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From YouTube: Historic Landmark Board Sp 112018
Description
Historic Landmark Board Sp 112018
A
C
B
B
We
open
the
public
hearing
item
a
new
improvements
to
existing
structure,
new
mayor
of
mural
location,
Lots,
8,
9
and
10
block
7
Western
Division,
commonly
known
as
1219
of
the
North
Street
property
owner
Lorado,
central
asthma.
Llc
Hamas
is
a
unit
jr.
owner
applicant
representative,
City
of
Laredo
Maria
Solis
Public,
Library's,
director
and
Sandra
Gonzalez
artist,
historic,
landmark,
locally,
designated
historic,
landmark,
Saints,
Moore,
building,
aka
reactor
hotels.
E
Good
afternoon
and
thank
you
so
much
for
being
here
for
this
special
meeting
I'm
here
to
present
a
more
specific
information
about
the
technique
and
from
Philadelphia.
So
if
you
learn
of
him,
your
art,
star
program,
they're
the
ones
who
develop
this
technique
and
it's
very
convenient
for
the
artists
and
also
it
allows
the
people
to
be
part
of
it.
E
So
just
a
little
bit
and
for
those
people
and
we're
not
here
in
the
last
meeting
I
was
born
and
raised
in
tamale,
Paz,
Mexico
and
I
came
here
to
Laredo
in
the
year.
2000
and
I
have
two
master's
degree.
My
latest
degrees,
the
master
final
secret
from
the
Pennsylvania
Academy,
the
fine
arts
and
then
after
my
education,
there
I
started
I
decided
to
stay
longer,
so
I
can
learn
the
technique
of
mirror
making
currently
I
work
as
an
art
teacher.
E
So
this
is
an
some
background.
Information
about
the
city
of
Philadelphia
mirror
arts
program,
so
it
was
founded
in
1986
by
the
current
executive
director
Ying
golden,
so
this
initially
began
as
an
anti-fairy
program
and
then
since
then,
and
they
the
federal
witness-
and
they
witnessed
all
the
positive
aspects
that
all
these
murals
that
you
know
created
in
the
city
and
then
from
there
in
1989
and
shortly
after
they
began
that's
when
they
developed
this
technique,
which
I'm
going
to
be
showing
you
some
pictures.
E
So
this
technique
is
commonly
unknown
as
parachute
cloud
or
Polytech.
None
were
material,
so
everything
and
and
I
preferred
fabric
in
cases
you
know
cuz
I
know
when
I
say
maybe
it's
hard
to
picture,
but
this
is
a
material
that
we
use.
So
it
comes
on
on
the
big
roll
about
60
feet,
and
then
we
cut
it
into
sections.
So
we
got
it
into
5
by
5,
so
it
would
be
easier
to
install
it
as
a
great.
E
F
E
Better
adhesion
on
the
one
then,
once
it's
prime,
then
we
draw
the
design
and
then
from
there
and
that's
when
we
do
it
in
the
studio,
and
we
also
invite
the
community.
We
go
to
different
community
events
and
then
people
can
come
in
join
and
they
will
paint
like
paint
by
number.
They
will
follow
the
instructions,
and
this
is
that
fabric
guide.
It
has
been
prime
and
it's
already
painted
with
two
coats
of
paint.
E
So
this
is
how
it
feels,
and
then
this
is
ready
to
be
installed
on
the
wall,
so
any
meaning
I
can
pass
it
around.
So
you
guys
can
feel
it.
You
know
see
for
yourself,
so
this
one,
this
technique
has
proven
to
which
the
elements
elements
over
a
period
of
20
to
25
years,
so
they
have
seen
that
a
mirror
would
last
even
longer
if
you
painted
using
this
fabric-
and
these
are
also
it
adds
an
extra
it's
almost
like
adding
another.
E
You
know
very
thin
skin
on
the
surface,
so
it
will
last
longer
and-
and
you
know
that
that's
not
that's
what
I
discover
and
thus
they
have
been
used
in
this
technique
and
then
I
also
am
I
did
research
about
what
they
do
when
they
encounter
in
a
building
that
has
been.
You
know
this
egg
native
historical,
always
in
a
historical
building.
So
if
the
building
or
neighborhood
is
designated
history,
artists
are
only
allowed
to
paint
UNSTOPABLES.
E
It
is
prohibited
to
paint
on
history
break,
even
if
the
brick
has
already
been
painted,
so
they're
very
specific
about
that.
