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From YouTube: Preservation Commission Meeting 4-9-2019
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A
A
so
the
we
first
turned
to
old
business.
The
first
order
of
business
is
in
relation
to
917
Edgemere
court.
The
hearing
for
917
Edgemere
court
for
approval
of
certificate
of
appropriateness
for
construction
was
concluded
on
October
9th,
with
issuance
of
a
certificate
of
appropriateness
were
not
continuing.
I
mean
the
hearing
was
closed.
At
that
point,
the
hearings
not
being
reopened
tonight.
The
sole
purpose
of
the
agenda
item
is
for
the
Commission
to
approve
the
findings
of
fact
that
were
circulated
and
posted
on
the
city
web
site
with
respect
to
917
Edgemere
court.
B
The
only
comment
I
received
was
from
luck.
Commissioner
Reinhold.
She
noted
that
part
of
the
discussion
during
the
meeting
on
October
9th
was
that
the
law
department
had
given
information
about
whether
or
not
the
park
south
of
the
property
was
part
of
the
public
way,
and
it
is
not
so
that
she
want
to
just
indicate
that
for
the.
C
D
I
think
he's
got
justyou're
you're,
correct,
chair
Simon,
we're
here,
9:17
detonators,
return
to
your
to
your
docket
just
for
administrative
purposes.
The
code
requires
a
written
findings
of
fact
on
all
decisions.
The
Commission
makes
a
written
findings
of
fact
was
not
made,
so
we
have
subsequently
prepared
one
based
on
your
findings
that
you
have
already
previously
made.
Tonight's
hearing
is
not
an
opportunity
to
reconsider
decisions.
It's
not
a
opportunity
to
relitigate
for
lack
of
better
words.
D
The
decision
of
the
Commission
we're
just
here
to
memorialize
in
writing
the
decision
that
has
already
been
made
by
the
Commission.
So
in
working
with
Carlos.
We
reviewed
finance
in
fact
one
more
time
and
we
have
a
couple
of
just
minor
changes
for
readability,
but
no
substantive
changes
and
I'm
happy
to
go
through
those.
If
it
would
be
helpful
for
you,
which
I
think
we
probably
should
put
on
the
record.
So
in
the
first
paragraph
the
last
sentence
would
say:
the
applicants
application
for
a
certificate
we
and
then
under
the
applicants
present
it.
D
The
fourth
bullet,
on
the
first
page,
it
says
the
proportion
of
facade
the
design
is
smooth,
was
missing
a
space
and
then
1
page
2,
beginning
with
the
October
9
2018,
meaning
one
two,
three,
four,
five,
six,
seven,
eight
nine
ten
eleven
twelve
bullets
down
where
it
starts
the
front
C
shape
the
second
sentence.
Instead
of
saying
the
same
on
the
back
now,
it
says,
did.
D
Yes
ma'am,
my
apologies
on
page
two
or
the
bullet,
it
starts
in
it's
for
volt
bubbles,
up
where
it
says
the
same.
On
the
back,
we
clarified
that
it's
the
same
on
the
rear
of
the
house
and
then
the
bullet
below
it.
Instead
of
saying
at
the
rear,
the
structure
was
lowered.
We
just
we've
clarified
it.
Did
you
say
the
rear.
E
F
C
E
E
D
C
D
Differentiate
instead
of
the
before
it's
just
a
more
specific
preposition
and
then
before
public
comment,
we
added
for
the
suggestion
that
Johanna
Leonard,
the
community
development
director
and
respect
to
Clark
Park
said
that,
according
to
the
law
department,
Clark
Park
is
not
a
thoroughfare,
so
it's
not
considered
a
public
way.
The
sentence
was
lifted
directly
from
the
minutes
did
to
direct
to
address
that.
E
D
E
E
D
F
F
A
A
G
A
We're
we
don't
even
have
the
power
to
reopen
the
hearing,
but
if
anybody
from
the
audience
has
just
any
errors
in
the
way
the
information
from
the
hearing
was
recorded,
we
could
take
those
at
but
again
without
the
merits.
Are
the
hearings
closed
otherwise?
So
ok,
then,
can
I
hear
a
motion
to
approve
the
findings
of
fact
from
the
Commission
or
I'm
sorry.
He.
D
A
E
A
H
Hello,
everyone,
Chad
Rogers
property
owner
of
1330
Lake
I,
was
here
last
month.
Thank
you
for
the
opportunity
to
come
back,
hopefully
were
a
little
bit
more
prepared
than
we
were
last
time
and
be
able
to
answer
most
your
questions
that
are
necessary
as
we
dive
in
to
kind
of
exterior
changes
that
we're
looking
to
do
with
this
particular
property.
H
So
this
is
the
current
picture,
so,
first
off
the
three
things
that
we're
looking
to
do,
the
exterior
we've
already
got
the
approval
for
the
interior,
remodel
we're
looking
to
change
the
exterior
in
three
main
ways.
The
first
way
we're
looking
to
change
the
exterior
is
the
addition
of
Windows
in
different
places
and
those
elevations
that
we'll
get
to
eventually
will
show
you
where
we're
looking
to
put
those
windows.
The
next
thing
we're
looking
to
do
is
to
put
a
skylight
on
the
northeast
side
on
the
roof.
H
It's
a
VSS
skylight,
we'll
get
into
that
as
well.
It's
level
with
the
shingles,
so
shouldn't
stick
out
too
much
or
be
too
obtrusive
to
the
visual
eye
and
we're
also
looking
to
change
on
the
eastern
side
of
the
property.
There's
a
porch
we're
looking
to
move
those
stairs
from
its
current
location
about
ten
feet
south
so
that
it
splits
the
patio
instead
of
offset
to
one
side.
So
this
is
the
current
placement
of
the
kind
of
X
to
your
windows.
H
Most
of
the
changes
are
happening
on
the
south
and
the
east
side
of
the
property.
Currently,
to
give
you
an
overview
on
the
item,
one
so
the
windows
themselves.
Previously,
we
thought
that
some
of
the
windows
were
historical
in
nature,
meaning
original
come
to
find
out.
There's
not
one
window
on
the
property
after
I
purchased
it
in
2016,
that
is
original.
Every
single
window
has
even
been
changed
or
modified,
and
we
could
give
you
a
breakdown
within
your
package.
H
One
there's
nothing
of
historical
nature
that
probably
the
most
high-quality
window
that
was
put
in
by
the
previous
owners
is
a
Pella
wood,
interior,
aluminum,
clad
exterior
window,
and
that's
the
one
we're
looking
to
match
on
now.
The
various
places
we'd
like
to
put
in
new
windows
so
trying
to
decrease
the
vinyl
windows
that
were
put
in
by
the
previous
owners
and
increase
it
at
least
to
the
probably
the
best
looking
window,
which
is
the
Pella
window,
that
is
on
the
front
and
the
sides
of
the
current
property.
H
As
it
stands
now,
you
could
advance
I'd
appreciate
it
one
back.
Please
in
your
package,
you're
going
to
be
able
to
see
it
a
lot
better.
We
break
what
the
different
windows
are
on
the
property,
and
let
me
tell
you
this:
there
is
a
interesting
mix
of
what's
been
changed.
What
hasn't
been
changed
so
type
1
property
is
the
aluminum
clay
or
type
1
window
is
the
aluminum
clad
window.
We
see
them
a
left
side
below
the
window
schedule
and
that's
what
we're
looking
to
kind
of
match.
H
Although
the
sizes
may
change
just
a
little
bit,
those
are
the
ones
that
we
want
to
include
and
those
are
the
ones
that
we're
looking
to
purchase
and
there's
an
invoice
of
those
various
windows
within
your
packet
as
well,
for
which
window
we're
looking
to
use.
Those
windows
are
basically
like
I,
said:
you're
gonna
have
a
wood
interior,
you're
gonna
have
a
luminal
clad
exterior
with
a
7/8
I.
Think
it's
mutton
is
that
correct
or
millionths
one
of
the
two?
H
Please
forgive
me
if
I
messed
that
up,
but
it
would
be
about
7/8,
so
will
match
what's
there
and
then
also
we're
looking
to
remove
some
of
the
vinyl
windows
that
are
currently
existing.
There
is
a
portion
of
the
property
where
we're
looking
to
move
one
window,
that's
currently
existing
to
another
location,
so
it
fits
better
visually,
at
least
to
the
human
eye
and
aesthetically
from
the
exterior,
because
the
west
side
of
the
property
is
on
a
corner,
so
that
is
the
most
visual
portion
of
the
property.
H
H
We
found
quite
a
few
structural
issues
and
in
order
to
do
the
remodel
of
the
interior,
the
way
we
desire,
we
have
to
change
some
structural
components
of
the
property
and,
as
a
result,
we're
looking
to
move
that
basement
window.
That's
the
only
significant
change
regarding
windows
or
material
change
regarding
windows
on
the
eastern
side.
Focus
you
on
the
porch
currently
on
the
top
picture,
see
the
porch
on
the
northern
side
of
that
eastern
side,
porch
we're
looking
to
move
it
to
the
Center,
to
split
the
windows
and
merge
those
pillars.
