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From YouTube: Historic Resources Commission – May 10, 2023
Description
Regular meeting of the City of Asheville Historic Resources Commission.
Access the agenda and other meeting materials at the City of Asheville website: https://www.ashevillenc.gov/department/planning-urban-design/historic-resources/historic-resources-commission/
Participate before and during the meeting on our public engagement hub: https://publicinput.com/T6444
A
A
A
I
I
The
applicant
is
proposing
to
remove
the
side
bump
out.
That's
on
the
east
elevation
elevation.
It's
not
original
to
the
structure,
that
of
the
map
to
your
folder
and
there's
a
I
didn't
include
the
photo
on
my
slides,
but
there's
a
photo
that
was
submitted
with
the
application
that
shows
an
interior
shot,
it's
kind
of
a
weird
little
porch
add-on
and
there's
a
doorway
within
it.
That
they'd
like
to
also
remove
remove
the
door
and
close
in
the
opening.
Imagine
that
there
could
have.
I
Been
a
window
opening
and
that
location
previously
previously,
but
I'm
not
any
concerns
about
them
filling
the
opening
was
citing
if
they
don't
want
to
have
an
opening
on
that
side
of
the
house
or
in
that
particular
location.
So
that's
really
the
gist
of
this
proposal.
The
siding
and
the
in
the
info
will
match
the
existing
lap
siding.
A
K
K
We
had
received
two
quotes
at
one
point.
We
thought
well,
maybe
we'll
rebuild
it,
but
we're
about
three
feet
from
a
property
line
at
that
point,
and
even
if
we
could
rebuild
it,
we
got
a
quote
of
about
20,000
dollars
to
rebuild
that
and
it's
not
a
porch
that
that
we
really
are
getting
a
lot
of
use.
Out
of
so
I
think
our
best
bet
would
be
to
tear
it
down
and
if
you
have
any.
A
E
But
the
applications
to
remove
not
non-historic,
bunnies,
salivation
elevation
area,
where
porch
and
or
being
removed,
will
be
in
filled
and
finished
with,
would
german,
citing
matching
existing
and
material
dimension
and
color?
All
work
will
be
in
accordance
with
attached
and
approve
drawings
and
plans.
All
permits,
variances
or
approvals,
as
required
by
law,
must
be
obtained
before
work.
E
Make
amends
to
the
standards
for
porches
entrances
and
balconies
found
on
pages
72
to
73
windows
and
doors
on
peters,
84,
to
85
and
materials
wood
on
pages
66
to
67
of
the
montford
historic
district
has
adopted
on
april
14th,
2010
and
amended
december
9th
2019
were
used
to
evaluate
this
request.
This
application
does
meet
the
design
standards
for
the
following
reasons:
a
porch
being
removed
is
not
original
or
historic
to
the
structure
and
is
on
a
side.
Elevation
b
door
being
removed
is
not
original
to
the.
J
A
I
Here
are
some
photographs
of
the
structure
and
question.
It's
a
two-story
house
on
cumberland
avenue.
Top
two
photos
are
obviously
the
front
elevation
bottom
left
is
the
north
elevation
and
then
looking
at
the
rear.
So
just
to
give
a
little
bit
of
history
of
this
structure
structure,
I've
got
the
an
elevation
drawings
in
here
as
well,
but
just
to
give
a
little
bit
of
context
to
this.
This
property.
At
some
point,
a
one-story
carport
as
it
was
called
in
our
file,
was
tacked
onto
the
back
of
this
house
may
be
in
the
50s
or
60s.
I
It
looked
like
from
the
photos
that
we
have
and
they
got
approval
back
in
and
it
was
in
the
same
footprint
as
the
existing
addition.
That's
on
the
back
of
the
house,
so
they
got
approval
back
in
a
want
to
say
2016
thousand
seven
to
build
the
addition.
That's
there
now
and
I
think
the
commission
agreed
that
it
could
didn't
have
to
be
in
set.
Maybe
the
standards
were
slightly
different
than,
but
I
think
they
agreed
that
it
could
be
in
the
same
footprint
as
that
carport
that
had
been
built
on.
I
I
So
there
are
matching
all
the
windows
there.
There
is
that
little
there
in
the
in
the
decorative
vent,
that's
coming
off
of
a
kind
of
mimicking
the
vent,
that's
on
the
table
and
with
the
vent.
That's
on
the
front
of
the
house,
they're
mimicking
that,
but
there
are
proposing
some
custom
glass
with
in
that
vent.
I
I
don't
really
have
a
strong
feeling
about
that
one
way
or
another,
since
it's
on
the
rear
elevation,
it's
you
know
not
something
that
would
be
common
historic
house,
obviously,
but
I
I
understand
that
they
want
to
get
as
much
light
that
space
as
possible.
So
that's
just
a
note.
Only
thing,
that's
a
little
bit
funky
or
odd
about
this
particular
proposal,
but
I'm
not
noting
any
concerns.
On
my
end.
J
N
N
E
A
P
O
Because
of
the
tie
in
with
the
existing,
basically
there's
only
going
to
be
2/3
ish
of
the
roof
that
beautiful
original
because
of
the
removal
of
the
whole
tumor
that
is
there
now
and
such
we're.
Basically
that
whole
side
of
the
house
it's
going
to
need
to
be
replaced.
So
the
plan
was
to
remove
all
the
shingles.
O
But
there
are
machine
cut,
I've
been
looking
into
getting
hand,
cut
shape
which
are
technically
for
the
roof
for
trying
to
get
them
to
make
a
better
match,
as
opposed
to
what
the
places
where
they've
tied
in
a
little
bit
is.
You
can
see
the
extending
the
existing
in
the
new
researching
trying
to
find
hand-cut
shingles
to
match
the
existing
as
best
as
possible.
O
So
I
haven't
gotten
my
hands
on
those
because
they're
$200
a
bundle
and
we're
still
in
the
design
process,
so
I
have
to
get
an
actual
bundle,
but
we
did
intent
is
to
match
the
you
know
same.
I
think
they're
all
pretty
much
the
same
size
as
well
to
match
the
existing
with
a
true
hand,
split
cedar,
cedar
shingle.
Is
there
a
you
need
a
salvage.
O
N
I
O
O
A
O
A
A
A
I
Trusting
as
far
as
materials
that
we
physically
seen
that
already
exist
that
no
can
be
made.
That
would
applicants
going
to
do
with
this
approval
says
that
they're
going
to
do
true,
and
so,
unless
it's
a
new
material,
we
have
that
we
haven't
approved
before
we
often
times
will
have
like
a
speck
or
something
in
our
file
if
it's
like
a
fiber
cement
siding
so
that
we
have
the
document
of
the
reveal
and
all
of
that,
but
for
a
would
shape.
We
happen
if
it's
just
one
imagines
their
if
it
were
like
an
entirely
new.