It's
only
if
it
has
plaster
and
it's
the
water
that
we
have
at
the
Rialto,
for
they
are,
you
know,
is
the
perfect
one
here
that
that
follows,
and
this
criteria,
because
he
already
has
the
plants
already,
has
a
stock
in
it.
I'm
not
painting
on
your
bridge
I'm,
not
free
I'm,
just
painting
over
you
know
a
newer
one
so
that
mirror
that
you
see
on
the
screen.
E
I
was
painted
directly
on
the
top
of
one
and
then
after
that
historic
Commission
in
Philadelphia
approved
the
proposal
the
next
slide.
There
was
the
first
mural
painting
painted
using
this
technique,
so
it
was
in
1989
and
it
was
you
know,
it
was
really
nice
just
to
find
out
that
mirror.
I
actually
leave
about
two
blocks
away
from
that
mural.
So
I
used
to
see
it
every
day
on
my
way
to
go
to
school
and
then
I
all
I
say
was
buying
colors
and
from
the
research
that
I
did
I
mean
it.
E
E
Then
you
see
an
older
photo,
that's
when
it
was
being
in
stone
so
that
the
mural
was
University
applauded.
So
each
shoulder
murals
have
the
potential
to
be
great.
The
level
of
expectation
was
raised,
and
then
so
this
allowed
the
artist
to
work
in
the
studio
and
also
in
buy-in
or
some
part
of
the
community
to
be
part
of
this
and
then
once
it
was
painted.
He
went
outside
in
wished
on
it
and,
like
I
said
it
has
been
stand-in
there
for
about
29
years.
E
So
it
has
exceeded
the
expectations
of
when
I
say
you
know
it
was
done
between
20
to
25
years,
then
this
building,
and
that
one
is
also
a
very
similar
and
case
of
what
we
have
in
downtown
with
the
Rialto
Hotel,
so
that
they
used
to
be
a
building
right.
Where
you
see
that
in
a
vibrant
mural,
so
they
at
some
point
the
1990s
they
had
to
do
some
you
know
remove
the
building,
but
that
has
been
painted
so
that
one
is
very
recent
that
mirror
you
see
was
excreted
and
this
year
in
the
summer.
E
So
they
had
the
mirror
dedication
on
October
of
this
year
2018
and
it
was
actually
and
it
was
created
by
the
same
artist
so
that
someone
does
that
bring
use
this
sign,
so
that
was
painting
in
1998
and
that
mirror
and
then
at
some
point
they
decided
that
they
wanted
to.
You
know,
give
us
some
maintenance
and
I
mean
in
it.
Wasn't
that
it
was
fair.
E
You
know
anything
and
I
was
also
I
used
to
walk
by
that
area,
because
the
school
the
Academy
was
located
about
a
block
away
from
that
building,
but
they
decided
they
wanted
to
just
update
that
this,
and
it
was
about
the
same
concept.
Talking
about
you
know
the
plans,
the
flora
and
fauna
of
Philadelphia
and
the
water
system,
but
they
wanted
to.
You
know
just
make
a
little
more
modern,
so
they
decided
to
do
it
and
the
building
work
that
one,
as
you
saw
in
the
previous.
E
And
it's
all
you
know
they
don't
even
need
to
be
experienced
at
painting,
is
like
I,
said
paint
by
number
and
usually
you
know,
everything
has
been
selected
for
the
community
to
make
it
easier,
and
just
even
that,
empowerment
that
it
can
also
be
part
of
this.
So
that's
during
this,
the
installation
and
that's
the
same
and
that's
the
same
size
as
what
I
brought
so
the
SyFy
by
five
by
five
foot
poly
top
fabric
and
then
again
they
go
one
by
one
and
install
it
so
that
one
it
they're
actually
doing
doing
it.
E
On
top
of
the
previous
and
this
time
that
you
saw
the
previous
mirror
and
then
you
see
an
aerial
view
of
the
building,
so
you
see
that
is
Brian
design
on
facing
the
parking
lot
and
again
isn't
that
the
same
situation
that
we
have
here
in
downtown
the
rhythm
and
I
found
one
more
example.
So
this
mirror
was
painted
at
the
end.
E
So
here
we
see
once
again,
we
see
another
photo
and
it's
very
vibrant
and
again
it
was
created
using
this
technique
using
that
fabric
technique
and
then
this
other,
a
beautiful
building
and
data
from
1913.
This
one
I
also
live
by
the
neighborhood
and
so
I
was
also
fortunate
to
walk
by
and
you're.
