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From YouTube: Design Review Committee
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B
Good
afternoon,
everyone
I'm
robin
raynes,
and
I
would
like
to
welcome
you
to
the
june
15th
design
review
committee
meeting.
This
is
an
eight
person
committee
whose
primary
function
is
to
perform
design,
review
and
review
for
the
projects
located
in
one
of
the
city's
three
designated
design
review
areas
downtown
the
riverfront
and
the
new
hotel
overlay
zoning
district.
This
is
a
mandatory
review,
mandatory
review,
voluntary
compliance
process,
with
one
exception
for
hotels
seeking
to
skip
council
review
hotels.
Taking
advantage
of
this
incentive
must
receive
a
positive
recommendation
from
the
committee.
B
All
committee
members
and
staff
are
participating
virtually.
We
appreciate
your
patience.
We
are
streaming
live
on
our
virtual
engagement
hub,
which
is
accessible
accessible
through
the
virtual
engagement
hub
link
on
the
front
page
of
the
city
website,
and
also
linked
on
the
committee
page.
You
can
also
watch
the
meeting
on
the
city's
youtube
channel.
B
C
C
B
And
jeremy
goldstein,
the
vice
chair
is
not
here
today
to
help
our
audience
follow,
follow
along.
I
will
state
each
section
of
the
agenda
aloud
and
do
a
vocal
call
for
each
vote.
If
there's
a
vote
to
be
taken.
Additionally,
I
ask
that
committee
members
raise
their
hand
to
speak
and
I
will
call
upon
them.
We
will
begin
with
the
administrative
items
and
unfinished
business,
and
all
we
have
for
administrative
is
the
approval
of
the
minutes
from
the
may
19th
2022
meeting.
B
C
C
B
C
B
And
I
am
an
I
okay:
the
minutes
are
approved
next,
we'll
move
on
to
new
business.
A
Alrighty
good
afternoon
committee
members
will
pop
quiz
with
planning
urban
design
I'll,
be
giving
a
brief
presentation
about
the
project
and
the
conformity
with
the
downtown
design
guidelines.
We
also
have
the
the
project
applicants
with
us
today.
I
think
they'd
probably
like
to
give
a
brief
presentation
too,
and
then
you
can
ask
them,
and
you
can
ask
me
any
other
questions
you
may
have.
A
A
Alrighty,
so
this
project,
known
as
create
72
broadway,
located
at
72
broadway
street
downtown,
the
existing
property,
is
about
a
quarter
of
an
acre
used
for
surface
parking
and
located
south
of
the
asheville
masonic
temple
and
its
parking
lot
and
then
it's
north
of
existing
two-story,
mostly
commercial
buildings
to
the
south.
A
A
The
project
is
seeking
level
two
review
and,
as
it
is
located
in
a
hotel
overlay
district
downtown,
it
would
it's
seeking
to
bypass
city
council
review
by
seeking
a
favorable
approval
from
this
committee,
and
it
would
also
then
go
for
administerial
review
at
planning
and
zoning
commission
just
to
confirm
that
it
may
it
meets
the
requirements
of
the
unified
development
ordinance.
B
B
Okay,
catherine
on
kaya
has
some
relationship
to
this
project,
so
she's
gonna,
recuse
herself,
so
we're
gonna
do
a
roll
call
vote
and
we'll
start
with
kate
hi,
christina.
C
E
B
E
A
A
As
far
as
other
improvements,
the
the
project
is
proposing
a
new
10
foot
wide
sidewalk,
as
required
as
well
as
street
trees
on
the
broadway
street
elevation,
some
brick
banding
and
a
brick
kind
of
plaza
area
in
front
of
the
main
recessed
entrance
to
the
to
the
building,
and
then
some
areas
reserved
for
some
some
sculpture
or
other
art
as
well.
A
So
overall,
the
project
complies
with
the
design
and
operational
standards
for
the
central
business
district.
Zoning
district
in
the
udo
regarding
siting
in
high
massing
other
development
standards,
such
as
the
requirement
of
the
building
occupy
80
percent
of
the
frontage
compliant
regards
to
the
fenestration
and
opening
requirements,
and
also
at
the
main
pedestrian
entrance,
is
off
of
the
main
primary
street.
A
As
far
as
proposed
materials
go
the
afghan's
proposing
a
a
stucco
finish
insulated
wall
system
finished
in
a
brick
pattern.
A
In
a
medium
iron
spot
color
using
light
gray
wire,
cut
brick
banding
as
an
accent
as
well
as
a
limestone
stucco,
limestone,
colored
stucco
and
a
metal
wall
panel
and
either
like
a
warm
silver
or
pewter
color.
Other
materials
such
as
cobalt
masonry,
brick
aluminum,
storefront,
openings
and
aluminum.
Clad
windows
are
proposed
as
well.
A
We
did
receive
some
updated,
elevations
and
3d
renderings
from
the
applicant.
They
wanted
to
kind
of
clarify
the
the
proposed
color
palette
of
the
materials,
so
those
are
now
posted
to
the
project
folder
on
the
on
the
drc
website,
the
overall
design
layout
and
everything
else.
So
the
project
did
not
change
at
all,
but
I
will
note
that
on
the
non-primary
elevations,
some
columns
and
kind
of
roof
structures
are
now
proposed
on
these
inset
balconies.
A
So
this
is
the
the
north
elevation
now
looking
from
the
existing
parking
lot
more
or
less
the
rear
of
the
building.
This
is
kind
of
these
are
corner
balconies
in
the
center
of
the
of
the
rear.
You
can
see
better
on
the
3d
renderings
and
then-
and
this
was
this
kind
of
red.
More-
is
like
an
open
patio
design.
Now
is
a
two-story,
alchemy
layout
and
also
the
balconies
from
the
from
the
south
elevation
now
have
yeah
these
columns
and
a
roof
over
top.
A
A
The
two
stories
sorry
here
kind
of
correspond
to
the
existing
commercial
structures
to
the
south,
and
then
the
four-story
building
cap
corresponds
to
the
height
of
the
masonic
temple,
to
the
north,
on
the
building
steps
back
and
required
to
at
least
two-thirds
of
the
frontage
above
the
above
the
four-story
height,
as
shown
here
with
the
central
element
going
the
full
nine
stories
you
can
see.
This
is
the
brick
kind
of
proposed
material
and
accented
with
the
other,
lighter
gray
color
here
as
well.
A
So
you
kind
of
see
parts
of
this
from
market
street
as
well,
and
then
the
the
south
elevation,
which
would
be
adjacent
to
the
existing
commercial
structures
here,
are
some
better
renderings
and,
let's
not
you
can
see
some
of
the
balconies
here.
This
is
the
southwest
perspective.
A
This
is
a
southeast
view
of
the
building.
This
is
kind
of
a
larger
balcony
element
that
was
kind
of
read
as
more
of
an
open
patio
before
and
now
it's
like
a
two-story
balcony
kind
of
structure
and
then,
similarly,
these
corner
balconies
now
have
columns
through
them
on
the
corner
and
then
a
roof
on
top.
A
A
A
A
And
then
along
broadway
street,
looking
north,
you
get
a
better
sense
of
how
the
building
would
interact
with
the
streetscape
of
the
existing
building,
such
as
the
coffee
shop
located
here
in
this
green
painted
brick,
and
then
the
proposed
building.
Here
you
can
see
you
can
kind
of
get
a
sense
of
how
the
kind
of
two-story
existing
context
would
relate
to
to
the
new
building
here
and
then
across
the
street.
A
And
then,
finally,
looking
north
up
market
street
and
you
would
see
kind
of
the
the
south
elevation,
mostly
from
that
view
as
well.
A
So
just
to
summarize
some
of
the
key
takeaways
that
are
that
have
noted
in
the
staff
report.
The
staff
fines
of
the
project
is
largely
compliant
with
the
downtown
design
guidelines,
including
requirements
about
orientation
and
lot
layout,
such
as
a
zero
front
setback
line.
A
A
Encouraging
the
use
of
a
recessed
entrance,
as
proposed
here
project
also
complies
with
the
height
standards
for
the
traditional
downtown
core,
including
the
four-story
step
back,
and
then
the
limit
on
the
amount
of
square
footage
for
structures
of
75
feet
as
well.
A
Let's
see
project
also
complies
with
the
requirement
for
at
least
70
percent
of
the
ground
level,
facade
on
broadway
to
be
composed
of
windows,
doors
and
openings,
and
also
the
minimum
requirement
of
percent
of
upper
stories
being
composed
of
windows
and
openings
as
well.