A
N
And
come
on:
do
it
we're
taking
the
roof
down
to
a
normal
setting,
rules
going
to
have
a
normal
eight
and
a
half
fish
hike
to
it,
it
so
to
enable
the
it
isn't
about
it
it
and
that
matches
the
original
house
to,
because
on
the
original
house,
all
the
roof
heights
are
right
at
eight
and
a
half
on
old.
It's
a
foursquare!
So
all
four
of
the
squares
and
then
the
upper
is
nine
on
all
the
original
four
squares,
so
it
would
match
until
we
don't
want
to
step
up
and
down.
E
E
E
I'm
sorry,
yes,
okay,
exhibit
a
revised
window
specifications
three
pages
receive,
may
4th
2023
and
the
commission's
actual
inspection
and
review
of
subject
property
by
all
members,
except.
I
am
move
that
this
commission
approve
the
certificate
of
appropriateness
based
on
the
following
one
that
the
application
is
to
remove
one
existing
brick
chimney
on
rear-facing
portion
of
the
roof
construct,
372
square
foot,
second-story
addition
on
rear
elevation
addition
will
have
cedar
shake
citing
painted
wood
trim,
sierra
pacific
six
over
one
would
sdl
double
hung
windows
and
asphalt.
E
Shingle
roofing
matching
existing
gable
and
dormer
with
faux
vent
with
custom
wood
for
light
window
will
extend
from
rear-facing
portion
of
roof.
All
work
will
be
in
accordance
with
an
approved
drawings
and
plans.
All
permits,
variances
or
approval
hired
by
law
must
be
obtained
before
work
may
commence
to
the
standards
for
editions,
found
on
pages
88
to
89
and
chimneys
and
chimney
caps
on
pages
58
259
of
the
montford
historic
district
design,
review
standards
adopted
on
april
14,
2010
and.
E
Three,
this
application
does
meet
the
design
standards
for
the
following
reasons:
a
chimney
being
removed
is
not
a
character.
Defining
feature
of
the
building
may
be
new.
Addition
is
sighted
as
inconspicuously
as
possible
on
the
rear
elevation
and
will
be
constructed
on
top
of
an
existing
first.
For
addition,
see
new
addition
is
designed
so
to
be
compatible
with
the
existing
building
and
height
massing,
roof
form
and
pitch
d
windows
on
the
new
edition
are
similar
to
those
on
the
original
building
in
their
proportion
spacing
and
materials.
E
M
I
I
I
I
I
I
Centered
under
that
little
roof
overhang
know
it's
probably
hard
to
see
in
my
slide,
but
it's
said
over
to
the
left
hand
side
underneath
that
overhang,
so
the
new
opening
would
be
police
entered
within
within
the
opening
and
again
this
is
an
existing
addition
so
and
it's
on
a
side
elevation.
So
so
I
was
on
standard
for
avalon
park
or
not
abundantly
clear
when
it
comes
to
changes
to
additions
and
that
later
kind
of
features.
So
I
did
not
know
any
concerns.
I
I
I
And
that
will
be
replaced,
replaced
it's
a
white
pine
and
that's
there's
a
planting
list
in
the
back
of
the
landscape
standards
and
there
aren't
really
theirs
maturing,
like
holly's
and
that
sort
of
evergreen,
but
not
anything
bigger
like
a
spruce
or
anything
like
that.
So
they're
proposing
to
replace
it
with
a
red
maple,
which
is
on
the
planting
list.
I
I
Don't
know
when
that
like,
if
you
look
at
the
front
walkway
up
to
the
primary
structure,
it's
all
very
much
brick,
brick
walls
and
everything,
and
so
I
am
assuming
that
that,
but
I
don't
have
a
way
of
knowing
whether
that
was
completely
original
or
whether
it
was
replaced
at
some
point.
I,
since
this
is
such
a
small
detail,
would
not
like
a
paved
patio
or
something
large.
I
didn't
really
out
of
character
with
the
site
or
the
district.
I
A
R
R
The
fascia,
you
can
see
that
and
you
can
see
a
little
bit
on
the
left
side
down
below
the
crack.
But
let's
see
there's
there's
where
the
brick
is
pulling
away
from
the
stucco
wall
and
and
there's
where
it's
got
a
bracket
at
taught
at
the
top
you
see
the
bracket.
Can
you
see
that
I
think
that's
holding
it
on
on
kids
wider
as
you
go
up.
R
R
C
C
C
C
Me
commence
number
two
that
the
standards
for
roof
ventilation,
flashing
and
chimneys
found
on
page
29
windows
and
doors
on
page
31
of
the
architectural
standards
and
lighting
found
on
page
42,
driveways
and
parking
on
paths
and
walkways
on
page
31
and
trees.
On
page
22
of
the
landscape
standards
for
the.
C
The
chimneys
are
not
original
to
the
structure
and
are
not
structurally
sound,
entryway
and
or
being
modified
or
on
a
non
original
edition.
New
new
door
will
be
wood
and
all
trim
will
match
existing
existing
light.
Fixture
being
removed
is
not
original.
New
fixture
is
congruous
of
the
character
of
accessory
structure
and
we'll
have
a
motion,
detector
or
timer
to
keep
from
burning
continuously
existing
driveway
paved
area
as
edged
with
brick.
A
L
P
P
H
P
M
P
Q
P
A
I
I
Much
all
of
the
village,
this
is
kind
of
right
kind
of
right
in
the
heart
of
the
village.
If
you
will
along
robe
to
the
right,
is
the
proposed
site
plan
plan.
I
think
what
I'm
going
to
do
is
I'm
just
going
to
kind
of
go
through
my
slides
really
quickly
and
then
I'll
come
back
to
the
elevations
and
just
talk
through
my
the
concerns
I've
noted
in
my
report.
I
I
I
Along
kitchen
placed
on
the
opposite
side
of
the
street
and
then
the
lower
two
images
on
the
right
is
looking
into
the
district
from
hendersonville
road
with
the
cathedral
of
all
souls
on
your
right
hand,
side
and
then
the
bottom
left
is
looking
at
the
site
with
the
existing
bank
structure
on
the
bottom
left.
And
then
this
is
looking
the
opposite
direction
direction.
I
I'm
looking
south
little
road
from
a
couple
of
different
angles
on
the
bottom
left,
you
can
see
the
entire
site,
basically
and
and
then
the
the
image
on
the
bottom
right
is
again
looking
north
on
hendersonville,
road
or
sorry
yeah,
that's
north
just
and
I
wanted
to
kind
of
catch
the
a
little
bit
of
the
bohemian
that
corner
too.
So
you
could
kind
of
see
that
for
scale
with
the
buildings
across
the
street,
and
then
I
also
this
is.
I
I
Get
there
bearings
straight
on
this
project,
since
it
does
have
a
lot
a
lot
of
moving
parts
for
us
to
get
through
in
our
discussion,
but
the
primary
kind
of
concern
that
I've
noted.
I
also
wanted
to
let
you
know
that
I
pulled
out.
The
relevant
sections
are
the
sections
that
I
called
out
in
my
staff
report
within
the
design
standards.