Seeing
you
know
that
what
in
New
York
can
do
for
community
just
changes.
The
whole
neighborhood
I
mean
could
be
you
know
it
could
be
a
sketch.
It
could
be
a
little
bit.
E
You
know
like
a
like
low-income,
but
you
know
that
you
know
these
works,
these
masterpieces.
They
just
bring
value
to
the
buildings
and
to
the
community,
to
the
neighborhood
and
I
think
they're,
just
great
examples
of
something
positive
that
can
happen
in
a
city
and
people
in
our
church
where
they
want
to
go
and
take
photos
and
next
to
these
murals.
E
However,
it
was
remodel
in
1955
and
now
right
as
as
we're
speaking
there,
Makena
they're,
creating
murals,
along
with
the
students
and
they're
covering
the
whole,
was
used
in
this
technique,
and
you
can
see
it
better.
I
wanted
to
show
you
these
images,
because
you
can
see
better
that
this
fabric
will
actually
take.
You
know
once
you
apply
on
the
wall,
it
would
take
the
texture
like
it
would
look
like
if
you
paint
it
directly
like
you
see
the
brakes
and
that's
once.
E
If
you
apply
it
correctly,
you
know
you
have
to
bring
them
for
the
extra
you
know
extract
low
the
air
pose.
Then
it
would
take
the
texture
of
the
wall.
So
that's
not
really
anything.
You
see
another,
it's
the
same
same
location,
you
see,
you
know
little
by
little,
everything
was
painted
and
then
you
go
and
install
it.
E
Then
the
building
I
actually
work
on
the
building.
That
was
a
basic
assign.
Yes,
she
was
a
designer
of
this
beautiful
mural
and
was
painted
on
this
medical
building
that
was
built
in
1935
and
I've.
Seen
I
saw
that
you
know
I
get
all
the
positive
things
that
happen
with
a
mirror
that
the
actual
DM,
the
people
that
used
to
work
there
in
the
patient's
themselves.
They
helped
paint
this
mirror,
and
this
isn't
Arizona
and
I.
Also
I
just
wanted
to
you
know.
E
E
You
go
section
by
section
and
you
start
installing.
It
and
I
also
I
also
brought
that
blow
in
case.
If
you
would
like
to
see
the
pocket
is
here
on
the
floor
and
that's
the
driving
the
area
leaves
so
the
building
was
first
painted
and
then
from
there
we
just
continued
covering
the
whole
city
block
and
all
of
those
buildings
were
dated
in
the
1930s
1940s
and
that's
some
pictures
from
the
mural
that
I
created
in
Corpus
Christi,
but
used
to
give
an
idea.
E
You
know
that
we
can
bring
the
community
together
by
doing
this
technique,
and
it's
really
you
know
it's
very
you
know
it
helps
a
lot
like
to
create
them
an
impact.
So
that
was
one
day
of
painting.
You
know
you
see
a
lot
of
people
coming
because
everybody's
excited,
you
know
they
saw
on
the
news
they
wanted
to
be
part
of
it.
E
Have
your
spinach
teaching
and
Alex
under
high
school,
then
as
soon
as
I
had
the
first
weekend
off
I
went
to
Corpus,
Christi
and
install
it
and
that's
the
whole
mirror.
Why
you
see
there
all
the
rolls
of
fabric?
That's
the
entire
mirror.
I
had
65
of
those
panels
painted
I'm
ready
to
be
installed,
and
that's
me
and
my
friend
who
came
from
Philadelphia
to
help
me
install
it
and
then
just
we
went
down
you
know
by
one,
and
this
is
the
same
plan
that
I
would
love
to
do
here
and
Lorado.
E
You
know
I
would
like
cuz.
I
have
been
hired
to
do
these
in
another
series,
but
now
I
wanna
bring
it
back
to
my
community
here,
and
you
see
that,
and
you
know
that's
a
close-up
of
how
it
gets
installed
and
you
need
two
people,
especially
you
know,
you're
like
a
small
man,
so
that
you
put
it
on
the
wall
and
then
from
there.
You
have
to
have
that
this
squeak
it
is
to
to
remove
all
the
excess
of
glue
or
earth
bubbles.
E
You
know
I
supervised
the
whole
process,
then
so
that
was
a
New
Mexico
that
was
a
last
summer,
so
they
were
as
themed
photos
in
social
media.
