED, UH, PROPOSALS WHERE WE, WE TOOK, UH, THE COMMENTARY, UH, FROM OUR PREVIOUS REVIEW IN, IN TRYING TO REDUCE THE SIZE OF THE CANOPY, UH, BASED ON THE PRECEDENCE THAT THAT, THAT WE WERE STUDYING AND UNDERSTANDING THAT THERE IS IN FACT, UH, ENOUGH PRECEDENT, UH, AND ENOUGH REFERENCES OF HYPERLINEAR AND PERHAPS MORE ORGANIC NATURE, UH, MORE EXPRESSIVE, UH, SOLUTIONS FOR, FOR THE FRONT ENTRANCE FOR, FOR THE CANOPY PIECE.

IN, IN SOME OF THE RESEARCH THAT WE'VE DONE, UH, EVEN IN FACT, EVEN, UH, IN, UM, IN, IN BUILDINGS FROM, FROM THE SAME AREA, FROM FROM THE 1920S AND FROM THE SAME STYLE, WE, WE, UH, WE'RE PROPOSING, UH, A CANOPY THAT'S STILL FANS OUT, UH, FROM THE BUILDING ENTRANCE, CELEBRATING THE ENTRANCE, UH, EMPHASIZING THAT OPPORTUNITY TO ENTER, ENTER THE BUILDING, BUT MORE IMPORTANTLY, ALSO CREATING AN OPPORTUNITY FOR SOMEBODY STEP AND, AND, AND CREATE A, A SMALL MOMENT OF SHELTER FROM, UH, THE HARSH, HARSH, UM, UH, DALLAS CLIMATE.

UH, SO, UH, AS YOU CAN SEE HERE, UH, IN DOING SO, WE'RE ALSO VERY CAREFULLY DETAILING THIS AND MAKING SURE THAT WE INTERFERE WITH THE BUILDING MINIMALLY, UH, MINIMALLY, UH, WE, WE REMOVE THE TIE BATS THAT WERE AFFECTING THE STONE WORK, THE ORIGINAL STONE.

AND WHAT WE'RE DOING IS THAT WE'RE BASICALLY TAKING THE EXISTING FRAME, THAT EXISTING OPENING OF THE BUILDING REPLACING IT, THOSE DOORS NEED TO BE REPLACED AND, AND THE TRANSOM AROUND PANELS AROUND NEED TO BE REPLACED.

SO WE'RE REPLACING ALL THAT FRAME, UH, AND USING IT TO DO, UH, PLACE BOTH OUR NEW ENTRANCE, OUR NEW DOORS, BUT ALSO THIS CANOPY THAT THAT WOULD BE, UH, WORKING IN, IN AS, AS A, AS A SINGLE, UH, COMPOSITION.

AND, AND WE BELIEVE IN, IN ACCORDANCE AND, AND IN, IN A, UH, IN A, IN A GOOD RELATIONSHIP WITH THE EXISTING BUILDING.

AND THEREFORE, ONE OF, ONE OF THE EXHIBITS THAT WE PREPARED HERE WAS ALSO THIS ONE OF, UH, SOMEBODY, THE, THE, THE, THE VIEW OF SOMEBODY STANDING UNDERNEATH THIS CANOPY LOOKING UP TOWARDS THE BUILDING AND, AND JUST TRYING TO EMPHASIZE HERE THAT THIS IDEA OF MINIMAL INTERVENTION, BUT ALSO, UH, MAINTAINING A TRANSPARENCY AND A LIGHTNESS TO THAT FACADE THAT ALLOWS US TO STILL PERCEIVE THE BUILDING IN ITS GRANDEUR.

I THINK WE CAN MOVE ON TO, UM, WE'RE GONNA TOUCH ON THE, ON THE SECOND TOPIC, AND, AND I'LL MAKE, UH, SOME REMARKS HERE THAT, THAT I PREPARED.

AS WE LOOK AT SOME OF THE IMAGES, UH, THE, OUR TEAM SEES, UH, THE OPPORTUNITY TO, TO WORK ON THE MAGNOLIA BUILDING AND, AND, AND EXTENDING ITS LIFE AS A CELEBRATION, UH, AND, AND AS AN OPPORTUNITY TO CONTINUE INCREASING THE DENSITY AND THE LIVELINESS, UH, THAT PROJECTS SUCH AS THE ADOLFO HOTEL, THE JEWEL HOTEL, UH, IN ENCLOSED VICINITY, BUT ALSO THE, THE AT AND T DISCOVERY

[00:40:01]

DISTRICT, UH, WHICH BY THE WAY, UH, OUR FIRM, UH, PROBABLY ALFRED, UH, THIS IS A CENTRAL PIECE, UH, TO OUR INTERVENTION.

EXCUSE ME, SIR, I IS YOUR TIME.

OKAY.

I, I, I, I, I MOVE THAT WE GIVE THE APPLICANT AND THEIR GROUP, NOT ANY PARTICULAR PERSON, BUT INDIVIDUAL WHO'S RELATED TO THIS PROJECT, A TOTAL OF FIVE MINUTES, SO THAT THEY'RE NOT RUNNING THROUGH THIS.