A
The
project
is
only
partially
aligned
or
not
aligned
with
one
design
element,
which
includes
the
use
of
authentic
materials
which
are
encouraged
and
that
other
simulated
finished
systems
should
not
be
used,
so
the
project
does
propose.
You
know
synthetic
wall
systems
and
metal
panels,
but
staff
does
find
that
their
overall
appearance
is
compatible
with
with
properties
and
buildings
nearby.
A
However,
they
are
not
authentic
materials
and
then
just
some
history
on
the
on
the
project
and
the
review
of
it.
It
has
been
reviewed
four
times
already
by
the
design
review
committee
in
an
informal,
informal
review
capacity.
A
Just
some
highlights
about
the
most
recent
review
and
some
of
the
comments
voiced
by
the
committee
members
such
as
there
was
not
a
clear
rationale
for
the
use
of
the
change
in
materials
throughout
the
design
which,
I
think
has
been
addressed
for
the
most
part
in
this
submission
also
concerns
that
the
central
bay
of
the
main
facade
did
not
have
a
consistent
material
use
as
well,
and
that's
been
addressed
as
well.
A
Also,
the
lack
of
a
clear
relation
relationship
between
the
lower
portion
of
the
building
and
the
upper
portion
of
the
building
and
I'll
leave
that
to
you
all
to
you
know
some
it's
somewhat
subjective,
but
the
downtown
design
guidelines
suggest
there.
There
should
be
a
clear
differentiation
between
the
lower
cap
of
the
building
and
the
upper
stories.
A
But
you
know,
I
think,
finding
the
right
balance
between
between
those
elements
is
probably
what
the
committee
was
looking
for
overall
and
then
the
request
that
there'd
be
more
street
level
renderings
of
the
project
with
which
the
applicants
did
submit
for
for
this
review.
A
The
project
was
also
shared
with
the
downtown
commission
at
its
june
10th
meeting
last
week,
and
there
were
a
number
of
comments
and
concerns
voice
of
that
meaning
as
well
such
as
that
the
project
should
incorporate
a
green
roof
or
similar
low
impact
or
green
design
features,
but
a
more
detailed
rendering
be
provided
to
show
the
proposed
public
artwork
at
the
northwest
corner
of
the
building.
A
There
are
also
some
concerns
about
the
the
safe
ingress
and
egress
from
the
parking
garage
on
to
broadway
street,
especially
for
vehicles
that
are
going
to
be
leaving
the
garage
and
turning
left
and
then
also
request
that
there
be
details
provided
of
the
brick
and
metal
panels,
such
as
the
pattern
of
the
overall
brick.
The
joint
pattern,
the
trim
and
other
details
as
well.
A
I
will
note
that
the
you
know
the
revised
submission
was
received
yesterday
right
around
five
o'clock,
so
there's
not
been
a
lot
of
time
for
the
committee
or
the
public
to
you
know,
review
some
of
those
balcony
changes
and
material
refinements.
So
you
know
leave
it
to
that
discretion
of
the
committee
about
whether
they
feel
those
those
changes
are
significant
or
require
more
study.
A
But
I'd
be
happy
to
answer
any
questions
in
the
meantime
or,
if
you'd
like
to
hear
from
the
applicant.
I
know
they
have
some
more
information
and
clarification.
They'd,
probably
like
to
share
with
you
all
as
well.
D
Well,
I
don't
know
if
this
is
the
appropriate
time.
We
did
have
a
public
comment
that
specifically
asked
if
the
project
was
encroaching
on
the
alleyway.
Is
that
something
you
can
address?
Yeah
knowledge?
It
is
not.
A
Yeah
that's
correct.
I've
been
I've
been
in
conversation
with
the
with
that
person
as
well,
who,
I
believe,
other
owns,
who
represents
property
on
market
street?
I
might,
I
might
put
them
in
touch
with
with
mr
sugg
to
go
over
some
more
of
the
details,
but
yeah
the
project
is
proposed
on
its
current
parcel
outline,
the
private
alley
behind
broadway
kind
of
dead
ends
at
the
at
the
back
portion.
This
is
the
private
alley
here.
B
F
Yes,
robin
thank
thank
you
and,
and
the
design
committee
for
your
time
the
couple
of
clarifications
I'd
like
to
make
that
regarding
the
materials
I
just
want
to
make
sure
everyone
understands
that
the
stucco
part
of
the
building
is
the
only
part
that
will
be
a
stucco
type
finish.
The
two
brick
elements.
Those
are
going
to
be
real
brick,
whether
they're
a
thin
brick
with
a
rain
screen
or
an
actual
full
depth.
Brick
that
will
be
real,
brick
masonry.
F
So
I
just
want
to
make
sure
that
that's
that's
clarified
and
then
the
other
question
about
the
columns.
Yes,
I
realized
that
so
last
minute
item,
but
it's
more
of
a
it's
a
structural
issue.
F
It
would
need
to
be
in
the
project
anyway
in
order
to
support
the
the
balconies,
and
I
just
felt
it
was
important
to
put
those
in
there
as
a
placeholder
and
I
think,
they're
from
our
standpoint,
they're,
in
compliance
with
the
general
design
guidelines
which
don't
really
discuss
columns
but
they're
part
of
the
architecture
of
the
building
and
then
to
the
the
question
about
the
art
piece
on
the
northwest
corner,
we're
showing
it
as
a
right.
F
Now,
as
a
placeholder,
the
owner
intends
to
commission
someone
to
design
something
a
an
installation
piece
on
that
corner.
But
if
you
look
at
the
3d
rendering
drawings,
you
can
see
that
what
we're
doing
to
answer
brian's
earlier
question
from
the
downtown
commission
meeting
we're
just
wrapping
the
corner
with
the
same
brick
pattern
that
appears
on
the
front
of
the
building
on
the
side
of
the
building.
F
F
So
other
than
that,
that's
will's
presentation
covered
everything
that
we
were
prepared,
break
it's
the
two
colors
and
what
I'd
like
to
do
to
so
we
can
talk
about
materials
for
a
minute,
I'm
going
to
take
our
camera
and
point
them
point
to
point
out
the
actual
materials.
But
do
you
want
me
to
answer
kim's
question?
First,.
B
F
Yes,
no,
it's
all.
The
intention
is
believe
that
I'll
be
thin
brick
and
the
advantage
of
that
it
has
a
better
range
screen
type
system
for
vending,
moisture
or
we'll
use
a
more
traditional
brick.
That's
three
and
three
five
eighths
inches
thick
with
a
thicker
drainage
point,
but
the
appearance
of
the
brick
will
be
the
same,
regardless
of
whether
it's
a
thin,
brick
or
not,
and
at
the
corners
you
won't
see
a
thin
edge.
It'll
it'll
be
an
l-shaped,
brick
element
that
will
appear
to
be
the
true
thickness
of
a
brick.
C
F
Let
me
thank
you
indulge
just
for
a
minute.
Okay,
we're
gonna,
try
something.
F
See
that
you
see
the
materials,
so
all
right,
that's
the
glass
we're
going
to
use
it's
a
clear
glass
that
has
the
code
required
solar
heating
coefficient.
That's
the
this
spring
right
here
is
going
to
be
the
dark
brick
that
you
see
as
the
dark
brick
in
that
rain
and
that's
the
light
brick.
F
F
This
silo
system
is
most
likely
will
be
stall
private
and
it's
it's
designed
to
be
it's
multi-layers.
It
has
a
range
screen
to
it
that
allows
for
continuous
insulation,
which
is
this
blue
board
here.
The
nice
thing
about,
I
know,
there's
a
lot
of
controversy
about
stock
osa,
desirable
material
is
one
of
the
few.
F
Standpoint-
this
is
very,
you
know,
very
high
quality
material
for
that
category.
So
that's
what
the
ecosystem
recycle
system
will
be
and
then
the
metal
panel
again,
we
do
not
think
that
a
corrugated
panel
is
appropriate
for
downtown,
so
we're
proposing
is
a
metal
grid
panel.
This
is
from
a
company
called
dry
design
and
what
this
is
a
system
that
works
with
a
arranged
screen
and
with
continuous
insulation,
so
there's
a
good
insulating
barrier
to
the
building.
F
This
is
probably
a
shape
darker
than
more
propulsive
use,
but
this
is
the
only
sample
that
we
could
secure
at
this
time.
The
color
is
intended
to
be
more
of
a
cuter
silver
color
will
be
a
little
bit
lighter
and
then
the
the
final
main
material
that
we're
proposing
to
use
for
all
the
windows
in
the
storefront.