What
I'm
doing
over
here
in
court
person
you
know
in
what
I
was
doing
it
with
my
students,
so
I
was
invited
to
go
to
obscene
me,
Mexico
New
Mexico,
to
teach
this
technique,
so
I
was
there
for
a
week
and
they
wanted
to
learn
this
technique
because
they
wanted
to
bring
this
this.
You
know
this
beautiful,
you
know
process
and
to
their
communities.
E
Those
were
the
art
teachers
from
that
the
school
district.
So
we
leave
that
mirror.
In
five
days
the
at
the
outlet
Shoppes
I
created
that
that's
an
en
downtown,
so
that
one
as
you
see
I
mean
it's
any
surface
that
you
can
insert
this
fabric
on
any
surface.
I
have
done
no
work
and
I
have
done
it
on
net.
Only
how
they're
the
transformer
boxes
or
electrical
boxes.
You
know
for
the
traffic
lights,
so
those
are.
E
My
students
were
part
of
their
the
Art
Club,
and
you
know
it
really
have
a
great
time
and
now
and
still
there,
you
know
all
the
colors
still
there
and
they
happen
in
a
year
and
a
half
ago,
and
now
you
just
I
just
like,
came
across
those
photos
that
they're
using
that
those
you
know
there's
promoting
it
as
a
hot
spot.
You
know
to
take
photos
and
promote
in
the
city
of
Laredo,
so
there's
something
that
I
feel
that
you
know.
E
I
I
have
the
knowledge
and
I
have
the
passion
to
bring
downtown
and
so
I
just
would
love
to
have
the
opportunity
to
paint
an
arrow,
and
that
was
in
my
classroom
again.
So
that's
that
library
mere
also
show
you
again
the
collaboration
it
becomes,
our
teamwork,
everybody
helps
each
other
and
for
those
that
I
haven't
seen
them
here
in
corpus,
and
that's
that
before
you
know,
you
know
it
looks
like
you
know
any
of
ordinary
building,
and
this
one
is
much
bigger
of
what
we
have
here.
E
The
Rialto
hotel
that
one,
but
you
see
them
before,
and
after
and
every
day
like
a
me
all
the
time.
Whenever
I
pass
by
or
I'm
in
downtown
I
always
see
people
taking
pictures
and
that
that's
now
that
became
a
landmark
in
Corpus
Christi
and
that's
part
of
my
contract
used
to
again
that
I
saying
that
I'm
responsible
for
you
know
any
any
maintenance,
if
it's
not
any
normal,
wear
and
tear
or
any
repairs
of
Bob
Wilson
fabric,
so
I'm
responsible
for
the
first
ten
years
and
then
after
them,
then
it
in
case
I.
E
Some
restoration
services
can
be
rendered.
Then
you
know
that
the
client
is
welcome
to
contact
me
after
those
ten
years,
but
yeah
I
mean
usually
regardless
a
technique.
You
know
the
life
time
of
a
mirror
in
a
you
know,
it
varies
depending
but
I
mean
this.
Denis
has
shown
that
even
last
longer
this
technique
and
again
you
would
like
to
you
know,
fill
the
material
I
brought
it
here
and
a
half
a
clue.
And
that's
not
that's
my
concert,
that's
my
amp
proposal
and
hopefully
we
can
make
it
into
a
reality.
A
E
Mean
right
now,
at
the
beginning,
the
presentation
I
show
an
example
and
the
very
first
mural
that
was
created
using
that
technique
was
in
1989
and
still
standing.
So
he
has
been
already
like
almost
30
years
and
it's
the
other
intact.
It
has
not
been
restored
and
I
used
to
live
by
that
building
by
that
mural
and
I
saw
you
know
like
I
was
witness
to
how
vibrant
it
is
and
how
beautiful
still
is,
after
30
years.
B
Well,
let
me
go
back
to
the
presentation
that
was
done
last
time
and
as
part
of
the
discussion,
there
were
a
couple
of
questions
that
were
asked
and
I
believe
that
the
city
submitted
the
letter
from
this
building
committee
or
the
building
department,
correcting
the
fact
that
they
had
indicated
that
the
project
was
only
paint.
I.
Believe
I
saw
that.
C
B
And-
and
so
that
was
one
item,
the
other
item
was
our
concern
of
using
the
permanent
adhesive
on
historical
material
and
I
said
I.
Would
research
with
Texas
tour,
Commission
and
I
did
and
I
believe
that
was?