SO AS FAST AS THEY ARE, TOTAL.

SECOND.

THANK YOU.

APPRECIATE IT.

I, AYE, THANK YOU.

THE, THE CENTERPIECE OF OUR INTERVENTION IS A HOTEL EXPANSION THAT, THAT WE, WE WE'RE LOOKING AT IT IN, IN THE DIAGRAM.

UM, UH, THIS, THIS EXPANSION REALLY BRINGS THE SPACES AND FUNCTIONS OF A CONTEMPORARY HOTEL OPERATION TO THE HISTORIC MAGNOLIA BUILDING, UH, SERVICE AND DELIVERY AREA AT THE GROUND FLOOR, UH, ARE COVERED BY BY A BEAUTIFUL, AND, AND WERE MAY, MAYBE WE SKIP TO THE RENDERING.

UH, THE SERVICE AND DELIVERY AREA ON THE GROUND FLOOR ARE COVERED BY A, A BEAUTIFULLY DESIGNED STONE AND METAL FACADE THAT COMBINE ELEMENTS, UH, OF BOTH THE 1920S ORIGINALLY DESIGN AND THE HOTEL BRAND.

UH, ABOVE THIS, A TWO STORY VOLUME CONTAINS, CONTAINS A STATE-OF-THE-ART BALLROOM THAT PRESENTS ITSELF TO THE CITY AS A LARGE FORMAT WINDOW INTO THE BUILDING.

UH, AND OTHERWISE OPAQUE BUILDING, OR MOSTLY OPAQUE BUILDING NOW EXPOSES ITS MAIN EVENT SPACE AS A DISPLAY BOX TO CONNECT VISUALLY TO THE PASSERBY, WHILE OFFERING ITS USERS A UNIQUE EXPERIENCE TO HOST AN ARRAY OF DIFFERENT TYPES OF GATHERINGS AND CELEBRATIONS.

I SPACED THAT THROUGH ITS SPECIAL DESIGN AND POSITION WITHIN, WITHIN THE CITY, WE, WE BELIEVE WE'LL BRING A LOT OF ENERGY AND VISITORS TO THE CITY.

UH, OUR INTERVENTION IS CONTEMPORARY NATURE, AND MOREOVER, HE TRIES TO ESTABLISH A POINT IN TIME WITH WITHOUT A SIGN THAT BELONGS TO THE 21ST CENTURY.

UH, CLEAN LINES, TRANSPARENCY AND A RESPECTFUL INTERACTION WITH THE ORIGINAL 1920S BUILDING.

THE EXPANSION OF THE BUILDING WE'RE PROPOSING ALSO ACTS IN CONTRAST TO THE ORIGINAL BUILDING AND INTENT, AND AN INTENTIONAL APPROACH AS AN INTENTIONAL APPROACH TO ASSURE THE CLEAR DEFINITION BETWEEN HISTORIC AND ALSO A SOLUTION THAT THAT IS OFTEN FOLLOWING INTERVENING HISTORIC BUILDINGS.

UH, AND, AND WE PREPARE SOME EXHIBITS HERE TOO, SO MAYBE WE CAN GO BACK TO THOSE.

AND JUST A FEW EXAMPLES OF, UH, WHEN OLD MEETS NEW, UH, HOW THERE'S, UH, ISSUE, UH, OFTEN, UH, UH, UH, USED AS A RESOURCE, UH, A CLEAN, UH, A CLEAN, UM, CONTRAST BETWEEN WHAT'S THERE, WHAT WAS THERE BEFORE AND WHAT IT'S BEING ADDED.

UH, AND, AND WE, WE SEE THIS, UH, EXAMPLE OR, OR, OR OR ANOTHER ONE OF THESE EXAMPLES IN THE YU HOTEL.

AND ONE, AGAIN, ONE OF OUR NEIGHBORS, UH, AS A PERFECT EXAMPLE TO A SUCCESSFUL INCORPORATION OF CONTEMPORARY DESIGN FEATURES AND INTERPRETATIONS.

UH, AND, AND FOR INSTANCE, SOME, SOME ELEMENTS THAT MAY GO BEYOND THE, THE, THE, UM, THE AESTHETICS THAT, UH, THAT BELONG TO A HISTORIC BUILDING.

FOR INSTANCE, ONE OF THE MAIN FEATURES AND, AND ONE OF THE REASONS THAT I, THAT I, UH, FOUND OUT ABOUT THAT PROJECT IN OUR CITIES, THAT CANTILEVER, UH, UH, INFINITY POOL THAT, THAT THEY HAVE ON THE, ON THE TOP FLOOR.

AND ALTHOUGH THAT MAY SEEM AS AN INPRO INAPPROPRIATE OR INADEQUATE ADDITION TO A HISTORIC BUILDING, IT REALLY BRINGS A LOT OF ENERGY, UH, UH, AND PUTS, PUTS A, A, A NOT NECESSARILY PICTURE HERE, BUT PUT PUT PUTS, UH, HAS I, I REMEMBER HE PUT, UH, THE JEWEL ON THE MAP OF WITH, UH, OF, UH, AS A TRAVEL DESTINATION FOR THE CITY.