H
So
it
looks
a
little
bit
better.
At
least
we
think
it
does
to
the
visual
eye.
When
you
look
at
the
eastern
side
of
the
home,
another
change
that
you
can't
see
on
or
you
can
actually
on
the
bottom
left
picture.
It
gives
you
the
southern
view
of
the
home,
we're
also
removing
an
exterior
interior
door.
There's
a
door
if
you
see
it
on
the
top
picture
to
your
left
on
the
top
left
corner,
there's
a
door.
H
So
we
currently
have
two
access
points
on
that
porch
we'd
like
to
eliminate
one
of
them
and
that's
another
reason
why
we'd
like
to
move
the
stairs
to
a
more
centralized
position
on
the
porch
itself.
So
those
are
what
the
changes
we're
looking
to
do
for
the
porch
move,
those
porch
stairs,
move
that
window
on
the
eastern
side
and
then
also
get
rid
of
an
entry
door
that
we
think
is
unnecessary
and
not
needed.
That
will
be
filled
in
with
plot
with
the
stucco
the
same
stucco.
H
H
It
sorry
about
that
mm-hmm.
Can
you
go
to
the
end
for
me,
I'd
appreciate
it
sorry
for
not
putting
them
together
all
right.
So
now
did
you
bet?
Sorry
perfect?
Oh
thank
you.
So
this
is
the
western
portion.
These
are
the
really
the
material
and
significant
changes.
Are
the
east
yeah
the
western
portion
of
what
we're
trying
to
do
to
the
home?
As
you
can
see,
the
top
is
existing.
You
have
a
an
interesting
mix
to
the
eyes.
It
currently
stands
when
you
visually
look
at
it
and
it
is
not
necessarily
appealing.
H
As
you
see
on
the
top
picture,
in
the
center
of
the
main
eastern
side,
you
have
one
window
that
has
a
large
cutout
at
the
bottom,
whether
that
was
previously.
You
think
that
was
a
previously
a
door
because
it
used
to
be
a
wraparound
porch
on
this
particular
property,
which
has
since
been
removed.
More
possibly,
we
don't
know
it
could
have
been
an
air-conditioning
unit.
We
are
looking
to
get
rid
of
that
extra
kind
of
molding
and
cover
that
over.
H
H
We're
gonna
move
to
wait,
we're
gonna,
add
a
window
on
the
eastern
north
eastern
side,
where,
if
you
look
at
the
picture
with
the
excess
molding,
you
go
down
to
the
next
picture
on
the
bottom,
you'll
see
another
window
addition
right
above
that
it
was
kind
of
French
doors.
So
that's
one
of
the
additions
that
we're
looking
to
do
from
the
exterior.
We
think
it
adds
something
from
the
interior.
It
really
creates
a
symmetrical
interior.
H
Look
because
we
have
three
windows
in
the
front
of
the
home,
and
now
you
have
two
windows
on
the
side
of
the
home
on
the
eastern
side.
Instead
of
just
a
single
window,
we're
also
trying
to
add
two
windows
that
are
the
same
size
and
style
as
the
currently
existing
windows,
which
is
the
type
a
window
on
either
sides
of
the
fireplace
that
will
match
the
eastern
side
of
the
home,
from
both
the
interior
and
then
match
from
the
exterior.
H
When
you
look
at
the
home,
it
also
creates
the
triangle
effect,
which
is
some
of
the
things
that
we
were
trying
to
create
out
of
this
because
of
the
mix
match
the
various
window
placements
that
currently
exist.
If
you
go
back
up
to
the
top
picture,
we're
looking
to
rid
the
house
of
a
current
window
that,
for
some
reason,
isn't
it's
a
vinyl
window
that
really
serves
no
purpose
in
the
home
as
it
exists.
H
Let's
type
in
it's
currently
in
the
packet
and
the
reason
we're
doing
that
is
because
that's
where
the
kitchens
gonna
be
in
the
countertops
gonna
go
across
right
there,
so
we'd
like
to
create
and
have
natural
light
coming
in
from
the
western
side
of
the
property
into
the
kitchen
as
it
as
the
kitchen
design
requires.
Those
will
just
be
the
same
type
of
window
as
I
mentioned.
They'll
just
be
shorter,
of
course,
to
accommodate
the
countertops.
H
Another
change
is
when
you
go
back
up
to
the
top
of
the
the
top
picture
of
the
main
eastern
side.
There's
two
windows
right
in
the
center
on
the
south
side
of
the
fireplace
that
are
right
on
top
of
each
other.
That
particular
window
is
gonna,
be
used.
That's
a
type,
a
window,
we're
looking
to
move
that
window
to
the
rear
of
the
property.
As
you
see
in
the
bottom
picture,
or
now
you
have
a
window
up
top
right,
there
yep
perfect
and
we're
adding
that
window
there.
H
Think
that's
the
main
changes
there,
there's
also
a
skylight
that
we're
looking
to
do
on
the
north
eastern
side
of
the
roof,
and
that
is
it
change,
would
be
the
VSS
skylight
and
be
a
very
low-profile
skylight
solar-powered,
and
there
is
various
documentation
regarding
all
how
it's
created,
how
it's
designed
and
if
you
need
more,
how
it's
gonna
look
on
the
roof.
I'm
gonna
be
more
than
happy
to
give
you
a
copy.
H
If
you
need
a
copy
of
how
it
would
look
on
the
roof,
but
that
provides
you
with
a
structural
design
as
well
as
what
it's
going
to,
what
we're
looking
to
do
with
that
particular
property
and
the
reason
we're
trying
to
do
that
is
one.
It
provides
a
little
bit
of
light
into
a
relatively
dark
area,
which
would
be
the
master
bathroom
and
the
interior
remodel
because
of
the
eastern
side.
We're
not
putting
a
lot
of
windows
or
adding
or
adding
new
windows,
except
for
that
basement
window
which
we're
moving
north.
H
So
in
essence,
those
are
the
big
changes
that
we're
looking
to
do
as
I
mentioned
the
first
one,
which
is
the
window
changes
and
additions
and
the
various
to
fit
the
plans
that
we
currently
have
existing.
We're.
Looking
to
move
the
porch
from
where
its
current
location
into
the
center
portion
of
that
portion,
the
eastern
side
and
we're
looking
at
once
again
to
put
in
a
skylight.
H
We
found
out
that
that's
their
2008
model
model,
which
we
previously
thought
was
original
quote-unquote,
which
kind
of
displays
my
lack
of
window
knowledge,
but
ultimately,
we
were
able
to
get
it
right
and
find
out
what
we
had,
and
so
that's
currently
the
scope
of
work
in
the
major
change
for
certificate
of
appropriateness
that
we're
looking
for
the
council
to
approve
today.
I'm
welcome
to
take
any
questions
that
you
guys
may
have
regarding
the
changes
or
the
breath
the
scope
of
the
work
it
tell.
H
H
H
F
F
H
See
that
the
only
much
larger
trim
you're
gonna
find
is
right
there
on
that
northern
side
of
the
eastern
wall
on
the
top
level.
That
was
the
only
place
that
has
unique
like
I,
said
either
was
a
wraparound
porch
exit?
What
was
used
for
an
air-conditioner
so
what
they
did
instead
of
replacing
and
doing
in
what
my
opinion
would
be.
The
proper
way
is
to
get
stuck,
oh
guy,
to
come
out
and
match
the
stucco.
They
just
put
wood
over
it,
put
some
accent
on
it
and
called
it
good.
H
H
A
E
A
A
E
A
J
K
Sarah
Haas
I
work
with
Maguire
clusky
and
associate
Associates
Architects,
so
the
7/16
Rummel
project
came
to
us
because
the
owners
were
having
problems
with
their
failing
windows
on
the
front
facade
and
their
previously
replaced
windows.
And
when
we
looked
further
there,
we
discovered
that
there
are
deficiencies
with
the
steel
lintels.
Above
all
the
windows
causing
the
windows
to
fail
and
under
further
inspection.
K
And
then
the
other
part
of
the
project
is
to
restore
the
arched
entering
entryway,
which
is
currently
coated
in
a
modak
coating.
And
this
this
arched
opening
is,
is
less
deteriorated
than
the
band.
So
we
think
that
we
will
be
able
to
remove
the
coating
and
then
repair
any
of
the
small
cracks
that
exist
and
then
the
windows
themselves.
We
are
proposing
a
clad
marvin
window
and
there
are
three
types:
there's
casements
pair
casements
and
french
casements
and
we're
keeping
the
same
configuration
that's
existing
and
then
and
it'll
they'll
be
simulated,
divided
lights,.
A
K
K
So
the
stone
right
now
there
are
some
damaged,
so
the
lintel,
it's
the
the
structural
until
it's
steel,
but
then
there's
the
cast
stone
you
know
or
the
stone
units
above
the
windows
and
they're
just
flat
profile
and
we'd
like
to
put
them
all
in
limestone
that
right
now
there
are
a
few
that
are
still
cast
stone,
but
most
have
been
replaced
already.
