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From YouTube: Preservation Commission Meeting 2-15-2023
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A
A
I'm
gonna
call
this
meeting
to
order.
This
is
the
Evanston
preservation.
Commission.
Everyone
is
here
for
that.
Okay,
we
do
have
a
quorum.
We
have
five
members
present
before
we
get
going.
I
have
a
little
sort
of
sheet
to
read
that
just
goes
over
the
process,
which
we
thought
might
be
helpful.
A
Can
you
all
hear
me
all
right?
The
city
of
evanston's
preservation
ordinance
empowers
this
body
to
safeguard
our
community's
historic,
cultural
and
Architectural
heritage.
The
commission
encourages
public
participation
and
affords
due
process
through
public
hearings
on
proposed
Landmark
designations
and
applications
for
certificates
of
appropriateness.
A
We
ask
that
all
members
of
the
public,
as
well
as
the
applicants
present
be
respectful
of
tonight's
proceedings
and
adopt
the
decorum
necessary
to
facilitate
impartial
discussion
and
debate.
We
ask
anyone
who
wishes
to
address
the
commission
to
sign
in
and
indicate
the
designation
or
application
to
be
addressed.
A
A
The
Commissioners
will
then
ask
questions
of
the
applicant
following
the
questioning
period.
Members
of
the
public
may
speak
toward
the
application,
keeping
their
comments
to
three
minutes
or
less
following
public
comment.
The
applicant
will
have
the
opportunity
to
rebut
any
evidence
or
testimony
against
the
application,
as
it
relates
to
the
standards
for
review.
A
After
all,
parties
have
had
a
final
opportunity
to
make
objections
or
Corrections.
The
commission
closes
the
record
and
proceeds
to
a
motion
and
deliberation
of
The
Proposal.
A
simple
majority
of
the
Quorum
present
is
required
for
a
motion
to
carry
and
can
we
move
forward,
and
in
that
case
we
shall
start
with
the
first
case.
If
staff
could
read
that
into
the
record.
B
First,
item
of
new
business
is
1218
Forest
Avenue
in
the
Lakeshore
historic
district.
It's
also
an
individually
registered
Landmark
case
number
23
pre-s-0009
Morgan
T
Wilson
Architects
applicant,
submit
for
a
certificate
of
appropriateness
to
construct
a
two-story
addition
to
an
existing
detached
two-story
accessory
accessory
dwelling
unit
in
ground
floor
garage,
applicable
standards,
construction,
one
through
five,
seven
through
eight
and
ten
through
fifteen
and
I,
believe
John
you'll,
be
presenting.
C
D
Thank
you
yeah.
So
thank
you
very
much
and
good
evening.
I'm
John
Potter
I'm
a
partner
and
architect
at
morganti,
Wilson
Architects
here
in
Evanston
so
good
evening,
and
thanks
for
the
opportunity,
as
we've
discussed,
we're
proposing
an
approximately
800
square
foot
Edition
it's
400
square
feet
per
floor.
Is
there
a
way
to
advance
the
drawings
foreign.
D
That's
all
right:
this
is
a
good
start.
Thank
you!
So
much
so
we
had
the
pleasure
to
present
the
original
renovation
of
this
Coach
House
in
2014
for
the
previous
owners.
Since
then,
Clark
and
Jennifer
Matthews
have
bought
the
house
and
we've
been
discussing
with
them.
In
addition
to
the
north
side
of
the
existing
house,
and
one
of
the
things
that
we'd
like
to
do
is
take
advantage
of
recent
changes
to
the
Evanston
code
that
allows
for
a
1,
000
square
foot
accessory
dwelling
unit.
D
The
existing
unit
is
about
600
square
feet
and
with
the
addition
we'd
be
at
about
a
thousand
square
feet.
Currently,
it's
a
one
bedroom
unit.
We
are
proposing
basically
an
addition,
additional
living
area,
a
residential
elevator,
so
that
their
parents
could
age
in
place
in
the
house
as
well
as
an
additional
Powder
Room.
D
Let's
see
in
order
to
do
this,
our
design
adds
a
gam,
brow,
roofed
Edition,
to
the
north
side
of
the
building.
Perhaps
we
could
look
at
the
rendering
that
might
be
a
little
more
colorful.
D
You
can
oh
actually
yep,
so
you
can
see
so
there's
an
addition
to
the
north
side
of
the
existing
structure,
we're
proposing
to
match
the
existing
materials
which
is
Cedar
clapboard.
On
the
first
floor,
Cedar
Shake
on
the
gambrel
ends
and
a
cedar
shingle
roof.
There
are
some
modest
copper
details
that
would
also
be
matched
we're
proposing
a
similar
wood
or
garage
overhead
door
on
the
Alley,
and
the
existing
windows
are
Marvin
ultimates
and
we
would
be
matching
those
throughout
the
Edition.
D
D
A
E
D
Yeah,
okay
and
the
windows
previously
approved
we're
clad
the
windows.
The
existing
Windows
were
only
on
the
first
floor.
The
second
floor
windows
in
their
previous
renovation
were
already
Replacements.
E
Okay,
sdl
sdl's,
crap,
spacer
bars,
width
of
mutton,
correct.
D
E
F
I
have
two
questions.
First
of
all,
it's
a
handsome
job.
Thank
you,
nice
addition,
I'm
wondering
is
it
zoning
setbacks
that
required
you
to
set
in
rather
than
just
continue
the
roof
and
the
exterior
surfaces
of
the
garage?
Well.
D
Actually,
the
setback,
the
existing-
you
can
see
the
apron,
so
actually
the
existing
structure
meets
the
required
setback
at
the
alley,
so
that
wasn't
there
wasn't
any
obstruction
in
that.
However,
we
really
felt
that
in
order
to
maintain
the
original
structure,
and
also
because
we
are
limited
in
the
amount
of
square
footage
that
we
can
add
being
only
400
square
feet,
that
it
was
a
kind
of
a
meaningful
reason
to
you
know,
it
was
meaningful
to
set
the
house
in
and.
D
Coverage
no
in
the
accessory
dwelling
unit
code,
a
unit
has
to
be
on
the
second
floor
and
it
cannot
exceed
a
thousand
square
feet
of
living
area,
so
that
was
our
main
limitation.
D
So
actually
we
only
have
the
rendering
on
the
one
side
we
did
do
it
with
with
and
without
the
fence.
So
this.
G
F
You
know
the
the
two
windows
all
the
way
on
the
right
are
called
out
is
mirrored
and
thank
you
for
applying
the
sending
us
the
plan.
So
we
can
understand,
certainly
why
you
wanted
to
do
that.
It's
not
a
requirement,
but
it's
certainly
helpful
and
and.
D
F
I
noticed
that
that
that's
the
elevator,
but
the
elevator
is
in
fact
entered
from
the
garage
not
from
the
little
vestibule
and
I'm
wondering
if,
from
a
planning
point
of
view,
if
there's
any
way
to
Interchange
where
the
bathroom
is
and
the
big
closet
that
you
generate
on
the
second
floor
and
put
the
elevator
there,
it
would
still
have
to
be
entered
from
the
garage,
but
that
would
take
it
off
the
exterior
wall
and
mean
that
those
could
be
actual
Windows.
If
you
could
find.
D
A
planning
solution
to
the
floor
plans.
Actually
we
have
a
slightly
oversized
residential
elevator
that
allows
for
the
entrance.
So
you
it's
a
90
degree.
We
have
90
degree
doors.
So,
on
the
second
floor
you
can
see
correct.
The
door
is
facing
what
would
be
the
west,
but
on
the
first
floor,
which
is
the
previous
you're.
F
And
why
didn't
you
feel
the
necessity
to
have
the
I
mean
the
Dormers
are
not
really
symmetrical
by
when
you
look
at
it,
you've
got
the
sidewall
of
the
dorm
or
well,
the
drawing
I
looked
at
looked
like
it
had
a
space.
Are
you
building
the
sidewall
of
the
Dormer
right
against
the
surface
of
the
of
the
existing
building.
D
Maybe
we
could
tell
better
from
the
side
elevation
there
you
go,
so
the
the
exterior
wall
of
the
Dormer
is
approximately
a
foot
set
in
from
the
exterior
wall
of
the
first
floor.
If
that
answers
your
question.
D
And
unfortunately,
a
place
in
the
elevator
Elsewhere
on
that
plant
interfered
with
the
use
of
the
garage
space
in
the
third
garage
space
is
also
kind
of
a
meaningful
part
of
this
Edition.
D
D
Yeah!
No,
that
that's
totally
reasonable.
A
G
A
Okay,
in
that
case,
we
will
move
on
to
deliberation.
Thank
you
very
much
for
the
presentation.
Commissioners.
You
want
to
talk
about
anything
else
together.
F
I'm
not
doing
well
tonight
for
some
reason:
yeah.
No,
it
was
just
a
suggestion.
I
would
think
that
if
you
really
have
try
to
have
a
foot
of
roofing
in
there
and
try
to
flash
that
condition
that
it's
going
to
leak
at
some
point
in
the
future
be
better
to
just
make
it
contiguous
I,
think
the
plan
I
think
the
whole
thing
is
nicely
done.
The
only
objection
I
have
and
I
it's
not
an
objection
because
I'm,
not
the
design.
The
designer
you
are
is
the
mirrored
Windows
the
windows
in
the
elevator.
F
A
My
only
comment
was
that
I
appreciated
the
the
way
that
the
addition
is
slightly
subordinated
to
the
main
Coach
House,
just
to
kind
of
allow
the
original
character
of
that
part
of
the
Coach
House
to
be
to
remain.
F
E
Sure
go
ahead
regarding
1218
Forest,
Avenue,
Lakeshore,
historic
district,
The
Landmark
case
23
prez-0009.
E
I
move
that
we
submit
for
a
issue
a
certificate
of
appropriateness
to
construct
a
two-story
addition
to
an
existing
detached
two-story
accessory
dwelling
unit
and
ground
floor
garage,
applicable
standards.
Construction,
one
through
five,
seven
through
eight
and
ten
through
fifteen.
B
2306
Harrison
Street
an
individual
Landmark
case
number
23
pre-s-0010
Hauser
Architects
applicant,
submit
for
a
certificate
of
appropriateness
to
demolish
an
existing
single-story,
rear
volume,
Edition
and
construct
a
new
two
and
one
half
story:
Edition
at
the
home's
rear
and
side
volumes
and
alter
the
home's
fenestration
at
the
west.
Elevation
applicable
standards,
demolition,
one
through
five
alteration,
one
through
ten
construction,
one
through
eight
and
ten
through
fifteen.
I
Thanks
for
having
me
tonight,
I'm
here
to
present
an
addition
to
a
Historic
Landmark
on
Harrison
Street,
it's
one
of
a
couple
landmarks
on
that
street.
In
that
area.
I
The
Evanston
Landmark
survey
indicates
that
this
house
was
built
in
1888
and
it's
distinctive
because
of
its
simplest.
It's
simple,
cross-cable
orientation,
the
shingled
Gables,
the
distinctive
transoms
above
the
front.
Double
hung
windows
in
the
front
of
the
house,
the
the
porch
and
the
Gable
trusses.
I
So
what
we
have
do
I
have
control
over
this,
or
is
that
you
can't?
Okay,
okay,
sounds
good
the
site
plan
you
can
see.
On
the
left
hand
side.
This
is
our
existing
site
plan,
I'm,
not
sure
if
you
can
make
it
out
too
much,
but
there
is
a
diamond
shape.
It's
a
rotated
Square
in
the
back
that
the
homeowners
have
been
living
with.
It
was
an
addition
that
was
done.
We
think
in
about
the
1980s.
I
It's
a
single
story
that
has
been
problematic
for
them
and
for
the
use
of
the
building
from
day
one,
and
our
effort
here
is
really
to
reconceive
of
the
back
in
order
to
make
the
house
more
livable
for
the
clients
so
you'll
see
in
the
demo
plans
that
is,
that
shape
is
coming
off.
You
will
see
in
the
in
the
exterior
elevations
how
that
looks,
but
the
majority
of
the
addition
is
well.
The
addition
is
in
the
back.
I
It
does
protrude
on
the
right
hand,
side
that
is
a
deep
side
yard
that
we
wanted
to
to
make
use
of
and
instead
of
extending
into
the
rear
yard.
I
This
is
a
cross
Gable
design
from
that
side
and
I
think
you'll,
see
in
the
in
the
elevations
and
in
the
renderings
that
that's
the
that's
going
to
be
seen
from
the
street
as
a
cross,
Gable
design
and
then
in
the
back.
We
have
another
Gable
that
mimics
the
front
in
some
regards,
but
we'll
get
into
that
with
the
elevations.
I
This
is
the
floor
plan.
You
can
see
it's
a
very
ample
kitchen.
This
is
a
very
specific
need
for
the
family.
This
is
food
is
food
in
the
preparation
of
food
and
large
family.
This
is
one
of
the
things
that
is
core
to
the
design
and
it
is
really
the
center
of
the
house
to
the.
G
I
The
lower
right
hand
side
of
the
right
hand,
drawing
you
can
see.
That's
the
entry
with
a
mud,
room
and
stairs
up
and
down
the
addition.
On
the
right
hand,
side
is
the
family
room,
the
space
that
you
enter
into
at
the
top
of
the
stair.
The
wide
stairs
at
the
rear
entry
is
a
workspace.
It's
a
breakfast
area.
It's
a
multi-use
space,
there's
a
several
children
in
the
house,
and
this
is
a
very
active
Zone.
I
Our
intervention
on
the
front
of
the
house
in
those
spaces
is
very
minimal,
but
we
do
propose
in
the
foyer
entrance
foyer
a
window
that
would
mimic
some
of
the
ones
on
the
east
side,
just
at
The
Landing
at
the
bottom
of
the
staircase.
It's
especially
because
of
the
porch.
It
is
a
very
dark
area
in
the
house.
I
Upstairs,
on
the
left
hand,
side
we
have
a
four
bedroom
scheme.
The
bedrooms
in
the
front
have
remained
about
like
they
are,
but
the
ones
in
the
back
have
been
added
as
part
of
the
addition.
On
the
right
hand,
side,
you
see
the
attic
plan,
and
this
is
serviced
with
a
stair
up
the
there
is
very
insufficient
storage
in
this
house.
I
The
way
that
it's
lived
now-
and
this
would
just
promote
more
usable
storage
rather
than
an
attic
drop
down
stair
of
some
kind
in
the
elevations.
Here
you
can
see
in
the
upper
left.
This
is
the
front
elevation
as
seen
from
Harrison
Street
below.
That
is
the
the
proposed
elevation.
I
We
are
mimicking
with
the
with
the
windows
set
in
the
addition,
as
seen
in
the
background
there,
the
east
facing
facade,
which
doesn't
show
here,
but
it
will
be
in
the
next
drawing
so
we're
keeping
the
front
facade
with
its
distinctive
double
hung
windows
in
the
transom
transoms,
as
they
are,
but
mimicking
the
sort
of
secondary
Windows
around
the
side
and
then
on
the
east
or
sorry,
the
West
Side.
I
This
is
our
first
view
of
the
pod
in
the
back
that
structure,
which
blocks
a
lot
of
sunlight
blocks,
a
lot
of
views
to
the
backyard
and
just
is
a
very,
very
much
a
an
impediment
to
the
use
of
the
of
the
property.
We
are
proposing
a
second
Gable
to
organize
that
space.
The
roofline
does
come,
come
up
a
little
taller
and
that's
to
just
collect
the
different
roof
lines
and
the
materials
would
be
all
the
same.
I
These
are
Marvin
ultimate
Windows
being
proposed
for
the
addition,
and
the
siding
is
actually
proposed
as
as
fiber
cement,
because
of
the
extent
of
it
but
and
then
the
brick
base
would
be
a
brick
tile
over
a
concrete
foundation.
I
Oh
actually
kid
can
you
go
back
thanks
in
the
upper
right
hand,
drawing
you
can
see
the
kitchen
windows
which
are
actually
served
us
as
a
bit
of
inspiration
for
a
nice
window
type
that
would
complement
the
the
double
hungs
in
different
functions.
So
this
is
what
we
used
as
our
inspiration
for
the
rear
elevation.
That's
coming
up
here
on
the
we'll.
Do
the
right
hand
side
first,
but
you
can
see
the
this.
I
Is
the
east
facing
elevation
on
the
top,
with
the
outline
of
the
proposed
in
which
is
dashed
and
then
below
that
the
cross?
Cable?
That's
coming
out
at
us.
I
On
the
left
hand,
side,
you
can
see
the
rear
elevation
and
what
we
have
proposed.
Those
are
the
kitchen
windows
which
are
the
casements
with
a
more
typical
double
hung
window
at
the
bedrooms.
Above
we
have
the
the
Gable
accent,
siding
which
would
match
the
front
and
the
more
elaborate
Gable
truss
that
exists
on
the
front
and
the
back,
but
not
on
the
sides
and
yeah.
We
have
a
rear
entry
door,
which
you
can
see
it's
a
little
small,
but
the
canopy
would
be
bracketed.
I
It
would
be
a
metal
bracketed,
a
metal
canopy
with
brackets
of
wood,
and
that
would
serve
as
the
entrance
to
the
to
the
stair.