UH, SIMILARLY, AS WE HAVE CONCEIVED OUR DESIGN, WE HAVE LOOKED, UH, LOOKED TO HELP OUR CLIENT AND THE CITY OF DALLAS CONTINUE THEIR EFFORT IN PRESERVING THE HISTORIC LEGACY OF OUR BUILT ENVIRONMENT, WHILE ADDING A SPECIAL PLACE THAT CONTINUES TO PUT OUR SEAT IN THE MAP AS A WORLDCLASS CITY AND A DESTINATION.

WE'RE LOOKING FOR OUR INTERVENTION TO BE ONE THAT WHILE BELONGING TO THIS DAY AND AGE, PAYS HOME AGED AND CELEBRATES THE LEGACY OF THE MAGNOLIA BUILDING.

UH, SO THAT ALSO WHEN IN 2050 OR EVEN A HUNDRED YEARS, IT MAY BE, IF, IF IT'S TIME FOR A NEW INTERVENTION, THAT THIS, THIS EXPANSION WILL BE SO INGRAINED TO OUR CITY'S LEGACY THAT PERHAPS IT IT'LL BE WORTH OF, OF PRESERVING AS WELL.

THANK YOU.

OKAY.

ARE WE MOVING ON TO A, IS THAT IT FOR WHAT YOU THREE ARE PRESENTING TO START WITH? YES, IT IS.

WE'RE WE'RE OPEN TO QUESTIONS IF YOU, OKAY.

WELL, WE HAVE TO HAVE EVERYBODY TALK FIRST AND THEN WE DO QUESTIONS.

UNDERSTOOD.

WE WILL TAKE A SEAT.

OKAY.

SO WE HAVE, UH, CAROLYN HOWARD.

[00:45:05]

NO THANK YOU.

HELLO, CAROLYN.

WE NEED YOU TO GIVE US YOUR NAME AND ADDRESS.

UH, .

YOU CAN'T SAY NO TO ME HERE.

OKAY.

, YOU HAVE TO SAY YES.

CAROLYN HOWARD, UH, 29 22 SWISS AVENUE.

I'M THE DIRECTOR OF PRESERVATION DALLAS.

AND YOU PROMISE TO TELL THE TRUTH MORE THAN THE TRUTH.

OKAY, GO AHEAD.

YOU HAVE THREE MINUTES.

I HAVE A LONG HISTORY WITH THE NATIONAL PARK SERVICE AS WELL AS THE TEXAS HISTORICAL COMMISSION.

20 YEARS AGO, THE HOTEL BEAUMONT SWAN SONG COMING DOWN BAD, WE FOUND A DEVELOPER.

WE WERE ABOUT TO START CONSTRUCTION AND THE NATIONAL PARK SERVICE SAID NO.

I GRABBED MY SUIT, WENT TO THE CAR, DROVE TO THE AIRLINES, FLEW TO DC AND MET WITH SHARON PARKS OF THE NATIONAL PARK SERVICE.

SOMEONE IN THE GROUP FINALLY SAID TO MS. PARKS, YOU KNOW, SOUTHEAST TEXAS HAS A WHOLE LOT OF HURRICANES.

SO THE REASON THE ANNEX SIMILAR TO THIS WAS CONSTRUCTED, THE WAY IT WAS CONSTRUCTED, WAS TO HOLD OFF A HORRIBLE HURRICANE SEASON EVERY YEAR.

WHAT IS THE MORAL TO THE STORY IS THAT NP S'S PERSPECTIVE IS HUGE.

THE DESERT TERRAIN OF NEW MEXICO, THE VERY MUCH URBAN ENVIRONMENT OF NEW YORK CITY, THE FREEZE IN ALASKA, THEIR PERSPECTIVE IS HUGE.

IF I WERE YOU, IF I WERE A LANDMARK COMMISSIONER, I WOULD WANT A DEVELOPER GO TO THE PARK SERVICE FIRST, GO TO THE THC FIRST, GET ALL OF THAT CARRIED OUT, AND THEN BRING IT HERE.

AND THESE DEVELOPERS HAVE IN FACT DONE THAT.

THEY HAVE GOTTEN ALL THE APPROVALS HAVE PUT TOGETHER A FINANCIAL PACKAGE THAT INCLUDES TIFF MONEY FROM THE CITY OF DALLAS, ACCORDING TO THE SECRETARY OF INTERIOR STANDARDS FOR REHAB.

THE ADDITION TO THE MAGNOLIA HOTEL MUST BE DIFFERENT.

IT CANNOT LOOK LIKE THE MAGNOLIA HOTEL, BUT YOU'RE RIGHT.

MANY OF YOU ARE THINKING THIS RIGHT NOW.

THIS IS A VERY FINE LINE.

THERE IS ROOM FOR SUBJECTIVITY.

HOW MUCH IS DIFFERENT? HOW DIFFERENT IS, IS DIFFERENT.