I
extracted.
I
Those
between
those
two
things-
I've
noted
in
the
my
first
two
bullet
points
that
the
kitchen
plays
is
identified
as
sub-area
3,
which
is
historic,
downtown
commercial,
meaning
that
it's
drawing
on
the
smaller
scale,
commercial
architecture.
That's
across
the
street
and
within
that
general
area
of
the
district
says
that
architectural
language.
I
Side,
that's
on
kitchen
places
within
that
sub-area
three
and
then
the
other
side.
That's
on
the
west
side
of
the
block
is
sub
area
to
which
is
high-density
highway,
car,
which
notes
increase
of
two
to
three
stories,
and
then
we
go
to
book
3
and
identifies
30
feet
as
a
maximum
building
height
for
new
construction,
and
I
know
all
of
you
are
probably
going
to
have
questions
for
me
about
what
else
has
been
constructed
in
the
district
in
recent
years
and
the
height
of
those
of
the
buildings
particular
the
bohemian,
which
is
the
same
developer.
I
I
If
you
look
around
at
the
district,
you
can
see
that
the
majority
of
building
heights,
or
probably
around
30
feet,
which
you
know,
is
why
that
standard
is
written.
The
way
that
it
is,
I
think
you
know
just
inserting
a
little
bit
of
my
professional
or
even
personal
opinion
in
here.
You
know
to
build
a
commercial
building
at
30
feet.
I
think
you're
really
going
to
have
to
do
the
math
like
we
do
it
at
it
for
looking
at
udo
calculation,
so
we
would
calculate
the
30
feet
to
be
the
the.
I
I
Expression
so
there's
building
wine,
which
is
that,
where
commercial
style
building
that's
on
the
right-hand
side
and
then
the
cottage
type
structure,
the
commercial
type
structures
on
that
block
are
very
diminutive.
As
far
as
commercial
structure
feel
like.
This
is
a
little
bit
out
of
scale
with
that
character
and.
I
I
I
Level
or
district
level
facades
that
you
would
typically
see
in
this
neighborhood,
and
I
know
that
obviously
we're
talking
talking
about
hendersonville
road
and
it's
just
busy
commercial
corridor,
but
you
have
to
you
know,
remember
that
the
district
goes
all
the
way
across
the
other
side
of
mcdowell,
and
so,
if
we're
thinking
about
in
our
future
minds
when
none
of
us
are
here,
we're
hoping
that
the
district
you
know
over
time,
reclaims
itself.
Even
in
that
part,
that's
more.
You
know
the
busier
corridors
of
mcdowell
and
built
more.
I
On
this
side,
but
it
is,
you
know,
pedestrian
the
interior.
If
you
look
at
the
floor
pants,
it
makes
sense
why
it's
not
there's
a
ballroom
and
a
lot
of
back
of
house
and
things
like
that,
but
I
think
maybe
there's
some
work
still
to
be
done
to
help.
This
elevation
be
a
little
more
user-friendly.
If
you
will
also
the
connector
between
the
little
building
three
on
the
right
and
then
building
for
on
the
left.
That's
pretty
contemporary,
and
so
I
think
that
could
be
more
historically
appropriate.
I
Noted
some
design
details
that
are
not
necessarily
typical
of
the
district
were
and
or
their
the
architectural
styles
they're
shown
on
in
the
drawings.
So
the
pergola
structure
is
the
first
thing
I
would
know.
I
know
that
they
drawing
on
details
of
the
district
for
all
of
these,
to
inspire
all
of
these
different
features
that
have
been
designed,
the
way
that
they
are
pergola
type
structure
in
the
district
and
also,
I
think
this
one-
it's
really
tall.
I
Window
shutters
and
board-and-batten
siding
with
the
other
hers
that
I
noted
noted
and
the
architect,
and
I
have
been
conferring
on
just
kind
of
fine-tuning
some
of
the
last
remaining
things
that
we
needed
to
get
for
review.
So
we
do
have
the
specs
and
therefore
the
the
garage
and
loading
dock
doors.
I
I
I
The
tree
placement
and
species
there
are
some
existing.
I
believe
he
thought
they
might
be
sweet
gum,
trees
along
kitchen
place
and
asked
if
we
would
support
removal
if
they
were
going
to
restore
to
the
linden
trees,
and
I
said
I
thought
that
the
commission
would
probably
support
that
if
they're,
you
know
trying
to
restore
the
original
planting
plan
along
that
section
and
I
believe,
there's
a
couple
of
linden
trees.
Another.
I
C
Alex
do
we
have
a
list
of
contributing
and
non-contributing
resources
in
biltmore
village.
I
know
that
it
is
not
a
national
register
listed
historic
district,
which
is
where
we
usually
derive,
are
contributing
and
non-contributing
resources
from.
But
since
biltmore
village
is
not
a
national
register
listed
district,
does
the
local
designation
have
an
inventory
inventory
of
contributing
in.
I
I
Character-Defining
in
the
district,
that's
a
good
question
and
I
know
there
are
some
folks
here
who
are
very
well
versed
and
but
more
village
histories
and
maybe
robert
griffin,
whenever
he
wants
to
go
public
color
or
maybe
he
can
speak
to
that.
I
imagine
that,
because
the
development
plan
envisioned
incorporating
that
style
of
architecture
in
new
construction
that
they
that
that
was
a
point
of
reference
as
far
as
contributing
structures
but
I'll
check
our
file
on
see.
If
we
have
a
formal
inventory
that
lays
that
for
the
local
designation.
H
I
A
P
S
S
To
do
a
lot
of
our
work
in
national
register,
historic
districts,
I'm
also
an
academic
with
the
savannah
college
of
art
and
design,
where
we
have
programs
and
historic
preservation
and
architectural
history,
of
course,
architecture
and
urban
design.
So
so
it
goes
without
saying.
I'm
sorry
excited
to
be.
S
That
we
have
here
with
us
today,
mark
kessler,
sir,
is
here
in
lake
schumacher,
with
the
kessler
collection,
who
are
certainly
already
neighbors
here
in
asheville,
and
the
biltmore
village
matthew
lehman
with
the
ground
bohemian
and
then
our
professional
team
steven
lee
with
site
works
and
jonathan
coke,
with
raven
architects,
who's
partnered
with
us
on
this
project.
So
we
have
a
great
team
here.
I
was
going
to
actually
introduce
robert
griffin-
that's
maybe
part
of
our
team,
but
he's
a
contributing
resource
as.
S
The
district
for
sure,
but
I'd
we
have
been
working
for
almost
two
years
on
this
design
and
we've
had
many
opportunities
to
share
and
discuss
with
resources
like
robert
griffin,
martha
following
tone
and
mike
mclaughlin
with
the
cathedral
and
reverend
sarah
hobart
and
appreciate
them
all
being
here
today
and
numerous
meetings.
Ben
mitchell,
also
with
biltmore
village,
properly
association
sent
a
letter
of
support
for
the.