This
appears
a
little
bit
more
understandably
in
the
renderings,
so
these
are
of
the
front.
I
You
can
see
the
the
cross
Gable
on
the
left,
which
would
come
into
play
and
those
windows
would
match
what
are
in
place
already
at
the
dining
room
and
then
the
bedrooms
above
and
then
on
the
right
hand,
side
the
the
second
cable
that
stepped
back
from
the
the
west
elevation
and
then
in
the
back.
You
know
one
of
the
one
of
the
lessons
from
the
Pod
is
what
it
does
to
the
design
of
the
of
the
rear
elevation.
I
If
we're
trying
to
keep
that
shed,
Dormer
I
noticed
that,
on
the
on
the
historic
preservation
dossier
there
it
did
mention
a
shed
Dormer
and
I
assume
it's
talking
about
this,
but
in
order
to
keep
that
this
is
a
very
different
house
and
I.
Think
that's
one
of
the
reasons
why
this
pod
design
was
put
forth
so
many
years
ago,
and
with
that
I
look
forward
to
your
comments.
Thank
you.
A
J
Yeah
I
have
a
question
hi,
it's
a
large
addition.
It's
a
large
change
and,
with
that
in
mind,
can
you
walk
us
through
the
construction
standards
that
are
applicable
and
how
your
design
meets
the
standards
for
construction,
in
particular.
I
So
the
house
is
a
fairly
simple
rectangle
and
believe
it
or
not.
The
addition
has
been
conceived
of
at
least
the
cross.
Gable
has
been
conceived
of
as
a
as
a
simple
rectangle,
we're
working
with
existing
foundations
as
much
as
possible
and
bearing
lines
that
are
within
the
house
already.
I
If
you
know
beyond
that,
the
spaces
are
organized
just
more
for
a
for
the
family's
needs
and
contemporary
need.
The
if
you
go
to
the
can
you
go
back
to
the
site
plan
and
the
the
kitchen
in
the
existing
house
is
well
I'll.
Just
say
the
back
of
the
house
needed
a
pretty
full
overhand
overhaul
with
what
we're
doing
we're
trying
to
maintain
all
the
dimensional
similarities
that
are
all
the
dimensional
criteria
that
are
up
front
so
that
big
that
Gable.
I
That's
in
the
front
that
we
were
using
as
kind
of
the
the
module
of
what
our
Gables
were
around
that
around
the
rest
of
the
house.
We've
I
think
this
is
Lent
itself.
You
know
to
the
framing
of
the
siding,
which
is
with
the
corner
boards,
which
is
also
working
out
and
providing
us
with
some
of
the
spaces
and
Dimensions
that
were
that
look
very
similar
to
the
rest
of
the
house,
whether
it's
the
the
Gable
and
the
siding
that's
up
there
or
on
the
can
you
go
to
the
elevation,
sorry
Kate.
I
So,
for
example,
the
the
Gable
in
the
lower
right
hand,
drawing
you
know.
We
have
the
triangles
that
are
created
on
the
sides
that
give
us
an
opportunity
to
kind
of
Express,
further
Express
what
what
some
of
the
strategies
were
in
the
original
design.
So
at
least
if
this
is
the
original
design,
you
know
those
little
triangles
to
the
right
and
the
to
the
right
to
the
left
above
the
porch
That's,
a
an
area
where
they
used
shingles.
I
A
So,
did
you
mean
to
like
actually
go
through
the
standards.
J
J
I
Facade
yeah,
so
the
proportion
of
this
of
the
facades,
what
we're
we're
using
the
the
vertical
siding
to
break
down
those
like,
for
example,
what
we're
looking
at
with
the
East
sorry
with
the
west
elevation
we're
trying
to
keep
that
secondary
Gable.
That's
you
know
behind
the
the
initial
one
as
a
of
a
similar
proportion
with
the
by
using
that
vertical
I.
I
Suppose
we
could
play
with
that
siding
to
the
right
of
that
in
order
to
really
accentuate
that,
but
I
I
believe
I
have
tried
that
and
it
I
think
it
was.
You
know
a
little
bit
lost
in
the
on
the
left.
You
know
at
the
the
front
elevation
boy
we
have.
These
are
small
drawings,
but
the
the
there
is
a
band.
I
You
know
between
the
two
windows
that
continues
around
the
whole
house
and
that
helps
to
oh
thank
you
that
just
helps
to
break
down
the
you
know
break
down
the
field
as
much
as
possible
in
about
the
same
proportion.
That's
going
on
in
the
front
elevation.
The
roofs
are
of
the
same
slope
except
for
the
roof
in
the
back,
and
you
know
we
have
in
the
East
Elevation,
which
isn't
going
to
be
much
of
a
prominent
elevation,
at
least
in
how
you
can
see
it.
I
But
we
do
have
that
datum
set
by
the
division
between
the
the
lap,
siding
and
the
shingle
siding
above.
The
gutter
line
is
intended
to
be
continuous.
We've
worked
hard
to
get
that
to
work
out
so
that
we
don't
you
know
so
that
the
roof
line
isn't
jumping
up
and
down
too
much.
J
J
Yeah
I
think
I
think
things
I
think
getting
a
little
stuck
on
is
just
how
you
the
original
structure.
You
know
you're.
Looking
from
the
front,
it's
you
kind
of
see.
You
know
this
vertical
kind
of
structure.
That's
what
like
two-thirds
of
the
lot
width,
maybe
and
then
we're
taking
up
and
then
the
new
addition
is
taking
up
almost
the
whole
width
of
a
lot.
J
So
it's
just
changing
that
whole
Dynamic
there
with
it
with
its
its
siding
and
sighting,
and
so
I'm
I'm,
just
trying
to
double
check
with
the
standards
and
just
kind
of.
G
I
Sure
I
I
would
defer
to
the
to
the
model
on
this
one
because
it
is
you
know
it
is
set
back.
I
Is
it
set
back
so
much
that
what
you're
saying
is
is
satisfied,
I
I
think
that's
the
that's,
probably
the
question
and
we
have
infilled
the
roof.
You
know
if
you
look
down
below
okay,
the
the
image
that
the
roof
has
a
very
odd
slope
back
towards
the
back,
and
we
have
filled
that
in
so
it
just
reads
a
little
bit
more
solid
instead
of
tapering
back
to
to
the
backyard.
So
it
does
have
a
different
presence.
K
I
Yeah,
it's
a
combination
of
the
the
floor
plan
as
well.
As
you
know,
keeping
the
gutter
line
continuous.
F
A
So
Beth
did
you
have
other
questions.
I
thought.
You
said
you
had
a
few,
so
I
wanted
to
give
you
a
chance.
J
G
I
But
but
yeah
I'm
happy
to.
A
So
just
as
a
reminder,
it's
Construction
Construction
only
right
one
through
eight
and
ten
through
fifteen.
That's.
I
Okay,
so
the
height
I
think
you
know
everything
matches
as
a
you
know:
we've
matched
all
head
Heights
and
still
Heights
as
much
as
possible,
as
well
as
the
datum
that
exists
on
the
patterns
of
the
of
the
siding.
The
actual
you
know,
top
height
of
that
Ridge
I,
find
it
helpful,
sometimes
to
just
vary
a
little
bit
from
what
an
existing
condition,
because
you
know
of
construction,
but
you
know,
certainly
you
know
we
wound
up
there
because
of
the
dimension
of
the
addition
of
the
Cross
Gable.
I
It
is
set
back.
So
I,
don't
think
it.
You
know
from
from
my
you
know,
walking
around
the
property
as
well
as
the
is
the
model.
I,
don't
think
it's
as
accentuated
in
real
life,
okay,
the
proportion
of
facades
we
talked
about
that
a
little
bit
I
think
you
know
the
rear
facade
we're
trying
to
keep.
You
know
if
if
it's
not
the
raw,
you
know
wall,
it's
how
we're
breaking
it
down
with
the
siding
and
changing
colors
or
changing
the
patterning
to
keep
within.
I
You
know
how
we're
how
the
other
facades
the
existing
facades
have
have
been.
Can
you
know
conceived
of
the
proportion
of
openings?
Is
you
know
we've
actually
worked.
These
are
almost
exactly
you
know
what
we
have
as
a
module
in
the
dining
room
in
the
dining
room
and
then
in
the
bedrooms.
I
The
windows
will
be
exactly
what
what's
there
now
the
rhythm
of
solids
to
voids
in
the
facades,
I
think
is
pretty
clear.
There's
this
is
mostly
solid.
You
know,
there's
a
you
know
there.
There
are
ample
Windows
throughout,
but
not
you
know
the
only
place,
I
would
question
you
know
we're
doing
something.
A
little
bit
different
would
definitely
be
the
kitchen,
but
that's
a
modern
adaptation
of
you
know
of
what
you
know
of
a
space
that
is
designed
very
differently
these
days.
I
The
rhythm
of
spacing
and
structures
on
the
streets
certainly
I
think
it's
in
keeping
with
all
the
other
homes
on
this
street
they're
this
there
are
some
very
large
you're,
very
tall
structures
and
the
rhythm
of
entrance,
porches,
storefront,
recesses
and
other
projections.
You
know
in
the
front
I
think
we're
subordinate
to
that
front
elevation
as
much
as
we
can
I,
don't
think.
There's
any
question
of
where
the
front
entrance
is,
and
you
know,
I
I
think
in
the
back.
I
If
anything
this
is,
you
know
we
wanted
a
entrance
at
grade,
there's
a
lot
of
people
that
are
coming
in
from
the
back,
not
looking
to
do
stairs.
I
You
know
in
these
conditions,
so
we
wanted
an
entrance
at
grade
and
the
back
has
just
been
sort
of
composed
to
be
more
interesting
for
the
large
yard
that
exists,
the
kids
playing
in
the
backyard
there's
a
there
would
be
a
patio
in
the
front
of
the
the
basement
windows
there
under
the
kitchen
and
just
something
pleasant
to
to
experience
from
the
backyard.
I
Sorry
one
through
eight
and
then
okay,
relationship
of
materials
and
texture.
You
know
this
was
an
easy
one.
We
have
great
examples
and
I
think
we
can
follow
up
with
that
very
very
elegantly:
roof
shape
and
roof
mounted
equipment.
There
is
no
equipment,
but
the
roof
shaped.
The
only
real
variation
happens
in
the
back
here
and
completely
hidden
from
the
street
view,
but
the
swoop
roof
is
something
that
you
know.
I
was
told
to
prepare
to
discuss.
I
You
know
it
was.
It
gave
us
an
option
of
varying
the
the
dimensional
program
on
the
second
floor,
vis-a-vis
the
first
floor
and
to
create
the
the
shed
Dormer
up
there
I
thought
again.
We
were
just
sketching
and
designing,
and
this
is
a
a
space
that
allowed
us
to
have
our
cake
and
eat
it
too,
at
least
in
terms
of
plan
and
a
and
a
pleasant
design
from
the
back
I
think,
there's
a
bit
of
an
homage
to
the
front
where
that
long
roof
that
comes
forward
over
the
over
the
front
porch.
I
This
is
a
definitely
a
variation
on
that
in
two
ways.
It's
the
the
side,
view
of
it
as
well
as
it
has
a
slight
curve,
but
you
know
we
put
that
order
back
together
with
the
verticals
and
the
Symmetry
about
the
Gable
and
that
kind
of
stuff.
I
This
is
probably
yeah,
that's
what
we're
looking
at
is
I.
This
is
probably
the
more
difficult
most
difficult
one
on
this
list.
I
would
look
mostly
at
the
East
facade
there
in
what
was
what
ex
sorry,
the
what
sorry
Kate
the
West
facade
and
that
bulk,
as
you
know,
that's
the
majority
of
the
house,
but
when
you
know
when
I
don't
have
it
dashed
in
here,
but
that
old
Edition,
you
know
the
massing
of
it
was
was
chaotic,
and
this
is
a
a
little
bit
more
well.
I
I
would
hope
a
lot
more
cleaned
up.
This
is
a
lot
more
ordered
and
practical
for
waterproofing
for
space
use
for
all
those
things
we
don't
extend
as
far
back
into
the
art,
as
the
current
edition
does
so
there
there
is
that
directional
expression
of
facades.
I
H
I
I
I
You
know
were
able
to
keep
as
much
of
that
front
as
possible,
and
this
and
the
East
Side
you
know
our
Edition
is
takes
over
from
the
previous
editions,
as
well
as
the
Dormer,
but
otherwise
I
think
it's.
You
know
it's
about
exactly
where
the
original
structure
ends.
A
So
are
you
on
number
13
yeah,
so
so
I
would
suggest
that
we
skip
that
one
for
this
project
unless
anyone
objects.
A
If
it,
if
it's
over,
if
it's
over
a
burial
site
or
something
like
that
you
have
to,
but
but
anyway
we're
not
going,
we're
agreed
we're
not
going
to
ask
him
to
respond
to
that
right
now.
So
then
it
would
be
14
and
15.
I
Okay
for
Innovative
design,
so
yeah
I
remember
this
one
from
previous
proposals.
You
know
I
think
we've
we've
felt
us
a
lot
a
bit
of
latitude
to
design
the
back
and
provide
you
know
something
more
interesting
there
that
is
more
receptive
to
the
homeowners
that
is
more
responsive
to
their
to
their
lifestyles.
I
I
I
You
know
the
the,
for
example:
the
the
west
elevation
there
that
roof
line
will
remain
as
is,
and
that
will
be.
You
know
at
least
a
Vestige
of
the
past
in
the
original,
for
that
and
the
we
do
have
to
set
our
Edition
back
on
that
west
side
too.
That's
you
know
we're
within
five
feet
of
that.
So
we're
going
to
set
that
back
to
adhere
to
the
five
feet.
I
think
it's
advantageous
just
to
set
that
back
so
that
you
know
visually
you
don't
ex!
You
don't
feel
it
as
much.
Also.
A
I
Those
were
part
of
the
the
addition
in
the
1980s,
but
Our
intention
was
not
to
reuse.
Those
I
I
haven't
looked
at
them,
for
you
know
for
the
shape
that
they're
in
but
I,
don't
believe,
they're
they're,
definitely
not
original
and
I.
I,
don't
even
know
if
there
would
actually
I
need
to
look.
F
Yeah
I
don't
know
if
this
is
a
question
or
or
a
comment,
but
I
wanted
to
say
something
about
those
windows
as
well.
It's
interesting
to
know
that
they're
not
original.
G
F
Sure
all
of
the
windows
in
the
house
were
double
hung
and
if
that
had
been
the
kitchen
opening,
a
double
hung
window
by
reaching
over
a
sink
is
nearly
impossible
to
do
so.
They
were
changed
out
for
casements.
The
effect
that
they're
divided
like
casements
and
that
you've
chosen
to
do
divided,
like
casements
on
the
back
of
the
house,
actually
creates
a
scale
shift
and
I.
Don't
know
whether
visually
how
I
feel
about
that.
But
it
is
definitely
suddenly.
F
If
you
look,
you've
got
these
giant
double
hung
windows
with
very
few
divisions
in
them
and
then
suddenly
you've
got
the
casements,
which
are
a
different
proportion
and
a
very
different
kind
of
animal.
Will
they
look
bad?
No
I,
don't
know
if
you
did
studies
that
looked
at
making.
You
know,
as
you
did,
on
the
cross,
cable,
Edition,
larger,
more
simply,
divided
double
hung
Windows.
You
know
I,
obviously,
as
a
designer.
That's
your
call,
but
it
is
it.
It
does
constitute
a
kind
of
scale
shift
and
in
terms
of
the
overall
design.
F
I
think
you've
created
a
kind
of
frenetic
Victorian
Edition
to
a
Victorian
house,
accepting
of
course,
the
swoop
which
I've
often
heard
referred
to
as
a
Tudor
swoop.
But
you
know
my
my
only.
F
In
terms
of
sizing,
the
cross
Gable
and
using
the
roof
slope
you,
you
know,
you
you've
set
up
a
situation
where
the
the
bridge
is
is
higher
and
then
by
I,
don't
know
whether
you
were
keeping
the
shed
Dormer
on
the
back
or
or
just
replicating
it,
but
it
it
gives
you
Headroom
in
in
the
bathroom,
so
I
understand
totally.
Why
it's
there
and
and
what
it's
doing.
F
I
It
did
come
down
to
that
corner
the
the
intersection
of
these
two
volumes
and
what
how
to
handle
the
program.
That's
the
entrance
and
the
powder
room
and
the
stairs
up
and
down,
and
then
the
bathroom
above
and
we
did
look.
I
I
have
some
studies
that
you
know
I
I'm
happy
to
pass
out,
but
we
looked
at
it
in
model
form
a
couple
different
ways
and
they
were
these.
Are
you
know,
studies
that
were
done
just
to
the
point
where
we
know
they
don't
work
so
keep
that
in
mind.
I
Those
are
just
you
know,
milestones
in
the
design
process
of
this
whole
thing,
and
it
really
did
come
down
to
that
that
inner
That
Elbow
and
that's
when
I
think
I
decided
to
let's
just
design
it
from
the
BET
from
the
backyard.
I
Let's
just
look
at
something
interesting
and
see
how
we
can
you
know,
adapt
the
forms
and
the
space
requirements
up
above
so
that
it's
not
this
rigorous
tower
that
has
to
you
know
that
would
have
to
you'd
have
to
squeeze
program
in
to
one
and
it
wouldn't
be
big
enough
for
the
other.