THE HOTEL FLAG THAT WILL BE FLYING OVER THIS HOTEL IS ONE OF THE FINEST IN THE COUNTRY.

HOW DO I KNOW THAT? AND WHY DO I SAY THAT? BECAUSE THERE IS NO FLAG LIKE THAT IN THE STATE OF TEXAS, OBVIOUSLY THEN AN ADDITION MUST BE UNIQUE.

IT CANNOT BE A COMMA IN THE SENATE'S DESCRIPTION OF THE PROJECT.

IT NEEDS TO BE AN EXCLAMATION POINT OF THIS ENTIRE DEVELOPMENT.

THE MAGNOLIA HOTEL PROPOSED DESIGN, EXCUSE ME, THAT IS YOUR TIME.

CAN I SAY ONE MORE SENTENCE? I MOVE THAT WE, UH, THIS COMMISSIONER IN OSA MOVE THAT WE GIVE, UH, THE SPEAKER AN ADDITIONAL TWO MINUTES SECOND.

ALL THOSE IN FAVOR? AYE.

AYE.

THE MAGNOLIA HOTEL PROPOSED DESIGN IS CONSISTENT WITH THE SPIRIT AND THE INTENT OF THE CITY OF DALLAS PRESERVATION CRITERIA.

WE RESPECTFULLY REQUEST THAT YOU APPROVE THIS CERTIFICATE OF APPROPRIATENESS AND THEN EVEN IN THE BACK OF YOUR MIND, EVEN IF YOU NEVER THOUGHT ABOUT IT, I'M GONNA CHECK OFF THE MAGNOLIA HOTEL BECAUSE I DON'T HAVE TO WORRY THAT ONE DAY I'M GONNA GET A CALL THAT A DEMOLITION PERMIT HAS BEEN PULLED.

IT HAPPENS ALL THE TIME.

WE JUST LOST A HOME IN THE CITY.

VERY FAMOUS HOME BECAUSE I FOUND OUT, OOPS, A DEMOLITION PERMIT HAS BEEN PULLED.

THANK YOU FOR YOUR COMMITMENT TO HISTORIC PRESERVATION, ESPECIALLY TO THE CITY OF DALLAS FIRST SKYSCRAPER.

THANK YOU.

THANK YOU, MS. HOWARD.

OKAY.

I BELIEVE ALLISON REEVES, WHO SIGNED UP IS NOT AVAILABLE,

[00:50:04]

BUT WE HAVE ANOTHER PERSON.

OKAY.

IN THAT CASE, UH, PRAY GUSS AND CLAIRE TRAVIS SINCLAIR, DEVELOPER'S COUNSEL 2221 STANMORE LANE, PLANO, TEXAS.

AND I'LL JUST BE HERE FOR QUESTIONS OR CLARIFICATION.

THANK YOU.

RIGHT.

WE ALSO HAD ONE MORE LETTER FROM VICTORIA CLOUD, WHICH YOU SHOULD ALL THE COMMISSIONERS SHOULD HAVE RECEIVED, UM, EXPRESSING HER SUPPORT.

WOULD YOU, IS THERE ANYTHING ADDITIONAL YOU WANT TO ADD, KATE? OKAY, SO WHAT COMMISSIONERS HAVE QUESTIONS FOR OUR MANY SPEAKERS? COMMISSIONER RENO, UM, UH, COMMISSIONER RENO.

UM, SO NOW I REALIZE THERE'S BEEN THREE DIFFERENT SUBMISSIONS, UM, IN TERMS OF, UH, UH, UH, ALTERNATES, PARTICULARLY FOR, UH, FOR THE ADDITION NOT OR EXCLUSIVE OF THE CANOPY.

UM, IS THERE A FRONT RUNNER FAVORITE? ARE WE SUPPOSED TO CHOOSE? UM, OKAY, YOU FROM STAFF'S PERSPECTIVE, I SAW THE NEW DESIGNS THIS MORNING, SO I DUNNO.

SO WE HAVE CONTINUED TO STUDY THE ADDITION.

WE HAVE CONTINUED TO LISTEN TO YOUR COMMENTS THIS MORNING, AND WE HAVE HAD OUR DESIGN TEAM CONTINUE TO WORK, UH, TO MAKE SURE THAT THIS IS THE BEST DESIGN THAT WE CAN SET FORWARD.

THE OPTION THAT YOU SEE IN FRONT OF YOU IS PREFERRED BY THE HOTEL OWNER.

OUR CLIENT AND OUR DESIGN TEAM ALSO ADVOCATES FOR THIS, THIS OPTION.

UM, WE FEEL THAT IT IS ORNATE, IT ENGAGES THE PEDESTRIAN EXPERIENCE, AND IT IS, UM, THE BEST DESIGN THAT WE HAVE.

ALEJANDRO WILL CONTINUE TO ELABORATE.