S
Project,
so
we
appreciate
that
we
appreciate
the
continued
input-
we're
very
excited
to
actually
be
here
with
you
all
this
afternoon
after
this
long
path
that
we've
been
down,
knowing
that
this
is
such
a
significant
project,
and
so
we're
excited
to
be
here.
What
I
want
to
do
is
give
you
an
overview
of
our.
S
S
Speak
to
some
of
the
comments
that
the
alex-
and
I
have
been
talking
about
some
of
the
comments
that
are
in
the
staff
report,
so
I'll
try
to
fold
all
that
together,
but
it
really
of
course
it
really
begins
with
sort
of
putting
biltmore
village
on
the
map
as
one
of
the
maybe
one
of
the
most
unique
places
in
america
as
the
satellite
outside
of
the
city
of
asheville.
That
applies
really
with
it's
entirely
its
own
invented
context
and
so
represents
yeah
over
a
century
of
american
ends.
S
S
S
It's
like
a
schizophrenic
in
a
sense
that
has
one
side
that
when
you
divided
in
the
center
that
beautiful
route
down
kitchen
place
between
the
cathedral
and
the
depot
and
that
threat
fan
shape
of
kitchen
place.
You
have
you
know,
portion
of
the
village
which
is
very
much
intact
and
then
a
portion
that
has
really
been
been
through
given
over
to
the
automobile.
So
we
began
this
talk
about
restorative
architecture,
restorative
urbanism,
in
a
sense.
S
S
S
That's
at
the
corner
of
angle
and
kitchen
place.
You
can
see
that
there
and
then
these
images
at
the
bottom
show
kind
of
the
strip
of
hendersonville.
As
we
look
look
look
across
to
the
site
and
the
closure
of
the
village,
you
can
see
your
the
path
to
the
depot,
which
is
certainly
you
know,
part
of
this
visual
access
us
and
then
the
path
to
the
to
the
cathedral.
S
S
The
1992
plan
calls
for
to
building
a
parking
deck
now,
and
I
talked
to
robert
about
this
is:
was
the
90s?
This
was
sort
of
a
way
out
what
should
be
happening
there,
and
that
would
be
good.
You
know
frontage
on
kitchen
and
a
front
of
john
on
hendersonville.
What
we
should
have
been,
that
is
good.
We
felt
like.
S
S
S
Ooh.
This
building
is
actually
been
through
a
lot
of
changes
to
what
you're
going
to
say
tonight,
but
that
that
question
of
that
building
its
number
one
job
is
to
be
a
good
neighbor
to
the
cathedral
and
then
building
for
we
refer
to
as
kind
of
an
anchoring
building
was
a
place
where
more
massing
was
more
appropriate.
We
call
that
sort
of
anchoring
hendersonville
and
it's
the
existing
ground.
Bohemian
hotel
is
here
here
which
is
really
a
single
expression.
It's
sort
of
one
big
building.
S
Point
of
view
I
each
of
these
has
an
expression
in
each
of
these
has
responsibilities
in
the
design.
So
those
four
ideas
are
really
what
will
follow
through
everything
in
the
thought
process
that
we've
had
you
can
see
in
the
ground
level.
Plan
of
the
building
are
friendly
corner
is
actually
a
restaurant
use.
The
will
have
a
level
lounge
that
overlooks
biltmore
plaza.
We
have
our
passenger
drop-off,
so
the
porch
structure
in
the
center
kind
of.
S
Then
our
also
cells
salute
we
actually
have
as
a
quieter
use
so
that
it
doesn't
spill
out
onto
the
churchyard
and
keeps
that
frontage
quiet.
So
that's
a
little
more
of
an
inward
function
to
the
building,
it's
where
the
spell
would
be
located
and
when
the
anchoring
building
this
is
this
bowling
is
the
one
that
has
kind
of
a
hard
work
of
making
everything
work.
S
Just
seeing
this
block
is
too
important
that
that
should
not
be
done,
and
so
we've
made
our
plans.
Plans
indicated
that
all
of
the
parking
for
would
be
out
of
sight,
and
so
they
would
exit
point,
of
course,
but
boston
is
really
the
best
street
to
do
that
across
from
the
new
morning.
Galleries
garage.
So
there
has
to
be
a
place
where
that
can
happen.
S
S
S
On
hendersonville
and
on
boston,
and
in
fact,
during
the
course
of
the
design
process,
actually
removed
a
floor
from
building
three
and
building
too,
with
specifically
in
respect
to
working
too
decline,
the
massing
toward
the
cathedral.
So
you
we
have
we
if
plants
at
this
level,
they
are
how
to
find
the
language
for
this.
S
Architecture,
this
is
interesting
because
there's
so
much
good
precedent
here
and-
and
so
it's
always
a
challenge,
so
you
know
it's
not
a
copycat
of
something,
but
it's
inspired
by
what's
here.
So
a
lot
of
time
has
been
spent,
walking
the
village
and
sketching
and
drawing
the
details,
and
we
were
sort
of
putting
our
hands
through
some
of
those
same
steps
that
that
hunt
and
smith
laid
out.
S
S
In
exactly
exactly
the
same
way,
so
trying
to
find
that
that
that
point
between
creative
invention
and
really
a
deep
respect
for
for
the
quality
of
the
village,
and
so
so
we
use,
we
use
those
early
studies
to
start
to
arrive
at
a
language
which
is
now
you
can
see
in
the
details,
but
took
to
talk
about
the
form
and
the
massing
just
a
bit.
This
is
a
view
of.
S
S
S
S
S
S
Box,
which
has
a
gambrel
roof
and
a
shameless,
have
cuts
down
at
the
base
or
good
examples
of
cut
stone
and
nearby
across
the
street,
and
then
here
you're,
looking
at
an
angle
at
at
an
angle
on
the
angle
street
to
building
3
and
the
oriental
spurs
said
mentioned
it
in
the
beginning
that
formed
a
an
opportunity
for
a
courtyard
at
the
corner.
We
felt
like
that
was
a
really
important
element,
because
it's
so
tall
that
it
also
kind
of
puts
everything
in
context.
For
us
us.
This
is
coming
back
around
on
two
angle
street.
S
So
this
is
our,
but
that
structure
that
would
face
most
directly
to
the
cathedral
and
a
lot
of
of
the
form
own
widgets
or
this
dialogue
of
vertical
and
horizontal
proportions
is
really
inspired
by
the
parish
hall
of
the
of
the
cathedral
itself
and
in
downtown
materials
and
colors
as
well.
So
that
there's
sort
of
a
visual
visual.
S
That's
something
we
sort
of
came
to
the
process.
If
I
could
show
you,
the
original
design
was
very
different,
robert
griffin
particular
for
really
kind
of
helped
continuing
to
help
us
think
through
the
best
ways
to
work
with
that
element.
This
is
coming
back
around
on
boston
way,
so
here
we're
looking
at
that
friendly
corner.
It
does
have
a
chamfer
to
it,
just
as
the
mcgehee
building
does
and
when
you
can
see
are
anchoring
building.