F
Is
this
clear,
anodized
aluminum
that
it's
not
typically
in
that
half?
So
it's
a
fairly
common
material
that
goes
in
the
glass
to
fit
in
like
so.
C
I
F
No,
it's
a
single
skin.
It's
dry
design
is
an
interlocking
panel
that
screws
in
through
a
substrate,
so
there'll
be
a
an
insulating
panel
behind
it
or
insulation
layer
that
you
know
or
to
meet
the
r16
requirement.
G
No,
I
have
a
different
question.
That's
why
I
wanted
to
wait.
B
Okay,
stephen
lee.
E
I
just
had
a
couple
of
quick
questions
about
the
site,
maybe
before
we
moved
into
the
architecture,
if
y'all
don't
mind,
but
hey
peter
just
wanted
to
make
sure
the
final
intention
on
the
streetscape
is
what
is
showing
in
the
architectural
rendering
is
that
correct?
It
looks
like
it's.
Maybe
the
civil
hasn't
been
updated
to
reflect
your
new
ideas.
F
That's
what
we're
going
with
that,
and
I
don't
know
if
I
know
warren
is
on
the
call
here,
but
they
haven't
moved
forward
showing
this
in
their
drawings.
Yet
they
will
have
this
for
planning
and
sawing.
But
this
is
the
intention.
E
That
that
sounds
good.
I
completely
understand
the
the
reasoning
behind
that
as
well.
Just
just
wanted
to
make
sure
this
was
the
one
that
you're
all
talking
about.
So
I
would
like
to
request
that,
because
all
new
projects,
downtown
especially
the
cbd
and
especially
at
hotels,
are
doing
this,
but
just
to
make
sure
that
the
street
trees
are
in
silver
cells
or
some
type
of
structured
soil
system.
E
I
don't
think
the
deep
the
current
detail
has
that
and
that
may
have
already
been
changed,
but
the
other
is
just
really
on
the
metal
sculpture.
I'm
going
to
let
I'm
going
to
ask
the
architects
to
talk
about
that
more,
but
in
terms
of
kind
of
the
pedestrian
experience.
E
I
know
it
sounds
like
the
developer's
intention
is
our
absolute
best
at
this
point,
but
I
think
that
for
such
an
important
corner
on
a
streetscape
and
for
such
a
big
building,
it's
hard
to
kind
of
you
know
get
it
excited
about
something
that
we
can't
see
other
than
just
a
label
that
says
metal,
sculpture
on
a
building
of
this
size.
It
would
be
great
if
there
were
maybe
there
was
an
artist
conceptual
concept
that
was
able
to.
E
Let
us
know
that
there
was
a
firm
commitment
for
a
really
high
quality
piece
that
may
be
integrated
into
the
building
more
in
some
way,
but
that's
just
a
thought.
I
know
this
is
a
large
complex
project,
so
it
would
be
great
to
be
able
to
see
that
develop
a
bit
further
and
a
question
for
staff.
Does
something
like
that
have
to
go
before
the
public
art
board
just
for
approval?
They
really
don't
have
input
on
the
on
it.
Do
they.
A
E
Because
I
guess
you
know
part
of
this
is
being
shown
in
the
public
right-of-way
that
square
that
says,
metal,
sculpture
and
the
idea.
The
basic
idea
and
concept
are
really
exciting,
but
that's
about
it.
There's
there's
not
really
much
more
to
get
excited
about,
but
the
potential
is
huge,
so
I'm
going
to
toss
it
back
to
everybody
else.
At
this
point.
F
F
Once
we
have
more
information,
then
we'd
be
perfectly
happy
to
do
that,
but
I
would
not
want
to
and,
as
you
know,
I
hope
would
agree
with
us.
We
don't
want
to
hold
up
the
project
moving
forward
for
something
that
we
can't
even
define
yet
and
yes,
it
is
a
very
important
part
of
the
building
and
it
is
going
to
require
more
thought.
But
all
we're
doing
here
is
just
showing
where
the
opportunity
is.
G
Jim
yeah,
so
actually
this
is
the
part
I
wanted
to
talk
about
anyway.
So
I
have
a
couple
of
questions
peter
and
just
actually
comments
so
number
one.
I
I
believe
that,
although
it's
beautiful
the
entrance
is
very
crowded
with
the
sculptures,
the
bike
racks.
You
know
when
we
think
about
mobility.
Plus
you
have
egress
and
ingress
of
vehicles.
G
It
can
get
really
clustered
it's
a
highly
multimodal
street
in
terms
of
people
who
are
walking
and
using
other
modes
of
mobility.
G
So
I'm
wondering
number
one:
is
there
an
opportunity
to
move
the
bike
racks
like
within
the
you
know,
first
several
feet
of
where
the
the
cars
are
going
and
maybe
have
some
signage
for
folks
who
need
to
park
their
bike
rack.
So
we
can
clean
up
the
sidewalk
space.
Number
two
crate
72.
G
The
word
create
to
me
suggests
that
there's
a
little
bit
more
vibrancy
and,
as
I
mentioned
last
week,
I'm
concerned
about
this
corridor
specifically
because
so
much
of
the
existing
buildings
are
using
light
as
reflection
in
the
large
windows
and
that
street
activation
in
the
windows
where
this
building
that
first
two
floors,
although
there
it
meets
criteria,
we're
getting
absorbative
light
with
the
brick
and
so
without
the
balance
of
additional
reflective
pieces,
whether
that's
additional
lighting
or
other
ways
of
using
reflection
as
a
tool
for
visibility.
G
It
feels
very,
I
think,
whatever
creative
piece
you
put,
there
could
be
a
hindrance
and
rather
than
showcasing
the
building,
as
you
know
what
it
is
and
also
a
creative
element
of
this
side
of
the
street.
So
I
just
wanted
to
besides
my
comments
I
wanted
to
actually
ask
you
know:
is
it
possible
to
move
the
bike
rack
to
make
sure
there's
better
mobility
for
for
pedestrians
and
those
who
are
in
wheelchairs?
F
Well,
the
the
bike
racks
can
always
be
moved
to
another
location
on
the
project.
I
think
that's,
but
we
need
to
comply
with
what
the
designing
requirements
are.
And
yes,
we
can
look
at
that
in
more
detail.
As
far
as
the
lighting
of
the
building
the
interior
lighting
of
the
first
two
levels
will
be
on
probably
most
of
the
day
but
and
night,
but
also
keep
in
mind
that
we
have
four
fairly
large
wall
sconces
along
the
front
of
the
building
that
shine
down
on
the
sidewalk.
C
B
J
Yes,
I
was
just
going
to
add
that
you
know:
we've
got
some
street
tree
requirements
that
we
have
to
do
here
and
obviously
eric
and
peter's
model
here
has
some
we've
got
to
get
three
along
this
along
this
frontage,
or
else
we've
gotta,
you
know,
vary
from
from
code
a
bit.
We
also
have
a
water
connection
and
a
sewer
connection,
and
I'm
geeking
out
on
that
a
little
bit
in
that
the
water
line.
J
As
you
move
further
north,
it
is
actually
closer
and
on
our
side
of
the
center
line
and
that's
important,
because
as
we
make
that
connection
and
broadway
being
what
it
is,
we
need
to
try
to
minimize
the
disturbance
of
travel
lanes
and
if
we
can
keep
that
waterline
connection
further
to
the
north.
If
you
go
to
sheet
yeah
you're,
getting
really
close
now,
you'll
start
to
see
that
we
can
make
a
connection
and
hopefully
not
have
to
get
over
into
the
opposing
travel
lane.
J
We
still
have
to
do
that
for
the
sewer
and
that
doesn't
really
change
much.
We
also
you
can
see
the
the
gray
area
there,
this
kind
of
dash.
That
starts
to
show
you.
We
have
to
chase
storm
all
the
way
up
to
the
intersection
up
at
is
that
woodfield
or
whitman
road.
I
think
because
there
is
no
storm
drainage
right
now
in
this
section
of
of
broadway.
J
D
F
Strictly,
not
the
public
benefits
are
the
affordable
housing
for
the.
I
believe
it's
100
points
and
then
because
part
of
this
is
going
to
be
operated
as
extended
stay
facility,
they'll
be
paying
living
wages,
so
the
the
art
piece
is
optional
and
then,
of
course,
the
the
green
roof
is
optional
as
well,
but
it's
something
that
the
owner
would
really
like
to
put
in
the
project.