What.
K
K
K
K
L
K
M
F
A
A
N
H
N
K
N
Sorry
about
that
so
yeah,
my
name
is
Carrie
sent
I'm
one
of
the
unit
owners
in
the
building
and
so
on
the
the
stone
band.
We
did
realize
that
that
was
going
to
be
a
significant
concern,
because
it
is
one
of
the
details.
That's
listed
on
our
statement
of
historical
significance
and
meeting
with
the
Mason
with
the
the
subcontractor
for
the
the
general
that
we'd
like
to
go
with.
We
had
a
meeting
with
him
last
week
to
talk
about
the
difference
in
price
and
the
detailed
versus
a
simplified
version
of
the
band.
N
One
of
the
concerns
that
he
raised
with
us
is
that
right
now,
there's
so
much
cracking
on
the
panel,
the
larger
panel
below
the
the
where
the
bay
comes
out
that
there's
so
much
cracking
in
that
that
he's
really
not
even
sure
he
can
get
a
mold
of
the
scrollwork.
That's
there.
So
while
he
can
try
to
do
some
sort
of
detail,
he
has
concerns
as
to
whether
he
will
be
able
to
match
it
in
kind
at
all,
and
we
really
are
concerned
that
upon
removing
that
band,
because
the
deterioration
of
it
is
so
significant.
K
N
N
N
J
A
Mean
I
think
from
a
historic
preservation
point
of
view.
As
you
mentioned,
it's
a
historic
feature
of
the
house
and
it's
pretty
visible
I
think
you
know,
based
on
what
we
know,
I,
don't
think
we
would
get
a
majority
to
authorize
removal
of
that
band
without
replacement
of
it.
I
don't
know
if
it's
something
you
would
consider
going.
A
A
Of
our
job-
and
it
certainly
has
a
significant
appearance-
I
mean
I,
don't
know
if
it'd
be
best
for
you
to
go
back,
I
mean
I.
Suppose
one
thing
we
could
we
could
possibly
do
is
is
a
prove
it
conditioned
on
that
change.
I,
don't
know
if
alternatively,
you'd
want
to
go
back
to
the
Mason
and
get
a
bid
or
if
that's
even
possible,
you.
N
Know
I
mean
we've,
we've
gotten
a
bit
before
it's
it's
just
it's
it's!
It's
a
twenty
thousand
dollar
difference
which
you
know
again.
It
may
not
necessarily
be
that
significant
in
relation
to
the
job
as
a
whole.
It
just
may
mean
that
we
might
not
be
able
to
do
other
work
that
we
were
hoping
to
do
with
taking
the
modak
coating
off
of
the
doorway.
We
may
just
have
to
replace
the
band
and
then
have
a
doorway
that
is
still
in
the
other
state.
A
A
P
N
O
O
O
A
N
I
think
quite
honestly,
at
this
point
we
we
just
need
to
know
and
if
we,
if
the
Commission
is
only
going
to
give
us
approval
with
the
detail,
if
that's
what
we're
gonna
need
to
go
with,
we
need
to
go
because
we
have
a
number
of
units
owners
who
would
like
to
get
the
work
done
right.
So
they
can
sell
their.
J
N
I
mean
quite
honestly,
we'd
really
don't
even
know
for
sure.
What's
if
it's
limestone
or
cast
stone
now,
because
it's
all
coated
in
the
Modoc
I
know,
the
statement
of
historical
significance
says
limestone,
but
and
Sarah's
architectural
firm
really
felt
strongly
that,
because
of
when
the
building
was
made,
that
it's
probably
cast
stone.
Quite
honestly,
we
don't
know
for
sure.
Until
we
start
removing
the
modak
coating
I
mean.
A
N
K
F
J
A
E
Really,
the
and
I
think
also
Jamie
made
the
suggestion
about
a
carver,
taking
a
look
at
it
and
what
that?
What
that
means
in
terms
of
cost
I,
don't
think
we
have
a
sense
of
that
in
terms
of
materials
or
what
that
means
for
the
project,
and
you
know
it
may
be
something
that
you
know
given
your
cost.
Concerns
could
potentially
be
palatable.
K
A
F
Q
F
J
L
K
F
B
K
B
A
And
I
guess:
I
still
come
back
to
the
issue
of
I.
Don't
have
their
technical
knowledge
to
know
if
we
I
mean
I
think
we
all
agree
that
the
the
appearance
should
be
maintained.
I
guess
I,
don't
know
the
technical
I.
Don't
you
know
whether
if
we
approved
the
appearance
we
maintain
but
and
either
capstone
or
limestone
that
that
would
be
well.
F
Theoretically,
once
they've
replaced
all
of
them,
you're
not
going
to
know
you're
not
going
to
be
able
to
say,
oh
that
doesn't
match
the
adjoining
panel,
because
the
adjoining
panel
is
the
same
material.
The
only
the
only
let's
call
stone
that
isn't
gonna
match
per
se
would
be
the
arch
down
at
the
bottom,
whatever
material
that
is
under
as
soon
as
they
remove
the
coating.
But
everything
above
that
band
is
all
going
to
be
one
single
material
with
Trevor.
Okay,.
K
N
K
F
I,
just
I
think
that
the
only
issue
is
you
know
much
more
about.
Is
it
going
to
be
a
carved
ornament,
or
is
it
not
so
you
could
theoretically
have
a
motion
that
says
that
and
then
they
don't
come
back,
but
then
we
still
have
to
know
what
they're
using
so
do
they
come
back
and
tell
us
guess
what
we
did
or
how
is
that
handled,
Scott
Carlos!
Yes,.
B
So
if
that
is
the
case,
you
know
it's
easily
handle
I,
don't
think
this
is
necessarily
for
the
Commission
to
know
I
can
easily
communicate
with
the
Commission.
This
is
what
the
final
product
would
be.
This
is
the
material
you
can
submit
drawings
that
will
show
the
carving.
Maybe
if
it's
cut
stoned-
and
you
have
to
probably
show
us
that
you
know
the
mold
urn
or
if
some
cover
something
that
will
prove
that
is
going
to
be
replicated
or
the
best
possible
way.
So
I
would
not
necessarily
act
by
myself.
B
I
would
probably
like
to
get
consultation
either
with
you
know,
Ken
I,
don't,
I
think,
has
experience
with
this
type
of
material
and
construction.
You
know
just
to
make
sure
that
is
the
correct
or
most
appropriate
way
to
handle
it.
I
don't
know
if
the
commissioners
have
a
different,
no,
not
different
beyond
that.
J
F
B
F
The
stone,
sills
and
headers
I'm,
assuming
those
are
limestone
and
then
replacing
the
cast
stone
band
between
the
ground
floor
and
the
first
floor,
with
either
a
cast
stone
or
limestone
with
the
same
profile
and
carving
decoration
ornamentation
as
the
existing
and
to
repair
the
cast
stone
entrance,
surround
and
remove.
The
coating
from
that
surround,
applicable
standards,
alteration
1
through
7,
9
and
10.
R
Hello,
I'm,
Johnny
Fleur.
This
is
my
third
time
here.
I
originally
came
as
the
architect
for
the
Oscar
Mayer
mansion
and
then
also
a
house
on
shared
in
place,
but
this
time
it
has
to
do
with
a
lot
adjacent
to
Oscar
Mayer
and
before
we
get
into
the
standards.
I
wanted
to
explain
a
little
bit
more
about
how
this
house
came
to
be
the
design.
R
It's
really
meant
to
be
a
representation
of
current
sustainable
technology
applied
to
a
house,
so
it
has
certain
issues:
the
siting
of
the
house.
It's
an
l-shaped
house
where
the
majority
of
the
mass
is
pushed
as
far
north
as
one
can
on
the
property
to
allow
for
a
lot
of
southern
exposure
and
to
create
private
courtyard
a
defensible
space.
It's
also
set
back
as
far
on
lot
as
possible
to
preserve
the
views
of
Oscar
Mayer.
R
There
has
never
been
a
house
on
this
property.
This
is
the
first
time,
there's
ever
been
a
proposal
to
put
it
here
and
out
of
respect
for
that
and
I'm
sure.
Most
of
you
have
driven
south
on
forests,
and
you
can
see
the
prominence
of
the
Oscar
Mayer
house
and
so
we're
trying
to
be
sensitive
to
the
fact
of
this
property
being
avoid
historically,
so
we've
pushed
the
house
as
far
back
as
we
can.
R
Some
other
aspects
of
this
plan
is
that
all
the
rooms
have
a
view
of
the
courtyard.
They
all
have
a
southern
exposure,
which
is
good
for
passive
solar.
The
plan
turns
is
back
to
the
north
in
the
same
way
that
Oscar
Mayer
does
all
the
bedrooms
on
Oscar
Mayer
are
on
the
south
side.
The
shape
of
the
roof
actually
comes
from
the
40
degrees,
that's
optimal
for
solar
panels
under
long
standard
mass
of
the
house,
the
roof.