For
the
other
floor.
E
So
it
looks
to
me
like
options,
A
and
B
that
you
put
before
us
have
a
more
closely
matching
roof
slope
on
the
rear
Gable
than
than
what
we're
seeing
in
the
submissions.
I
I
That's
where
it
just
wasn't.
Looking
right,
you
know,
and
when
we
introduced
the
swoop,
then
we
were
starting
to
see
more
activity
there
and
more
more
of
a
responsiveness
and
the
difference
between
those
two
I
think
one
has
a
projected
second
floor
a
little
bit.
It
doesn't
show
very
well
in
that.
In
that
view,.
E
I
just
have
one
question,
and
anybody
can
answer
this,
but
are
we
looking
at
a
Victorian?
That's
that's
in
the
stick
direction.
We
don't
often
see
that
and
I
think
the
detailing
is
I
will
say
that
it.
It
looks
nice
like
you,
followed
what
the
the
massing
and
the
bulk
aside,
the
clappers
and
the
and
the
trim
boards
and
all
that
seem
to
be
sensitive
to
to
the
existing
home.
A
So
often
the
stick
style
will
have
more
shingle
articulation,
which
this
does
have
and
the
roof
form
that
is
similar
to
what
we're
seeing
here,
lots
of
Gables
and
stuff.
If
that's,
what
your
question
is,
the
the
half
timbering
quality
about
the
back
is
not
necessarily
shingle
style.
If
that's
what
you
were
asking
I.
F
Don't
think
it's
half
timbering
I
think
it's
like
what
you
see
on
the
other
elevations,
it's
it's
dividing,
they're,
they're,
basically
functioning
in
string
courses.
Yes,.
A
D
F
Casement
and
the
swoops
I
would
assume
that
since
you're,
showing
us
things
that
match
the
shingling
in
the
siding
that
that
this
is
really
just
about
roof
massing,
yeah,
okay,
you
know
we're
sort
of
making
you
jump
through
hoops
here
and
it's
interesting
that
you
did
all
of
this.
But
this
is
you're.
The
designer
of
this
you
get
to
choose
which
one
of
these.
J
F
Want
you
want
to
we're
not
here
to
assess
whether
one
of
these
is
better
than
the
other,
but
simply
how
we
think
this
relates
to
the
standards
or
you
know,
if
we're
not
reading
the
standards
with
a
magnifying
glass,
then
how
we
think
it
is
sympathetic
to
and
Congress
with
the
existing
house
and
I
think
you've
certainly
worked
very
hard
to
do
that.
J
Just
one
more
question:
the
sighting
that's
on
the
house
now
is
that
of
wood,
siding.
I
Everything
will
be
matched
in
profile
and
in
dimension
and
texture,
it's
it's
very
simple,
but
it's
really
that
triangle
up
above
the
porch
That's
set
back
it's
in
the
fort.
That's
all
been
replaced
a
couple
of
times.
It's
just
a
bad
location
for
for
rot.
A
I
H
H
I
Well,
we
will,
we
will
work
to
achieve
a
match
with,
with
the
pro
you'll
see
the
product
before
we
continue
yeah.
G
B
F
Can
I
mean
if,
if
you
use
a
starter
board
underneath
the
first
shingle,
then
in
fact,
as
they
lap,
they
are
angled
like
a
tapered
shingle,
you
know,
I
mean
I
drive
around
I,
can't
tell
the
difference.
Looking
at
five
reward
from
wood
siding.
Frankly,
unless
you
go
up
and
tap
on
it
or
examine
it
from
a
few
inches
away.
A
So
I
find
that
I
now
need
to
ask
you
a
question
about
this.
So
you're
saying
that
as
you
do
this
project
on
the
parts
of
the
building
that
are
not
included
in
the
edition,
if
you
discover
that
the
signing
needs
to
be
replaced,
the
wood
siding
the
the
existing
wood
siding
needs
to
be
replaced.
You
will
replace
that
with
the
Hardy.
I
A
I
I
A
I
In
a
case-by-case
basis
of
okay,
this
board
is
rotted,
let's
swap
it
out
and
I
will
have
that
indicated
on
the
drawings
to
harvest.
You
know
the
siding
as
it's
demoed
and
you
know
for
possible
reuse,
and
you
know
that
will
be
handled.
I
Now
no
I
mean
no
they're,
just
historic
I
mean
I,
haven't
done
the
set
yet,
but
before
you
approve
it,
you
know
it'll
be
on
there
before
it
gets
approved
by
the
permit
department.
You
know
well.
B
I
B
It
will
be
okay
and,
and
always
when
the
commission
approves
certificates
of
appropriateness.
It's
always
subject
to
the
testimony
and
the
documents
that
are
provided
during
the
meeting,
so
just
by
way
of
your
testimony,
you're
bound
too
yeah.
What
you're
saying
not
that
you
can't
propose
minor
modifications
as
things
come
up.
A
I
A
E
Okay,
so
I'll
start
I,
think
I'm,
probably
not
going
to
be
alone
in
in
having
some
concerns
about
the
scale
and
the
volume
of
the
additions.
E
So
I
purposely
didn't
ask
a
whole
lot
of
questions
about
how
you
got
to
that
massing,
because
it's
it's
pretty
complex
and
there's
Headroom
issues
in
different
rooms
in
different
areas
and
I
didn't
want
to
go
down
the
road
of
redesigning
it.
So
I
do
feel
like
I.
E
Don't
always
feel
this
way
on
on
some
of
the
projects
that
we
see
before
us,
but
in
this
particular
home
number
one,
because
it's
a
landmark
number
two,
it's
somewhat
petite
stature
is
kind
of
a
part
of
what
it
is
I,
think
and
and
its
form
in
its
what
becomes
an
L
shape
at
the
second
floor
level
is,
has
been
listed
as
one
of
its
critical
sort
of
elements.
E
The
the
bulk
of
the
addition
and
in
the
back
seems
to
be
a
little
bit
insensitive
to
to
to
what's
going
on
there.
So
the
only
sort
of
suggestions
that
I'm
that
I'm
wondering
if
the
applicant
could
look
at
would
have
to
do
with.
E
First
of
all,
the
cross
Gable
can
the
either
the
room
be
shrunk
up
to
bring
it
down
so
that
it
doesn't
go
at
least
beyond
the
existing
roof.
Could
the
eve
be
brought
down
on
the
cross
Gable
there
already
is
a
precedent
for
sort
of
a
lowered
Eve
on
the
front
of
the
house
that
that
extends
over
the
over
the
porch
I
I,
like
that
he's
matching
the
the
pitch
on
on
that
cross,
cable,
just
anything
that
could
be
done
to
to
bring
that
down
and
then
I
I.
Think.
E
If
that
happens,
on
the
bedroom
family
room
side,
does
it
mean
that
you
don't
even
need
the
cross
cable
to
go
through
on
the
opposite
side
of
that
wall,
and
it
could
just
be
the
rear,
Gable
extending
out
to
the
original
side
Gable?
So
that's
just
my
little
bit
of
suggestions
about
where
I,
where
I
see
that
going.
I
also
wanted
to
say
that
I
I
prefer
some
of
the
alternates
rear
elevations
that
we
looked
at
where
the
rear
facing
Gable
had
the
pitch
truer
to
the
existing
pitches
and
the
swoop.
E
It
does
make
me
think
more
of
arts
and
crafts
and
Tudor
but
I'll,
admit
I'm,
not
an
expert
on
on
this
kind
of
Victorian
that
is
leaning
in
a
stick
Direction,
so
I'm,
not
necessarily
opposed
to
that
I
kind
of
want
to
know
a
little
bit.
I
want
to
I
want
to
think
about
that
a
little
bit
more.
So
that
was
a
lot.
K
I
mean
I
I
kind
of
agree
about
the
the
scale
is
is
kind
of
my
main
concern.
Also
I
mean
I.
Do
appreciate
that
there
was
effort
to
on
the
on
the
west
elevation
I
mean
there's
wood
trim
added
where
the
old
kitchen
window
was
to
like
bring
some
some
symmetry
to
that
elevation
and
yeah
I
do
agree.
Matching
the
the
roof
slopes
is.
K
Is
nice
but
I
think
that
also
is
what
contributes
to
the
the
Ridgeline
being
higher
than
the
original
roof
line
of
the
Ridgeline
of
the
house
and
I
mean
I
I
agree
with
what
you
you
said:
I
mean
it
kind
of
is
a
petite
house
and
it's
kind
of
hard
I
mean
I
mean
there
is
a.
It
is
a
rather
large
addition
to
a
small
house
and
I
do
think
they
did
a
a
good
job,
I.
Think
of
trying
to
add
a
large
addition
to
a
small
house.
K
It's
just
yeah
I
mean
it's
a
difficult
thing
to
do
from
the
front
elevation,
but
I
don't
know
it's
just
so
yeah.
J
I
know
I'm
gonna
have
to
decide
very
soon,
but
I
I
really
wanted
to
be
convinced,
walking
through
all
the
standards,
because
I
very
much
like
the
new
use
of
the
materials
matching
I
kind
of
like
that
news,
move,
slope,
I,
I,
think
it's
it's
fun,
I
think
that
it's
a
little
bit
I
think
it's
Innovative
and
I
feel
like
it's
still
appropriate
within
the
overall
design.
I
think
it's
still
just
that
massing
and
the
scale
that
I
still
getting
stuck
on
in
just
a
little
bit.
A
Do
we
do
we
feel
that
so
I'm,
looking
at
2B
best
elevation
proposed
that
the
that
maintaining
the
the
where
the
siding
changes
is
important.
A
Maintaining
where
the
siding
changes
so
that
there's
the
there's
the
front
Gable
and
then
the
new
proposed
Gable
and
they're
attempting
to
maintain
that
line,
and
so,
if
they
didn't
feel
like
they
had
to
maintain
that
line
yeah,
would
that
would
would
we
be
okay
with
a
variation
on
this
that
allowed
them
a
little
bit
more
flexibility
there
you're.
F
F
Okay,
when
I
look
at
the
plan
of
that
side,
it
looks
like
the
distance
between
the
one
end
and
that
setback
Gable
is
maybe
a
foot
which
I
think
in
reality
could
be
really
massive
and
and
awkward,
and
that
was
what
you
were
saying
describing
as
the
required
side
yard
setback
that
pushed
that
back
by
that
little
tiny,
incremental
dimension.
K
F
The
other
thing
I
don't
understand
is
when
I
looked
at
that,
and
let
me
boil
it
up
enough:
it
says
wood
Trina,
exterior
grade
plywood
relief.
There
is
something
that
looks
like
it's
the
the
trellising
at
the
front
porch,
but
in
fact
it's
just
a
decorative
freeze.
That's
in
the
surface
of
the
building.
F
It
would
hurt
the
master
bedroom
because
you've
shown
closets
along
those
two
walls
anyway,
so
that,
in
fact,
the
ridge
of
the
Cross
Gable
is
at
the
same
height
and
then
what
would
really
simplify
the
thing
and
clean
this
up
would
be
to
carry
the
front
I,
don't
know
how
to
point,
but
the
front
Eve
line
which
intersects
the
I
don't
know
how
to
describe
it.
Do
you
have
a
pointer.
F
Here
to
carry
that
line
across
and
make
this
all,
you
know
all
roof,
but
then
I
think
you
have
probably
a
Headroom
problem
with
the
stair
going
up
to
the
Attic.
K
So
I
just
noticed
on
the
attic
construction
plan
that
primary
bedroom
is
actually
a
two-story
space.
That's
Vault,
it's
a
vaulted,
so
it's
not
actual
story.
It's
not
a
floor
with
like
more
storage
space.
So
it's
I,
guess
that
headspace
isn't
an
issue
in
the
in
that
room.
So
for.
F
I
The
Gable
or
the
vaulted
ceiling
in
the
in
the
main
bedroom
is
undecided.
We
showed
it
probably
two
different
ways
we
haven't
decided.
You
know
the
the
what
the
what
they
want
to
do
there.
Yet
it's
either
going
to
be
open
or
storage
for
the
Attic.
E
I'd
rather
see
a
small
Dormer
that
maybe
butts
into
the
existing
Gable
than
a
full-on
Gable.
Then,
in
that
event,.
E
So
I
I
would
like
that
and
then
I
would
I
would
reiterate,
reducing
the
the
the
bulk
and
volume
of
the
of
the
addition,
perhaps
to
the
point
where
the
cross
Gable
does
not
exceed
the
height
of
the
existing
roof
Peak.
Perhaps
the
cross
cable
does
not
extend
into
the
elevation
that
we're
looking
at
here.
If
you
need
to
add
a
small
Dormer
that
would
probably
be
more
amenable
to
me
and
I
just
want
to
qualify.
This
is
I.
E
Don't
see
this
as
a
major
reworking,
I
I
think
there's
a
lot
of
things
that
are
really
nice
about
this
solution,
particularly
the
detailing
I,
don't
know
if
fellow
Commissioners
feel
the
same
way.
I
I
prefer
the
rear
Gable
pitch
to
match
the
existing.
It's
too
steep
in,
in
my
view,
I.
Don't
think
it
needs
the
swoop,
but
I'm
not
going
to
put
my
foot
down
on
that.
E
I
think
I
will
probably
reiterate
what
what
Stuart
mentioned
about
the
casement
windows
on
the
back
I,
probably
don't
feel
super
strongly,
but
I
think
it
will
be.
It
probably
will
be
better
reading
as
double
hungs,
even
if
they
were
just
simulated
and
they
were
in
fact
casements
I
don't
know
if
anyone
else
wants
to
add.
K
A
A
For
me,
if
the
so
I
I
find
the
quasi-tutor
feeling
in
the
back
a
little
bit
inconsistent
with
the
rest
of
the
house.
However,
if
that
were
the
only
thing
about
this,
that
was
causing
any
sort
of
discussion,
I
would
not
vote
against
it.
So
the
the
situation
that
I
see
is
that
there
are
multiple
things
in
the
scale
is
the
and
the
is
the
biggest
one,
but
you
might
get
more
response
the
next
time.
If
there
was
a
little
bit
more
reworking
in
the
back.
A
Would
everyone
agree
with
that?
I.
A
E
So
I
I
would
say
scale
and,
for
me,
I
feel
strongly
that
a
Gable
facing
this
elevation
that
we're
looking
at
would
that
elevation
would
I'd
like
to
see
it
tone
down
so
that
the
existing
home
was
the
more
dominant
element
on
that
elevation,
so
not
just
scale
but
removing
the
larger
Gable
element.
There.
A
So
that
would
be
that
would
be
construction
number
12,
original
qualities.
G
E
A
8
10
and
12
in
construction,
so
John
do
you?
Would
you
be
open
to
working
with
the
applicant?
If
there
was
answering
any
questions
in
between
absolutely
do
you
feel
that
you
have
enough
feedback
from
us.
I
A
So
we
need
to
do
a
a
motion
to
continue.
Okay,
does
anyone
have
a
motion
to
continue.
K
A
motion
to
continue
the
case
for
our
23
pres
0010:
let's
see
what
was
it
eight,
the
condition
is
to
address
conditions
for
construction
standards,
8,
10
and
12.
H
Just
a
question:
do
you
need
more
time,
then,
for
the
next
meeting
to
address
these
issues?
We
didn't
have
a
date.
G
B
10
30
dumpster
Street
in
the
ridge,
historic
district
case
number,
23,
pre-s-0014,
siamak,
Masti,
owner
and
architect,
submit
for
certificate
of
appropriateness
to
alter
the
front,
rear
and
side
elevations
fenestration,
with
replacement
of
non-divided
light
wood,
double
hung
windows
and
existing
and
new
openings
with
non-divided
light.
Clad
wood
double
hung,
Windows,
replacement
of
a
front
elevation
set
of
wood,
French
doors
with
a
clad
wood
picture
window
and
replacement
of
wood
front
and
rear
entry
doors
in
existing
and
new
openings
with
fiberglass
entry
doors,
applicable
standards,
alteration
one
through
ten
and
construction.
Three
four
and
seven.
G
L
In
I
signed
in
out
there-
wonderful,
yes,
yes,
so
yeah!
This
is
our
lovely
home
we
purchased
this
in
2018
we've
been
living
in
it
primarily
as
a
single
family.
It
was
actually
a
it's
actually
a
two
unit
home
originally
built
in
1891-92
as
a
single
family.
But
in
going
back
to
the
records
we
found
permit
documents
from
1937
when
it
was
converted
into
two
flat.
L
The
sort
of
segregation
between
the
two
units
is
really
in
the
front
foyer
when
you
walk
in
the
door
and
then
on
the
back.
There's
the
added
sort
of
porch
element
for
this
egress
up
there,
but
anyhow
we're
wanting
to
replace
the
windows
with
the
newer
double
hungs
throughout.
It's
just
you
know,
after
80
years
of
being
a
rental
property,
it
had
it
been
maintained
very
well,
and
a
lot
of
the
windows
are
not
operable
in
the
sort
of
effort
it's
going
to
take
to
repair.
Those
I
think
is
really
Beyond.
L
What
can
really
be
accommodated
for
most
of
them?