D
Okay,
I
I've
got
further
comments
about
a
little
a
few
other
things
about
the
building,
composition
and
stuff,
but
I
I
really
think
this
artwork
piece
is
important.
I
think
the
mobility
piece
that
kim
identified
is
is
important.
I
think
I
still
think
that
that
using
the
the
artwork
for
this
to
make
the
corner
special,
I
I
would
prefer
to
see
you
do
that
in
the
building
or
go
ahead
and
show
us
what
you're
doing
with
it
then
then
have
that
as
the
placeholder.
D
I
think
I
think
I
understand
what
you're
trying
to
go
for
and
stuff
here.
It's
just
it's
a
it's
a
bit
of
a
question
mark
right
now,
it's
such
a
gateway
piece
to
the
building
itself
that
that
I
wish
I
knew
how
it
was
actually
being
addressed
and
I'll
hold
the
balance
of
my
comments
for
for
later.
On.
F
Well
again,
we
we
don't
know
what
it's
going
to
be.
Yet
you
know
it's
not.
D
K
D
Tend
to
to
provide
this
to
the
to
to
someone
and
say
you
will
wrap
it
around
the
corner,
the
way
it's
shown
and
there
will
be
a
piece
out
in
the
public
right-of-way
is
that
are
those
two
things
going
to
definitely
happen,
or
is
it
going
to
be
a
waterfall
thing?
That's
coming
over
the
edge
of
the
parapet,
you
know
coming
down
the
building
or
is
it
you
know,
in
other
words,
does
the
how
much,
how
much
of
a
give?
How
many
givens
are
you
going
to
hand
to
the
well.
F
Brian,
we
don't
know,
I
mean
it's,
it's
a
it's
an
idea,
it's
not
anything
more
than
an
idea
right
now
and
what
what
will
do
is
we'll
just
completely
remove
it
from
the
scope
right
now
and
when
we
have
more
information
about
what
it
can
be,
we
can
come
back
to
design
review
and
have
a
more
formal
presentation
of
it.
But
it's
not.
F
B
K
I
just
have
a
quick
question:
warren
the
trees
where
he's
saying
that
they're
going
to
be
there's
going
to
be
three
now
in
the
front
and
then
will
there
be
one
in
the
location
next
to
the
proposed
art
piece
right
now,.
J
So
we
we
do
have
some
site
plans
in
there
that
show
three.
We
show
them
all
on
the
south
side
of
the
entrance
and
the
reason
being
is
we
have
a
water
connection
for
water
fire.
We
have
storm
coming
out
of
the
building.
We
also
have
sewer
that's
coming
out
of
the
building
and
a
master
meter
that
all
need
to
sort
of
occupy
some
space
there.
J
J
J
I
did
hear
steve
and
lee
say
a
moment
ago
that
each
of
these
would
be
so
silva
cells.
So
I
guess
we'll
look
into
that.
That'll
extend
some
of
the
storm
pipe
further
up
or
down
broadway,
but
yeah.
Those
are
the
the
things
we're
looking
at.
K
B
C
J
Potentially,
I
guess
it
depends
on
what
staff
thinks
about
the
tree
being
closer
to
the
entry
point
there
site
visibility.
Obviously,
they'll
have
to
limit
up
to
to
have
that
three
to
ten
foot
area
that
ken
and
chris
carnes
won't
but
yeah.
I
just
wanted
to
throw
it
out
there
just
so
we
understood
we
were
either
giving
three
and
we
were
putting
them
somewhere
else,
or
we
were
asking
for
some
sort
of
leeway
on
that.
D
Ryan,
if
we're
ready
to
move
to
the
building,
can
you
pull
up
the
the
the
main
building
elevation?
I
guess
the
west
elevation
on
the
updated
or
that
one's
fine
so
guys.
I
I
feel,
like
this
project
has
come
a
long
way.
I
I
I
both
like
and
want
to
like
this
project,
a
good
bit
I
still
feel
like,
so
I
like
the
proportions
when
I'm
looking
at
the
building
in
this
in
in
this
frame.
D
D
And
when
I
look
at
the
building,
though,
if
you
could
pull
up
the
street,
if
you
there's
a
view
from
entering
town
from
that's
it,
I
think
that's
the
one
does
that
one
scroll
up
trying
to
find
mine
yeah.
So
when
I
look
at
it,
it
looks
like
it's
the
way
it
just
goes
back
and
stops
like
that.
D
It
feels
like
it's
just
kind
of
tacked
on
and
there's
no
depth
to
it
and
I
either
want
to
pull
it
down,
and
I
want
to
see
the
white
piece
as
a
as
a
single
piece
or
I
want
to
see
that
piece
go
back
or
something
there's
just
something
about
the
way
that
tower
feels
kind
of
like
it's
just
barely
attached
to
the
building.
D
D
I'm
reading
the
bass,
I'm
reading
that
second
brick
piece,
I'm
reading
the
tower
I'm
reading
this
the
metal
panel
and
I'm
not
overly
fond
of
the
way
it
kind
of
l-shapes
over
the
stucco
piece,
but
it's
still
somewhat
making
some
sense.
It's
just
that
tower
still
not
integrated.
It's
not
it's
own,
it's
partly
its
own
thing,
but
how
it
integrates
with
that
white
piece
behind
it
is
not
is
not
quite
there
yet
at
least
to
me,
and
then
I
still
think
this
corner.
D
If
we're
going
to
remove
the
artwork,
I
don't
I
don't
know,
I
know
that
there
might
be
another
building
up
against
it
at
some
point
in
time-
and
I
know
you
don't
want
to
you've
already
got
the
primary
and
the
secondary
and
the
pedestrian
and
the
vehicular,
and
this
is
going
to
be
at
best
tertiary,
but
it
feels
like
it's
it's
just
not
quite
there
yet
that
corner
so
that
that's
the
balance,
I
think
of
kind
of
where
I'm
at
right.
Now.
I
think
I'm
fine
with
the
materials
I
like
that.
B
I
think
this
is
the
most
important
view
of
the
project,
because
this
is
the
gateway
to
downtown
there's
the
masonic
temple.
This
is
this
is
the
most
important
view
in
my
mind,
more
than
a
flat
on
elevation
or
anything.
This
is
the
most
important
view
and
I
do
think
that
that
corner
with
or
without
the
artwork
needs
to
be
special,
but
I
do
see
what
you're
saying
about
the
tower
would
would
it
help
if
the
parapet
extended
back
a
little
more,
so
it's
a
little
less
wild
west
saloon
kind
of
thing.
I
don't
know.
F
F
That's
option
one
option
two
is
we
can
extend
the
element
back
over
the
top
of
the
roof
and
have
it
read
as
a
bigger
you
know,
it
will
read,
is
deeper
from
this
vague
point
yeah.
So.
D
Options
too
peter
when
I
sketched
that
the
the
option-
one
and
I
kind
of
liked
it
like
when
I
was
looking
on
a
bird's
eye
view,
because
then
that
white
piece
felt
like
it
was
a
thing
and
then
this
the
and
it
was
a
the
tower.
But
then
the
tower
became
less
important
and
the
I
had
to
pull
it
down
pretty
far
to
get
that
to
get
that
sense
of
it
going
across
and
for
it
to
read
of
it
as
its
own
thing.
So
it
didn't
make
any
sense.
D
So
I
think
I'm
more
in
the
option
too,
where
the
tower
looks
like
it
extends
back
into
the
building
more
like
it's
cutting
that
the
the
white
piece
actually.
F
Well,
we
can
certainly
add
depth
to
the
tower
element.
That's
from
a
construction
standpoint
for
an
architectural
standpoint
that
that's
easily
doable,
and
I
I
agree
with
you,
brian
that
you
would
have
to
bring
the
tower
element
down
quite
a
bit
for
the
strip
of
metal
to
read
properly.
Then
you've
lost
the
power
element
as
the
main
element,
but
regards
to
the
corner
it
in
our
minds.
F
How
is
it
different
than
any
other
corner
on
any
other
building
in
the
in
downtown?
The
reason
I
say
that
is
because
at
some
point
in
the
future,
there'll
be
a
building
in
that
site
and
it's
the
same
set
of
issues
on
any
of
the
buildings
that
you
see
in
this
photograph
right
now,
right
at
the
corner,
where
the
medical
dry,
cleaner
building,
is
it's
just
a
turned
corner
the
corner,
where
the
masonic
watches,
that's
just
a
turned
corner,
there's
no
other
articulation
other
than
the
banding,
the
bass,
the
brick.