R
At
the
north
side,
we
kept
as
low
as
possible
at
16
feet
with
seven-foot
head
clearance
on
the
second
floor
hallway
and
the
size
of
the
house
is
smaller,
just
kind
of
in
keeping
with
how
many
people
are
choosing
to
live
these
days.
A
3,400
square
feet,
I
know
to
many
of
us,
doesn't
seem
small,
but
it
is
small
in
the
neighborhood,
which
is
comprised
mostly
a
5,000
square
foot
homes.
The
materials
were
chosen
once
you
go
down
the
sustainable
path.
R
R
R
The
windows
are
all
insulating
glass
they'll
be
dealt
in
shades
for
heat
retention
and
he's
reflection
in
the
summer
and
the
mechanical
systems.
You
know
these
are
all
things
that
are
readily
available:
gee
exchange,
heating,
cooling,
ERV,
you
could
burn
wood,
there's
a
catalytic
converter
for
fireplaces,
so
it's
completely
cool
to
do
that.
R
P
R
Oscar
Meyer
is
30
to
35
feet
from
the
front
property
line,
ours
would
be
72
and
the
property
to
the
north
is
45
or
something
so.
What
happens
here?
Is
you
travel
south
and
I
have
some
more
images,
especially
the
ones
I
handed
out
the
the
corner
house
and
this
house
would
be
set
back
and
then
there's
a
wall
of
houses
all
about
30
35
feet
from
the
sidewalk.
We
would
be
20
feet
away
from
Oscar
Mayer,
there's
a
15
foot
side
here
there
and
then
were
five
foot
on
either
side.
R
R
R
R
It's
the
North
elevation
there.
You
can
see
kind
of
a
three-dimensional
representation
of
how
this
looks
from
this
of
West
and
the
tree
representations
on
the
South
property
line
as
well.
This
is
the
front
elevation.
It's
Oscar,
my
Oscar
Mayer
is
40
feet
tall,
and
this
is
at
the
roof
peak
here
is
at
27
so
and
when
you
walk
up
the
front
steps,
the
the
ceiling
height
here
is
7
feet.
So
it's
kind
of
a
game
of
scale.
It's
it's
actually
a
pretty
small
house
and
compass
comparison,
and
this
is
the
courtyard
in
the
back.
R
R
This
is
the
view
you'd
get
if
you
went
a
little
bit
further
north
and
as
you
can
see,
that
the
mass
of
the
house
is
completely
obscured
by
the
trees
and
foliage,
and
you
can
see
the
how
Oscar
Mayer
is
still
the
prominent
house
on
the
on
the
block.
So
this
is
a
little
bit
different
response,
I
think
to
historical
building
and
historic
districts.
R
I
think,
most
of
the
time,
the
Commission
is
given
very
large
homes
that
need
to
be
good
neighbors
to
historical
homes
and,
in
this
case,
were
trying
to
set
it
back
and
and
be
kind
of
recessive
to
the
houses
that
they
could
see.
The
house
on
the
north
as
well
there's
actually
another
lot
between
the
new
property
and
the
lot
to
the
north,
that's
owned
by
the
corner
property.
So
here
you
can
see
how
a
better
way
of
rendering
of
how
the
house
would
look
with
Oscar
my
next-door
yeah.
F
A
R
R
The
house
has
both
vertical
and
horizontal
components
to
it
like
most
of
the
houses
there,
it's
in
scale
to
itself
it's
not
tall
and
thin
or
low
and
flat
the
proportions
of
the
openings.
It
has
about
the
same
amount
of
glazing
that
faces
the
street
is
other
homes,
the
rhythm
of
solids,
the
voice
and
facades.
There's
two
main
planes
of
the
front
facade
with
some
roof
shapes
between
them,
and
there
is
an
entry
porch
with
the
door
and
that's
part
of
the
porch
as
well,
and
it's
raised
rhythm
of
spacing
and
structures
on
streets.
R
R
Again,
there's
a
prominence.
The
views
of
Oscar,
Mayer
and
front
landscaping
will
help
maintain
the
appearance
of
the
empty
lot.
That
is
the
existing
tree
line
on
the
north
side,
the
entry
porches
starfriend
recesses
and
other
protection.
There
is
a
traditional
porch
with
an
entry
walk
as
similar
to
the
neighbors,
the
materials,
a
texture,
relationship
with
materials
and
texture.
Again,
wood
siding
is
the
prominent
material
on
for
the
thousand
block
of
forests.
R
The
roofing
on
forest
is
all
asphalt,
shingles,
none
of
which
is
original.
So
it's
kind
of
hard
to
relate
to
a
roofing
type
that
wasn't
original
to
begin
with
the
roof
shape.
Is
it's
a
gable?
It's
it's
an
awesome
cable,
but
all
the
other
houses
on
forests
are
Gables,
but,
except
for
hip
and
a
somewhat
flat
roof
on
Oscar
Mayer
walls
of
continuity.
Here's
where
we
kind
of
separate
this
is
not
a
series
of
planes
that
fits
into
a
rhythm
with
a
with
a
similar
setback
of
the
other
homes.
R
As
I
said,
this
is
sit
back
72
feet
the
scale
of
a
substructure,
it's
roughly
two-thirds,
the
scale
of
Oscar
Mayer.
Our
peak
is
27
and,
as
I
said,
they're
40
feet
high
direction,
expression
of
facades,
as
I
said,
it's
horizontal
and
vertical
components
like
many
of
the
homes
are
on
the
on
the
block.
R
Let's
see
innovative
design.
This
is
this.
Is
the
big
one
I
guess
for
this
design,
really
the
the
building
kind
of
comes
from
this
idea
of
sustainability
and
energy
efficiency,
so
things
like
the
roof
slope,
the
gable,
the
use
of
sustainable
materials
and
wood,
siding
wood,
framing
recycled,
aluminum
roofing.
All
of
these
things
are
innovative
and
I
think
fitting
as
representations
of
how
houses
should
be
built.
R
A
Just
in
terms
of
trying
to
gather
data,
so
the
depictions
on
and
I'm
sorry,
the
the
one
of
the
handicaps
here
is
that
most
of
the
material
these
materials
can
concerning
the
relationship
of
this
house
to
the
surrounding
homes
was
not
submitted.
Part
of
the
package
so
I
know
I
haven't
had
a
chance
to
review
it.
R
R
A
All
right,
well,
I
guess
my
thought
is:
maybe
we
get
questions
just
questions
only
from
the
Commission,
not
discussion
and
then
a
lot
of
people
in
the
audience
to
speak
and
then
come
back
to
the
Commission
for
discussion.
Are
there
any
other
questions
about
the
packet
that's
submitted
at
this
point
or
questions
for
the
architect,
the
curl.
T
Excuse
me:
I
have
a
bit
of
a
cold
now
my
name
is
Brett
Gadsden
I
live
at
10:47,
Forest
Avenue.
We
were
kind
of
before
this
commission
I
think
in
October
we
were
seeking
permission
to
perform
some
renovations
and
for
excuse
me
fir.
We
just
had
a
fire,
and
so
we're
kind
of
become
a
little
bit
familiar
with
this
process
of
historical
preservation
and
the
importance
of
preserving
the
historical
integrity
of
the
house
and
the
character
of
the
community.
T
We
were
struck,
in
particular
in
our
review
of
the
website
by
the
architects
emphasis
on
all
the
contemporary
features
of
the
home
and
his
almost
total
failure
to
reflect
upon
the
problem
of
how
this
house
fits
in
the
lakeshore
historic
district.
So
I've
consulted
with
an
architect
friend
about
some
guidance
on
how
to
respond
to
the
developers
plan
and
he
provided
me
after
he
reviewed
the
materials
that
we
had
access
to.
He
provided
me
with
a
direct
quote
on
about
the
merits
of
the
project.
T
T
It
is,
and
always
has
been,
a
movement
that
looks
not
excuse
me
not
only
looks
that
looks
to
not
only
not
repeat
the
past,
but
to
push
forward
the
limits
of
imagination
and
as
to
the
particulars
of
this
particular
house
market
tech
friend,
provided
me
with
a
number
of
bullet
point,
features
that
in
his
assessment
he
were
that
constitute
a
kind
of
certain
disregard
for
the
character
of
the
neighborhood
and,
if
you'll
indulge
me,
these
are
his
language
and
and
kind
of
language
and
logic
that
I'm
kind
of
still
kind
of
struggling
to
come
to
grips
with,
as
we
as
we
think
about
this
property.
T
The
first
point:
the
north
wall
is
flat
and
pretty
blank.
It
is
likely
right
on
the
property
line
to
maximize
the
floor
space,
but
it
turns
its
back
on
the
neighborhood.
The
main
facade
is
low
and
horizontal
or
whereas
the
surrounding
homes
are
typically
proportionate.
Proportioned
vertically,
the
main
facade
is
not
symmetrical.
The
windows
do
not
have
a
readily
obvious
organizing
layout.
The
front
porch
is
unfriendly
to
the
neighborhood.
The
main
living
space
is
only
for
the
family,
which
can
essentially
turn
their
back
on
their
surroundings.