We
actually
used
the
same.
S
We
did
it
with
a
gable
roof
to
try
to
create
some
differentiation
between
them,
but
that's
really
what
we
were.
What
we
were
searching
for
with
a
word
for
this
building
to
kind
of
be
the
workhorse
for
the
project,
because
it's
a
location
that's
best
suited
for
that,
but
to
not
do
a
copycat
of
the
existing
building.
That's
already
there.
There
so
took
a
gable
versus
a
hip
approach
with
that
actually
yeah.
This
now
here
we
are
on
harrison.
S
S
S
S
It
actually
has
evolved
about
it.
We
began
thinking
of
it
as
a
painted
brick
building,
but
what
we
are
proposing-
and
we
actually
have
some
brick
samples
here-
samples
of
everything
here
actually
to
show
a
color
range
that
allows
us
to
do
some
unique
detailing
with
that
building.
We
do
have
this
very
gracious.
Inviting
arch
at
the
end
is
absolutely
design
design
decision.
It's
a
it's
a
way.
It
didn't
want
us
to
be
our
friendly
corner
and
an
arch
is
sort
of
this
beautiful.
S
It's
a
geometry,
certainly
reminiscent
of
han
sierra
and
the
richard
sounion,
and
you
know
all
of
the
sort
of
this
beautiful,
bold,
brick
work
that
was
happening
at
that
time
and
we
felt
like
this
was
a
great
way
to
this
is
a
way
to
be
a
bit
different
than
the
next
door
neighbor,
but
also
to
sort
of
draw
people
into
the
corner.
So
so
that's
the
reason
for
certainly
there's
our
churches
throughout
in
other
locations
in
the
village.
But
that
was
our
thought
process
there.
You
can
see
it.
S
We
move
along
the
side
of
the
building
sort
of
effort
put
into
developing
polychromed
details
to
sort
of
bring
that
scale
decline
that
scale
and
horizontal
has
introduced
throughout.
We
do
have
a
system
of
awnings
at
actually
at
30
feet
that
move
their
way
around
the
building.
I
do
want
to
talk
as
we
get
into
some
of
these
about
the
question
of
height
and
section,
I'm
going
to
wait
for
the
sections
to
talk
about
that
more
detail.
This
is
the
jewel
box
facing
facing
kitchen
place,
which
has
a
cut
stone
base.
S
For
coming
in
and
out
of
the
hospitality
use,
this
is
the
front.
Porch
is
still
ordinance
calls
for,
but
it's
details
are
100%
inspired
by
the
rail
depot
by
the
robust
detailing
the
brackets,
the
beautiful
chamfering,
the
chamfering
burn,
more
villages
and
comparable.
So
so
we
felt
like
this
is
something
to
be
of
tend
to
be
developed
as
something
really
beautiful
and
robust
in
its
detail,
so
we're
indicating
that
with
the
design
drawings
here,
there's
some
softening
lines
to
it.
S
Original
biltmore
village
railing,
so
those
kinds
of
little
details
have
been,
we
think
very
enriching
to
learn
about.
They
are
unique
to
the
biltmore
village
village.
So
we
I
this
to
have
that
dna,
but
also
be
something
that's
not
here
yet
because
this
is
a
big
block.
It's
an
important
blog.
This
is
our
our
structure.
That's
next
to
all
souls,
and
you
just
get
a
sample
here
of
the
of
the
design.
We
have
elevated
brick
base
to
that
with
a
battered
wall.
S
Maybe
a
bit
from
the
sales
office
hunts
design
for
the
sales
office,
then
we
needing
to
the
half
timbering
for
the
body
of
a
building
and-
and
then
we
move
into
the
roof
for
the
upper
stories
are
both
bundled
into
that
roof
level.
So
again
manage
trying
to
manage
scale
intelligently
throughout
the
the
project,
and
some
close-ups
are
more
details.
We
really
couldn't
help
but
start
to
really
develop
additional
detail
here
because
of
the
the
inspiration
for
it
it
the
hendersonville
building
again.
S
You
know
a
vertical
wall
surfaces
and
then
it
moves
into
its
roof
form.
We
did
to
create
variety.
We
looked
at
doing
this
with
gables,
rather
than
hip
roofs,
to
bring
together
some
geometry
that
we
thought
would
not
just
look
good.
Innovation
actually
will
look
good
from
the
passengers
view
because
we're
such
a
high
volume
of
folks
traveling
up
and
down
hendersonville
so.
S
S
So
it's
total
height
is
49
feet
and
that's
that
was
our
rule
of
thumb,
because
we
assume
that
would
be
a
good
rule
of
thumb
because
it's
there
and
it's
you
know
it's
knowable
and
then
with
the
so
that's
sort
of
a
product.
That's
the
workhorse
building.
That's
the
anchoring
building
number
four
building
three,
as
we've
mentioned,
has
been
brought
down
by
floor
and
building
too
is
really
very
heavily
focused
on
that
gambrel
roof.
S
Let
that
extra
floor
be
visible,
recognizing
it
would
be
a
story
taller
than
its
neighbor
and
we
often
find
in
historic
districts.
New
construction
being
a
storyteller
is
not
a
bad
thing.
It
shows
the
word
a
different
time
in
history,
but
in
respecting
authority
for
rural
we
have
placed
awnings
can
round
that.
S
S
Church,
of
course,
not
to
mention
the
tower
above,
and
we
felt
like
that
was
good.
We
felt
like
that
was
a
good
way
to
approach
it,
recognizing
that
the
building
massing
at
the
other
corner
would
be
a
bit
taller.
I'm
here
again
in
the
other
direction,
you
can
see
that
building
sort
of
below
and
then
going
back
and.
S
Matching
the
ground
bohemian
with
with
hendersonville
building,
we
do
have
specifications
for
colors
and
materials
and
finishes
we
wanted
to
be
as
prepared
as
we
could
be
before
coming
to
talk
with
you
all.
So
we
have
all
that
in
your
packet.
Like
could
answer
any
questions.
We
did
develop
a
color
palette
for
each
building
and
working
with
alex
were
able
to
restart
it
with
farrow
&
ball
colors
because
we
felt
like
that
was
british,
and
that
would
go
well
in
an
english
village.
S
S
Range
of
colors
that
we
were
able
to
get
access
us
too,
but
I
think
the
goal
here
is
actually
to
be
very
congruent
with
the
cathedral's
roofing,
and
so
we
want
to
make
sure
we
get
that
just
right,
but
we
felt
like
it
would
be
responsive
to
the
concept
of
very
colors
for
each
element
that
has
visible
we're
friends.
So
we
have
proposed.
S
S
So
I
take
a
through.
I
appreciate
your
listening.
I
have
provided
some
extra
details,
as
alex
mentioned
in
the
staff
report.
She
had
requested
some
additional
detail
and
the
awning,
so
I
have
that
here
we
see
these
being
really
beautiful,
decorative
elements
in
all
of
this
has
to
be
so
you
all
things
are
very
much
a
part
of
the
commercial
core
of.