The
third
item
would
have
probably
just
been
the
fact
that
the
ordinance
that
not
take
into
consideration
the
the
landmark
board
guidelines
or
a
blending
of
when
the
a
mural
would
be
done
on
a
historical
district
or
in
historical
building,
so
I
believe
those
are
the
three
topics
that
we
need
to
to
address
on
this
any
board.
B
F
G
When
we
first
bought
this
building,
mr.
Sam
Mayer
owned
it
only
the
building
is
adjacent
to
us,
and
we,
my
partner
and
I,
bought
after
we
bought
the
same
is
more
building.
We
asked
mr.
Mayer,
if
you
would
sell
it
to
us
and
we
wanted
to
restore
it,
and
he
did.
He
did
yeah
towards
the
later
later
in
his
life
decided
to
sell
it
to
us,
and
we
realized
that
that
it
could
not
be
saved
it.
It's
it's.
G
It
was
built
on
on
on
wooden
piers,
that
that
were
that,
were
they
were
gone
and
we
had
to
bring
it
down
and
and
and
that's
when
you
realize
that
the
building
that
building
building
before
the
same
building
so
so
so
the
people
that
built
the
same
as
worth
building
had
to
forget
about
putting
brick
light.
So
it's
all
audiences,
concrete
and
rebar
and
all
they
did
was-
was
plaster
it
and
paint
it.
So
so
the
mural
is
going
on
on
concrete.
G
It's
not
going
on
brick
because
I
do
realize
it
that
when
you,
when
you
want
to
paint
a
brick,
you
know
if
it's
enough,
if
it's,
if
it's
an
old
brick
you'll
paint
over
it,
because
you
kind
of
deteriorates
the
brick
well
we're
not
painting
on
brick.
This
is
just
the
concrete
side
where
the
where
the
Dilla
goddess
building
was
so
that
I
just
wanted
to
make
that
that
clear
that
we're
not
you're
not
paying
another
brick
we're
not
doing
anything
on
the
brick.
It's
it's
already.
G
You
know
it
was
created
when
that
building
came
down
and
what
I
do
want
to
tell
you
is
that
what
I
want
to
do
is
create
a
am
I
sitting
area
using
the
lumber
from
that
brick
from
that
building,
so
that
those
Timbers
over
a
hundred
years
old
and
inside
the
Rialto.
We
actually
made
a
really
nice
piece
of
furniture
that
typically
those
Timbers.
So
if
you
ever
you're
you're
you
want
to
visit,
I
can
show
you.
G
You
know
what,
over
a
hundred
year
old
lumber
looks
like
it
was
I'm,
just
wonderful
and
and
again
I'm
very
excited
about
this
project.
I
think
it's
something
that
that
that
paraded
downtown
needs,
because
we've
been
through
some
very
difficult
times.
I'm
sure
you
all
know
how
difficult
it
is
to
do
business
downtown.
B
G
G
H
Instead
of
first,
it
seems
to
have
been
approved
by
various
other
offices
and
bodies
of
government
before
ever
reaching
a
landmark
board,
which
seems
to
be
the
opposite
schedule
that
it
should
have
followed.
I,
don't
see
how
other
people
are
approving
these
kinds
of
projects
in
this
area
without
having
consulted
any
of
you
first
and
that's
very,
concerning
to
us,
we
feel
that
you
are
opening
the
door
with
this
project
to
further
projects
within
the
historic
districts
and
on
designated
landmarks
that
are
either
uninformed,
unplanned
or
unfortunate.
H
We
feel
there
are
many
alternatives
to
this
technique
for
one
and
second
I
wish
to
make
clear.
First
of
all,
I
guess
I
should
have
said
from
the
beginning
that
there
is
no
objection
whatsoever
to
the
idea
of
painting,
murals
or
a
mural
project
or
public
art.
You
know
in
the
historic
districts,
but
I
think
this
is
very
ill-advised.
H
The
way
this
is
progressing
I
think
this
body
needs
to
create
a
mortar
system
and
systemic
systematic
way
to
proceed
with
these
kinds
of
projects,
or
we
are
once
again
as
a
city
embarking
on
these
haphazard
ideas
that
end
up
really
just
not
being
very
helpful
and
I
urge
you
to
reconsider
this
again,
we're
not
opposed
to
the
mural
projects
or
murals
or
public
art.
We
only
wish
to
have
a
more
thoughtful
informed
manner
of
progressing
with
any
project
of
this
kind
in
the
historic
districts
and.