We
have
a
lot
of
rot
in
the
sort
of
jams
and
everything
so
we're
proposing
using
you
know:
weather
shield,
premium
aluminum
plaid
wood
products
to
just
basically
mimic.
What's
there
and
we'll
be
by
doing
so,
we'll
be
able
to
remove
the
triple
track.
Storms,
aluminum,
storms
that
are
on
there
now
and
actually
I
feel
like
they
really
flatten
the
facade.
L
You
know
just
basically
moving
that
reflection
out
to
the
outer
part
of
the
skin
of
the
home,
so
we'll
have
more
of
the
depth.
That's
probably
there
when
you
just
have
the
double
hongs.
We
we
going
back
to
the
you
know:
Historical
Center
and
digging
through
the
documents
the
Sanborn
showed
in
19
1899
no
front
porch,
but
come
around
1920.
The
Sanborn
had
a
front
porch
so
across
the
whole
home,
but
we
saw
a
real
estate
photo
postcard
from
1945,
where
that
porch
was
already
gone.
L
So
I
think
that's
the
story
of
those
French
doors
to
Nowhere
right
now,
they're,
like
it's
a
42
inch
drop
to
the
grade.
If
you're
to
open
it
and
walk
out-
and
unfortunately
they
they
also
open
in
and
everything
so,
there's
no
proper
way
to
put
it
any
sort
of
fall
protection,
but
so
that
front
facade.
L
We
would
like
to
replace
those
French
doors
with
a
picture
window
and
it's
very
much
in
keeping
with
stuff
that's
in
the
neighborhood,
for
that
particular
their
home
there's
some
that
are
like
a
symmetrical,
not
symmetrical
a
mirror
image
of
our
our
facade
and
I.
Think
we've
got
an
example
photo
there.
We
go
so
that
that
home
there
has
the
stained
glass
transom,
much
like
we
do
and
we'd
be
maintaining
that
we're
actually
going
to
have
to
have
it
repaired.
L
There's
some
cracks
in
it,
but
working
with
our
Builder
we'll
be
removing
that
and
while
they're
working
on
everything
else
we'll
have
it
repaired
and
reset.
But
we
want
to
replace
the
French
doors
with
the
picture
window.
I
think
that's
probably
one
of
the
bigger
changes
here
on
this
facade
and
then
above
the
entry
door
is,
you
know,
a
wall
of
siding
and
that's
where
the
stairway
is
to
the
second
unit,
which
is
our
second
floor.
We
propose
putting
a
round
window
on
that
facade
there.
L
You
go
it's
just
from
I
think
from
both
sides
from
the
street
and
from
inside
the
house.
It
just
it
becomes
like
a
a
blank
wall
that
just
feels
like
it
needed
something.
So
that's
what
we
were
proposing
to
add
there
and
then
on
the
East
Elevation
elevation
number
one
here
on
the
first
floor,
there's
a
picture
window
there
as
well
right
now
that
is
just
a
I'm.
Sorry
not
East
the
west
elevation.
So
we
need
to
scroll
down
a
little
bit
there.
You
go!
L
That's
the
demo
so
number
one
here
on
the
West
Side,
there's
a
gray,
shaded
hatch
area.
So
that's
a
wall
right
now,
where
that
gray
shade
we
want
to
replace
with
the
picture
window.
So
if
you
scroll
down
a
little
further
other
direction,
I'm
sorry.
L
There
you
go
so
there's
a
picture
window
there
on
that
sort
of
bay.
That's
jutting
out
from
the
home
that
we're
proposing
on
the
south
side
of
the
home,
the
Ali
side
on
this
image
to
the
right
detail,
number
two:
you
can
see:
there's
a
two-story
porch
across
most
of
that
and
the
shaded
areas
that
I'm
showing
are
where
we're
infilling.
Where
there
was
an
existing
window
and
then
we
have
some
new
windows,
so
we're
moving
the
door
over
to
clear.
L
You
know
some
space
on
the
interior
and
that
door
actually
falls
where
there's
a
current
window
and
the
Second
Story
there
is
that
door
goes
away
and
we're
replacing
it
with
a
window
and
then
we're
doubling
up
a
window
in
the
master
bedroom
there
and
that
window
there,
where
instead
of
mulling
two
windows
together
we're
actually
separating
because
I
don't
believe
at
the
time
they
would
have
really
truly
mulled.
Two
windows
together,
like
we
do
nowadays.
So
we've
got
the
same
sort
of
four
and
a
half
inch
trim
separating
those
two
windows.
L
And
then
in
the
basement,
basically
there's
a
plywooded
over
opening
that
we're
going
to
replace
with
the
window
to
match.
That's
that's
the
general
scheme
of
everything
so
wherever
we
have
siding
to
mat
to
patch,
where
we'll
replace
those
sort
of
planks.
L
Ideally,
you
know
not
just
I'm,
sorry,
just
where
that
change
happens,
but
we'll
feather
it
in
whether
it's
staggered
or
from
piece
of
trim
to
trim.
So
you
won't
necessarily
see
like
a
a
sort
of
palm
set
of
what
was
there
before.
L
Last
thing
to
note:
the
chimneys
are
not
in
use
the.
There
is
a
fireplace
that
will
remain,
but
it's
non-functional
and
because
it's
remaining
because
it's
holding
up
the
house
down
below
on
the
first
floor,
we've
got
some
heavy
Timbers
dying
into
it.
But
as
we
go
up
into
the
second
floor,
we're
reclaiming
some
of
that
space
from
the
chimney
and
we're
having
just
tons
of
leaks.
L
This
roof
was
redone
in
2018,
but
we're
still
having
issues
because
the
the
masonry
of
the
chimney
and
there's
some
photos
I
believe
in
here
that
show
the
condition
of
the
chimney.
It's
just
a
parge
coated
concrete
over
masonry,
but
it
doesn't
seem
to
match
the
profile
from
the
photo
that
we
saw
in
1945.
L
So
it's
not
the
yeah
there's
a
if
you
scroll
up
yeah,
there's
an
image
of
the
the
one
chimney
there.
That's
the
one
off
of
the
that
serves
the
fireplace
now
I
know
it
has
two
stacks:
there
I,
don't
know
what
the
second
one
goes
to,
but
there
used
to
probably
be
like
a
cast
iron
stove
or
something
on
the
second
floor.
That's
not
there
now
and
then
there's
another
chimney
at
the
back
of
the
house
that
we
want
to
remove
to
that
was
probably
for
cooking.
L
A
E
Sure
are
there
any
lugs
on
the
existing
double
hug
windows
on
the
outside
I
couldn't
tell
because
the
triple
tracks
are
in
the
way.
L
But
any
I'm,
sorry
what
lugs?
No!
No
there's,
none
I!
Guess
one
thing
I
can
mention.
We
do
really
love
the
the
sort
of
cast
iron
finger,
pulls
on
the
Windows,
we're
going
to
reclaim
those
and
put
them
on
that's
an
interior
thing.
It
doesn't
affect
the
exterior,
but
that's
something
that
we
really
like
go.
E
Ahead
yeah
thank
you
and
the
your
window
specs
as
either
the
Weather,
Shield
or
The
Marvin
ultimate.
L
Yeah
I
think
they're
both
comparable
systems,
it's
kind
of
coming
down
to.
What's,
who
can
do
it
faster
and.
G
E
L
F
Yes,
since
we're
charged
since
we're
talking
about
Windows,
if
you
go
to
sheet
8
to
the
East
Elevation
I'm
wondering
the
window
at
the
left
hand,
side.
J
J
The
original
the
ones
that
are
existing
are
centered
along
that
portion
of
the
wall
and
then
you're
gonna
be
installing
new
ones
slightly
shifted
over
to
the
left.
Ideally,.
J
L
Basically,
just
so
that
we,
these
window
sills,
are
at
I,
believe
22
inches
off
the
floor,
and
just
we
that's
basically,
on
the
second
floor,
where
we
want
the
bed,
the
master
bed
to
be,
and
we
were
moving
the
one
on
the
first
floor
just
so
that
we
keep
them
together
rather
than
just
you
know,
staggering
them.
So.
B
I
have
a
question:
could
you
explain
the
need
to
replace
the
front
door.
L
The
the
front
door
right
now
the
swing
of
the
door
for
one
it
swings
towards
the
stair
and
actually
blocks
the
stairway.
That's
part
of
it.
The
other
part
of
it
is
just
the
condition
of
that
door.
It
it
has
a
lot.
The
a
lot
of
sagging
in
the
frame
has
a
lot
of
issues
to
it.
Those
are
the
two
primary
reasons
and
also
just
I,
see
daylight
all
around
it
and
and
through
the
sort
of
divided
pieces
on
it,.
L
The
French
doors
do
not
close
all
the
way.
I've
got
packing
tape
on
them
right
now.
They
they
open
in
there's
no
I
I.
Don't
really
know
why
they
were
really
done
other
than
the
fact
that
there
was
a
porch
there,
but
it
was.
It
still
has
the
front
door,
but
the
condition
we've
opened
them
once
and
we
haven't
actually
got
them
to
close
properly
since,
since
we
bought
them
in,
but.
A
So
my
question
has
to
do
with
how
much
of
what
you
are
removing.
Are
you
going
to
reuse.
G
L
L
Probably
you
know
in
the
after
the
first
30
years
of
the
home
or
first
after
the
first
10
20
years
of
the
home,
but
yeah
we're
not
reusing
those
we
don't
have
a
place
for
them
and
then
the
siding
material
I,
don't
know
if
we
were
getting
big
enough
chunks
off
of
this
to
like
reuse,
I,
don't
think,
there's
enough
so
I
think
we
would
be
replacing
wood
with
wood.
L
H
Can
you
give
us
a
little
bit
more
information
about?
Why
did
you
choose
the
picture
windows
well.
L
L
So
just
based
on
precedent
in
the
neighborhood,
like
that,
one
image
that
we
have
there,
they
have
a
picture
window,
but
the
other
picture
window
is
on
the
east
side
facing
the
neighbor,
because
we're
planning
on
having
a
kitchen
sink
there
and
I
guess
it
could
be
double
hung,
but
it's
just
not
going
to
ever
be
opened
and
then
the
picture
window
on
the
west
facade
is
the
dining
room
and
I
think
it's
just.
It
was
an
aesthetic
choice.
B
L
F
L
Yeah
we
could
we're
just
you
know
we
we
like
the
idea
of
it
not
needing
it,
but
but
we
could
do
a
rail
where
we
do
have
the
horizontal
division.
That
is
pretty
much
eye
level.
So
that's
the
other
thing.
If
we
didn't
have
one,
then
you
don't
have
that
obstruction,
but
I
I.
Take
your
point.
J
The
applicant
it's
following
up
on
the
replacement
of
the
front
door,
looks
like
you're,
changing
the
style,
a
bit
and
I'm,
just
wondering
if
there's
enough
of
like
do
you
have,
are
all
the
parts
of
the
existing
front
door
present
and
is
there
any
way
that
you
would
be
able
to
work
with
what
you
have
for
that
front
door
in
order
to
keep
to
standard
number?
Five
about
distinctive
excuse
me
about
standard
number,
six
regarding
the
deteriorated
architectural
features
and
trying
to
repair
those
rather
than
replacing
them
do.
L
L
Stick
to
that
standard,
the
trick
would
be
I
I,
really
don't
like
the
door
swinging
into
the
bottom
of
the
stairs
I.
You
know,
I,
don't
know
how
much
anybody
would
really
care
about
an
egress
issue,
but
it
to
me
it's
just
wrong,
and
if
we
were
to
flip
the
swing
of
the
door,
then
we've
got
the
mortise.
Issues
of
the
hardware
would
be
part
of
it.
L
We're
really
trying
to
button
up
the
the
the
the
house
just
trying
to
minimize
air
leakage
is
a
huge
problem.
Last
night
was
a
good
example.
It
sounds
like
you
know,
people
slamming
doors
on
our
house.
While
we
were
sleeping,
but
it's
just
things
moving
around,
but
there's
a
considerable
gas
sag,
so
I
don't
know
I
guess
we
could
rebuild
the
frame
and
I
I
really
want
to
change
the
swing
of
the
door.
I,
just
don't
like
how
it
blocks
the
stair.
F
L
L
But
if
you,
if
you
recommend
we
do
something
that
matches
the
sort
of
Divisions
there,
we
could,
the
personal,
aesthetic
or
sensibility
of
my
wife
is
that
not
have
a
big
window
they're
just
she
gets
a
little
freaked
out
with
people
looking
in,
but
we
can
convince
her.
Otherwise,
if
necessary,.
A
Okay,
thank
you
so
so
now
we
have
deliberation
among
commissioners.
F
Yeah
I
I
had
one
comment
and
I
I.
Don't
it's
not
a
question
and
you
know
it's
it.
It's
a
both
a
compliment
and
a
suggestion.
I
think
when
you
look
at
the
North
elevation
where
you've
put
the
wrong
window,
it
makes
perfect
sense
in
plan
because
it's
lighting,
both
the
stair
and
the
entry
gustaville
below
and
these
spit
stair
as
it
ascends
and
I
looked
at
and
I
thought
gee.
Well
you!
F
If,
if
it
was
an
oval
instead
of
a
circle,
you
you'd
actually
get
more
height
and
more
light
and
then
I
looked
at
it
again
and
I
said
well.
Why
wouldn't
you
just
put
a
double
hung
window
of
the
same
size
as
the
ones
on
the
rest
of
the
house
in
that
section
of
wall
and
really
get
a
lot
of
light
down
into
that
area.
L
F
L
Would
not
match
but,
and
it's
not
anywhere
you
could
reach
if
it
were
a
double
hung.
You
wouldn't
because
it's
over
the
height.
F
F
J
J
F
John,
you
want
to
explain
to
people
here
who
don't
build
things,
why
doors
like
that
come
out
and
get
thrown
away?
It's
probably
four
thousand
dollars
worth
of
Labor
to
take
that
door
off
to
put
in
what
are
called
Dutchmans,
which
are
which
are
large
patches
that
you
can
re-hinge
the
door
into
the
mortise.
F
Lock
is
an
even
bigger
deal
to
change
and
then
you've
still
got
a
door
which
may
be
slightly
out
of
square
and
which
you
know
you
might
have
to
modify
the
opening
to
have
it
fit
and
I
don't
know
about
the
door
that
you're
getting
I
understand
that
it's
a
that
you're
doing
it
because
of
the
economy,
but
having
a
a
new,
a
new
thermopane
wood
door
made
to
replace
that
one,
even
if
it
was
the
same
cost
as
repairing
it
and
and
I.
F
Probably
all
of
my
Bonafide
is
as
a
preservationists
go
away
when
I
say
this,
but
you
get
a
better
product
at
the
end
in
terms
of
area
infiltration
and
our
value
and
a
zillion
things
if
that
were
a
decorative
door
that
were
really
unique
and
really
special.
I
would
say,
of
course,
but
it
it
you
know
what
it
was
is.
It
was
a
inexpensive
door
that
the
carpenter
went
to
a
lumber
yard
around.
When
was
the
house
built
again
19
90s
something
1891.
F
I
mean
I
for
years,
collected
Millwork,
catalogs
from
that
period
of
time
and
you'd
be
shocked
what
what
you
could
go
and
buy
off
the
shelf
and
that's
an
off-the-shelf
door.
It
is
not
anything
special
that
we
should
well
it's
old.
E
I
I
think
when
you
first
raise
the
issue,
I
thought
in
comparison
to
what
we're
permitting
on
the
windows.
So
it's
it's
not
the
same
product.
It
looks
a
little
bit
different.
It
takes
an
incredible
hardship
off
of
the
owners
and
allows
people
to
be
a
lot
more
energy
efficient.
Now
the
Aesthetics
are
changing
on
this
door,
though
so
that's
where
I
start
to
get
more
sensitive
to
your
comment.
E
He
made
a
good
point,
though,
about
security
and
the
glass
he's
on
Dempster,
I
kind
of
balancing
your
comments
and
stewards,
I,
I'm,
leaning
towards
the
approve,
the
replacement
of
it.
I.
A
K
A
Would
say
the
same
thing
about
the
French
doors
as
well.
There's
an
opportunity
there
for
someone
who
wants
to
have
a
project
to
to
ask
this
applicant
to
please
donate
some
of
these
materials.
They
may
already
have
that
in
mind,
but
it
might
be
something
that
we
could
ask.
I'm
I'm
wondering
how
how
you
all
my
fellow
Commissioners
feel
about
these
picture
windows
I'm,
not
sure
if
in
the
1890s
there
were
picture
windows
like
this.
If
that's
what
the
justification
is.
A
In
any
case,
didn't.
A
But
in
any
case
you
know
on
the
front,
I
was
quite
struck
by
the
doors
to
nowhere.
I,
you
know
that's
an
accident
waiting
to
happen,
especially
for
for
children.
Knowing
that
these
doors,
don't
close
I
mean
that's
so
I
can
understand,
putting
something
in
there.
A
L
Width
of
the
picture
window,
the
width
of
that
picture
window
I-
can
tell
you
exactly.
Okay,.