S
S
S
S
Standard
so
as
a
primary
facades
should
not
feet
in
height,
I
would
read
that
as
an
external
facade,
it's
in
other
jurisdictions.
We
typically
look
at
the
external
expression,
not
the
actual
floors
that
may
be
happening
behind,
but
it's
what
does
it
express
as
and
so
reading
that
as
a
vertical
surface?
Knowing
that
we
are
beginning
the
roof
form,
above
that,
so
using
that
using
that.
S
S
C
S
Just
touched,
it
me
come
to
that
as
a
second.
If
I
wanted
to
pull
up
building
too
quickly,
they,
you
know,
I
think
I
guess,
if
you'd
say
applying
a
formula
that
where
does
the
roof
form
begin
in
the
gambrel
roof,
even
on
a
head-on
view,
we
have
a
d-pad
mold
and
we
have
a
flare.
So
we've
created
a
horizontal.
S
S
S
I
S
S
S
I
think
that's
a
good
question.
I
don't
know
what
it
would.
I
think
that
would
be
a
detail
to
resolve
in
the
drawings
that
I
don't
know,
but
it
would
need
to
mince
our
intent,
was
to
really
use
this
as
our
blueprint
but
try
to
develop
a
an
alternative
strategy
so
that
they
didn't
look
sort
of
like
twins,
but
that
was
that
was
the
idea
that
may
need
to
be
resolved,
study
further
and
resolved
definitively
definitively.
S
It's
some
symmetry.
F
S
S
S
S
S
I
Certainly
take
into
consideration
how
its
measured,
based
on
the
like,
how
underlying
zoning
would
calculate
the
height
of
the
highest
occupied
floor
and
ceiling.
That
would
be
the
we
would
measure
it
from
like
a
just
a
basic
underlying
zoning
standpoint,
but
then
there's
also
like
you
can
think
about
it
from
a
form
perspective
as
well.
That's
it
good
sort
of
this.
I
I
A
Roof
alex
you
mentioned
in
your
report
that
there's
been
some
changes,
changes
to
the
which
we're
spending
our
time.
Talking
about
the
grand
bohemian
and
the
process
that
that
went
through
and
its
approval,
and
it
sounds
like
there's
been
a
glitch
specific
to
height
in
how
that
the
standards
under
which
that
building
was.
A
I
Standards
that
were
allowed
for
the
commission
to
basically
flex
underlying
zoning
standards-
and
that's
usually
the
intent-
would
be
if
there's
something
that
isn't
aligning
right
with
what
the
design
standards
are
and
they're,
usually
more
restrictive,
so
that
you
guys
can
then
flex
something,
but
that
that
number
we
had
a
city
at
previous
city
attorney.
Who
said
that
would
be
like.
I
Sort
of
that,
like
the
planning
and
urban
design,
director
kind
of
authorize
the
flex,
but
my
understanding
that
these
design
standards
have
not
changed
since
they
were
adopted
in
1988
and
the
development
plan.
The
1990
then
that
it's
sort
of
see
kind
of
went
beyond
with
their
own
standards
allowed
at
the
time.
I
I
Sure
that
I
was
about
two
and
a
half
stories,
if
you
want
to
look
at
that
they're
in
your
in
your
packet
and
then
he
also
sent
that
in
a
side-by-side
with
the
building
too
assad
that
I
just
got
right
when
we
sat
down
so
that's
in
there
as
well,
and
that
can
certainly
pull
that
up
for
y'all's
benefit,
since
it's
just
an
arp
packet
and
that
wasn't
you
know
in
the
in
the
project
folder
from
that
we
had
from
you
also,
I
mean,
I
think
the
other
thing
that
may
be
different
differentiates
site
in
my
mind,
is
that
it's
mostly
on
the.
I
I
Hendersonville
road
is
identified
as
some
area.
Why
I'm
just
kind
of
see
how
a
commercial
0
setbacks
full
block
development,
multiple
deck
parking
facilities,
storefront
development,
it
sidewalk
two
to
three
and
a
half
stories
and
an
architectural
language
to
drop
them
original
commercial
style.
Buildings
are
multiple
bay
buildings
which
is.
Are
you
know
there
are
visual.
I
I
A
To
spend
an
enormous
amount
of
time
talking
about
building
height,
I
think
that's
seems
like
the
direction
the
conversations
going
to
head.
I
will
say:
aye
appreciate
your
presentation.
I
think
that
it's
clear
as
a
team
that
you've
been
extremely
thoughtful
and
sensitive
to
the
development
of
this
district
district,
and
so
I
think,
appreciate
that
attention
to
detail,
and
I
appreciate
the
story
that
you're
creating
and
I
think
that
it's
it's
a
well-suited
story
for
this
property.
I
think
we're
going
to
talk
a
lot
about
building
height.
A
T
T
Over
his
drawings,
I
have
to
tell
you
that
first
first
I
was
like,
I
don't
think
I
want
to
be
involved
with
his
thing.
I
don't
want
my
own
be
associated
with
the
big
grand
bohemian
stuck
on
that
lat,
and
I
went
into
the
meeting
with
that
attitude
and
he
totally
turned
me
around
when
he
showed
me
the
way
he
had
divided
it
into
four
separate
buildings.
I
thought
all
right.
T
The
dwelt
plan
pretty
diagrammatic-
I
just
split
that
lot
down
the
middle
two
and
a
half
stories
on
that
kitchen
place
side
and
put
four
and
a
half
stories
on
hendersonville
side.
But
we're
probably
should
have
turned
the
two
and
a
half
stories
around
onto
angle
street
and
he
was
like
yeah
yeah.
I
agree
you
know
so.
T
Cottages
I've
been
guilty
of
that
myself.
There
was
a
building
on
the
corner
of
all
sorts
of
crescent
and
angle
street
that
we
added
a
second
story
on
and
it
seems
a
little
out
of
scale
with
the
cottages
it's
pretty
close
to
him,
and
so
I
had
cautioned
him.
I
said:
look
you
just
don't
want
to
take
a
cottage
and
put
it
in
an
enlarger
graft
and
blow
it
up.
It's
just
not
going
to
look
right
at
that
scale
scale
so
so
completely
changed.
T
U
For
six
years
and
your
space
as
the
of
hrc,
you
may
not
have
these
in
your
file,
but
I
remember
some
of
the
discussions
about
facade
height
in
biltmore
village
and
we
considered
that
as
a
as
an
elevation,
and
so
the
facade
height
was
the
height
of
the
elevation
and
not
just
the
height
of
a
portion
of
that
elevation.
So
I
think
that
that
might
come
into
play
as
we
look
at
this
now.
The
scale
is
something
that
is
definitely
concerning,
and
I
go
back
to
that.
First,
one
of
the
first.
U
U
U
U
U
And
we
appreciated
the
presentation
that
they
made
to
us
some
time
back
then
it
went
pretty
quiet
for
a
good
long
while
and
so
we
really
didn't.