F
Now
I
could
see
I
mean
we
would
never
present
this,
but
I
could
see
a
real
problem
if
you,
you
know,
if
we
designed
this
thing,
so
the
brick
turned
back
two
feet
and
then
we
picked
up
stucco
all
the
way
back.
That
would
have
looked
like
a
piece
of
cardboard
flopped
up
there,
but
this
is
going
to
be
continuous,
brick
all
the
way
around.
F
F
F
D
F
F
H
C
F
F
And
then
the
up
top
here
I
don't
know
if
we
can
do
this
easily
in
the
model,
but
we
would
take
this
element
stretch
it
back.
I
don't
know
six
eight
feet
back
onto
the
roof
and
have
it
so
that
you
can't
you
that
it
reads
is
a
true
tower
element:
puncturing,
the
the
front
wall.
B
Peter,
I
think
part
of
the
problem
with
the
rendering
that
will
had
on
the
screen
is
that
metal
panel
in
that
rendering
is
reading
as
a
light
gray,
plain
non-articulated
thing,
and
that's
not
what
it's
going
to
be,
and
I
think
that
I
think
that
in
that
rendering
you
have,
I
think,
that's
why
there's
a
problem
with
that
rendering
and
that's
why
we're
saying
it's
important
and
it
needs
to
be
more
special,
is
because
you,
you
see
this
gray
blob,
that's
not
articulated
and
the
metal
panel
you
showed
us
was
a
dark
brown
color
with
some
deep
reveals
and
there's
going
to
be
some
articulation
there.
B
D
And-
and
you
know,
I
think
with
that
corner
the
way
you've
got
it
set
up
now
with
the
way
the
building,
recesses
and
you've
got
some
plants
on
that
on
on
that
balcony
above
it
I'm.
Actually
I'm
actually
pretty
good
with
this
folks
I
mean
the
building
is
not
the
corner.
You
know
they
didn't
put
the
entrance
on
the
corner.
It's
it's
it's
supposed
to
be
understated,
because
the
the
main
entrance
is
the
main
entrance.
D
They've
got
the
the
the
primary
secondary
tertiary
set
up.
I'm
I'm
I'm
okay
with
this,
and
then
they
get
the
like.
You
said
robin:
they
get
the
material
set
up,
I'm
okay
with
that
and
then
that
tower
gets
fixed,
maybe
or
better
if
it
gets
extended
back.
I
think
that
helps
without.
D
Changes
now
I
still
have
an
issue
honestly
peter,
so
I
think
extending
it
back
is
good,
there's
something
going
on
with
the
the
the
the
lack
of
detail
and
articulation
between
the
the
the
head
of
the
window
and
that
top
of
the
parapet,
and
I
I
don't
know
what
to
tell
you
how.
F
You
what
that
that
could
be
accomplished
with
adding
some
additional
banding
or
a
unique
band
that
you
know,
maybe
I
don't
know.
F
Yeah
yeah
some
some
type
of
something
that
could
be
done
with
brick
masonry,
because
I
think
we
all
agree.
We
don't
want
to
add
any
more
materials
to
this.
Just
because
there's
already
it's,
we
don't
need
more.
It
just
needs
to
be
more
articulated
there
and
we're
perfectly
fine
doing
that.
B
B
I
About
that
that
top
of
that
tower,
the
that
whole
tower
has
what
are
relatively
small
windows
with
you
know
compared
to
the
the
the
ones
on
the
metal
panel
on
that
front
facade,
and
maybe
what
happens
is
there's
a
you
know,
there's
a
change
in
the
way
that
wall
is
treated
and
then
those
windows
get
bigger
or
something
like
that,
so
the
you
can
add
more
height
to
that.
To
that
point,
I
think
that
there's
a
lot
of
opportunity
there.
You
know
different
things
that
you
can
do.
I
You
can
add.
You
know
different
bands
or
articulation
of
the
brick
above
something
like
that,
but
I
agree
I
mean
that's,
that's
always
had,
as
brian
says,
a
big
forehead
which
it
it
it
doesn't.
It
doesn't
need
to
have
and
I'm
I
also
share
the
concern
about
the
tower
looking
tacked
on.
I
I
think
extending
it
back
will
help
you
know
looking
looking
at
that
view
from
the
street,
you
know
coming
looking
looking
south
it
really
just
I
mean
when
I
when
I
first
saw
that
I
was
like
that.
That
thing
looks
like
it's:
gonna
fall
on
the
street
and,
of
course
it's
not,
but
that's
what
it
looks
like
which
is
you
know
this
is
why
we
want
to
look
at
things
from
different
angles.
I
I
I'll
I'll
preface
my
comments
by
saying
that
I
agree
this
building
has
come
a
long
way
it
it.
Hopefully
you
guys
feel
the
same
way.
I
It
there's
there's
still,
you
know,
I'm
I
I
agree
with
brian
there's,
there's
something
very
weird
about
that
l
shape
and
I
would
I
I
would
suggest
instead
of
this
sort
of
you
know,
you've
got
that
the
the
ef
is
going
around
under
that
metal
panel.
Like
that,
I
might
change
the
efus
to
do
something
different.
You
know,
there's
there's
something
you
know
very
compelling
about
the
way
that
you
know
the
building
has
the
massing
has
been
scooped
out
in
some
places.
I
You
know,
maybe
the
you
know
in
order
to
clarify
that
you
know
that
if
this
could
happen
vertically,
so
the
everything
above
the
brick
is
essentially
metal.
I
Panel
you've
got
you've,
got
almost
like
one
two,
three
four
datums
into
the
depth
of
the
of
the
of
the
mass
you
have,
the
the
part
below
with
the
with
the
banding
you've
got
the
part
above
you
know,
brick,
you
know
without
the
banding,
and
then
you
have
metal
panel
which,
even
though
it's
on
the
same
on
the
same
plane
as
that
brick
without
the
the
banding
it
it
still
reads
as
a
different
thing,
because
it's
set
back
on
the
front
so
as
a
as
a
as
a
volume
as
a
mass,
it
can
read
differently,
even
though
that
side
is
on
the
same
plane,
but
then
where,
where
everything
is
scooped
out
anywhere
from
that
that
wall
datum
it.
I
You
know,
especially
you
know,
if
you
look
if
you're
looking
at
the
southeast.
No
sorry
this
northwest
northwest
yeah,
which
is
the
the
side
that
would
be
this.
This
view
just
decided,
we'd
be
looking
at.
You
know
that
that
void
there
in
the
in
the
middle
and
then
you
know
you
have
a
you
know
similar
void
towards
the
back
at
the
top.
I
You
know
you
still
have
the
same
amount
of
materials,
but
I
think
you
have
a
much
more
successful
articulation
because
you're
now
you're
you're
expressing
the
way
that
you
know
or
are
not
expressing,
but
highlighting
the
way
that
the
mass
has
been
sculpted,
that
the
you
know
the
voids
and
salts
and
voids
on
the
on
the
mass
have
been
sculpted
the
the
thin
volume
in
that.
I
Because,
then
you
could
treat
you
know
you
could
treat
everything
or
most
of
what's
in
there
with
one
material
and
say:
okay,
the
you
know
the
universe
that
exists
within
the
void
that
we
sculpted
out
of
this
mass
is
something
different
than
the
rest
of
the
building
and
then
on
the
metal
panel.
You
know
I
you
when,
when
we
talked
about
this
during
the
downtown
commission.
I
And
we
talked
about,
you
know
whether
it's
corrugated
or
smooth
or
what
first
of
all
I
mean
right
now
that
this
has
what
looks
like
a
two
by
four
pattern
that
relates
to
nothing
and-
and
you
know,
obviously
that's
a
problem.
Hopefully
that
will
get
fixed.
I
I
don't
know
that
a
two
by
four
pattern
is
what
you
want,
because
it
you
don't
that's
not
the
module
hat
you
have,
but
I
would,
I
would
also
suggest
to
you
know,
be
playing
with
that,
especially
if
you
have
that
that
reveal
system
that
you
can
play
with
you're
gonna.
You
know
this
panel
is
gonna,
have
depth
to
it.
It's
not.
You
know
it's
not
just
you
know
interlocking.
C
I
Just
seems
like
a
different
building,
you
know,
there's
no,
there's
no
relationship
between
the
white,
the
metal
panel
building
and
the
brick
building,
at
least
not
one,
that's
expressed
very
clearly,
and
if
you
you
know
playing
around
with
those
joints
and
and
modulating
those
joints
and
allowing
those
joints
to
inform
whatever's
happening
on
the
brick.