F
F
I
feel
fine
about
it
that
you
have
to
look
at
it
carefully
to
notice
that
it's
actually
a
single
plane
rather
than
the
the
upper
sash
set
back,
and
you
know,
we've
done
it
a
bunch
of
times
where
we
didn't
have
a
choice,
because
bedrooms
now
have
to
have
things
called
egress
windows
and
most
double
hungs
will
not
meet
the
requirements
of
an
egress
window.
F
So
what
in
terms
of
clear
opening,
because
you're
only
opening
half
the
window
at
a
time
so
typically
John
tell
me
if
you've
done
this
as
well,
I
will
do
a
casement
window
and
it's
adjacent
to
Deborah,
Hines
and
we'll
just
put
in
a
horizontal
rail.
So
the
proportions
remain
the
same.
So.
K
And
the
houses
I
mean
it's
on
the
East
Elevation
that
the
house
is
I,
mean
they're
relatively
close
to
each
other.
So
it's
not
like
it's
also
in
the
middle
of
the
the
elevation.
So
you're
not
really
gonna
see
that
it's
not
like
the
the
front
facade
where
you
see
the
picture
window.
You
know
more
prominently,
so
I'm
yeah,
it's
not
a
big
issue.
Then
you
know
because
it's
on
a
side
elevation,
also
in
the
middle
of
the.
F
F
Otherwise,
I
I
mean
I,
think
you've
done
a
skillful
job
of
of
replacing
and
tinkering
with,
and
suddenly
changing
this
and
I
I
think
you
know
if
it's
all
well
executed.
Nobody
will
know
that.
You
know
that
you
did
anything
to
the
house.
L
And
to
answer
Miss
bowden's
comment:
it's
right
now
called
out
as
a
three
foot
ten
wide
and
the
height
of
that
window
was
six
five
on
the
west
side.
Oh.
J
Huge
yeah
right
now,
I
am
the
that's
introducing
that
of
the
house.
My
dining
room
happens
to
have
a
really
big
picture
window,
it's
from
the
1890s
as
well,
and
it
works
lovely
for
like
but
and
I
have
to
say,
I
really
like
the
round
window
that
you
introduced
I,
think
it's
just
a
nice
touch
point
and
it
didn't.
It
enhances
the
that
front.
Facade.
A
So
I
was
actually
going
to
ask
a
question
of
the
Commissioners
about
that,
because
Stuart
had
mentioned,
maybe
making
it
bigger
or
do
we,
it
doesn't
bother
us
at
all.
Okay,.
A
F
K
A
B
F
Awkwardly
close
to
the
to
the
upper
edge
of
the
of
the
porch
roof
right,
I
should
I
just
do
it
as
big
as
you
could,
but
you
know
it's
you're
up
to
you.
A
A
Yeah
yeah
any
other
deliberation
among
Commissioners
just.
E
One
more
add
to
the
front
picture
window
that
I
too,
like
it,
especially
in
relation
to
what's
there
now
there's
it
has
a
quality
that
in
a
way
says
this
is
different,
but
also
sets
back
in
a
way
that
really
celebrates
the
transom
above
it
that
I
think.
A
F
I
move:
we
grab
a
certificate
of
appropriateness
to
1030,
dumpster
Street,
23,
Perez,
zero,
zero,
one
four
to
alter
the
front
rear
and
side
elevation
fenestrations,
with
replacement
of
non-divided
light
Windows
to
match
the
existing
double
hung
windows
in
the
existing
and
new
openings
with
non-divided
like
clad,
wood,
double
hung,
Windows
replacement
of
a
front
elevation
set
of
wood,
French
doors
with
the
cloud
wood
picture
window
and
the
replacement
of
wood
front
and
rear
entry
doors
in
existing
and
new
openings
with
fiberglass
entry
doors
applicable,
Sanders
alteration
one
through
ten
and
construction.
F
A
Opposed
abstain,
okay
motion
carries
thank
you.
It
is
nearly
nine
o'clock
and
we
have
in
the
past,
taken
a
short
break
around
this
time.
So
what
we
might
do,
we
could
perhaps
approve
the
minutes
and
then
have
a
break.
How
does
that
sound
to
you
all?
Okay,.
A
It's
just
a
motion
to
improve
the
minutes
right.
Oh.
G
B
And
we
did
receive
two
sets
of
minor
Corrections
on
one
from
commissioner
Jacobs
and
one
from
commissioner
Klein
that
will
incorporate
into
the
minutes.
B
A
Okay,
so
do
we
have
a
motion
to
accept
the
minutes
with
these
additions.
J
A
B
B
And
sustainability,
whenever
you're,
ready,
Brian.
M
Thanks
Kate
I'm
Brian
Zimmerman
I
am
the
solid
waste
coordinator
for
the
City
of
Evanston.
I
fall
under
the
public
works
department,
so
it's
Kate
kind
of
alluded
to.
M
He
actually
gave
a
presentation
about
your
2040
preservation
plan
to
our
environment
board
and
kind
of
highlighted
that
some
of
the
intersectionality
that
he
he
just
so
briefly
mentioned
and
with
that
it
highlighted
to
myself
and
also
Kara
Pratt
the
sustainability
and
resiliency
coordinator
for
the
city,
that
there's
a
need
to
make
sure
that
we're
engaging
you
all
in
our
efforts
to
develop
a
more
robust
roadmap
with
it,
as
it
relates
to
waste
in
our
community.
Under
the
guise
of
trying
to
tackle
climate
change
in
our
community
as
well.
M
So
we're
working
with
a
informal
working
group
of
residents
to
develop
a
said
roadmap
and
we're
in
the
initial
engagement
period,
where
we're
trying
to
get
as
much
feedback
on
Direction
ideas.
Awareness
as
it
relates
to
waste
from
different
elements
of
our
community,
and
we
felt
it
would
be
just
a
stellar
opportunity
that
reciprocate
some
of
the
stuff
that
Kate
helped
shed
light
on
and
get
some
feedback
for.
You
guys
that
we
can
catalog
and
make
sure
it's
included.
M
M
Ultimately,
what
I
was
hoping
to
do
is
I
had
shared
a
bunch
of
questions
that
we've
kind
of
formulated
I
would
love
to
have
a
discussion
on
them,
but
I
know.
Given
the
time
constraints,
I
am
open
to
doing
an
abbreviated
discussion
and
with
the
option
to
have
follow-up
from,
however,
you
see
fit
to
provide
the
feedback
necessary
I'll
spare
the
the
need
to
go
over
any
awareness
pieces,
but
a
lot
of
what
we're
looking
for
is
understanding,
different
ideas
that
someone
like
the
commission
might
have
as
it
relates
to
waste.
M
You
guys
have
a
a
purview
on
building
materials
and
we've
I
was
so
I
had
a
little
smile
on
my
face
as
I
heard,
you
guys
talking
about
doors
and
other
types
of
reuse
elements
with
siding,
and
it
just
was.
It
made
me
feel
good
that
other
people
are
taking
on.
Carrying
on
the
torch
for
things
like
that
in
our
community
with
that
said,
I
kind
of
want
to
maybe
open
it
to
you
guys
to
see
if
there's
any
types
of
ideas,
initiatives,
programs,
ordinances
that
are
worth
considering
as
strategies
for
this
plan.
M
K
Go
ahead,
I
mean
I
was
you
know,
I
was
reviewing
the
long
range
plan
and,
let's
see
policy
3.3
is
to
integrate
and
expand
preservation
priorities
which
align
with
the
climate
action
resilience
sequel,
you
probably
you
know,
3.6,
is
to
advocate
for
a
city-wide
deconstruction,
ordinance,
I,
guess
that
that's
definitely
zero
waste.
You
know
it's.
If
we
can,
you
know
it's
listed.
The
priority
is
listed
as
pressing,
but
you
know
later
on,
I
guess
we're
going
to
figure
out
which,
which
one
we're
going
to
be
focused
on,
but
I
mean
it
is
in
the
document.
K
A
Yeah,
so
you
you
saw
us
talking
about
you-
know
reusing
the
French
doors,
for
instance,
in
this
last
case,
that
kind
of
thing
or
trying
to
figure
out
why
they
were
being
removed.
But
there
there
are.
You
know.
Construction
has
a
lot
of
waste
just
generally
as
a
as
an
activity.
So,
in
addition
to
removing
things,
there's
also
just
the
the
you
know:
shipping
them
from
point
A
to
point
B.
A
M
Do
you
guys
have
because
I
like
that
point,
that's
another
thing
of
our
circularity
mindset
is
using
more
locally
sourced
materials.
M
K
A
J
Some
material
procurement
I
know
that
it's
several
Chicago
programs
funding
sources.
You
have
to
meet
a
certain
requirement
of
Chicago
resident,
labor,
trades
people
or
people
working
on
your
job.
I
mean
that's
something
that
we
could
look
into
for
projects
that
are
receiving
city
funding
needs
to
meet
a
certain
requirement
of
local
local
labor.
J
K
J
B
One
of
the
things
that
I
know
we
talk
about
in
the
plan
and
something
that
I
talk
about
a
lot
that
maybe
it
needs
to
be
defined,
but
I
talk
about
a
preservation,
ethic
and
I
think
the
idea
of
a
preservation
ethic.
It
doesn't
just
it's
not
just
contained
to
those
individuals
who
own
landmarks
or
have
homes
in
a
historic
district.
B
That
ethic
can
be
brought
into
the
entire
Community
about
reusing
materials,
understanding
the
value
in
their
home
and
the
materials
and
the
craftsmanship
and-
and
some
of
that
I
think,
is
our
responsibility
and
is
in
terms
of
education
and
awareness
that
we
can
make.
People
understand
that
you
don't
have
to
own
a
landmark
to
contribute
in
a
very
significant
way.
M
I,
like
that
point,
Kate
just
FYI,
like
the
preservation
ethic,
when
he's
explained
it
before
what
type
of
barriers
do
you
see
a
lot
of
people
that
come
up
here
being
able
to
do
more
reuse,
more
recycling
of
building
materials?
Is
there
stuff,
they've
advocated
for
I,
heard
some
of
it
kind
of
echoed
in
today's
meeting
that
I've
made
notes
of?
But
it's
it's
been
a
small
snippet.
You
guys
would
probably
see
the
full
Gambit
of
different
things.
E
E
So,
but
when
you're,
the
homeowner
and
the
roofer
is
like,
you
know,
you're
out
of
your
mind,
we're
not
going
to
save
any
of
these
that'll
be
another
fifteen
thousand
dollars
in
labor.
So
you
know
it's.
It's
almost
always
an
economic
barrier.
M
We've
definitely
heard
we've
talked
you
guys
mentioned
them,
but
the
rebuilding
exchange
they're
like
the
biggest
central
point
of
a
lot
of
this
reuse
in
our
community,
which
is
just
Stellar.
No
really
Community.
Has
this
and
they've
expressed
to
us
just
some
of
those
same
challenges:
the
economic
barriers,
but
also
the
demand
barriers
that
maybe
some
of
the
preservation
ethic
can
include,
is
some
people
drop
it
off
and
and
have
the
intent
of
good
use?
M
But
it's
got
nowhere
to
go
so
it
just
kind
of
sits
and
stays
and
no
one's
reusing
that
material
to
a
beneficial
use,
and
they
only
have
so
much
warehouse
space
to
manage
it
and
it
kind
of
has
to
have
a
a
revolving
Outlet
to
kind
of
keep
this
stuff
to
be
productive
as
best
as
possible.
So
I
think
there's
a
lot
of
those
similar
elements
when
it
comes
to
labor
space
time
that
we've
heard
from
a
lot
of
different
other
stakeholders
in
this.
In
this
whole
cycle,.
B
I
think
there's
some
kind
of
to
that
point.
There's
some
great
success
stories.
I
was
talking
to
someone
on
the
phone
the
other
day
at
home,
on
Forest
who
she
purchased
the
home,
and
she
was
relatively
overwhelmed
by
the
the
needs
that
it
had
and
she
went
into
the
basement
for
the
first
time.
She'd
never
seen
it,
and
it
was
like
this.
This
Museum
of
materials
that
have
been
stockpiled
over
80
to
100
years
of
this
home's
life
and
slowly
over
20
30
years,
she's
put
a
lot
of
that
material
to
to
good
use.
B
A
That
that
was
actually
what
I
was
advocating
for
for
that
clay.
Roof
project
was
to
try
to
retain
some
of
it
for
future.
You
know
because
whatever
roof
they
were
going
to
put
on
was
not
going
to
last
forever
either
sure.
So
at
that
point
somebody
might
think.
Well,
maybe
we
can
do
I
mean
no
I
I
know
personally
of
projects
where
that
exact
thing
has
happened.
F
Of
the
big
problems
I,
you
know
I,
like
the
term
deconstruction,
because
that's
really
what's
required
and
it's
you
know,
probably
you
know
a
a
third
of
the
cost
of
building
it
new
to
take
it
apart
in
some
parts
stuff
you
just
can't
take
apart,
I've,
never
taken
apart
a
clay,
tile
roof,
but
I
know
how
those
tiles
are
set
and
I
bet
you
can't
get
them
off
the
roof
whole.
It's
like
a
beautiful
tile
floor
on
a
concrete
setting
bed
which
is
integral
to
that
concrete
now
and
you
can't
pry
those
tiles
up.
F
You
can't
take
tiles
off
a
wall.
If
a
you
know,
if
you're
replacing
flooring
in
a
house,
that's
120
years
old,
that
flooring
has
probably
been
sanded
down
to
the
point
where
you
can't
reinstall
it
it's
just
too
thin
or
if
it
was
tongue
and
groove,
they've,
sanded
it
down
to
or
Beyond
where
the
tongue
and
groove
actually
happens.
So
the
the
big
question
is
you
know?
F
F
All
of
the
people
we've
worked
with,
where
we've
had
a
restoration
component
of
a
project
that
we've
done
and
there's
been.
You
know,
crafted
stuff
in
the
house.
You
know
we've
always
retained
it
and
and
restored
it,
because
it
it's
actually
in
many
cases
cheaper
to
restore
decorative
elements
like
that
than
to
go
out
and
say:
okay,
this
is
broken,
and
now
we
have
to
you
know
we
have
to
replace
this
carved
barge
board
or
whatever
it
is
so
I
mean
I
I.
M
M
For
example,
they
take
a
lot
of
Labor
to
deconstruct
and
pull
out
the
material
that
you
absolutely
want
to
recycle
and
there's
a
hard
labor
market
that
you
can't
really
delve
into
really
easily
there's
it's
it's
a
really
laborious
thing
and
a
lot
of
the
ancillary
pieces,
like
the
plastic
casing,
don't
have
great
reuse
or
recycling
markets
as
well.
So
those
like
those
are
tenements
that
follow
a
lot
of
other
things,
so
it's
not
just
exclusively
to
it,
but
it
is
something
we
would
love
to
challenge.
M
I
guess
my
last
two
questions
I
have
for
you
guys
is
one.
Is
there
any
advocacy
component
to
this,
where
we're
advocating
for
new
building
materials,
new
design,
things
to
be
constructed
or
made
in
a
sense
that
we're
not
falling
into
the
same
traps
as
we
had
with
old
materials,
if
they're
lasting
longer
in
houses?
Do
they
have
the
ease
of
being
pulled
out
and
being
reused?
M
A
J
Like
if
I
meant
to
say,
like
I
kind
of
wish,
I
advised
the
one
architect
to
go
to
the
Evanston
rebuilding
warehouse
and
take
a
look
at
the
doors
that
they
have
on
stock
there
rather
than
going
for
the
new
material
one.
But
you
know
so
that's
a
part
of
advocacy
that
we
could
do
from
these
chairs
up
here
is
given
that
remind
people
of
that
option.
You
know
when
they're
specific
items
I.
A
A
You
know
reminding
people
that
this
needs
to
be
saved,
and
you
know
it's
a
it's
a
it's
a
commitment,
and
so
we
see
a
certain
segment
of
the
population
come
through
who
are
Landmark
owners,
but
there's
a
lot
of
people
who
do
not
own
landmarks
who
are
doing
work
on
their
buildings,
and
so,
if
we
could
try
to
reach
them,
I
don't
know
how
we
do
that.
But
if
there's
some
way
to
try
to
help
them
to
understand
the
value
of
of
I,
don't
know
speaking
up
on
behalf
of
their
buildings
who
right.
K
I
mean
I
think
that
that
just
goes
into
like
the
whole
debate
that
people
have
sometimes
of
what
is
a
preservationist
I
mean
there
are
people
that
are
maintaining
their
homes,
that
aren't
in
Landmark,
Homes
and
I
would
say
that
they
are
preserving
their
home.
You
know
they're
putting
weather
stripping
in
they're,
putting
you
know,
they're,
making
sure
that
it's,
whether
you
know
watertight,
you
know
making
sure
that
their
home
is
maintained,
I
mean
that's
a
sense
incense,
preserving
their
home
and
I.
A
One
of
the
things
that
we
talked
about,
which
I
guess
we'll
come
to
in
a
few
minutes
with
the
annual
work
plan,
is
a
newsletter
or
something
to
try
to
reach
some
of
those
people,
and
we
could
include
the
climate
resilient
folks
in
the
newsletter
potentially,
because
that
will
you
know
that
message
is
might
be
a
little
bit
more.
A
More
is
maybe
a
strong
word,
but
also
you
know
make
make
an
impact.
How
you
can
you
asked
us
also
how
you
can
continue
to
engage
with
us
yeah.