SO THE MAIN, MAIN DIFFERENCE WITH WHAT YOU'RE SEEING HERE AND PREVIOUS ITERATIONS, WHICH HAVE ALSO BEEN PROVIDED, UH, IN THE PACKET, UH, IS THAT WE'RE, UH, MOVING TO, OR WE'RE SUGGESTING IN THIS OPTION A METAL CLADDING FOR THE, FOR THE GARAGE DOORS AND, AND A METAL THAT RUNS ALL THE WAY ACROSS.

UH, AND, AND ENGAGES BOTH THE OPENING OF, OF THAT, UH, REQUIRED LOADING AREA, UH, AND THEN INTEGRATING THOSE WITH TWO, UH, SIDE PANELS, ONE OF WHICH INCLUDES A MANOR THAT, THAT LEADS INTO SOME OF THE ADDITIONAL SUPPORT, UH, SPACE OF THE BUILDING.

WE, WE STILL WANNA BRING THAT ELEVATED, UH, VOLUME DOWN.

UH, AND, AND WE HAVE IN, IN THE ELEVATION, YOU CAN SEE HOW WE'RE TAKING THAT STONE, UH, USING THE SAME STONE, THE ORIGINAL STONE OF THE MAGNOLIA BUILDING, WHICH ACTUALLY WE HAD.

OKAY, WE, WE HAVE, WE HAVE SOME SAMPLES TO, TO, TO SHARE WITH, UH, WITH THE PANEL AND, UH, CA CARRYING OVER THAT, UH, SAME LANGUAGE, OBVIOUSLY IN A MORE SIMPLIFIED, CLEANER LINE, UH, FASHION.

WE HAVE THE STONE WORK ON THE SIDES, UH, FRAMING THAT METAL OPENING OR, OR METAL PANEL.

AND, UH, IF YOU, WE ARE GONNA TO THE, TO THE RENDERING, UH, AND MAYBE TO THE CLOSEUP.

WHAT WE START TO SEE THERE IS THIS, THIS EMPHASIS IN TRYING TO GIVE THIS FACADE SOME SCALE.

UH, WE, WE DO HAVE THE CHALLENGE OF PLACING THE, THE, THE SPACES THAT ARE LACKING IN THE EXISTING BUILDING ARE ALL LARGE SPACES OR, UH, SPACES THAT REQUIRED A LOT OF VOLUME, UH, UM, LOADING AND UNLOADING ON THE, ON THE GROUND FLOOR BALLROOM, AND THEN POOL ON THE, ON THE TOP OF, OF THIS, UH, EXPANSION.

UH, SO WHAT THAT MEANS IS THAT WE HAVE THE CHALLENGE OF MEETING THOSE EXPECTATIONS, BUT AT THE SAME TIME PRESENTING THE BUILDING TOWARDS THE CITY TO THE PUBLIC WITH, WITH A FACE THAT IS APPROPRIATE.

AND ONE OF THE THINGS THAT WE STUDIED ON THIS OPTION, TAKING SOME OF THE, SOME OF THE COMMENTS THAT WERE EXPRESSED THAT, THAT WERE EXPRESSED, UH, LAST TIME WE WERE HERE, IS THAT WE, WE, IT, IT WAS IMPORTANT THAT, THAT THE BUILDING WAS GROUNDED AND THAT THERE WAS A SENSE OF A BASE.

AND, AND THE WAY THAT WE'RE ARTICULATING THESE PANELS IS WE'RE, WE'RE, INSTEAD OF HAVING A A, A PANEL, THAT IT'S COMPLETELY, UM, UH, PLAIN AND, AND COMING ALL THE WAY DOWN TO THE GROUND.

WE'RE ARTICULATING IN SUCH A WAY THAT, THAT IT REFLECTS, UH, UH, A BASE WITH A SAME DATA LINE THAT, THAT IT'S CARRYING OVER, CARRIED OVER FROM THE, THE, UH, THE BASE OF THE PILOT STAIRS OF THE EXISTING BUILDING AND COMBINING, UH, IN COMBINATION TO THAT, UH, LINE THAT, THAT THAT CREATES THAT BASE.

WE'RE REPLACING TWO PLANTERS OF EITHER SIDE, AGAIN, IN A SUBTLE, UH, UH, OPPORTUNITY THAT WE'RE TAKING TO, TO BRING

[00:55:01]

SOME, SOME SENSE OF SCALE AND SOME, UM, UH, PEDESTRIAN QUALITY, UH, ELEMENTS.

UH, AND LASTLY, UH, UH, YOU HEARD, UH, ABOUT, ABOUT THE FLAG THAT IS INTERESTED IN COMING TO, TO THE CITY OF DALLAS AND IN THEIR, UM, IN THEIR BRAND AND IN THEIR LEGACY AND, AND IN THE WAY THAT THEY CONCEIVE.

THE SPACES, UH, METAL GRILLS ARE, ARE A VERY IMPORTANT FEATURE THAT THEY USE AND, AND, AND, AND IT'S, IT'S A RESOURCE THAT THEY USE IN MANY DIFFERENT WAYS, BOTH, UH, INSIDE AND OUT.

AND, UH, WE, WE TOOK, UH, THIS IS AN OPPORTUNITY TO DESIGN A MOTIF THAT RELATES TO THE MAGNOLIA BUILDING.