You
know
back
and
forth
having
a
dialogue,
I
think
that's
going
to
tie
these
things
together,
really
well.
C
C
A
Shoot
again
christina.
C
A
Is
that
elevation.
C
I
the
center
for
crea
craft,
is
so
it's
such
an
elegant
building
with
the
glass
and
the
brick
detailing,
and
I
think
that
this
building
is
attempting
to
mimic
that,
but
it's
so
literal
and
it's
it's
unfortunately
just
not
as
elegant,
and
I'm
wondering,
if
maybe
the
high
contrast
banding
is
too
literal
of
a
a
mirror
image,
if
maybe
toning,
that
down
could
help
the
other
and
also
you
know
the
center
for
craft
was,
I
think
it's
an
older.
C
It's
I
think
it's
a
1912
building
and
this
this
design
in
general
gives
off
like
this
art
deco,
like
ziggurat
vibe,
which
is
but
it's
mimicking
this
building.
That
has
nothing
to
do
with
art
deco.
So
I
find
that
kind
of
strange.
H
C
Then,
if
you
can
go
to
the
south,
oh
sorry,
I
also
am
curious
about
where
you're
transitioning
for
the
thin
brick,
because,
although
we
hope
it
looks
the
same,
the
thin
brick
often
does
not
look
the
same,
and
so
I'm
curious,
where
you're
going
to
make
that
break
and
how
you're
going
to
keep
it
in
the
same
plane
and
then
just
the
last
comment
about
the
metal.
I
agree
with
what
ricardo
was
saying
and
to
me.
It
just
has
this
really
institutional
feel
that
doesn't
match
the
rest
of
the
building.
F
Well,
the
transition
from
the
the
full
thickness
brick
to
the
thin
brick
will
be
at
the
second
floor
line
where
we
have
a
band,
so
that
would
allow
it
to
step
back
the
same.
F
We
will
be
choosing
a
brick
manufacturer
that
can
make
both
the
full-size
brick
and
the
thin
brick
from
the
same
clay,
so
the
color
will
be
the
same,
and
the
corn,
the
outside
corners
and
the
inside
corners
in
the
thin
brick
will
all
read
as
full
depth
bricks.
So
you
won't
have
the
you
know
it
will
look
like
a
piece
of
cardboard.
F
You
know
with
an
eye
exposed
corner
in
terms
of
the
you
know
the
materials
we
you
know
what
we're
trying
to
do.
I
mean
we're
pulled
in
multiple
ways
here,
because
the
guidelines
are
very
ambiguous
in
terms
of
base
middle
cap
or
similar.
F
Pallet
of
materials
that
are
typical
in
downtown
proportions,
things
that
aren't,
you
know
they
leave
room
for
interpretation,
and
this
is
our
interpretation
of
what
a
building
ought
to
be
on
this
site
that
it
and
we've
been
asked
by
this
group
to
use
brick.
That's
been
received
very
positively
in
our
past
meetings
and
that
we
feel
it's
the
appropriate
material
to
have
on
this
site
and
that
the
the
articulation
with
the
banding
makes
the
building
richer
than
it
would
be
if
it
were
just
one
brick
collar.
F
So
we
feel
very
strongly
about
that
as
far
as
the
metal
panels,
we
want
to
change
the
material
so
that
the
building
read
as
part
of
it
being
a
new
building
on
this
site,
but
at
the
same
time
having
brick
masonry,
which
is
a
major
material
on
this
street
at
a
height
that
was
compatible
and
integral
with
the
existing
streetscape.
So
there's
logic
and
rationale
behind
that
ricardo.
F
In
terms
of
your
your
comment
about
the
towers
and
where
the
material
changes
and
things
like
that,
I
I
think
I
understand
what
you're
saying,
but
I
want
to
be
clear
about
the
articulation
on
the
panel.
We
we
at
this
point
in
the
design.
The
decision
is,
it's
going
to
be
a
flat
panel.
It's
going
to
have
some
type
of
alignment,
it
needs
to
align
with
window
with
the
opening
so
that
it
makes
sense
architecturally
and
as
an
image
and
that's
the
direction
we're
going.
F
The
direction
we're
not
going
in
is
it's
not
going
to
be
corrugated
metal?
So
the
only
thing
we
can
really
present
at
this
time
is
that
this
is
the
type
of
metal
we're
going
to
use,
and
this
generally
is
what
the
the
detailing
will
be
in
terms
of
the
grid.
It
will
be
a
horizontal
grid,
not
a
vertical
grid,
so
I
think
you
know
I
mean
all
these
questions
that
have
come
up
are
things
that
would
be
typically
addressed
during
probably
design
development
phase
of
the
project.
B
G
Hey
peter
yeah,
I
think
for
me
when
I,
when
I'm
listening
to
the
other
committee
members,
what
I'm
really
seeing
for
myself
and
hearing
from
them
is
like
you
know.
This
is
a
very
like
many
streets
in
the
downtown
corridor.
They
have
their
own
architectural
kind
of
prominence
and
the
this
particular
part
of
broadway
there's
a
nod.
G
You
know
to
the
existing
architecture.
That's
been
there
for
a
century
while
also
like
showing
the
modernity
of
this
building
and
right
now-
and
you
know,
like
you
mentioned,
you
know,
we're
probably
not
in
that
development
phase,
but
maybe
like
taking
a
nod
from
the
team
here
is
yeah.
It
meets
the
criteria
and
aesthetically
it's
not
there.
G
Yet
for
many
reasons,
because
some
of
the
details
aren't
present
to
be
able
to
say:
oh
that's
a
nod,
but
it's
reinterpreted
or
oh
you
know,
and
again
with
all
that
loss
of
street
level
activation
of
that
glass
that
you
see
so
prevalent
down
both
sides
of
the
street.
It
really
changes
the
look
and
feel
this
building
stands
out.
You
know
tremendously
to
me,
because
it's
so
different
from
having
all
that
really
beautiful
glass
work
at
the
street
level.
G
I
I
If
this
was
the
first
time
we
were
looking
at
it.
This
was
the
second
time.
That's
one
thing,
but
we
looked
at
it
several
times
and
and
we've
and
we've
also
responded.
You
know
we
looked
at
it
here
and
we
also
gave
you
comments
during
downtown
commission.
So
it's
not
just
here.
D
A
quick
I'm
a
little
puzzled
at
that
process
here
so
when,
when
a
project
wants
to
get
used
by
right
or
however,
we
term
it
for
to
to
come
through
this
versus
going
to
council
peter's
talking
about
okay
yeah,
you
know
this
is
what
it
is,
but
then
it
might
change.
D
You
know
we
might
during
the
design
process,
we
might
switch
materials.
We
might
you
know
do
this,
we
might
do
that.
We
might
do
the
other.
So
I'm
just
curious
about
process.
When
is
it?
When
does
it
trigger?
Well,
that's
a
material
change
on
what
they
approved,
and
now
it
has
to
come
back
through,
because
I
I
I'm
actually
a
little
confused
now
I
thought
you
know
when
we
approve
this
whatever
we
approve,
that's
what
it
pretty
much
is
and
he's
talk.
You
know
unless
I'm
misunderstood,
it's
like
well,
you
know
yeah.
F
We're
not
these
are
the
materials
we're
using
we're
not
going
to
all
of
a
sudden
change
to.
You
know
a
completely
different,
color,
brick
or
a
different
metal.
This
is
what
the
this
these
are
the
materials
the
client
would
like
to
use
on
the
project.
So
that's
that's
consistent.
The
only
thing
that
may
change
in
the
brick
is
something
that
we
would
have.
None
of
us
would
have
any
control
over
and
that's
supply
chain.
F
So
if
we
can't
get
a
break
but
as
you
know
exactly
like
that,
it
may
be
a
slightly
different
color
same
with
the
metal
panels
and
the
glass,
so
wait.
Wait.
D
D
I
assume,
then,
the
the
staff
would
review
that
and
go
well.
That's
not
a
material
change
from
what
they
approved.
It's
a
slightly
different
shade,
but
they
still
have
two
shades
of
brick.
Maybe
it's
not
thin.
It's
thin,
brick
now
and
versus
that,
but
the
the
the
we
weren't
reviewing
wall
sections.
We
were
reviewing,
you
know
elevations
and
renderings,
and
so
it
wouldn't
be
a
material
change
and
they
would
move
forward.
Is
that
is
that
what
will,
in
my
yeah.