The
roofline
is
untraditionally
asymmetric.
T
There
are
structural
follies,
I
believe
is
the
term
where
portions
of
the
building,
like
the
roof
over
the
front,
porch
appear
to
magically
hang
in
the
air
and
a
very
appealing
concept
to
contemporary
our
tech,
architects,
but
not
likable
to
traditional
designs.
The
wood
siding
is
used
as
a
singular
element,
the
flat
board.
It
is
a
simplified
element
as
devoid
of
texture
of
sure
as
possible,
when,
in
fact,
wood
is
a
material
that
can
be
greatly
sculpted,
as
was
done
in
traditional
designs
surrounding
this
proposed
structure.
T
Horizontal
window
forms
as
on
the
east
and
west
facades
are
contemporary.
Traditional
forms
are
usually
vertically
oriented
window
and
door
heights
as
well
as
floor
heights,
probably
don't
align
with
the
immediate
neighbors,
which
is
often
something
that
one
can
see
between
traditional
buildings
on
the
block.
The
roof
overhangs
are
not
consistent.
Some
are
quite
large.
Some
are
the
width
of
the
fashion
board.
Traditional
buildings
have
a
regular
overhang
of
a
consistent
depth.
T
Traditional
buildings
use,
regular
eyes
volumes
and
add,
or
carve
away
from
those
with
other
regulars
volumes.
This
house
does
not
the
aluminum
roof
is
not
typical
of
the
neighborhood
roof.
Pitches
in
the
neighborhood
are
tall.
Making
buildings
seem
almost
to
be
three
storeys.
This
building
has
shallow
pitches
and,
lastly,
there's
no
rhythm
to
the
facades
and
I
would
say:
the
styling
is
deliberately
anti
rhythmic
to
similar
elements
bump
into
into
a
rap
or
extend
over
one
another.
T
Now
we
were
attracted
to
Evanston
and
lakeshore
historic
district
for
the
community's
commitment
to
Historic
Preservation,
and
we
think
this
is
a
hisses,
a
fine
house,
but
in
its
current
form
we
don't
don't
think
it's
appropriate
for
our
block.
We
understand
that
the
reviewer
board
cannot
impose
a
design
style.
Still.
T
We
would
ask
the
Commission
to
withhold
a
certificate
of
appropriation,
as
the
project
in
its
current
form
is
incompatible
with
the
neighboring
structures
and
I'd
like
to
add
I,
have
kind
of
letters
of
support
from
our
neighbors
to
the
south,
Chris
and
Priscilla
Green
and
Neil
and
Denise
Robinson,
who
live
in
the
the
houses
to
the
south
of
our
property.
If.
A
P
P
B
Q
A
friend
of
ours
who
used
to
live
on
the
block,
who
moved
a
couple
of
years
ago,
I
showed
her
the
card
we
got
with
the
rendering
of
the
house,
and
her
comment
was
oh
I
liked
it
I
liked
this
on
Clark,
Street
Beach
and
that's
what
this
reminds
me
of
is
what
is
a
lovely
beach
house
on
Clark
Street
Beach,
but
this
has
absolutely
nothing
to
do
with
the
historic
district
and
I.
Q
Personally,
don't
like
the
setback
to
me
when
you
walk
down
the
sidewalks,
it's
one
interesting
architectural
house
of
character
and
history
after
another,
and
you
don't
look
back
if
they
just
flow
and
that's
what
makes
the
the
street
I
think,
lovely
and
I
agree
with
all
the
other
comments.
Dr.
Jensen,
okay,.
U
My
name
is
Dominique
omen,
papa
and
I
live
at
10:48,
Forest
Avenue,
which
is
the
home
on
the
corner.
It's
to
the
north
of
this
property
and
I
guess,
I
would
reiterate,
or
just
echo
the
comments
that
have
already
been
made.
I
agree
with
them,
but
also
I
am
concerned,
as
the
property
owner
to
the
north
I
was
described
that
the
trees
would
remain.
We
have
a
very
strong
tree
line
between
these
two
properties
and
in
that
tree
line
some
are
on
one.
U
My
side
and
some
are
on
the
other,
but
they're
very
tall
mature
tree
is
like
you
know.
That
was
not
the
reason,
but
it's
definitely
an
attractive
feature
of
my
home
and
I.
Don't
because
this
home
is
being
constructed
so
close
to
those
trees.
I'm
I,
don't
know
what
trees
are
even
a
consideration
or
your
consideration,
but
I'm
concerned
that
the
trees
won't
survive
the
construction
as
they
would
be
digging
right
into
the
root
base
of
those
very
mature
tall
trees.
U
S
S
If
we're
asked,
if
I
were
to
ask
the
Commission
to
walk
around
the
neighborhood
and
vote
on
which
house
after
it
was
constructed,
looks
like
the
one
that
doesn't
belong,
I
think,
undoubtedly
you
would
vote
this
house
is
the
one
least
likely
to
belong
in
this
neighborhood
I'm
sympathetic
to
the
goal
of
using
modern
design,
construction
techniques,
I.
S
G
Hi,
my
name
is
Catherine
Malaysia
I
live
at
ten-thirty,
Forest
Avenue,
the
Oscar,
Mayer
house
and
I
guess
I
will
be
the
sole
source
of
complete
support
for
Miss
Drive
fleurs
project.
I.
Think
this
is
a
thoughtful
and
considered
response
to
building
a
contemporary
house
in
a
historic
district.
I,
don't
think
you
can
build
a
nineteenth-century
house
or
an
early
20th
century
house
in
the
21st
century
and
I
think
what
he
has
done
takes
that
into
account,
while
looking
forward
to
as
he
puts
it,
houses
should
be
constructed
today
and
I,
like
the
setback.
V
V
I
very
much
agree
with
her
sentiment
that
it's
it's
interesting
to
try
to
put
a
a
modern
house
in
the
setting,
but
I
agree,
unfortunately
not
with
the
person
with
whom
I
live,
but
more
my
neighbors
in
this
regard,
and
that
I
think
that
if
you
actually
look
at
the
neighborhood
as
a
whole,
this
particular
house
I,
like
the
set
back
I
like
the
way
it
tries
to
fit
within
the
property
lines.
The
design
itself,
though,
is
not
in
keeping
with
the
neighborhood.
It
doesn't
make.
V
I
would
say
any
effort
to
keep
within
the
architectural
styles
of
the
neighborhood
I
think,
for
example,
an
aluminum
roof.
It
just
stands
out
in
a
way
when
you
look
at
the
photographs
that
it
does
not
seem
fitting
or
fitting
of
the
surrounding
houses.
It
does
not
seem
fitting
of
a
historic
district,
and
it
does
I
would
agree
with
my
neighbors
currently
to
the
north
that
it
does
seem
to
be
the
one
house
that
will
really
not
fit
with
the
styles
that
surround
it.
V
If
you
were
to
walk
up
and
down
the
street,
you
would
say
this
is
the
one
house
that
does
not
fit
like
the
others.
It's
a
very
interesting
house
and
I
can
see
wanting
this
house
I
agree
once
again,
not
where
it
currently
is
being
contemplating,
whereas
currently
contemplating
being
put,
and
so
for
that
reason,
I
would
not
issue
the
COA.
Thank
you.
Thank
you.
All.
J
E
I
have
two
areas
of
concern
both
relate
to
the
standards.
The
first
is,
the
setback.
I
do
think
it
is
set
back
too
far.
The
other
is
the
front
facade
and
how
it
it's
with
the
rhythm
of
the
street
I.
Think
that,
overall,
to
me,
it's
less
about
the
design.
It's
more
about
the
way
it
addresses
the
street
and
the
setback
I.
F
Was
waiting
for
more
well
I
I
think
the
standards
are
really
the
criteria
and
John
you
try
to
address
them,
but
you're
addressing
them
by
essentially
saying
here's
the
criteria,
here's
the
way,
I
interpret
them
and
I
think
it's
our
task
to
also
interpret
those
same
standards
and
in
going
through
them.
You
know
just
starting
out
and
there
are
I'm
not
going
to
try
to
do
all
16.
F
But
you
know
you're
saying
well:
the
house
is
two
storeys
and
all
the
neighbors
are
two
stories,
but
I
think
that
if
anybody
goes
down
the
street
and
looks
at
these
two
and
a
half
to
three
story,
homes,
you're
gonna,
see
that
there
and
I
guess
I'm
going
to
be
using
this
word
a
lot
there
a
different
scale.
It's
not
the
same
two
stories:
I
can
also
have
a
two
story
house,
with
eight-foot
ceilings
and
I
can
have
a
two-story
house
with
ten
and
12-foot
ceilings
and
I
think
you
know.
F
Now
the
anomaly
on
the
block,
probably
more
than
most
of
the
others,
if
you
think
about
it
and
and
then
I,
look
at
that
house
behind
the
traffic
sign
and
I
look
at
the
proportions
of
the
windows
and
then
I,
look
at
the
house
on
the
lot
on
the
right
and
I.