THERE'S, THERE'S A, THERE'S A, THERE'S AN INITIAL WAY THAT, THAT, THERE'S A DRAWING THERE THAT SUGGESTS, UH, A, A MAGNOLIA, BUT THEN THERE'S A SECOND ONE, A SECOND LAYER OF ARTICUL ARTICULATION THAT HAS A PERFORATED PA, UH, PER PERFORATED MOTIF ON THE, ON THE, ON THE METAL THAT CREATES, UH, A MORE ATTRACTIVE AND SCALE APPROPRIATE, UM, UH, PHASE TO TOWARDS THE CITY, TOWARDS THE PASSIVE VAN.

THANK YOU VERY MUCH.

I APPRECIATE ALL THE WORK YOU'VE PUT INTO THIS.

I REALLY DO.

ALRIGHT.

WHO, WHO ELSE HAS QUESTIONS? OH, I'M SORRY.

.

I COULDN'T EVEN SEE YOUR LIGHT ON.

CAN I, GO AHEAD.

I HAVE A QUESTION ABOUT THE, UH, VALENCE, UH, PANEL OR THE, THE SHADOW BOX AT THE TOP.

IS THAT ACTUALLY A SHADOW BOX? AND WHAT'S THAT MATERIAL AND IS IT THE SAME AS THAT? WHAT'S AT THE BOTTOM? THE, UH, UH, WHAT, WHAT WE'RE SEEING HERE, THE OUTERMOST FRAME, IT'S A STONE FRAME.

UH, AND, AND IT'S THIS, THIS FRAME THAT, THAT TRIES TO FOLLOW THE, THE DATE LINES THAT ARE CREATED BY THE CORNEAS ON, ON THE TOP AND ON THE BOTTOM FOR, FROM THE MAIN OPENINGS.

AND, UM, THEN, UH, WHAT, WHAT WE ARE TRYING TO DO WITH, WITH THAT FRAME IS THAT THEN MAKE IT, UH, MAKE, MAKE, UH, COORDINATE THAT THAT OPENING, THAT IT'S INFORMED BY THE, THE EXISTING BUILDING WITH THE, UH, WITH THE BOX OR THE, OR THE VOLUME OF THE INTERIOR SPACE.

SO IN, IN THE ELEVATION, IF WE CAN SEE THE ELEVATION, UH, PATRICK, JUST FOR A QUICK MOMENT, UH, YOU SEE THOSE RECTANGLES, SO THOSE TWO FRAMES EXPRESS HERE, THE OUTERMOST, UH, WHICH IS, UH, RECEIVES YOU.

AND THEN THE, THE INNER ONE, WHICH IS BASICALLY THE SHAPE OF THE BALLROOM ITSELF WITH THE SEAL, IT DROPS CEILING AND THE FLOOR LINE.

SO, UH, THOSE, UH, THE, THAT, THAT INTERNAL VOLUME DOESN'T RELATE TO THE EXISTING BUILDING.

SO WHAT WE DECIDE TO DO IS TO CREATE THIS INTERSTITIAL, UH, FRAME THAT CONNECTS BOTH, AND IT'S, UH, DONE WITH THIS, UH, CANTED WALLS ON THE SIDES AND ON THE TOP AND THEN ON THE BOTTOM TO, TO BE ABLE TO REACH THE GLASS AND, AND TAKE ADVANTAGE, TAKE FULL ADVANTAGE OF THE AVAILABLE SPACE.

WE, UH, ARE CREATING, WE'RE PROPOSING THIS SHADOW BOX SO THAT THE GLASS IS NOT INTERRUPTED, UH, FROM THE OUTSIDE POINT OF VIEW, UH, BUT INSIDE THE FLOOR LINE HAPPENS WHERE IT, WHERE IT NEEDS TO HAPPEN HAPPEN.

UH, SO, UH, AND IF YOU ZOOM ME INTO THE DETAIL, WHAT WE SEE IS THE GLAZING COMING ALL THE WAY DOWN.

THERE'S A LARGE POLE LACING, UH, ABOUT 20, 20 FOOT HIGH THAT REACHES THE TOP AND, AND COMES ALL THE WAY DOWN TO THE BOTTOM, GIVING THE IMPRESSION OF A FLOOR TO CEILING GLASS.

AND THEN THERE ON THE BOTTOM WHERE, WHERE YOU SEE THE SHADOW, THE SHADOW BOX, WE HAVE, UM, WHAT, UH, WE HAVE THE, THE, THE, THE FACE IS RECESS BACK TO, TO CREATE THE CONTINUOUS GLASS EFFECT.

AND THE FINISH THERE IS, UH, MEANT TO MATCH THE REST OF THE FRAME.

AND WHAT WE'RE DOING THERE IS A PAINT FINISH OF A COLOR THAT MATCHES THE STONE COLOR, BUT, BUT IT WOULD BE INSIDE, INSIDE THE GLASS, IT WOULD BE PAINFUL FOLLOW UP QUESTION ON THAT.

THAT'S PAINT AG ON THE INSIDE, ON THE INSIDE FRAMING OF THAT.