A
B
D
I
I
like
the
different
I,
like
the
very
I.
Actually
I
the
the
other
view
coming
from
the
north
into
town,
whichever
one
that
is
broadway
south
carolina
yeah
see
the
the
the
word
of
vintage
pop-up
is
I'm
a
fan
of
that
you
know
with
the
same
brick
and
they're
just
popping
in
and
out
in
the
plane.
D
Honestly,
I
think
that
would
be
pretty
pretty
fitting
for
something
like
this,
but
that's
that's
me
and
I'm
I'm
gonna,
I
I
was
enjoying
ricardo
talking
about.
He
was
almost
getting
deconstructivist
on
me.
Where
are
you
talking
about?
You
know
you
got
a
plane
and
then,
when
you
break
that
plane
and
push
back
it
changes
materials
like
as
an
organizing
principle
for
for
when
you
change,
because
I
still
don't
know
why,
like
it's,
it's
it's
the
metal
panel
here
and
metal
panel
above,
but
then
that
piece
underneath
it
is
stucco.
D
D
I
understand
that
we're
getting
I'm
deep
into
some
of
the
weeds
on
this
stuff,
but
I
would
be
willing
to
like,
I
think,
if
they
make
that
change
on
the
tower,
I
think
if
they
pull
the
artwork
off,
fix
the
trees,
I
think-
and
then
I
don't
know
if
anybody
else
has
like
strong
feelings
on
the
brick
banding
and
for
christina
and
robin's
things,
and
I
also
wanted
to
mention
peter.
I
thought
I
heard
you
say
that
the
green
roof
was
a
potential.
D
Is
that
in
or
out
it's
in
okay,
okay,
very
good!
Thank
you.
What
what
what
other
items
or
additions
guys?
Are
we
ready
to
entertain
a
motion
on
this?
I'm
sorry
robin
I'll.
D
I
E
Just
a
point
also,
I
think
this
is
part
of
the
challenge
of
this
process,
and
this
is
kind
of
the
first
time
I
think
we've
gotten
to
a
project
of
this
scale
and
complexity,
where
we
literally
have
to
come
down
to
a
vote,
and
if
this
had
gone
before
city
council,
I
mean
we're
all
on
design
teams.
We
know
how
this
works
or
we've
been
in
the
design
business
and
it's
tough.
E
It's
tough,
going
through
trc,
and
you
basically
have
construction
documents
in
hand,
and
if
this
had
gone
before
city
council
city
council
would
have
expected
to
have
seen.
I
would
assume
expected
to
have
seen
visual
images
of
exactly
what
the
building
was
going
to
look
like,
and
it
only
seems
like
that's
the
only
way
we
can
give
a
final
approval
on
this
is
if
we
can
see
these
adjustments
studied
and
looked
at
and
thought
through,
they
have
a
chance
to
think
through
this.
E
A
This
is
the
bottleneck
they'll
they
they're
penciled
in
for
for
july
planning
zoning
commission,
but
if
they
did
not
yeah
receive
a
favorable
recommendation
at
this
meeting
today,
then
we
probably
push
them
off
until
the
august
planning,
zoning
and.
D
A
D
D
A
Kind
of
in
between
so
like
it's
yeah,
the
the
next
drc
meeting
is,
is
after
the
upcoming
planning
and
zoning,
so
planning
zoning's
on
july
6
and
then
drc
is
on
july
21st.
A
So
if
they
got
continued,
they
would
presumably
go
to
the
july
21st
drc
meeting
and
then,
if
they
were
approved
at
that
meeting,
they
could
then
go
to
the
august
third
planning.
F
Robin
just
as
a
point
of
clarification
on
all
this,
I
I
understand
perfectly
well
the
concerns
that
that
you
know
every
one
of
you
has
has
brought
forth
in
this
presentation
and
it's
not
anything
that
that
seems
to
be
overly
unreasonable.
F
So
I
you
know
whatever
y'all
you
know,
if
you
what
we
will
do,
we
will
change
the
tower
element
because
I
think
that's
a
very
reasonable
request.
We'll
remove
the
art
piece
for
now
and
once
we
have
that
commission
we'll
bring
that
back.
F
I
like
the
idea
of
the
metal
panel
element
going
up
and
over
I
personally
as
an
architect
as
an
artist
and
as
a
designer
I
like
that,
and
I
respectfully
disagree
with
ricardo.
I
know
he
has
valid
reasons
why
he
doesn't
like
that
and
why
brian
doesn't
like
that,
but
this
is
stepping
into
the
realm
of
art,
as
opposed
to
life,
safety
and
zoning.
F
So
we'd
like
to
keep
that.
We
will
certainly
study
it
more
to
make
sure
that
the
detailing
is
right
and,
in
fact,
if
you
want
to
look
at
the
detail
when
we
get
into
early
design
development
and
just
have
a
meeting
where
we
bring
this
as
a
courtesy
to
you,
we
would
certainly
be
glad
to
do
that,
but
in
terms
of
the
the
main
element
about
yes,
we're
committing
to
using
real
real
brick.
Yes,
we'll
commit
to
flat
panel.
Yes,
we'll
commit
to
articulating
the
band
the
joints.
F
We
will
rework
the
tower
elements,
so
it
extends
past
the
roof
and
reads
as
a
true
tower
and
we'll
look
at,
but
not
make
a
commitment
to
to
studying
the
banding
at
the
street
level
to
maybe
simplify
that
in
a
way
we'll
add
the
trees
in,
as
requested
we'll
move
the
bike
racks
we'll
look
at
the
lighting
to
make
sure
that
the
lighting
works.
But
we
would
really
like
to
have
a
an
approval
today
with
those
conditions
so
that
we
can
move
forward.
C
I
just
wanted
to
clarify
I
I
like
the
use
of
the
brick
and
the
banding.
My
comment
was
that,
because
the
banding
is
so
high
contrast,
it
looks
like
a
literal
copy,
mirror
image
of
or
tempt
at
mirroring
of
the
craft
center
for
craft
okay.
C
F
Well,
christine,
if
you,
if
you
in
the
in
the
committee,
want
to
make
a
condition
that
we
tone
down
the
contrast
between
the
two
brick
colors,
we're
certainly
willing
to
do
that.
C
H
C
I'm
saying
that
you
can
have
some
nice
detailing,
but
it
doesn't
need
to
literally
mirror
the
center
for
korea
craft.
I
think
it's
a
bit.
I
don't
want
to
say
offensive
because
that's
kind
of
extreme,
but
it's
it's
just
too
literal.
In
my
opinion,.
F
We
can
reconfigure
that
I
mean
that's,
that's
not
an
issue
with
us
and
now
we
go
back
to
brian's
comment
about
the
the
old
medical
building
where
it
was
just
one
brick
articulated.
F
I
think
it's
important
to
have
a
banding
element
at
the
second
floor,
because
that
ties
in
with
the
rolling
coffee-
and
I
think
we
need
to
have
a
banding
element
at
the
fourth
floor,
because
that's
the
top
of
the
true
podium
and
then
everything
else
can
be
simplified.
Just
with
the
the
same
color
brick.
B
I
I
I
mean
in
in
my
mind,
if
you
pick
a
material,
it's
because
there's
something
that
you're
trying
to
accomplish
with
it,
and
I
don't
see-
I
don't
see
that
here
detailing
at
like
cd
level,
nothing
like
nothing
of
the
sword,
not
even
necessarily
having
picked
what
your
manufacturer
is
going
to
be.
I
just
want
to
know
what
the
metal
panel
is
doing.
You
know
pattern
wise
and
and
general
flavor
of
you
know,
pattern
and
joints
and
language
on
the
building.
H
B
D
I
was
looking
at
peter's
north
elevation
again
because
he
was
talking
about.
He
really
likes
the
the
kind
of
the
l-shaped
piece.
You
can
see
it
right
there
just
fine.
Well,
that's
fine
either
way
it's
a
sheet
drc
14
in
the
updated
elevations.
I
don't
know
what
page
that
is.
Sorry
yeah
that
one
so
so
fear
is
just
I
was
just
thinking
you
know
part
of
what
I'm
reading
is
that
maybe
it
would
be
just
as
simple
and
it
would.
D
I
would
read
it
differently
if
you
change
the
fully
the
the
railing
material
on
the
balconies
when
you
have
different
materials,
you
see
what
I
mean
like.
So
if
you
had
a
you
had,
because
you've
already
got
kind
of
it's
already
starting
to
look
like
that
to
me
and
like
maybe
that
would
start
to
make
more
sense,
because
then
I
wouldn't
be
reading
those
as
the
the
volumes
going
up.