We
didn't
get
a
notice
of
the
hrc
meeting
meeting
at
the
church
which
we
would
write
to
known.
So
we
could
prepare
for
this
for
one
thing
and
I'm
thinking
to.
U
The
properties
at
the
church
church,
because
I
protect
this
building
with
all
my
might-
is
the
only
richard
morris
hunt
church
left
in
the
world
of
the
six
he
built
five
have
burned
or
been
demolished
in
this
is
it.
This
is
the
only
one,
and
so
our
dedication
to
being
being
good
stewards
of
that
place
is
over
bored
and
I
go
a
little
wacko
when
people
start
talking
about
major
development.
These.
U
You're
going
to
have
this
kind
of
development
in
biltmore
village,
I
think
that
these
folks
working
with
robert
griffin,
our
church
architect,
I
think
that
it
can
be
done
successfully
so
continue
to
address
the
questions
that
you
you
were
addressing.
I
think
that
they
all
had-
and
I
look
forward
to
following
this
as
you
proceed,
and
for.
U
V
V
Engineers
and
different
folks,
they've
been
incredibly
responsive
and
obviously
there's
a
lot
of
ground
to
cover,
not
just
historically,
but
also
you
know
when
it
comes
to
dealing
with
water
and
things
of
those
things
of
that
nature.
What
I
can
tell
you,
as
I'm
standing
here,
is
that
I
have
faith
now
that
shouldn't
be
surprising,
but
I
do
have
faith
faith.
This
is
this
is
a
project
that
I
think
is
going
to
enhance
the
area
tremendously,
and
I
absolutely
like
robert
said.
V
V
A
A
You
know.
Obviously
I
said
we're
going
to
talk
about
height
for
a
little
while,
probably,
but
I
think
what
I
would.
I
think,
what
we
need
to
get
to
a
place
where
there
is
a
solution,
because
I
would
hate
for
this
us
to
get
lost
in
the
weeds
of
all
of
that.
I
think
we
just
need
to
all
sort
of
get
honest
about
how
tall
buildings
are
a
little
bit
and
that
the
parsing
of
where
the
roof
line
line
starts.
A
And
we
have
some
stories
that
we
can
measure
from
the
from
the
various
sides
of
the
property
in
terms
of
how
many
stories
were
allowed
to
have,
but
we
also
have
language
that
says
the
passage
can
be
more
than
30
feet
and
if
we
can
all
agree
that
a
facade
isn't
just
to
the
eve
of
the
roof,
especially
in
a
case
sir,
we
have
a
lot
of
wall
space
that
goes
much
taller
than
taller
than
that.
Then
you
know
getting
honest
about
that
conversation.
A
I
think,
is
going
to
help
us
and
being
really
frank
about
it.
It's
going
to
help
us
and
I
think
the
third
part
of
that,
where
we've
got
stories
and
we've
got
height,
we
also
scale,
and
that
there
are
gestures
that
we
can
make
that
help
with
a
human
scale
of
these
buildings
along
different
street
frontage
has
and
and
all
three
of
those
things.
A
Looks
like
it's
four
stories
tall
and
in
reality,
much
of
that
building
is
set
way
back
on
the
site
and
there
is
a
very
different
scale
on
a
long
kitchen
street
that
maybe,
as
too
tall
isn't
for
stories
and
what
we're
seeing
behind
their
in
this
flat
elevation
is
at
some
point.
I
think
we
want
to
be
able
to
look
at
passing
that
lets
us
understand
better
stepping
and
variety
in
how
the
block
is
put
together.
That's
my
recommendation.
C
T
S
S
But
certainly
drawing
that
will
help
illustrate
it
when
andrew
and
in
respect
to
the
cottages
versus
this
part
of
the
village,
I
do
just
from
a
from
a
standpoint
of
understanding
we're
in
an
area.
That's
the
this.
This
portion
of
the
site
is
at
least
the
portion
of
long
hendersonville
is
known
as
high
intensity.
Highway
commercial
hive
has
a
partial,
so
we're
building
sort
of
that
context.
Not
the
cottage
context
you
know
here,
but
we
have
to
know
how
it
relates,
which
gets
to
exactly
where
I
was
going.
C
I
P
M
M
M
M
M
I
I
M
D
B
I
can
tell
you
that
everything
christian
does
is
lovely
and
thoughtful,
and-
and
I
really
appreciate
all
the
attention
to
z,
to
the
detail-
I
appreciate
the
different
you
know
the
foldings
and
the
different
perspectives.
I
think
that's
a
really
one
of
my
favorite
things
about
the
project.
I
do
have
a
problem
with
this
sighs.
The
massing,
I
think,
is
a
little
big,
but
but
I
I
think
the
design
is
lovely.
G
G
I
A
A
A
A
A
F
F
C
A
A
A
Process
evolves
and
you
keep
talking
about
it
and
you
wake
up
in
the
middle
of
the
you
go.
I
should
have
really
differently
and
I
figured
it
out
because
it
was
always
bugging
me
and
now
I
want
to
do
if
somebody
could
bring,
but
you
know
so.
I
think
that
my
presumption-
and
this
is
a
presumption
on
my
part-
is
that
that
y'all
are
expecting
to
get
feedback
from
us,
that
you
would
take
back
and
continue
your
work.
A
So
I
think
the
goal
for
us
today
is
for
commissioners
who
all
have
things
that
would
they
would
like
to
say
for
y'all
to
hear
that,
but
for
also
for
you
too,
ask
any
questions
of
us
that
are
specific
things
that
you're
looking
for
feedback
on,
so
that
the
conversation
that
we're
having
our
most
productive
and
that
you
can
continue
to
move
the
project
forward.
Considering
the
things
that
we've
that
we've
said
that
that
helped
us
all
move
towards
the
place
where.
S
I
know
I
really
appreciate
that.
Thank
you
and
I
appreciate
everyone.
This
is
a
lot
of
a
lot
of
great
voices
here
and
not
everyone
saying
the
same
thing
and
that's
the
way
it
is.
I
get
it
we,
as
I
said,
we
have
worked
so
hard
on
what
we've
brought
you
so
in
love
with
it.
So
I'm
you
know,
you
know,
like
anything,
you
have
to
sort
of
process
and
think
about
what
you're
hearing
I
do.
S
S
Yes,
it
is,
but
we
know
that
we're
trying
to
balance
a
program
and
push
it
as
hard
as
we
can
to
keep
it
as
respectful
as
it
can
be.
I
want
to
keep
working
on
that,
but
I
guess
I
would.
We
certainly
brought
your
whole
package
package
with
the
hope
that,
with
that
idea
that
you
know
you
could
opine
on
a
you
could
look
at
what
conditions
could
be
made.