Don't
see
any
characteristics
that
have
been
sort
of
echoed,
and
it's
important
I
think
for
everybody
to
realize,
because
somebody
here
used,
the
term
belong
I
forgot,
which
of
you
said
it
doesn't
know.
F
F
But
I
don't
see
any
of
that
here
and
what
I
mean
by
that
is.
These
are
a
whole
series
of
criteria.
There's
a
lot
of
ways
to
take
that
information.
Both
proportion,
facade,
I,
think
Diane
mentioned
the
street
line,
which
was
a
big
issue
ironically
on
Edgemere
court,
about
where
was
the
line
of
the
buildings
and
where
they
weren't
and
I'm,
not
seeing
that
almost
any
of
these
items
are
there,
I
mean
to
tell
me
that
this
is
wood,
siding.
What
I
see
here
is
vertical.
F
Wood,
siding
and
I
suspect
there
isn't
a
single
wood
house
of
the
nine
that
are
identified.
That's
got
vertical
wood,
siding
so
to
say
it's
wood
to
say.
Well,
the
original.
You
know
the
original
roofs
for
all
we
know
were
some
sort
of
solid
roofing.
Maybe
they
were
once
you
know,
wood,
shingles
or
wood
shakes.
We
don't
no,
but
you
know
I,
don't
think.
That's
a
reason
to
suddenly
say:
I
can
I
can
use
aluminum
because
I
don't
need
to
worry
about
that
and
I
think
people
have
already
talked
about
the
rush.
F
A
A
P
A
M
F
M
One
for
this
yeah
I
mean
I,
think
someone
could
buy
it
and
then
plant
a
bunch
of
landscaping
in
front
of
it.
So
you
never
see
it
so
part
of
me
likes
the
big
setback,
even
though
I
know
it
doesn't
match
the
rhythm
of
the
street,
but
at
least
like
my
thinking
is
someone
can
obscure
the
front
of
it.
So
you
don't
even
see
it,
but.
M
But
it
was
so
like
like
Oscar
Mayer
is
how
tall
40,
what
is
it
40
feet?
What
if
we
had
another
person
who
wanted
to
build
another
40
foot
house
next
to
this
I
mean
at
least
it's
26
feet,
and
then
ten-thirty
doesn't
have
like
some
giant
thing
next
to
it,
but
I
do
think
it's
very
severe
and
kind
of
unfriendly,
especially
the
facade
you
know
like
it.
Just
I
mean
the
way
it's
pictured
in
the
in
the
packet.
It's
like
it
doesn't
seem
like
it's
really
gonna,
be
that
small.
M
It
seems
like
impossibly
small,
like
miniaturized
right,
but
I
do
think
in
a
way
to
the
big
setback
can
be
forgiving
because
it
isn't
very
friendly
to
the
street,
but
I
understand
why
you'd
want
a
house
that
has
more
of
like.
Doesn't
everybody
have
like
a
front
porch
on
the
street?
You
know,
like
it
kind
of
needs
that,
and
it
kind
of
lacks
a
kind
of
street
friendliness.
We
could
say
right
in
the
aluminum.
M
F
M
I
I
just
want
to
I
have
a
couple
standards
that
I
just
wanted
to
talk
about
so
standard
number
three
is
the
proportion
of
openings,
and
this
was
something
we've
had
on
other
innovative
design
projects
that
we
have
gone
through.
Several
modifications
to
to
get
them
to
be
proportional
to
the
punched
openings
that
are
of
the
adjacent
properties,
so
I
think
that
is
something
that
should
be
considered.
That,
maybe
is
not,
in
my
opinion,
met
at
this
time.
I
I
I
actually
went
to
this
area
this
afternoon
and
sat
there
strangely
in
my
car,
for
a
little
while
right
outside
of
the
property.
Just
just
that
was
me
just
to
kind
of
absorb
the
homes
around
and
and
get
an
idea.
It
is
a
very
tight
site,
so
I
can
understand
the
intent.
I
do
think
this
is
a
very
thoughtful
design.
I
think
there
is
a
lot
of
care
taken
into
the
sustainability
design
and
the
cradle
cradle
and
recyclability
of
this,
which
I
have
great
admiration
for
for
John,
so
I
think.
I
All
of
that
follows
with
the
innovative
design,
standard,
14
and
really
fulfills
that
standard.
The
only
question
I
have
on
that.
One
then
is,
is
that
it
says
it
should
be
compatible
with
the
size,
scale,
color,
material
and
character
of
the
property
and
neighborhood
and
I'm,
not
quite
sure
where
they're,
just
yet
I
think
we
are
losing
it
a
little
bit.
We
have
the
innovative
part
of
it,
but
we
need
to
maybe
kind
of
bring
it
a
little
bit
more
to
the
character
of
the
neighborhood,
but
I
am
not
opposed
to
an
innovative
design.
F
I
want
to
add
number
16,
because
I
think
everybody
here
should
realize
that,
because
it
talks
about
that
when
we
have
new
construction,
we're
not
supposed
to
impose
a
single
architectural
style
or
period
and
I
think
that
gets
to
the
you
know.
That
goes
back
to
to
that
point
so
that
it's
not
an
issue
of
the
innovative
design.
I,
think
it's
and-
and
it
can
be
some
other
style
or
period
but
I
think
there's
still
a
question
of
how
it
relates.
You
know
which
I
think
is
what
you
were
saying
to
the
other
buildings
right.
I
A
A
I
mean
typically
the
the
evidence
presented
to
show
compliance
with
the
standards
is
based
on
relating
it
to
other
homes
in
the
neighborhood
and
I
didn't
feel
that
there
was
any
development
whatsoever
of
I
mean,
regardless
of
the
merits
of
it,
any
development
of
the
factual
basis.
We
would
need
to
show
that
the
structure
related
to
the
standards
I
mean,
as
Elliott
said,
you
simply
kind
of
do
conclusions,
but
there
was
no
relationship
to
the
surrounding
houses.
I
also
think
it's
going
to
be
difficult
to
relate
this.
A
The
other
observation
I
had
is
that
you
know,
as
the
presenter
is
noted,
for
just
I
mean
this
is
a
block
in
a
couple
blocks
of
basically
uniformly
historic
houses
with
a
lot
of
the
houses
having
you
know
not
being
the
same
architecture,
but
certainly
having
a
lot
of
commonalities,
and
there
are
other
places
in
the
historic
district
that
have
more
new
houses
that
have
more
open
space
or
nothing
across
the
street
from
there.
Nothing
next
to
them,
where
I
think
there's
maybe
a
little
more
freedom
to
bury.
A
Whereas
this
is
just
a
you
know,
I
think
people
are
right
that
this
with
the
that
your
neighbors
are
right,
that
this
would
be
much
more
jarring
than
it
would
be,
and
in
other
further
modern
houses
within
even
two
or
three
blocks
and
I
think
clearly
we
need
to
people,
I
mean
you
know.
We
certainly
would
approve.
I
mean
it's
going
to
be
a
new
house.
There's
no
way
around
that,
and
certainly
there
is
a
design
we
would
and
could
approve,
but
I
just
don't
feel
that
this
I
mean
I.
A
Think
this
site
does
have
some
challenges
that
maybe
other
particular
sites
with
many
more
modern
houses
don't
have
and
I
do
think.
There
has
to
be
that
the
house
itself
needs
to
relate
in
some
way
to
the
historic
structures
around
it
and
that
you
need
to
be
able
to
depict
for
us
that
relationship
and
again
it's
not
obviously
not
going
to
be
that
it's
a
19th
century
house.
A
That's
not
going
to
be
the
relationship
and
I
think
as
Suzy
said,
I
know
that
there
definitely
are
aluminum
roof,
surround
which
harken
back
to
you
know
which
relate
to
some
of
the
the
non
aluminum
roofs
but
but
I.
Think
it's
a
big
challenge
and
I
just
don't
think
that
either
the
presentation
or
the
you
know
particular
features.
The
house
relate,
you
know,
show
the
relationship
to
the
surrounding
structures
which
have
a
decent
amount
of
uniformity
and
to
them.
A
R
It's
very
frustrating
to
come
here
and
listen
to
this,
especially
you
Elliott.
No
one
makes
up
the
roof
types.
There
were
cedar
shakes.
That's
the
way
it
was.
There
were
no
asphalt
shingles
back
then
it
was
cedar
shakes
that
one
original
glue
remains
on
that
Street,
okay
and
I.
Just
don't
you
know,
architects,
plant
vines,
that's
the
joke!
It
just
isn't.
J
R
R
A
R
A
Of
my
problem,
is
you
didn't
even
make
that
presentation?
You
didn't
show
here's
a
modern
house,
a
block
away,
or
you
didn't
show
that
here
the
other
houses
in
the
block.
Here's
how
my
modern
design
bears
some
relationship
to
that
you
didn't
even
make
that
presentation
wise,
whereas
other
other
people
do
spend
a
lot
of
time,
sometimes
very
successfully,
making
their
presentation
and
I
think
I
can't
think
of
a
new
construction
house
that
ultimately,
people
didn't
find
a
way
to
get
approved.