M
Yeah,
it's
more
of
a
preference.
How
would
you
I
don't
want
to
just
walk
away
from
today
and
leave
you
guys
wondering
what
happened
to
this
plan
or
or
what?
What
ideas
came
of
this?
We
would
love
to
continue
to
make
sure
people
are
seeing
the
input
that
they're
having
come
to
fruition
and
obviously
with
the
need
of
intersectionality,
and
all
these
things
that
there's
a
there's
a
need
to
to
make
sure
that
the
messaging
is
consistent.
M
What
we're
saying
is
stuff
that
you
would
advocate
for
for
programs
or
for
incentives
or
ordinance
language
like
we
talked
about
with
the
Demolition
furthering
of
the
Cook
County
ordinance
like
those
are
things
we'd
love
to
come
and
re-engage
you
guys,
either
with
this
plan
or
years
from
now
with
like
when
we
want
to
draft
something
or
make
sure
it
checks
out
with
the
preservation
commission,
we
just
kind
of
want
to
know
what
preference
the
commission
has
in
times
in
terms
of
how
to
be
engaged.
G
H
G
H
Would
appreciate
any
effort
that
you
will
make
or
any
other
body
that
will
try
to
work
with
the
commission
and
I
think
we
do
have
common
goals.
Sometimes
there
are
disguised
by
names,
but
I
think
that,
yes,
we
we
but
be
more
than
happy
to
bring
any
issue
or
concern.
You
may
have
representing
your
board
I.
Think
that's
a
given.
B
I
would
say
that
you're
always
welcome.
You
know
to
come
and
give
updates
on
certain
things
or
ask
questions
or,
like
Carlos
said
you
can
work
through
staff
with
certain
updates,
and
then
we
can
update
the
commission
or
get
feedback
I
think
it
is
it's.
B
You
know
you
talk
about
restoring
a
window
that
might
last
a
lot
longer
than
replacing
it
with
a
very
low
quality
window,
where
that
makes
Financial
sense
in
the
near
term.
But
after
you
replace
that
vinyl
window
three
times
in
30
years,
maybe
it
doesn't
make
so
much
sense,
but
I.
B
Don't
think
that
people
necessarily
think
about
that
or
understand
that
and
I
think
that
some
of
that
is
it's
it's
just
an
educational
opportunity,
I
think
it's
an
opportunity
for,
for
us
and
for
the
city,
and
for
you,
and
and
some
of
it
too
is
the
scale
of
construction
I,
and
we
deal
a
lot
with
residential.
Some
of
the
really
big
impacts
are
much
larger
scale
buildings
that
really
need
to
be
looked
at
in
in
more
depth.
I
think
those
are
probably
my
last
comments.
K
Just
One
Last
I
think
that
if
we
want
to
look
at
it
as
a
larger
scale,
I
think
we
need
to
potentially
encourage
the
large
organizations
in
the
city
Northwestern
the
City
of
Evanston,
the
hospitals.
You
know
large
organizations
to
model
the
good
behavior
and
show
that
it
can
be
done
on
a
large
scale
to
reuse
a
building
or,
to
you
know,
reuse,
materials.
A
I
was
reminded
by
something
that
someone
said
that
at
one
point
we
talked
about
having
some
these
sort
of
speakers
come
and
it
that
would
occur
like
10
15
minutes
right,
okay
at
the
beginning.
So
before
we
actually
look
at
the
certificate
of
appropriateness,
it
would
be
right,
after
so
between
call
to
order
and
new
business.
A
So
in
other
words
those
folks
would
not
have
to
sit
and
wait,
and
so
you
know
10
15
minutes
just
to
kind
of
update
us
and
give
us
a
little
bit
of
information
about
what's
going
on.
So
that
might
be
an
opportunity.
The
other
thing
that
I
was
wondering
and
I'm
I'm
not
going
to
be
generous
with
everyone
else's
time
here.
But
I
was
thinking
that
there
might
be
a
commissioner
I
mean
we
only
have
a
part
of
the
commission
tonight.
A
Usually
the
whole
thing
is
fill
out,
but
there
were
some
schedule
conflicts,
but
there
might
be
somebody
who
is
interested
in
this,
especially
who
could
sort
of
serve
as
a
kind
of
liaison
like
an
informal
yeah.
We
I
mean
I'm,
not
saying
that
that
there
is
a
person
I'm,
not
volunteering.
Anyone
I'm
just
saying
that
there
there
could
be
that.
M
There
is
also
just
an
open-ended
invitation.
We
have
a
informal
residential
working
group,
that's
helping
staff
with
the
development
of
this
plan,
and
with
that
said
really
any
Resident
is.
Has
an
interest
in
this
kind
of
work
can
come
at
whatever
capacity
and
availability.
They
have
to
be
a
part
of
that
process
and
they're
more
than
welcoming
to
have
them
involved
and
give
their
feedback
and
thoughts.
And
so,
if
there
is
a
commissioner
we'll
take
them
at
any
capacity
that
they
have
or
interest
in
and
yeah.
A
This
issue
of
Salvage
and
reuse-
it
comes
up
like
it
did
tonight,
every
at
every
meeting.
There's
always
there's
always
a
commissioner
asking
questions
like
that.
I
wanted
to
say
that
I
believe
that
there
was
a
member
of
the
public
who
wanted
to
speak.
Did
you
still
want
to
speak,
ma'am
come
come
and
then
please,
like,
let
us
know
who
you
are
and
everything.
N
The
former
Alder
Mentor
Third,
Ward
and
I
served
on
this
commission
for
two
terms.
I
can
never
remember
the
years.
Carlos
reminds
me
and
then
I
forget
somewhere
around
like
2002
to
2008,
something
like
that.
The
city
has
an
mwbe
anytime.
City
money
is
used
in
a
contract,
minority
Women,
Business,
Enterprise
and
I.
Think
it
requires
25
percent
minority.
Any
one
of
those
things
has
to
factor
in
there.
So
it's
already
on
the
books,
I
assume
it's
still
on
the
books.
I
haven't
paid
any
attention.
I
assume
it
still
is
so
yeah.
J
J
Right
like
if
you
I
know
the
Department
of
Housing
in
Chicago.
If
you
get
certain
types
of
funding,
then
they
have
their
mbde
requirements
absolutely,
but
then
they
also
have
a
separate
requirement
where
I
want
to
say
it's
like
10
or
20
of
your
Workforce
has
to
be
a
Chicago
resident
yeah.
N
N
K
A
So
did
you
still
want
to
speak
on
item
C
rules
and
procedures?
Okay,
is
it
all
right
with
everybody
if
we
just
make
that
be
for
the
moment
or
skip
down
to
that
and
go
back
okay,
so
we
will
come
back
to
annual
work
plan
in
a
moment,
rules
and
procedures.
B
A
Okay,
if
you
wanted
just
to
let
us
know
who
you
are
in
it's
three
minutes.
O
Yes,
for
public
finding
the
page
yeah.
O
Go
okay
yeah,
so
my
name
is
Linda
damashek
and
I
I'm
reminded
about
this
topic.
O
I
came
here
for
something
different
this
evening,
but
when
I
was
looking
through,
the
agenda
I
was
like:
oh
I
got
a
postcard,
so
I
have
something
happening
within
250
feet
of
my
house,
and
it
reminded
me
of
something
that
happened
a
number
of
years
ago,
but
it
was
a
very
bad
situation
and
so
I
have
suggestions
for
your
rules
and
procedures,
basically
to
make
it
easier
and
clearer
for
the
public
to
be
able
to
come
comment
on
things
that
are
affecting
them.
O
I
mean
you
know,
supposedly
you're
set
up
to
do
that,
but
so
I'm
speaking
to
Article
4
on
page
113
item
1B.
O
And
1B
is
talking
about
when
something
major
is
happening
and
you
have
to
notify
the
neighbors
that
are
within
250
feet,
five
business
days
prior.
O
However,
as
someone
who's
just
received
one
of
those
postcards,
it
does
not
have
enough
information
on
there.
You
really
need
to
let
people
know
that
you
have
all
this
stuff
online.
You
need
to
tell
them.
You
have
a
right
to
speak
and
PS.
This
information
is
available.
You
know
back
in
the
day,
everybody
you
know
was
coming
and
they
were
speaking
with.
You
know,
whatever
you
know
the
things
on
the
easels
and
whatever
you
know
so,
people
don't
necessarily
know.
If
you
don't
come
to
city
council
all
the
time.
O
You
don't
know
that
this
is
online.
You
don't
know
how
to
find
it
online,
so
the
postcard
needs
to
be
exceedingly
clear.
It
needs
to
say,
and-
and
this
is
point
of
information
like
I-
don't
even
know
how
far
in
advance
do
you
have
all
this
documentation?
You
know
all
these
architectural
drawings
and
stuff
before
your
meeting.
B
So
the
the
legal
requirement
is
48
hours
before,
but
we
often
let's
see
48
yeah.
We
often
it's
four
or
five
days
before
for
us.
We
typically
get
our
packet
out
the
Thursday
before
the
meeting,
so
that
would
be
Friday
Saturday,
Sunday,
Monday
yeah.
O
You
need
to
put
that
on
the
postcard
you
need
to
say
postcard
says
the
hearing
is
on
such
and
such
a
day.
You
need
to
tell
people,
you
know
whatever
it
is.
You
just
told
me
five
days
before
or
you
know
whatever
it
is,
that
information
is
going
to
be
available
for
you
to
see
and
exactly
explain
how
you
find
it.
The
website
is
this:
inside
their
preservation,
commission
I
mean
really
like
walk
people
through
it,
make
it
very
clear,
very
simple,
because
it's
not
clear.
It's
not
simple.
B
Well,
none
well,
this
isn't
my
office
council
chambers,
but
I
mean
it
does.
It
does
say
that
the
materials
will
be
posted
48
hours
before,
and
then
it
has
a
a
link
to
the
website,
but
it
is.
It
is
somewhat
your
lucky
day
because
the
Community
Development
Department
is
in
the
process
of
of
changing
the
postcard
to
make
it
easier
for
residents
to
understand
and
make
it
more
accessible.
O
Yeah
and
then
in
here
it
says,
comment
at
the
meeting
and
my
question
would
be:
are
people
able
to
comment
in
writing
if
you
know
if
they're
not
able
to
come
to
the
meeting,
I
would
think
that
it's
you
know
fair
to
allow
them
to
respond.
However,
they're.
O
G
B
At
the
very
bottom
of
the
postcard,
I
will
admit
because
it
is
a
graphic
design
challenge.
That's
probably
in
like
six
point
font.
It
says
who
to
contact
where
to
and
then
also
it
directs
you
to
the
preservation
commissions
webpage,
and
one
of
the
very
first
links
is
how
to
provide
public
comment.
But
I
I
do
understand
the
frustration,
the
frustration
it's
a
complete
challenge.
It
absolutely
is,
but.
B
Public
comment
and
we
are
trying
to
find
a
way
to
make
it
easier
in
the
postcard.
K
After
the
all
the
information
about
the
commission,
it
says
provide
comment
on
sign
up
to
speak
and
then
it's
all
caps
and
if
you
click
on
that
link,
it
gives
you
an
option
to
either
send
in
written
public
comment
or
to
say
that
you're
going
to
come
in
person
and
and
comment.
B
Car
they
used
they
used
to
send
like
an
actual
mailing.
It
was
an
eight
and
a
half
by
eleven
sheet.
You
would
get
an
envelope,
my
understanding,
the
reason
that
they
went
away
from
that
is
that
the
majority
of
it
it's
well
one,
it's
a
postage
issue,
but
two
people
would
get
something
from
the
city
that
wasn't
a
statutory
requirement
and
they
would
throw
it
in
the
trash
where,
when
it's
a
postcard,
the
information
is
right
in
front
of
you.
O
B
One
of
the
things
they
were
considering
is
having
a
separate,
because
these
are
very
popular
there's
some
there's
challenges,
because
not
everyone
has
availability
for
to
have
a
cell
phone
or
technology,
but
to
have
an
option
for
like
a
QR
code
that
takes
you
directly
to
the
project
that
is
relevant
to
you,
foreign.
O
B
B
H
My
experience
working
with
these
type
of
issues
for
a
long
time
taught
me
that,
no
matter
what
you
do,
somebody
will
be
unhappy
and
we
try
to
like.
For
instance,
there
was
an
ins
location
where
the
description
was
not
clear
enough.
So
I
spent
time
trying
to
describe
you
know
the
the
project,
the
next
project,
precisely
as
I,
could
in
the
space
I
had,
but
I
really
couldn't
physically
do
it,
so
you
had
to
make
a
choice
of
Staff.
H
One
in
your
best
judgment
is
information
that
will
at
least
call
the
attention
of
the
recipient
and
be
motivated
to
either
contact
us
directly
as
the
phone
numbers
there.
The
the
email
address
there
and,
basically
you
know,
get
more
involved
and
just
having
something
in
front
of
them
and
immediately
understand
what's
happening.
We
understand
the
limitation,
but
we
also
are
limited
by
the
space
we
have
and
also
the
ways
that
people
were
complaining
that
we
were
sending
pages
and
pages
of
documentation
that
people
throw
in
the
garbage.
O
We
can
to
address
those
issues-
bigger
postcard,
maybe
maybe
yeah,
but
anyway
your
your
rules
and
rugs
here
do
not
refer
to
putting
it
in
writing.
So
that
would
be
a
specific
suggestion
that
I
would
say
in
1B.
It
says
to
allow
them
to
comment
on
the
proposal
at
the
meeting
and
then
or
in
writing,
because
you
know
these
are
your
legal
rules
and
regs.
So
if
you
allow
people
to
do
it
in
writing,
you
need
to
put
it
in
your
rules
and
rags.
B
Yeah
and
I
would
have
to
double
check
the
ordinance
some
of
that
is
included
in
the
ordinance
and
then
a
lot
of
these
notification
requirements
are
our
state
legal
requirements,
but
I
mean
that's
an
easy
change
to
say
that
you
can
also
provide
I,
mean
I,
guess
the
Counterpoint
would
be
how
many
individuals
are
looking
up.
Our
our
rules
and
procedures
when
they're
looking
to
provide
public
comment.
O
A
H
I
think
the
intent
of
the
rules
and
procedures
actually
is
to
clarify
some
of
the
aspects
of
the
ordinance.
That
may
not
be
easy
to
understand.
For
the
general
public,
there
are
two
technical,
sometimes
so
the
rules
and
procedures,
even
for
us,
commission,
the
commission
and
the
staff
we
need
to
have
certain
roadmap.
You
know
to
conduct
the
meeting
to
make
sure
that
we
have
check
all
the
the
points
that
we
need
to.
So
it's
again.
This
is
a
process
that
will
never
end.
It
will
continue
to
evolve
as
technology
changes
as
it
needs
changes.
H
A
But
I
do
think.
I
would
certainly
say
that
that's
a
comment
that
can
be
incorporated
to
to
to
put
the
comment
on
the
proposal
you
know
at
the
meeting
or
in
writing.
That's
fine.
Thank.
O
You
and
then
the
the
same
thing
would
be
under
an
E
and
F
in
the
same
thing,
well,
just
to
clarify
that
you
know
that
you
can
put
it
in
writing
if
you're
not
able.
You
know
those
people
that
are
out
of
town
or
they're,
sick
or
whatever,
but
you
know
they
care
about
it
passionately.
They
would
want
to
be
able
to
make
a
comment
on
it
and
then,
when
he
says
speaking
in
supporting
within
a
time
limit,
but
it
doesn't
say
it
doesn't
clarify
it's
like
what
time
limit.
A
B
It's
always
at
the
discretion
of
the
chair,
which
is
it
that
isn't
in
the
rules
and
procedures,
but
I
mean
to
that
point.
We
are
extremely
flexible
on
allowing
people
to
speak.
Okay.
A
O
Well
anyway,
so
thank
you,
it's
just
I
mean
this
might
just
seem
like
you
know,
oddly
administrative
but
I
had
a
very
bad
experience,
and
so
the
postcard
reminded
me
of
that
bad
experience,
and
it
was
a
very
big
issue
and
these
things
would
have
helped.
So
anyway,
we.
A
B
Okay
does
do
any
Commissioners
have
questions
about
rules
and
procedures?
Do
you
think
it'd
be
helpful
if
I
quickly
ran
through
some
of
the
changes
and
why.
B
To
to
send
the
postcard
at
least
five
business
days
before
right
it,
it
becomes
very
complicated
to
receive
the
applications
like
review.
The
application
send
them
for
our
pre-review
make
sure
the
noticing
is
required.
It's
it
it
almost
that's
the
maximum
that
it
allows
is
like
five
business
days,
and
sometimes
that
already
is,
is
quite
the
challenge
to
get
that
postcard
out,
because
if
it's
not
noticed
properly,
then
you
have
to
re-notice
the
case.
So
you
have
to
make
sure
that
you
have
to
make
sure
the
zoning
analysis
is
conducted.
B
A
So
you
so
can
you
turn
your
thank
you.
A
F
We
get
to
that
I
I
would
love
to
have
a
discussion
of
how
who
is
notified
is
determined.