S
S
I
mean
this
is
like
two
years
of
work,
so
I
want
to
try
too
work
in
a
collaborative
way
with
this
team,
if
you
were
open
to
a
kind
of
work
through
paths
that
you
will
feel
or
the
right
paths
for
the
project,
even
if
there's
not
a
hundred
percent
agreement
that
there's
consensus,
because
this
is
tough
work
work,
and
I
really
appreciate
all
of
your
your
time,
volunteering
to
have
those
conversations.
I
know
that's
not
easy.
So
for
us,
I
think
I
don't.
S
Revisit
it
with
you
all,
as
we
give
it
some
thought
to
see,
if
there's
ways
we
might
think
about
the
roof
forms
differently,
knowing
that
we
have
these
metrics
and
we
have
you,
know
language,
it
was
written
some
cases
many
years
ago
and
we're
dealing
with
all
of
that,
and
you
all
have
to
deal
with
that.
I
do
understand
that.
So
what
flexibilities
you
think
you
have
to
to.
A
A
Says
in
standards
emily,
it's
your
and
you
know
this
because
you
this
isn't
the
only
hrc
you've
ever
stood
in
front
of,
but
you
know,
you've
got
the
burden
of
helping
us,
create
that
message
and
telling
us
in
the
ways
in
which
that
you
think
you're
well
aligned
with
the
standards.
I
think
as
a
process
moving
forward
really
massing
is
the
big
question
and
and
that
time
spent
working
through
that.
A
Through
those
that
feedback
that
we've
given
him
to
the
standards
and
helping
us
see
a
path
through
the
ordinance
that
lets
us
make
a
motion
that
says
yeah,
we
can
support
this
building
at
this
size.
I
think
it's
amassing
studies
that
let
us
look
three-dimensionally
might
help,
because
I
recognize
that
we,
you
are
stepping
the
property
and
it's
difficult
to
read
that
flat,
because
you
see
the
tall
things
always
behind
us,
and
so
so
that
feels
like
a
productive
way
for
you
to
evolve.
The
work
that
you're
doing
is.
I
Number
of
stories-
and
I
think,
if
you're
thinking
about
that
from
the
intent
of
the
redevelopment
plan
and
the
actual
forms
in
the
district-
and
I
feel
like
those
two
meaning
together,
clearly
give
a
path
forward
but
like
to
commissioners
feedback
points
that
they've
made.
I
think
it's
just
a
little
more
more
study
how
the
massive
might
change
a
little
bit,
how
it
might
relate
to
the
other
to
scale
of
the
buildings
around
it.
And
I
don't
really
know
exactly
how
you
were
christian.
I
A
A
I
A
I
I
I
I
G
G
G
What
does
mass
mean
by
itself?
You
can't
just
say
this
right:
there's
never
going
to
be
one
sentence.
If
it's
helpful
to
you,
I
don't
again
if
alex
is
maybe
already
pulled
out.
These
are
some
of
the
standards,
the
applicant
and
mention
the
one
about
the
primary
facade,
not
exceeding
30
and
then
alex.
Actually,
I
was
a
little
confused
by
this
district
district,
no
sir,
the
sub-area
discussion,
and
were
you
saying
that
in
some
saw
there,
the
part
of
this
buildings
in
one
sub
area
and
wood?
I
I
F
F
I
I
I
Just
thinking
about
it
from
a
form
and
the
rest
of
the
district
and
kind
of
the
scale,
the
rest
of
the
district,
I
think
it's
easier
to
look
at
it
from
that
perspective,
and
maybe
the
intent
of
the
redevelopment
being
more
dense
is
really
the
intention
development
plan.
You
know
along
the
able
to
prove
it
corridors.
I
Kind
of
talking
about
it,
it's
clearly
going
to
be
a
commercial
development,
so
it's
probably
probably
consider
too,
is
that
they
could
be
elevated
by
plane,
not
right
perspective,
but
we
could
be
talking
about
something
like
ted
brook
street,
which
is
two
and
a
half
stories
on
top
of
level.
You
have
compartment
a
parking
garage,
so
that's
just
another
thing
to
consider
that
is
lovely,
and
that
just
is
the
reality
that
we
are
in
and
so
on.
I
A
F
S
T
T
G
G
Q
C
J
I
S
Keep
well
it's
all
fresh
in
everyone's
mind.
Why
don't
we
see
that
I
certainly
if
it's
okay,
then
I
could
ask
for
an
extension
to
a
following
meeting.
If
it
don't
think
it's
possible,
but
it
keeps
us
this
is
all
very
current
now,
so
I
why
don't
we
ask
for
my
german
may
request
a
continuance
for
a
date
certain
for
the
june.
A
A
L
I
I
C
I
I
I
G
I
I
What's
important
to
note
to
you
guys
about
the
nomination
for
this
property,
is
that
it's
different
than
the
landmark
designation
so
for
those
who
weren't
here
to
come
along
with
us
on
the
journey
for
the
landmark
designation?
This
part
that
I
would
say
that
the
black
community
is
fought
really
hard
for
what
little
amenities
that
they
have
for
them
to
get.
This
pool
was
like.
I
I
And
so
those
improvements
do
not
involve
the
pool
and
pool
house
at
this
time,
but
other
parts
of
the
park.
So
what
we
heard
from
the
community
members
at
that
time
was
that
they
really
did
not
like
the
the
softball
diamond.
Not
they
did
not
want
out
there,
even
though
and
constructed
on
the
site
in
the
50s.
The
basketball
court
also
came
in
the
1960s.
I
I
And
the
author
of
the
report
well
as
jesse
from
the
preservation
society
since
they
funded
the
report,
the
nation
rather
to
talk
about
it,
because
originally
it
was
just
they
were
just
straight
contributing
features,
but
that
parks
department
already
has
a
certificate
certificate
of
appropriateness
to
remove
the
baseball
field
and
install
multi-purpose,
walk
the
field
and
walking
track
and
to
move
the
basketball
court
so
that
it's
reoriented
east
or
north
to
south
and
not
used
to
west.
So
because
that
work
is
in
progress
already,
then
the
the
basketball
court
hasn't
been
touched.
I
Yet
so
it's
still
listed
as
contributing
baseball
field.
The
fencing
and
the
lighting
is
all
gone,
so
it
was
listed
as
not
contributing
but
documented
kind
of
in
progress
so
that
we
have
that
for
our
records
moving
forward.
We
felt
like
that
was
the
cleanest
way
to
do
the
nomination.
So
that
was
a
long
story
just
to
say
that
that's
it
reads
differently,
but
same
same
question.
Hopefully
you
also
will
support
this
nomination.
It's
it's
is
it
meat
register,
first
association
with.
I
I
H
I
P
I
I
I
So
I
told
that
old
jesse
the
director
that
I
would
just
circle
back
with
her
on
who
was
planning
to
attend
so
I'll,
just
send
out
a
follow-up
email
tomorrow,
and
you
can
just
respond
to
me
and
say
yay
or
nay
and
I'll
put
your
name
on
the
list,
and
I
know
you
were
playing
to
be
there
to
present
on
behalf
of
the
commission.
So
she'll
ask
me
to
do.
I
don't
have.