THAT'S CORRECT.

UM, QUESTION IS, AT ANY POINT NOW, OR IN ANY FUTURE DISCUSSIONS, UM, ANY ILLUMINATION OF, OF THIS SURROUND AREA AND THE, THE PAINTED GYP THAT'S DOING THIS KIND OF INTERIOR FRAME, SHADOW BOX, IS THERE ILLUMINATION? IS THERE LIGHTING INVOLVED IN THE, IN THE SURROUND? THERE IS A, THERE IS A, NOT JUST A BALLROOM LIGHTING, BUT THE BALL, BUT, BUT THE FACE, YEAH.

INTERIOR AND, AND AS OUR, AND, AND, AND, UH, AS A RENDERING, UH, UH, TRIES TO ILLUSTRATE, THERE'S OBVIOUSLY THE INTENTION THAT THE MAIN, THE MAIN LIGHTING IS THE GLOWING OF, OF THE RIGHT OF THE SPACE, THE, THE, UH, IN, IN OPERATION.

UH,

[01:00:01]

BUT, BUT THAT'S NOT ALWAYS GONNA BE THE CASE.

UH, AND, AND WE UNDERSTAND THAT.

SO WHAT WE DO HAVE IS, UH, A LIGHTING, UH, UH, A LIGHTING ELEMENT GOING ALL THE WAY AROUND THE FRAME.

AND I DON'T KNOW, PATRICK, IF YOU, IF YOU GET REALLY CLOSE TO THE DETAIL THAT YOU, YOU WE MAY BE ABLE TO PROCEED IN SECTION.

UH, BUT THE IDEA IS THAT IN THE INSTANCES WHEN THERE'S, THERE'S NOT AN EVENT GOING ON OR THAT THERE IS, UM, UM, A SHEER, UH, BEING CLOSED, THAT, THAT WE STILL GET, UH, A, A BI FACADE, UH, LIGHT OPEN AND ANIMATED.

SO NO, IT'S NOT THERE.

IF YOU, YEAH, I, I SAW THE, THE SECTIONS THAT YOU'RE ON AND I KIND OF SEE THAT IT'S NOT CALLED UP, BUT I SEE YOU'RE, IT'S LIKE A ME MECHANICAL SHADE OR CURTAIN.

I GUESS THAT'S, THERE'S, UM, BUT I WAS WONDERING ABOUT THIS ELIMINATION.

UH, I DO HAVE CONCERNS ABOUT IT.

I, I THINK IT'S, IT'S A REALLY GOOD DESIGN.

IT'S, IT'S, IT'S THERE, BUT I'M GOING BACK TO THE NATIONAL PARK SERVICES, UH, GUIDELINES AS WELL.

AND MY CONCERN RIGHT NOW IS THE ADDITION PER NATIONAL PARK SERVICE LANGUAGE ADDITION SHOULD NOT BE SO DIFFERENT THAT IT BECOMES THE PRIMARY FOCUS.

NOW I KNOW THAT WE HAVE A HUGE PRIMARY FOCUS ON THE HISTORIC BUILDING ITSELF, BUT SOME OF THE ILLUMINATION OF THIS BUILDING COULD QUICKLY MAKE THIS INTO A PRIMARY FOCUS.

AND THAT WAS THE REASONS I CONCERNS WITH IT THE FIRST TIME AROUND OF IT JUST TURNING INTO, UH, SWITCHING THE, SWITCHING THE SUBTLETIES INTO THIS BEING A PRIMARY FOCUS WITH THE, THE SHEER ILLUMINATION AND THAT.

SO THAT'S WHY I'M KIND OF LEADING ON THESE QUESTIONS ON HOW THIS IS GONNA BE LIT UP OR USED ON, ON THAT.

AND SO ANYWAY, IF, AND YOU'RE SAYING THAT THERE IS FUTURE OF, OF, THERE IS THE CURRENT PLAN TO HAVE LIGHTING POCKETS AROUND THE WHOLE SURROUND THE WHOLE BOX.

I, IF I CAN STEP IN AND ADDRESS THIS AS WE'RE, AS WE'RE LOOKING AT DEVELOPING THE LIGHTING FOR THE, FOR THE BALLROOM ITSELF AND THE SURROUND, UM, I THINK THE ILLUMINATION IN THIS RENDERING MAY SHOW A LITTLE BIT BRIGHT BECAUSE A LOT OF THE LIGHTING IN THE BALLROOM IS ACTUALLY GONNA BE DOWN LIGHTING, THAT'S LIGHTING WHAT'S ON THE SURFACE OF TABLE OR ON ON THE FLOOR.

THERE'S ALSO A SYSTEM IN THE, IN THE LIGHTING OF THE BALLROOM, IT'S, IT'S ALMOST LIKE A STARRY NIGHT INSIDE.

SO IT'S, BUT IT'S VERY, VERY LOW VOLTAGE, VERY LIGHT AND VERY SUBTLE.