Yeah.
R
A
Of
all
it,
it
was
a
that
was
a
particularly
difficult
project,
other
home
modern
homes,
with
at
least
as
modern
design
as
yours,
and
were
approved
in
the
last
year
on
the
initial
presentation.
But
the
the
presentations
showed
relationship
to
other
houses,
Edgemere
court,
one
of
the
reasons
it
was
you
know
they
did
spend
a
lot
of
time,
showing
relationships
to
two
other
modern
houses
with
similar
design
in
the
neighborhood.
In
that
case,
you
know
in
relatively
close
proximity,
but
documented
it
they
showed
it
and
they
worked
hard
to.
A
A
Merits
of
the
product
and
the
presentation
is
what
we
would
like
it
to
be,
and
it
of
course
yes,
it's
hard,
particularly
with
a
large
Commission.
It's
you
know,
you're
not
going
to
get
every
single
person,
never
expressing
an
opinion
and
that's
the
way
it
is,
but
we
certainly
tried
to
sort
that
out
and
try
ultimately
to
approve
houses
where
the
design
meets
the
standards,
and
the
presenter
shows
that
the
design
meets
the
standards
and
we
we
try
as
hard
as
we
can
to
stick
to
those
standards.
Well,.
A
Mean,
as
you
said,
I
I
don't
think
it's
I,
don't
think
it's
up
to
us
to
dictate
a
particular
setback.
I
think.
Probably
what
you're
hearing
today
is
the
project
in
so
tality
in
its
current
form,
wouldn't
be
approved.
I
think
you
know
we
could
vote
and
I
don't
know
if
that's
gonna
serve
a
purpose.
I
mean
I,
don't
know
if
you,
if
you'd
like
to
continue
and
present
changes
and
present
different
design.
I,
don't
know
if
you
think
that's
worth
it's.
R
Very
difficult
to
present
alternatives
when
I
don't
have
direction
from
you.
As
far
as
things
like
setback
scale,
I
mean
all
the
houses
on
the
block
have
10
or
12
foot
high
ceilings
on
the
first
floor
and
at
least
9
foot
high
ceilings.
On
the
second
floor,
that's
not
going
to
happen.
This
house
is
not
going
to
be
5
foot
off
grade
in
order
to
provide
basements
that
don't
get
wet,
which
is
why
they
were
done.
That
way.
That's
not
gonna
happen.
So
when
you
talk
about
scale,
it
can't
be
met.
R
R
I
I
can
just
make
one
comment:
I
mean
I,
understand
that
your
goal
is
to
be
sustainable
on
and
I
absolutely
respect
that
I
think
that's
a
very
admirable
girl
and
I
think
you're
doing
a
very
good
job
with
thoughtful
design.
You
have,
but
then
I
think
that
the
contradiction
is
you're
trying
to
do
it
in
a
preservation
district
which
you're
very
familiar
with
preservation.
I
So
I
think
that
those
are
two
goals
that
are
obviously
fighting
each
other
and
that's
where
your
design
conflicts
come
to
play
right,
you're,
trying
to
make
this
a
very
efficient
house,
but
you're
forced
to
meet
these
inefficient
19:20
standards.
So
so,
unfortunately,
with
this
site
selection,
you
know
we
are
bound
to
maintain
to
some
degree
those
standards.
I
wouldn't
say
that
you
have
to
match
the
exact
punch,
windows
or
symmetry.
You
have
room
to
play
with
those
things.
I
However,
you
do
have
to
be
respectful
of
the
character
of
the
neighborhood,
so
it
does
create
a
very
challenging.
You
know:
design
conflict
there
for
you
and
I
I'm.
I
would
like
to
see
you
succeed
at
that,
because
I
think
it'd
be
a
very
interesting
house
in
the
end,
but
I
don't
think
it's
our
role
to
tell
you
how
that's
going
to
be.
Oh,
no.
R
I
just
there
are,
there
were
issues
that
were
raised
tonight,
such
as
the
lack
of
scale.
Things
are
two
and
a
half
three
stories,
all
the
way
down
the
house
and
they're
a
certain
height
I,
don't
see
how
a
contemporary
house
on
that
lot
could
meet
those
issues
of
scale.
Okay,
I,
don't
have
any
direction
on
setback.
R
I
would
prefer
to
keep
it
the
way
it
is
I
think
it's
a
good
thing
out
of
respect
for
what
was
once
an
empty
lot
and
always
has
been
an
empty
line
to
design
a
house
to
be
as
far
back
as
possible
to
respect
it.
But
yet
I
don't
get
clear
direction
on
what
I
should
do
so
I
guess
what
I
would
like
if
it's
at
all
possible,
is
for
maybe
Carlos
to
send
examples
of
homes,
contemporary
homes
that
were
approved
so
that
I
could
maybe
glean
something
from
them.
R
B
We
have
proved
a
good
number
of
homes
that
are
now
your
traditional
historic
looking
house,
but
the
setting
also
is
important.
So
it's
not
the
same
setting
per
se,
but
I
think
that
the
direction
is
that
when
you
look
at
the
context
of
this
block,
if
there
is
a
way
to
create
a
building,
that
could
be
innovative,
address
the
sustainability
issues
and,
at
the
same
time
be
respectful
of
its
surrounding.
B
B
So
if
you
have
in
a
district
Tortoises
when
a
block
were
the
setback
might
be
more
than
27
feet,
which
is
the
minimum
setback
and
this
type
of
district,
they
are
one.
What
we
do
in
zoning
is
that
we
look
at
the
average
of
the
setback,
so
it
might
be
28
feet
and
a
half.
So
maybe
that
you
know
it's
just
the
average.
So
you'll
be
not
you,
but
some
houses
might
be
in
front
of
that
or
no
there's
we
be
behind
that.
B
I.
Think
also
that
you
know
when
you
look
at
the
standards,
some
of
them
are
more
significant
than
others,
depending
on
what
you're
proposing.
So
if
scale
is
a
concern,
maybe
there's
a
way
to
address
that
so
that
it
may
not
necessarily
be
what
you
envision
initially,
but
it
might
be
something
that
you
can
explore
and
see.
How
can
you
address
that?
B
Maybe
by
the
location,
you
know
we
talked
about
a
little
bit
earlier
about
the
images
that
you've
presented,
where
I
thought
the
house
looked
very
small
and
when
we
talk
you
know
you
indicated
was
because
it's
set
back
and
talked
about
perspectives.
We
talked
about
you
know
the
height
of
the
buildings
on
either
side.
B
And
again
my
experience
with
the
Commission
is
that
if
Tenace
standards
are
applicable,
maybe
you
don't
have
to
meet
them
all,
but
make
sure
that
you
address
the
ones
that
are
most
significant.
Based
on
the
discussion
we
have.
Perhaps
you
can
come
back
with
something
that
it
will
not
necessarily
be
100%
in
all
the
standards,
but
it
would
be
a
addressed
in
a
way
that
the
Commission
was
comfortable,
that
you
did
everything
that
is
reasonable
and
inspected
from
a
new
design.
F
E
J
B
So
I
sent
two
versions
of
the
minutes
to
the
first
draft,
which
I
received
comments
from
it.
Excuse
me
from
Elliot
and
I
sent
those
back
to
the
commissioners
for
your
further
review.
I
did
not
identify
major
revisions,
so
it
seemed
that
can
I
didn't
get
any
more
comments,
so
it
seemed
like
the
minutes
seemed
to
be
in
order
with
those
revisions.
I.
B
B
I
have
received
some
of
you
from
some
of
you.
Your
confirmation
that
you
will
attend
I
will
definitely
encourage
all
of
you
to
attend.
It
should
be
a
good
session,
particularly
we
have
some.
You
know
cases
like
this,
that
you
know
we
can
get
some
insights,
how
to
handle
it
as
well.
The
you
know
the
issues
with
projects
that
have
been
litigated
in
the
past
and
currently
we
believe
that
we
will
have
some
neighbors
or
communities
neighboring
communities
that
will
attend
I.
B
So
please,
if
you
have
knots
in
your
confirmation,
please
do
as
soon
as
possible
because
need
to
have
a
count
of
thirty
people
maximum
and
then,
if
we
go
beyond
thirty
people,
we
have
a
contract
that
any
additional
person
attending
the
meeting
will
pay
a
fee
of
$25,
and
then
we
are
also
providing
lunch,
which
would
be
part
of
the
additional
fee
to
cover
that
is
a
grant
that
were
the
total
amount
for
the
ground
is
ten
thousand.
The
cost
of
bringing
the
consultant
is
seven
thousand.
B
B
B
J
B
Also
like
to
address
something
that
I've
been
trying
to
accomplish
for
some
time
now,
and
that
is
the
sank.
Islands
and
I've
been
looking
at
all
the
emails
I
received
from
Julie
hacker
and
she
sent
me
copies
of
the
documents
that
they're
in
a
PDF
format.