I
know,
Evanston
has
two:
has
a
250
foot
radius,
Highland
Park
has
a
thousand
foot
radius
and
you
know:
we've
had
zoning
stuff
where
people
the
the
question
is,
you
know,
zoning
in
all
of
this
is
to
protect
ultimately
homeowners
and
real
estate
value.
We've
had
people
show
up
from
a
block
away
who
ostensibly
weren't
impacted,
except
they
didn't
want
trucks
and
construction
on
their
Street
and
they
came
in
to
object.
F
B
Yeah
we,
we
have
I
mean
the
city,
the
preservation
noticing
requirements
are
250
feet
and
then
the
ordinance
specifies
very
specific
types
of
work
that
require
notice
and
types
of
work
that
do
not
require
mailed
notice,
but
our
our
noticing
requirements
for
a
city
as
far
as
development
projects
range
from
as
low
as
250
feet
to
as
high
as
a
thousand
feet.
Depending
on
the
activity.
That's
proposed.
A
B
That
would
be
helpful
if
everyone's
reviewed
them
all
already
I
mean
if
everybody's
comfortable
from
them
this.
This
will
come
back
before
you
at
the
next
meeting
as
an
actionable
item.
B
Some
of
the
changes
are,
a
lot
of
the
removals
are
being
removed
because
they
conflict
with
the
ordinance.
So
that's
kind
of
the
rule
of
the
rules
and
procedures
is
that
they
can't
conflict
with
the
ordinance,
because
that
supersedes
what
the
commission
is
able
to
determine
for
themselves.
So
some
of
that
is
as
simple
as
the
change
in
when
elections
are
held
and
then
there's
you
know
slightly
more
complex
is
like
removing
the
solar
guidelines
from
the
rules,
because
those
are
adopted
by
reference
in
the
ordinance.
B
The
commission
has
the
ability
to
create
their
own
guidelines
and
then
also
removing
the
section
on
reconsideration,
because
that
conflicts
directly
with
the
ordinance
talks
about
how
applications
are
to
be
received
and
the
commission
to
work
with
them
to
resolve
differences
and
ask
for
continuances
and
then
ultimately,
an
applicants
right
to
appeal.
So
that
kind
of
conflicts
with
that
I
think
those
are
the
biggest
changes
other
than
removing
some
of
the
standing
committees
we
haven't
had
for
a
while
and
proposing
some
new
standing
committees.
A
B
Sure
the
first
one
is
is
just
adding
to
the
rules
and
procedures
the
pre-review
subcommittee,
which
we've
been
doing
for
a
long
time.
It's
a
wonderful
subset
of
the
commission
right
now.
It's
the
officers
of
the
commission
that
review
applications
for
completeness
they
offer
suggestions
for
areas
of
for
applicants,
areas
that
they
can
concentrate
their
testimony
or
certain
standards
that
might
be
of
concern
that
they
could
focus
their
testimony
on
so
including
that
and
then
there's
two
new
additional
ones.
B
One
is
education
and
advocacy,
which
goes
back
to
some
of
what
we
were
just
talking
with
Brian,
there's
I
think,
there's
a
need
to
have
more
education
and
advocacy
about
the
work
that
we
do
and
why
it's
important
and
how
it
benefits
the
community.
That
also
directly
relates
to
the
annual
work
plan
that
we'll
work
on
and
the
the
initiatives
that
we've
kind
of
selected
and
how
those
might
be
achieved
through
the
subcommittee
and
then.
B
Similarly,
at
the
last
commission
medium,
we
talked
about
the
need
to
actively
recruit
potential
Commissioners
and
potential
Commissioners
that
are
reflective
of
the
demographics
of
of
Evanston,
whether
that
be
Geographic,
race,
profession.
Otherwise,
so
this
diversity
and
Equity
commission
would
would
impart
look
at
that.
This
active
recruitment
of.
A
And
in
addition
to
having
for
the
Dei,
not
only
looking
for
new
membership
but
also
sort
of
considering
some
of
the
things,
we've
talked
about
about
sort
of
widening
the
scope
of
the
landmarks
that
we
have
in
the
city,
identifying
things.
So
that
was
the
other
half
of
that
of
that
subcommittee.
B
A
There
was
one
one
other
item
that
we
did
talk
about
in
terms
of
the
rules
and
how
the
the
meetings
proceed.
There
would
be
a
motion
so
after
after
the
applicant
speaks
and
we've
had
an
opportunity
to
question
the
applicant
and
then
the
public
speaks,
and
all
of
all
of
that
discussion
occurs
right
then
my
understanding
was
that
there
was
a
proposed
change
to
the
rules
where
we
would
actually
have
a
motion.
Yeah.
B
The
and
that's
that's
kind
of
there's
a
couple
reasons
for
that.
One
is
that
the
way
that
the
rules
outline
the
procedure
now
it
complex
with
it
conflicts
with
the
city
council
rules
as
well
as
Robert's
Rules
of
Order,
where
we're
essentially
deliberating,
but
that
deliberation
isn't
concentrated
for
a
specific
action.
So
the
change
is
that,
after
the
questioning
period
after
public
comment,
a
commissioner
would
make
a
motion
to
approve
it
would
be
seconded,
and
then
that
would
open
up
deliberation
on
that
specific
action
to
approve.
A
A
Something
that
needs
to
so
I
had
the
same
question
the
exact
same
question.
So
my
understanding
was
that
if
we
wanted
to
amend
the
the
motion,
then
we
have
a
vote
to
amend
the
motion
and
then
we
continue
with
our
conversation
about
the
motion
as
Amendment
right.
J
A
B
It's
mostly
just
like
an
organizational
tool,
so
you
just
fully
understand
what
is
being
proposed,
what's
being
acted
on.
F
The
only
possible
downside
of
that
is
that
somebody
makes
an
amendment
to
approve
and
most
of
the
commissioners
actually
think
it
should.
You
know,
be
either
continued
or
rejected,
and
then
we
have
a
whole
discussion
of
why
we
shouldn't
approve
it,
and
then
you
have
to
vote
on
it,
and
then
somebody
has
to
make
a
motion
to
not
approve
the.
E
Orus
for
continuation
instead
or
whatever
so
I
I
feel
like
it
has
the
possibility
of
making
our
hearings
go
on
longer
and
be
a
little
more
difficult
to
kind
of
navigate
through.
E
This
is
why
I
don't
watch
C-SPAN,
but
unless
there's
a
real
ethical
like
challenge
or
something
that
we
are
kind
of
you
know,
bending
the
rules
or
violating
in
terms
of
not
following
the
strict
rules
and
I
guess
that's
one
component
that
I
I
like
the
flexibility
and
we
have
skilled
chairs
that
kind
of
navigate
us
through
that
conversation,
I
kind
of
like
the
way
it's
been
going
that
that
aspect
of
it.
F
You
know
it
it's
interesting
because
to
come
back
to
to
the
things
that
were
presented
tonight
initially
and
when
I
reviewed
it
prior
to
coming
in
you
know,
if
somebody
made
a
motion
to
approve
the
thing
with
the
Tudor
swoop.
There
were
enough
things
that
were
done
well,
I
might
have
voted.
Yes,
the
more
I
looked
at
it,
the
more
he
responded
to
questions
the
more
people
sort
of
said
things.
The
more
I
went
back
and
looked
at
those
things.
F
K
So
may
I
propose
a
friendly
amendment
to
that,
like
just
basically
saying
like
making
a
motion
to
enter
into
deliberation
or
make
a
motion
to
like
you
know
like
that's
just
the
you
know
like
deliberation
thing
and
then
allow
for
that
discussion
amongst
the
Commissioners
and
then
once
that
everyone
has
agreed.
You
know
to
make
a
final
motion
to
approve
or
continue
with
something
like
that.
I.
A
Mean
I
I,
for
instance,
I
did
say:
okay,
we're
done.
Does
anyone
have
any
more
questions
and
then
I
said,
let's
deliberate
and
then
yes
immediately
as
we
started
talking
he's
there
responding
from
his
chair,
and
so
it's
kind
of
hard
I
I
do
want
to
just
I
mean
we're
not
voting
on
this
tonight.
So
we're
just
having
a
conversation
right
so
I
Kate.
This
is
article
four
right
number
one,
and
this
is
a
question
for
you
item
K.
A
The
commission
shall
thereafter
make
a
motion
to
approve
blah
blah
blah
and
thereafter
proceed
to
to
discussion
of
the
proposed
motion
with
respect
to
the
appropriate
standards.
Right.
Okay
is
the
thing
that
we're
talking
about
so
maybe
maybe
we
all
just
kind
of
mull
this
over,
because
I
feel,
like
we're
sort
of
maybe
said
everything
that
we
need
to
say
tonight
about
that.
K
A
Other
thing
is
that
we
are
missing
half
of
our
colleagues
here,
so
I
wonder
if
we
should
perhaps
at
least
bring
this
particular
item
to
their
attention
that
and
the
subcommittees
yeah
which,
because
these
things
are
new
and
then
because
the
idea
was
that
we
were
going
to
vote
on
it
next
time
right,
Kate,.
A
So
we're
going
to
continue
that
now
did
we
we
just
we
skipped
the
annual
work
plan
in
order
to
talk
about
rules
and
procedures,
but
is
someone
here
from
the
public
to
speak
about
Harley,
Clark,
okay,
I'm?
Sorry,
okay,
have
you
signed
up
to
for
that?
For
that
particular
item.
A
Okay,
do
they
do
they
have
to
indicate
I.
A
A
Can
move
to
that
and
you
know
Kate
has
a
few
things
to
say.
Should
you
say
that
first
or
do
should
we
so
that
the
public
knows
what
the
I
mean.
P
Are
my
name
is
Patrick
Donnelly
I'm,
a
film
producer
who
lives
here
in
Evanston,
I
live
a
couple
blocks
from
Harley
Clark
I
moved
to
Evanston,
because
I
was
standing
in
the
parking
lot
of
Harley
Clark
and
I.
Looked
at
my
wife
and
I
go.
What
is
this
place?
And
someone
goes?
Oh,
it's
an
art
center.
The
kids
take
classes
there
and
I
went
oh,
my
God.
P
P
It
used
to
be
my
secret
spot
to
go
and
work
like
I
just
go
in
there
and
work
and
the
reason
I'm
saying
all
this
is
because
I'm
I'm,
really
interested
in
Harley,
Clark
and
I
knew
that
when
Evanston
Art
Center
moved
out
that
there
was
going
to
be
talk
of
ripping
it
down
and
there
was
gonna,
be
talk
of
selling
it
off
and
talk
of
getting
rid
of
it
because
I
had
heard
all
of
that
and
I
think
it's
a
gift
for
our
city
and
you
guys
are
historic.
P
Preservationists
I
wasn't
when
I
started
this
project,
but
I
am
now
and
I
think
we
are
a
room
full
of
people
that
should
want
to
save
that
building.
It's
the
last
spec
of
city-owned
property
on
our
Lakefront.
It's
the
only
city
building
we
have
on
our
Lakefront
and
it
has
blown
my
mind
for
eight
years
that
people
are
saying
yeah,
let's
get
rid
of
it,
let's
sell
it
off.
Let's
do
this
to
me:
it's
something
that
we
should
save
and
preserve
it.
I
mean
just
for
architectural
reasons.
Stuart.
P
You
wrote
the
book
on
this
stuff,
like
isn't
it
one
of
the
most
historic
and
important
properties
in
Evanston
I
also
I
met
with
Liz
Tisdal
and
she
goes.
What
does
anyone
care
about
that
house
and
I
go?
You
know
they
said
that
about
the
lighthouse
they
wanted
to
rip
it
down.
They
wanted
to
sell
it
off.
I.
Remember
that
story,
I
read
about
it
and
now
I
go
Liz.
Look
it's
on
your
little
emblem
on
your
sweater
and
I
go,
and
it's
on
that
letter
that
you're
writing
and
it's
on
that
look.
P
It's
on
that
envelope,
I
go
I.
It
became
Evanston
that
thing
they
wanted
to
pitch
out.
You
know
and
get
rid
of
and
I
go
and
Harley
Clark
is
the
same
way.
It
sits
right
next
to
the
lighthouse
I'm
almost
done
three
more
seconds.
It
sits
right
next
to
the
lighthouse.
It
sits
in
the
middle
of
a
park.
It's
a
unique
thing.
You
can't
just
like
sit
turn
it
into
a
business.
P
It
sits
in
the
middle
of
evanston's,
busiest
Park
and
man
what
an
opportunity
to
put
a
cafe
in
it
and
allow
some
workshops
in
there.
We
there's
only
six
other
houses
that
are
just
like
this
in
the
country
and
we
talk
to
them
all
and
they
all
make
what
over
six
hundred
thousand
a
year
to
self-sustain
all
of
them.
P
A
Okay,
who's
next
Emily,
yes,.
N
Center
moved
out
nine
years
ago
and
it's
been
sitting
virtually
empty
ever
since
the
Kate
had
a
couple
of
great
ideas
in
the
packet
there
about
different
places
to
find
money,
all
of
which
we
have
explored.
We
talked
to
Illinois
facilities
found
about
qualifying
for
a
million
and
a
half
dollar
loan,
we've
looked
into
geothermal
heating
for
the
building
and
we've
got
a
contact
who,
because
the
art,
the
History
Center
did
that
maybe
a
decade
ago,
and
so
we've
talked
to
them.
We're
talking
to
the
fellow
who
help
with
that.
N
It's
back
in
front
of
the
city
council.
Since
the
the
artist's
Book
House
moved
out
and
I
watched
the
meeting
on
Monday,
there
is
no
telling
what
is
going
to
happen.
I
think
at
this
point
there
were
so
many
different
ideas
about
just
the
process
that
ought
to
take
place.
Some
people
wanted
another
RFB,
which
would
be
the
fourth
in
nine
years.
Some
people
wanted
to
go
back
to
the
people
who
submitted
proposals
two
years
ago,
which
we
were
one
of
four.
N
When
the
city
came
in
with
the
Demolition
permit-
and
it
was
wonderful
to
see
people
on
the
commission
who
said
they'd
never
been
in
the
building,
went
over
and
took
a
tour
fellow
lives
across
the
street.
From
me,
Rob
Beatty
said
he
just
couldn't
believe
what
a
beautiful
building
that
was,
and
the
preservation
commission
turned
down
that
demolition
application
unanimously.
N
It
went
to
the
city
council,
and
the
preservation
ordinance
now
requires
that
if
a
demo
permit
is
appealed
to
the
court,
it
has
to
be
appealed
on
the
standards
which
was
never
going
to
be
met.
So
that's
the
reason.
The
building's
still
there
so
we're
not
I'm,
not
even
looking
necessarily
I.
Think
if,
if
you
haven't
been
in
the
building,
certainly
take
an
opportunity
to
get
over
there
and
take
a
look
at
it.
G
N
A
beautiful
building
we
had
the
Italian
Mason,
who
came
in
and
said
he
no
longer
does
masonry,
but
he
brings
students
over
to
take
a
look
at
the
stone
on
this
because
a
lot
of
it
is
etched
which
is
very
unusual
and
just
so
many
wonderful
features,
and
so
we're
just
you
know
we're
like
this,
hoping
that
the
city
is
going
to
step
up
Cade.
You
can
help
promote
this
and
not
only
save
it.
We
want
to
turn
it
into
a
community
center.
N
We
had
a
meeting,
we
had
150
people
here,
we
got
about
I,
don't
know
six
or
eight
hundred
ideas,
maybe
for
things
that
could
happen
in
that
building.
We
were
filing
them
down
to
about
10
or
12..
We
could
just
have
things
going
on
there
in
on
there
all
the
time
and
add
to
the
beach
and
Patrick
mentioned
the
lighthouse,
it's
right
behind
you,
so
this
building
could
be
like
that
I
hope,
I
hope
that
it
will
be.
We
are
also
here.
If
you
have
questions
about
any
of
the
history
of
this,
we
thought.
N
O
J
O
A
short
follow-up:
it
was
referred
to
having
public
meetings.
We
had
three
public
meetings
with
huge,
diverse
array
of
citizens,
such
commitment
such
enthusiasm.
O
You
know
she
said
600
ideas
or
whatever,
and
also
just
to
remind
you
that
was
a.
There
was
a
referendum
and
over
80
percent
of
people
in
every
single
ward
of
the
city,
supported
keeping
the
building
number
one
and
for
public
use,
so
public
use
is
Paramount,
not
commercialization
of
it.
O
B
I
think
the
reason
that
I
wanted
to
bring
it
in
front
of
this
commission
is
that
this
body
was
not
very
engaged
in
that
process
previously
and
I.
Think
that
there's
a
lot
of
expertise
at
the
table
here
and
there's
a
lot
to
offer
to
provide
direction
to
the
city
to
understand
what
the
possibilities
are
and
what
the
value
in
those
possibilities
are
and
what
that
process
might
look
like.
B
I
think
that
it
is
safe
to
say,
I,
agree
that
there's
a
good
amount
of
you
know
if
you
walked
away
from
that
Monday
night
council
meeting
being
confused
I
think
you
understood
exactly
what
happened.
I
think
I
think
it
was
confusing
I,
don't
think
that
they
had
really
consensus
or
clear.
Direction
I
mean
they
were
talking
about
bifurcation
of
the
property,
about
leasing
the
grounds
to
a
separate
entity,
but
I
think
what
they
don't
with.