D
You
know
the
for
the
balconies,
but
I
would
begin
to
read
those
differently
if
you
start
to
I've
got
this
railing
for
this
type
of
material
and
this
railing
when
it's
in
the
stucco
and
this
kind
of
railing,
when
it's
in
the
brick
and
then
it
really
begins
to
read
as
the
different
pieces
in
there.
The
small
thing
I
just
wanted.
F
D
So
folks,
we've
got
christina
and
ricardo
already
said:
they're
not
really
on
board
with
it.
Kate
can't
vote
because
she's
off
the
island.
D
And
the
conditions
right
now
is
that
they're
going
to
investigate
extending
the
the
mass
of
the
tower
so
that
it
reads
as
going
further
back
into
the
building,
they
were
going
to
revise
the
detailing
between
the
the
the
head
of
the
top
window
and
the
parapet
on
the
tower
they
were
going
to
remove
the
artwork
and
then
we're
going
to
do
something
to
the
street.
Trees
are
those
the
conditions.
If
we
were
to
vote
on
something.
Do
I
have
that
correct.
D
C
D
So
revive
yeah
revise
the
banding.
D
Banding
but
the
what
do
they
call
it
on
here.
F
The
intermediate
it's
the
banding
between
the
first
and
the
second
floor
will
delete
that
and
change,
but
still
have
some
type
of
rustication
but
it'll
be
in
the
same
color.
Brick
we'll
keep
the
banding
at
the
second
floor
because
that's
the
plinth
that
matches
the
rolling
house
we'll
delete
the
banding
at
the
third.
I
mean
I'm
sorry,
the
fourth
floor
level
keep
the
banding
at
the
fifth
floor
level,
because
that
ties
in
with
the
masonic
watch
it
will
anywhere
where
there's
banding.
D
Okay
and
then
christina
what
was
the
metal
panel
piece
that.
C
I'll,
let
ricardo
comment
on
that,
but
I
I
just
agree
with
knowing
what
what
the
grid
is
doing,
what
its
relationship
is
with
the
rest
of
the
facade,
including
the
windows,
what
the
intention
is
there.
F
Well,
christina
the
way
the
grid
will
work
is,
if
you
look
at
this
elevation
anywhere,
there's
a
horizontal
window,
mullion,
that's
where
we
will
have
a
horizontal
band,
so
you'll
see
the
the
projection
of
the
window.
Mullion
and
the
reveal
of
the
metal
panel
will
align
with
that.
So
in
and
I
apologize
we
couldn't
get
that.
F
I
mean
that
that
takes
a
lot
of
obviously
study
to
get
that
to
work.
But
that's
the
intention
that
you'd
see
a
horizontal
band
that
would
align
with
the
width
of
the
horizontal
window
lines
all
the
way
around,
and
then
the
vertical
elements
or
the
vertical
reveals
would
align
with
the
vertical
volumes.
C
D
Will
quick
question
you
had
on
one
that
you
said
it's
not
aligned
or
only
partially
aligned
with
the
design
guidelines,
because
the
metal
panels
were
not
authentic
materials?
Now
I
know
the
synthetic
efis
is
generally
not
considered
authentic,
but
metal
metal
panels
and
the
udo
are
not
authentic.
D
D
The
the
intermediate
story-
banding
rustication
and
the
the
clarification
of
the
metal
panel
detail
and
I'm
not
trying
to
buy
votes
here
or
anything,
christina
encardo,
feel
free
to
vote.
However,
you
need
to
I'm
just
going
to
try
to
make
up
a
set
of
conditions
as
best
I
can
understand
it
we'll
make
the
motion
and
then
let
the
votes
fall.
Sound,
fair.
A
Brian,
can
you
clarify
any
potential
condition
about
the
the
forehead
between
the.
C
A
D
A
Yeah
yeah
yeah,
I'm
going
to
I'm
going
to
just
be
specific
about
like
I
just
want
to
make
sure
these
conditions
can
be
actionable
by
staff
and
it's
not
like
improve
the
design
of,
and
then
that
doesn't
help.
D
I
tell
you
it
would
be
helpful
will
if
you
go
back
to
the
streetscape
view
of
either
the
center
for
the
art
or
the
building
of
the
pop-up
yeah
that
one's
fine.
So
what
I'm
kind
of
looking
for
is
a
similar
detail
where
they've
got
that
corbaline
above
the
sash
windows
on
that
building
on
the
right.
They
have
a
similar
detail.
If
you
go
to
the
other
view,
I'm
looking
up
where
you
can
catch
the
craft
building
above
the
window
for
that
one,
not
that
one
which
which
one
is
it
yeah.
D
So
if
you
look
above
the
banding
like
I'm
pointing
at
my
screen,
like
you
can
see
in
that
gable,
yeah,
there's
that
there's
that
kind
of
recessed
piece
something
like
that
is
what
I'm
thinking
would
define
you.
You
see
this
all
over
downtown,
it's
a
very
common
way
of
of
detailing
you.
Either
you
have
recessed
or
soldiers
or
something
along
those
lines.
E
Just
a
quick
talk,
and
just
to
I
know
what
time
it
is,
I'm
gonna
base
my
vote
and
opinion
on
this
on
the
fact
that
this
is
an
architecture.
Architecture
firm,
an
architect
that
has
been
in
our
position,
has
been.
President
of
the
downtown
commission
has
been
on
the
design
review
committee,
although
it
was
another
form
but
has
had
a
number
of
successful
projects,
and
I
think
that
those
are
outstanding
reasons
to
consider
these
conditions.
E
But
just
as
a
point
of
note,
if
this
were
a
group
that
none
of
us
had
ever
dealt
with-
and
there
was
a
syria
a
sense
of
not
knowing
whether
we
could
trust
this
to
move
through
like
we
see
it,
I
think
I
would
have
some
serious
concerns,
but
I'm
going
to
vote
in
favor
of
placing
the
conditions
and
approving
because
we're
dealing
with
the
known
element
thanks.
D
I
move
to
recommend
approval
of
the
create
72
broadway
project
as
presented
based
on
site
plans,
elevations
and
other
materials
submitted
in
discussions
heard
during
this
review
and
other
reviews,
and
I
find
that
the
project
meets
the
intent
of
the
downtown
design
guidelines
subject
to
the
following
conditions:
one
that
the
applicant
revised
the
main
tower
element
to
extend
further
back
onto
the
roof,
to
bring
the
appearance
that
it
is
a
three-dimensional
piece,
two
that
the
tower
element
of
the
detailing
brick
detailing
between
the
top
window
head
and
the
parapet
be
revised
to
show
soldier
course
or
recesses
appropriate
to
the
design
of
the
building
and
bring
appropriate
detail
to
that
portion
of
the
tower
three
that
the
intermediate
story.
D
D
Of
different
colors
along
the
top,
I
think
it's
top
or
the
the
bottom
excuse
me
bottom
two
stories
of
the
building
be
revised
to
be
a
single
color,
with
differences
in
the
plane
of
the
brick
similar
to
surrounding
buildings.
That,
and
then
I
don't
know
what
number
I'm
on
now.
Sorry
will.
D
I
think
I'm
on
floor
that
the
metal,
the
the
the
metal
panel
detailing,
be
clearly
revised
to
coincide
with
the
height
of
the
of
the
windows
and
and
be
congruous
with
the
window
and
fenestration
design,
five,
that
the
street
trees
be
moved
concurrent
with
the
items.
As
we
have
discussed.
D
Sorry,
I
can't
remember
exactly
which
side
of
the
entrance
we
put
them
on
six,
that
the
bike
racks
be
removed
out
of
the
as
an
obstruction
to
the
public
way
and
seven
that
the
proposed
artwork
piece
be
removed
as
a
placeholder.
At
this
point
in
time,
did
I
catch
everything.
C
E
E
B
I
B
I
B
And
me
I
it's
approved
with
conditions
and
we
have
another
item
on
our
agenda,
but
it
has
been
continued.
So,
okay.
D
I've
got
one
item,
condolences
and
congratulations
to
will
on
his
new
position.
A
Some
big
shoes
to
fill
so
hopefully
you
know,
maybe
if
I'm
here
for
as
long
as
shannon
was
I'll
eventually
get
there.
B
Okay,
well,
do
we
have
any
public
comment.
B
Thank
you.
Well,
if
everyone
is
okay
with
that,
then
the
meeting
is
adjourned.