So
what
I'm
gonna
do
is
I'm
going
to
assert
to
meet
with
me
and
maybe
held
it
if
you're
interested
would
like
to
join
me
to
go
over
those
documents
to
make
sure
I
understand
the
order
that
you
wanted
to
do
were
the
last
members
of
the
work
yeah
yeah.
F
B
B
The
other
thing
I
want
to
make
an
announcement.
I
guess
is
that
we
are
also
approaching
preservation
month
in
May.
We
will
have
the
worst
program
again
like
in
the
last
year.
We
have
a
video
of
the
presentations.
I
already
got
some
enquiries
from
architects
that
would
like
to
set
me
I
need
to
coordinate
with
our
videographer
to
go
to
the
sites
and
also
would
need
help
for
the
reception.
B
We
we
have
guests
who
are
different
communities,
architects,
preservationist
people
who
might
own
a
landmark
or
are
volunteers
in
the
Chicago
architectural
foundation.
If
you
know
of
anyone
or
anybody
who
might
like
to
help
us,
please
let
me
know:
I
can
contact
the
person.
Usually
when
that's
used,
it
has
not
failed,
but
every
time
we'd
have
a
nice
they
going
around
the
different
sites.
People
seem
to
enjoy
it.
We
have
a
good
discussion
afterwards
to
allow
them
to
select
their
recipients.
It's
not
a
competition.
B
B
Other
discussion,
I
do
have
another
item.
If
you
don't
mind,
so
maybe
you
can
expand
on
this,
but
I'm
gonna
try
to
do
my
best
about
it.
The
written
findings
that
we
adopt
the
Commission
adopted
recently
for
917.
So
you
have
these
forms
that
have
been
using
for
some
time
and
if
you
look
at
it,
you
could
basically
check
all
these
standards
that
apply
like
I
put
on
the
agenda
and
as
we
discuss
and
make
a
conclusion
check
whether
or
not
those
standards
have
been
met.
B
So
what
I'm
doing
is
now
I'm
in
all
these
boxes
as
the
standards
that
are
applicable
and
which
ones
have
been
met,
according
to
the
motions
you
make.
So
the
idea
is
that,
when
I
write,
the
minutes,
I
will
attach
this
for
your
approval
and
then
the
chair
can
sign
these
forms
and
then
we
will
put
them
on
the
record.
The
only
question
I
have
you:
do
you
want
these
forms
to
be
signed
today?
B
B
Okay,
so
I
think
that,
as
we
get
more
practice
how
to
do
this,
we
can
probably
even
include
in
the
motion
when
you
approve
or
deny
a
project,
to
include
the
findings
of
fact,
so
that,
at
the
end
of
the
meeting
the
chair
can
sign
these
documents
and
then
we
will
be.
You
know,
part
of
the
record.
I
have.
F
Historically,
there
was
a
time
where
literally
not
only
the
Commission,
but
each
person
identified,
which
standards,
because
one
of
the
things
that
came
up
with
John
Eifler
that
Carlos
pointed
out
is
you're
not
expected
to
necessarily
meet
every
criteria,
even
within
these
standards
that
if
we
have
ten
standards-
and
you
got
seven
out
of
ten-
you
know
that's
acceptable
or
whatever
we
want
to
consider
it.
So
when
you
say
you're
gonna
check
off
the
boxes.
F
D
Necessarily
interested
in
what
each
individual
person
things
we're
interested
in
documenting
what
the
Commission
fines
as
a
whole.
So
if
there
is
a
particular
item
that
the
Commission
as
the
whole
fines
doesn't
doesn't
meet,
then
that
should
be
marked
on
on
the
form.
Not
it
were,
but
it's
not
on
an
individual
basis.
I'm
not
does
that
answer
your
question.
Are
you
well.
F
Because
we're
not
voicing
them
individually
and
I'm,
not
quite
sure
how,
if,
if
we're
saying
okay
it
didn't
meet,
whatever
criteria
is
Carlos
supposed
to
infer
that
from
the
conversation
or
should
someone
say
I'm
voting
for
it,
however,
I
don't
believe
it
meets
criterias,
seven,
nine
and
twelve
we've
never
been
doing
that.
That's
why
I'm
asking
did.
D
The
unfortunately,
it
would
be
the
latter-
and
this
is
a
quirk
specific
to
to
this
commission
other
I
sit
on
the
Planning
Commission
and
this
requirement
it
does
not
exist.
So
if
the
Commission
as
a
whole
doesn't
find
that
something
meets
that
individual
standards,
and
that
should
be.
That
should
be
noted
in
the
written
findings
of
fact,
which
were
required.
D
E
You
know
I,
think
somebody
coming
in
and
giving
a
listing
of.
You
know
what
meets
the
height
requirements
when
it
is
the
Commission's
role
to
apply
these
standards,
not
the
applicants
and
I
guess.
My
concern
is
if
there
are
difference
that
every
project
it
that,
if
there's
going
to
be
an
approval,
that
those
standards
that
are
approved
for
the
basis
for
the
approval
should
be
the
same.
They
shouldn't
necessarily
be
different
for
every
commissioner.
W
E
E
W
F
A
I,
don't
think
that's
I'm
trying
to
figure
out
how
so
we're
voting
to
approve
of
motion
which
does
at
least
say
which
standards
it's
under,
but
I'm,
trying
to
figure
out
what
we're
proving
I
mean
like
Carlos,
has
checked
the
standards
for
each
project
on
the
form
so
and
clearly
that's
part
of
the
motion,
but
the
other
findings
effect
I
mean
they're.
I,
don't
see
anything
in
the
ordinance
about
it,
including
our
discussions.
We're
not
that
precise
I
mean
people
have
different
opinions
that
we
approve
motion.
D
What
our
duties
in
the
Code
section
2,
8
3,
which
is
sets
of
the
Preservation
Commission
section
II
5,
when
section
D,
is
entitled
meetings,
hearings,
procedures
and
decisions,
number
5
states,
every
final
decision
of
the
Commission
and
every
recommend
recommendation
makes
to
Council
or
is
duly
authorized.
Committee
shall
include
written
findings
of
facts
and
shall
specify
the
reasons,
the
reasons
for
such
decision
or
recommendations.
D
A
W
Isn't
that
what
legal
saying
is
that
in
like
what
we
did
with
Edgemere?
Was
this
this
lengthy
report
that
was
written
and
developed,
but
moving
forward?
It
would
be
sufficient
if
I
understand
correctly
that
we
fill
out
our
forms.
We
check
the
boxes
you
get
to
sign
it
Congrats
and
that
then,
coupled
with
the
meeting
minutes
and
video,
become
the
findings
of
fact.
That's.
D
B
B
My
fault,
thank
you
I'm
gonna,
repeat,
though,
so
what
I
did
for
the
March
12
million
minutes.
I,
put
findings,
Commission's
findings
as
a
title
where
the
Commission
is
asking
questions,
and
you
know
a
back
and
forth
type
of
discussion
so
and
at
the
end
of
that
section
you
have
the
motion
to
approve
or
deny
so
I'm
thinking
that
with
that
additional
section,
which
is
basically
as
a
regular
meeting
minutes
that
will
include
findings.
B
The
way
he
you
develop,
the
written
findings
for
9:17
is
basically
citing
all
the
standards
and
just
say
need
to
stand
or
other
than
talking
about
it.
How
it
met
the
standards
he
didn't.
He
didn't
elaborate
that
way,
so
I
think
that's
why
I
feel
comfortable
by
using
this
phone
is
that
doing
the
same
thing,
it's
more
specific,
whether
is
applicable
and
whether
it
has
been
met.
That's
it
so
I
hope
that,
with
that
you,
you
feel
comfortable
to
move
forward.
So
we
can
continue
to
win
that
that.
D
D
A
A
B
Yet
the
forum
here
at
the
bottom
and
although
the
forum
say
you
know,
project
approved
yes
or
no,
the
date
of
the
action
and
then
the
number
that
votes.
Yes,
how
many
years,
how
many
or
how
many
eyes,
how
many
days
and
then
how
many
abstaining
and
then
there's
the
space
for
the
signature
of
the
chair
to
certify
and
then
there's
also
a
section
above
it
where
we
have
some
findings
comments,
recommendations
that
we
can
just
add.
A
F
J
D
A
A
B
So
what
the
way
I'm
thinking
is
that,
when
a
motion
is
made,
let's
say
for
standards
of
alteration,
standards
want
to
ten
apply
and
is
voted.
Favorably
I
will
check
here
that
all
this
is
tenders
one
to
ten
apply
and
because
has
been
approved
that
also
standards
having
met
which
I
will
check
its
projects.
D
B
J
D
Right
right
now
we
were
going
to
try
to
make
this
as
easy
easy
as
possible.
Have
the
minutes
complement
the
Cheetahs?
You
know
I
mean
from
the
edge
of
your
court
one
it's
all.
The
commentary
is
basically
cut
and
paste
from
your
from
your
minutes.
So
when
everything
is
put
together,
we're
hoping
to
do
this
with
this
little
burden
as
possible.
Since
you,
you
are
already
making
these
decisions,
it's
just
a
formality.
At
this
point,
okay,.