B
You
know
the
information
that
they're
not
getting
is
that
what
the
implications
of
decisions
like
that
are
on
the
ultimate
goal
and
the
ultimate
success
of
of
this
property.
You
know
any
time
that
you
separate
leases
or
kind
of
take
the
role
of
preservation
developer
at
a
municipal
level
level,
you're,
adding
risk
to
this
proposal,
you're
limiting
somebody's
ability
to
provide
you
know
a
programmatic
and
financial
plan
that
can
be
successful
because
that
you're
taking
space
away
from
that
opportunity.
B
So
I
think
the
question
for
this
body
is
really.
Would
you
like
to
be
engaged?
How
would
you
like
to
be
engaged?
How
would
you
best
want
to
offer
advice
or
assistance?
Would
you
like
additional
updates
for
me
to
so
that
you're
up
to
date
on
on
what
is
happening
so
that
you
can
respond
to
some
of
these
things?
I
I
think
it's
true
that
there's
certainly
many
many
success
stories
about
publicly
held
properties
and
not-for-profits
being
successful.
It's
not
necessarily
what's
most
common.
B
What's
most
common
is,
is
you
know,
a
more
active
use
and
access
accessing
these
incentive
programs
and
engaging
with
a
you
know,
tax
credit
investor
and
that
type
of
thing,
but
there's
also
very
innovative
solutions
that
are
happening
now?
That
kind
of
merge
those
two
together
that
I,
don't
think
many
people
fully
understand
because
they're
somewhat
they're
somewhat
new
and
it's
actually
happening
in
Illinois,
where
the
city
could
be
a
partner.
You
can
create
an
LLC
where
it's
a
partnership.
The
city
can
be
part
of
that
partnership.
B
So
there's
still,
they
still
hold
leverage
and
decisions
that
are
made,
but
additional
parties
in
that
partnership
are
income
producing
and
they
can
access
those
incentives,
yeah
and
actually
melding,
all
three
of
those
having
active
for-profit
uses
non-profit
uses
and
having
Municipal
Partnerships.
Those
are
probably
the
best
path
forward
for
Success,
because
it
allows
you
to
access
the
full
array
of
incentives
that
exist
where
all
the
other
options
either
lean
completely
on
private
fundraising,
which
there's
significant
risk
associated
with
that
I.
Think
you
saw
that
with
the
previous
proposal.
There's
a
significant
risk.
B
It's
not
that
there
aren't
success
stories
where
people
raise
that
capital
on
their
own.
It's
just
a
riskier
Endeavor
and
then
there's
the
Other
Extreme.
Where
it'd
be.
You
know,
disposition
of
the
property,
a
solely
commercial
or
income
producing
use,
that's
the
other
end
of
the
spectrum.
But
there
is
this
kind
of
happy
middle
area
that
requires
maybe
an
educational
component.
Maybe
a
level
of
of
support
that
we're
saying
this.
This
might
be
the
best
path
forward
so
happy
to
to
entertain.
You
know
any
any
further
discussion
by
this
body.
A
One
of
the
things
Kate
that
you
and
I
talked
about
when
this
came
up
a
few
weeks
ago
was
you
know
my
my
question
was:
what
action
could
the
commission
do
publicly
so
the
so?
The
question
that
I
had
was
whether
there
could
be
some
kind
of
resolution
or
something
where
we
put
our
you
know.
We
were
unambiguous
about
supporting
this.
A
B
I
think
I
think
there's
anything
from
as
small
as
showing
up
to
Council
meetings
and
and
giving
testimony
is
one
end
of
the
spectrum.
Another
end
of
the
spectrum
would
be
you
know,
convening
asking
experts
to
come
in
and
give
testimony
to
this
body,
creating
some
kind
of
report
that
we
send
to
the
city
council
and
then
there's
like
a
happy
middle
ground,
where
it's
some
kind
of
statement
of
support,
that's
sent
to
them
or
there's
some
kind
of
resolution.
B
That's
adopted,
that's
saying
yes,
this
is
important,
and
these
are
the
reasons
why
and
we're
here
to
support
you
in
this
effort
in
any
in
any
way
that
we
can
and
and
I
think
that
that's
entirely
appropriate
and
I
think
that
it
would
have
been
appropriate
previously
too.
It's
it's
a
shame
that
it
didn't
happen,
because
there
is
a
lot
of
talent,
there's
a
lot
of
expertise
sitting
in
this
room
and
there's
a
lot
of
passion
sitting
in
this
room
that
really
just
wasn't
tapped
to
its
fullest
potential.
K
So
I
like
the
idea
of
convening
a
special
meeting
just
for
this
topic
partially
because
in
the
800
to
1000
page
packets,
that
the
city
council
gets
you
know
they.
They
then
have
to
debate
this
very
fraught
issue,
along
with
everything
else
on
their
agenda.
You
know
and
I
think
that
maybe
potentially
having
a
a
venue
where
that
could
be
dedicated
to
that
would
be
a
good
idea
because
otherwise
we're
not
giving
much
time-
or
you
know
like
a
set
of
time-
that
to
give
it,
you
know,
respect,
and
you
know
it.
A
B
I
mean
it's
certainly
impossible
for
this
body.
To
do
that,
I
mean
one
of
your
powers
and
responsibilities
is
to
discuss
any
potential
impact
to
any
Landmark
property,
any
potential
effect
to
a
Landmark
property,
and
this
is
a
landmark
property
and
I
and
I
think
it's
deserving
of
of
the
discussion
and
really
because
I
think
the
problem
now
is:
there's
not
a
there's.
A
tremendous
opportunity
right
now.
I
think
the
idea
that
the
building
is
not
in
serviceable
condition
or
needs
to
be
demolished
is,
is
it's
just
so
far
from
the
truth.
B
There
are
buildings
that
are,
you
know,
relatively
bombed
out
with
roots
caving
in
that
have
very
successful
Rehabilitation
plans,
and
this
is
very
far
from
that
I
mean
this.
Is
this
building
is
very
much
intact?
It's
very
much
serviceable,
it's
very
much
salvageable
and
it
should
be,
and,
like
you
said,
there
was
a
referendum
I.
Don't
think
that
that's
really
in
doubt,
I
think
the
confusion
is,
how
do
you
create
a
comprehensive
and
strategic
path
forward?
B
I
think
that's
where
the
confusion
exists
right
now
and
I
think
that's
probably
where
we
could
best
assist
in
some
way.
Even
if
it
is
just
convening
a
special
media
and
discussing.
K
D
K
Should
they
let
the
gentleman
Mr
Charles
Smith,
who
who's
been
proposing
to
work
on
the
gardens,
move
ahead
on
just
that
and
then
talk
about
the
house
separately,
I
mean
and
personally
I
think
that
the
gardens
are
just
as
important
as
the
house
I
mean
you
know
it's.
The
Jens
Jensen
designed
Gardens
and
Jen's
Jensen
already
has
a
garden
in
Evanston.
That's
a
landmark.
It's
the
Shakespeare
Garden,
so
I
mean
I.
Just
think
that
you
know
I.
B
I
think
those
are
the
decisions
that
there's
there's
real
impact
to
those
decisions
that
are
made
and
if
they're
not
made
with
all
the
information
and
all
the
expertise
being
given
to
them
to
make
make
that
decision.
I
think
that's
a
missed
opportunity,
because
I
think
that
that
would
present
increased
risk
for
whatever
Rehabilitation
plan
moves
forward.
If
they're
not
able
to
fully
program
the
entire
property,
because
I
think
you're,
right,
I
think
it's
very
difficult
to
remove
a
structure
from
its
setting
and
and
vice
versa.
They're
very
integrated,
they're,
very
intertwined.
B
G
N
Were
submitted
two
years
ago,
no
one
wanted
the
gardens,
none
of
them.
They
were
all
happy
to
let
a
separate
organization
take
that
on,
so
they
could
start
fundraising
and
start
working
on
it.
It's
another
two
million
dollars
that
somebody
has
to
try
and
raise,
and
everybody
was
happy
to
say,
you're
ready
to
do
that.
Go
ahead.
You
know
take
it
on.
N
He
has
people
lined
up
who
are
willing
to
write
six
figure
checks,
but
he
needs
a
lease
and
he
needs
permission
from
the
city
to
get
in
there
and
do
that
so
I
take
your
point,
but
I
think
you
can
Define
the
ground
separately
enough
that
you
don't
it
you
can
bifurcate
is
not.
The
word
I
want
separate
is
the
word
I
want
buy
for
gate
to
me.
N
Sounds
like
surgery
separate
that
out,
because
there's
an
organization
that's
willing
to
do
it
and
the
house
is
going
to
continue
to
sit
for
who
knows
how
long
and
he's
already
been
working
for
four
or
five
years
and
he
can
get
at
it.
If
he's
got
permission
wants
to
take
on
the
Coach
House,
none
of
the
proposals
wanted
the
Coach
House.
Everybody
said:
let
Charles
do
this,
so
I
think
you
know
this
has
been.
E
Yes,
I
want
to
bring
up
a
point
and
we're
this
recent
detail
that
we're
getting
into
about
whether
or
not
it's
separated
out
or
not.
The
point
I
want
to
bring
up
is
the
scope
of
this
commission
I?
E
Think
it's
really
a
slippery
slope
that
suddenly
we're
getting
in,
we
might
be
tempted
to
get
involved
in
a
conversation
of
whether
or
not
a
private
Enterprise
should
should
purchase
the
property
and
renovate
and
I
want
to
remind
us
all
of
the
very
contentious
hearing
that
we
had
regarding
a
piece
of
property
that
was
being
bought
by
the
parents
of
a
Northwestern
student
and
what
might
become
of
that
property
because
of
who
was
buying
it
and
I
thought
correctly.
E
A
H
Thank
you
I
think
I
like
to
discuss
that
the
commission
is
an
arm
of
the
city
council,
we're
not
an
independent
group
that
we
can
make
decisions,
because
the
ordinance
assets
to
identified
landmarks
and
so
on
so
I
think.
H
That's
very
important
that
the
question
that
John
is
addressing
you
know:
what's
the
scope
of
the
commission,
it's
very
important
to
to
determine
and
actually
decide
whether
or
not,
for
instance,
you
want
to
engage
the
elected
officials
or
the
city
manager
or
the
director
of
Community
Development
to
understand
better
what
the
role
of
the
commission
is
and
how
the
commission
can
get
involved
without
staying.
You
know.
H
Paralyzed,
like
in
the
past,
in
my
opinion,
is
very
important
that
the
council,
at
the
end,
is
going
to
make
a
decision,
and
it
will
be
most
desirable
that
there
are
with
the
commission
rather
than
the
commission
against
them.
H
So
it's
very
important
that
we
as
a
commission
and
staff,
engage
like
I,
said
the
director
of
Community
Development
city
manager,
mayor
and
eventually
City
Council
Members,
to
see
if
they
they
want
our
help.
I
wish
they.
They
will
ask
for
our
help
and
it's
an
opportunity
that
Kate
has
brought
up,
that
we
should
contemplate
seriously
and
I.
Think
you
are,
but
I
think
just
want
to
remind
you
that
we
shouldn't
ask
act
alone.
As
an
independent
body.
A
So
then,
that's
another
way
forward
is
to
to
approach
those,
the
mayor
or
whomever
and
say
you
know
we're
here.
We
want
to
have
be
part
of
this
conversation.
Can
you
know
ask
to
come
to
the
city
council
right?
That's
that
was
one
of
the
options
that
you
provided.
So
would
that
feel
more
comfortable.
J
Yeah
I
think
what
I
was
thinking.
Is
you
know
what
what
are
our
you
know,
similar
with
the
scope
similar
with
your
original
question
that
opened
this
discussion
is
what
are
our
opportunities?
You
know
in
our
rules
and
everything
what
what
are
our
opportunities
and
where's
our
biggest
impact
opportunity,
you're
right,
there's
a
lot
of
passion
in
this
community
in
this
Commission
and
and
expertise.
J
Obviously,
you
know
as
well
and
I
just
wanna
like
I,
just
don't
know
what
question
we're
being
asked
to
comment
on
specifically
and
so
I
just
want
to
make
sure
that
we're
focused
and
that
that
are
that
we
focus
our
voice
as
sharply
as
possible
to
create
an
impact
and
a
sounding
board
and
then
and
that
we
continue
to
be
a
resource
to
the
city
council,
so
that
we
can
partner
with
them
and
continue.
A
So
that
so
the
question
then,
is:
how
do
we?
How
do
we
come
to
figure
out
what
that
is,
because
if
I
were
to
go
and
speak,
I
would
be?
You
know,
viewed
as
like
speaking
on
behalf
of
the
commission
and
I,
don't
and
I'm
fine
to
do
that
or
Kate
and
I
could
do
that.
But
I
want
to
know
what
to
say
because
I
don't
want
to
represent
my
personal
view.
F
I,
don't
follow
what
happens
on
the
city
council,
but
I.
Remember
vividly
what
happened
when
we
tried
to
Landmark
the
Perkinson
will
Church
on
heard
Street
and
we
might
not.
We
I
mean
we
were
we
were
dismissed.
F
F
F
B
A
J
B
A
A
Agreement:
okay,
Carl:
you
can
have
the
last
word
because
we
have
a
few
other
things.
B
Yeah
and
it's
a
good
point
and
I'll
just
speak
in
the
microphone,
but
they
have,
they
have
actively
reached
out
and
reached
out
many
times
and
said
we
want
to
help.
We
can
help.
We've
done
this
before.
Please
lean
on
us
very
heavily
and
I
think
that's
a
very
significant
offer
that
that
we
should
that
we
should
strongly
consider
and
take
them
up
on.
I
mean
I
mean
they
are
one
of
the.
A
So
if
you
just
want
to
include
that
in
the
if
you
want
to
just
include
that
in
the
letter
and
then
we'll
talk
about
that
next
time,
sorry.
P
P
And
I'll
not
do
this
again.
I
was
just
going
to
say
because
you
mentioned
John
the
slippery
slope
when
I
came
before
the
historic
preservation
commission
years
ago,
when
Harley
was
being
debated.
The
first
thing
I
said
was:
where
are
you
guys,
Where
Have
You
Been,
because
we
had
to
put
up
8
000
yard
signs
we
had
to
bring
in
Jenner
and
block
to
stop
the
demolition
we
had
to
write
that
referendum.
P
So
it's
a
great
idea,
but
if
you
want
this
to
linger
for
years
like
it's
going
to
because
there's
a
an
investment
issue,
it
would
be
incredible-
and
this
is
just
a
suggestion
and
you
can
laugh
if
you
want,
but
it
would
be
incredible
if
the
historic
preservation
commission
said
this,
we
think
the
City
of
Evanston
should
invest
in
Harley
Clark,
because
that's
the
problem,
it
needs
a
rehab.
It
needs
some
money
put
into
it
and
then
any
there'll
be
a
line
around
the
block
of
people
that
want
to
use
it.
P
But
if
you
guys
said
we
think
we
should
actually
put
some
money
into
it.
Literally,
the
rest
of
the
city,
their
mind
would
pop
because
no
one's
ever
said
that,
but
it's
a
historic
building
and
I
don't
Stuart.
Doesn't
it
need
some
money
shouldn't
shouldn't
a
town
like
Evanston
that
has
300
million
dollar
290
million
dollar
Revenue
yearly
operation
fund?
Should
they
invest
in
their
City
buildings
a
little
bit
I,
don't
know.
That's
all
I
was
going
to
say
all.
A
A
I
think
where
we
we
have
a
step
forward
that
we've
taken
through
this
discussion.
The
thing
that
we
keep
jumping
over
is
the
annual
work
plan,
which
I
mean
it's
already
February.
If
we
don't
decide,
you're
welcome
good
night,
so
the
annual
work
plan.
K
Mean
I
just
quickly:
I'm
gonna
say
that
I
think
one
of
the
address
items
on
that
work
plan
it
has
been
brought
up
and
I'm
gonna
end
it
at
this
is
that
we
should
actively
work
on
a
document
that
educates
the
city
council,
like
Kate,
said
to
develop
that
preservation
ethic
on
the
city
council.
So
they
can
yeah.
A
So
that's
one
of
these
items
did
anyone
else.
Have
any
issues
with
moving
forward
with
4.1
and
4.4.
Okay
I
at
the
Statewide
historic
preservation
plan
would.
E
F
E
B
And
then
there
is
a
link
in
the
in
the
agenda
to
a
website.
There
is
an
opportunity
for
an
upcoming
I
think
it's
sometime
in
March
they're
having
a
workshop
in
Chicago
that
we
could
consider
attending
or
you
could
consider
attending
on
your
own
I
think
it
looks
at
goals
and
objectives,
issues
and
constraints
locally,
also
as
a
state,
and
also
look
at
building
capacity
at
the
state's
preservation
office
as
well
and
I.
Think
largely
because
they're
also
considering
expanding
the
state
tax
credit,
which
has
been
massively
successful.
B
A
Okay,
shall
we
call
adjournment?
I
would
like
to
adjourn
the
meeting.
It
is
10
29..
Do
we
have
to
vote
on
that
yeah?
Okay,
all
in
favor
of
a
journey
in
the
meeting.
Aye
opposed
abstain,
okay,
good
night.