AND THEN AS, AS ALEJANDRA JUST POINTED OUT, THERE IS A, THERE IS A SHEAR THAT COMES BACK AT THE, UH, AT THE BOTTOM OF, OF THE, UM, CEILING AT THE TOP, UH, WHERE IT'S SET BACK, UM, AT THE ANGLE.

AND THERE'S ALSO, AS YOU SAW IN THE DETAIL, UM, UM, BUILT INTO THE FRAME BLACKOUT SO YOU COULD CLOSE THE WHOLE THING.

SO, UH, A LOT OF THIS IS PROBABLY GONNA BE MORE SUBTLE THAN WHAT YOU'RE SEEING IN THE RENDERINGS TODAY, BUT I THINK THAT'S SOMETHING THAT WE CAN ADDRESS IN THE DETAILS AS WE'RE MOVING THIS FORWARD, UM, AND MAKE SURE THAT WE DO ADDRESS THAT SO THAT THIS IS MEANT TO BE A VERY SUBTLY LIT FRAME.

AND, UM, AS YOU CAN SEE WHAT WE'RE DOING, EVEN AT THE STREET LEVEL, LIGHTING IS VERY, VERY IMPORTANT.

SO HOW WE GRAZE THE LIGHT, UH, ALONG THE UNDERSIDE OF, OF THE, UH, BALLROOM ALONG THOSE, THOSE GRILLS THAT ARE DOWN BELOW IS GONNA BE VERY IMPORTANT AS WELL.

SO IT'S MEANT TO BE VERY, VERY SUBTLE, UM, AND NOT OSTENTATIOUS AT ALL, NOT TO PULL ANYTHING AWAY FROM THE DETAIL OF THE LIGHTING THAT WE'RE ACTUALLY DOING ON THE EXISTING BUILDING, WHICH, UH, IS GOING TO BE IMPROVED AS WELL.

YOU CAN KINDA SEE MY CONCERNS.

I KNOW THAT'S IN THIS DAY AND AGE OF MODERN LED PACKAGING AND A LOT OF BUILDINGS, YOU KNOW, JUMP ON THE FACT OF LET'S, YOU KNOW, LET'S NOT HAVE SPOTLIGHTS ON THIS.

WE CAN JUST START MAKING THIS THING GLOW AND WE CAN GO BRIGHT AND WE CAN START CHANGING COLORS AND GLOWING.

AND SO THEN WE START FOCUSING ON THIS NEW ADDITION THAT IT'S REALLY NICE ADDITION, IT'S NICE AND SUBTLE, IT SPEAKS IN SPACE AND SCALE, IT SPEAKS CORRECTLY.

I MEAN, I BELIEVE EVERYTHING IS PRETTY MUCH KIND OF BEEN DONE, RIGHT? I HAD A LITTLE CONCERNS WITH THE SHADOW BOXING APPROACH, BUT I THINK YOU'RE KIND OF LIMITED TO THE GIRTH OF SOME OF THAT.

AND IF YOU START TRYING TO DO CERTAIN THINGS, IT'S GONNA DOMINO THE EFFECTS OF THE BUILDING.

SO I THINK THE SUBTLETIES ARE THERE IN THE BUILDING AND IT'S JUST THE, WHEN WE START GETTING INTO THE PACKAGES, LIKE THOSE LED PACKAGES AND WHAT COULD HAPPEN AND HOW THIS THING CAN JUST TAKE ON A LIFE FORM OF ITS OWN AND JUST GLOW AS A BEACON, UH, THAT'S KIND OF WHERE I WAS ON THE FENCE AND KIND OF GOING, FALLING ON ONE SIDE OR NOT BECAUSE OF THAT, I, I COMPLETE, I I GET WHERE YOU'RE COMING FROM AND I HAVE TO SAY THAT, UH, THE BRAND THAT WE'RE WORKING WITH WOULD NOT WANT IT TO GO THAT WAY.

SO

[01:05:01]

, THEY HAVE STANDARDS THAT WE HAVE TO MEET AND, UM, THEY'RE WORLD CLASS STANDARDS.

SO THE WAY THIS BUILDING WILL BE LIT WILL BE HIGHLY SCRUTINIZED BY OUR, OUR TEAM AND OUR LIGHTING DESIGNER, YOU KNOW, UH, WHILE WE'RE WORKING THROUGH IT.

SO, UM, I CAN GUARANTEE YOU IT WON'T BE WHAT YOU'RE, YOU KNOW WHAT YOU'RE SAYING.

I APPRECIATE THAT LIGHTING DESIGNERS CAN GO CRAZY WITH BUILDINGS AND YEAH, I APPRECIATE THAT AND I LOVE GUARANTEES.

BUT ALSO, DO WE FOLLOW UP, UH, ANY KIND OF, DO WE GET TO SEE ANY OF THE LIGHTING PACKAGES THAT MIGHT BE PUT ON THIS AND ARE THEY IN THE PACKAGE NOW OR IF, IF SO IF WE CAN MAKE ANY KIND OF MOTIONS AT THIS POINT SO WE CAN GO FORWARD, IF THAT MAY BE THE CASE, IS THERE SOMETHING THAT WE CAN