A
A
Think
part
of
the
situation
that
we're
in
right
now
is
that,
in
effect,
the
cart
has
been
put
before
the
horse.
An
ordinance
is
already
in
place
right
and
we
are
a
creature
of
city
council,
so
it
is.
It
is
an
odd
placement
for
this
matter
to
come
before
the
board,
given
the
fact
that
number
one
it
was
approved
by
ordinance,
and
we
have
to
bear
in
mind
that
whatever
we
decide
as
a
group
is
going
to
be
superseded
by
council
by
the
ordinance
and
that's
what
we're
faced
with
now.
A
So
that
way
we
can
determine
the
ramifications
that
will
be
had
on
future
buildings.
Obviously
I
spoke
to
my
councilmen
about
it,
since
he
was
the
one
who
who
authored
the
ordinance
and
we
both
agreed,
for
example,
buildings
like
San
Agustin
Cathedral,
which
has
every
historical
district
designation
known
to
man
on
it,
wouldn't
be
affected
without
having
to
contact
the
state,
possibly
the
national
preservation.
A
I
B
C
B
C
I
Would
like
to
say
something
in
regards
to
that
I
actually
did
here
for
my
my
council
person,
my
councilman
Albert
Otis,
and
he
fully
supports
my
concerns
with
the
way
that
this
is
being
adhered
to.
The
building.
He
did
say
that
he
does
recommend.
Maybe
it
going
back
to
council
so
that
they
can
reconsider
and
have
and
open
up
a
discussion
to
put
in
the
guidelines
in
place
that
we
need
to
implement
murals
into
the
downtown
area,
while
safeguarding
our
historic
buildings.
I
With
that
said,
I
did
reach
out
to
some
Colley
to
a
colleague
of
mine
at
mess-up,
who
has
done
a
lot
of
work
in
the
South
Texas
region.
He's
worked
through
Main
Street
programs.
As
a
consultant,
he
has
consulted
with
museums,
he's
consulted
with
downtown
areas.
He
is
now
the
downtown
manager
in
Harlingen
and
he
oversees
the
murals
program
there.
I
He,
the
mural
program
in
Harlingen,
is
actually
one
of
the
spotlight
programs
for
the
Texas
Historical
Commission,
and
the
big
difference
between
us
and
them
is
that
they
have
murals
specifically
mentioned
in
their
guidelines,
which
is
something
we
do
not
have.
We
do
not
have
the
tool
to
move
forward
with
with
okaying
something
like
this.
We
don't
have
a
guide.
Philadelphia
I
looked
up
their
guidelines.
Also,
they
have.
They
have
many
pages
on
what
you
can
and
cannot
do
so
when
they
go
to
landmark
board,
they
have
a
guide,
they
know
what
to
approve.
I
They
know
what
not
to
approve
and
right
now
we
would
be
setting
a
president
on
a
designated
landmark,
whether
it's
on
Osteen
Cathedral
or
the
Saints
more
building.
It
still
has
a
designation
and
I
feel
that
we
would
be
opening
the
door
to
to
allowing
something
that
may
have
not
been
allowed.
If
you
know,
if
we
had
those
guidelines
in
place
with
that
being
said,
we're
not
opposing
a
mural
in
the
downtown
area.
My
concern
is
this
specific.
Building.
I
With
this
specific
designation,
there
has
been
a
topics
brought
up
of
ulterior
alternative
of
sites
to
be
considered
in
the
downtown
area,
which
there
are
other
other
places
that
might
be
considered.
But
with
that
being
said,
I
think
I
I,
don't
know
if
it's
premature
to
make
a
motion,
but
I
know
I
have
a
motion
to
make
any
of
it.
If
it
should
go
forward,
then
it
goes
forward.
Name
doesn't
it
it
stops
here.
Okay,.
A
Regarding
mr.
Macy's
email,
which
was
shared
with
all
of
us
and
I
wish,
it
would
have
been
shared
with
the
public.
The
thing
is
that
we're
kind
of
comparing
apples
to
oranges.
Yes,
it's
great
that
Harlingen
is
a
spotlight
city
and
that
they
have
these
regulations
but
and
his
correspondence
you
did
in
your
query,
mention
the
ordinance.
These
respondents
didn't
mention
any
type
of
ordinance,
and
that
is
the
big
difference,
because
that's
what
we
are
bound
with
right
now,
the
ordinance
and
so
again.
A
Whatever
we
do
as
a
board
will
probably
be
overturned
on
appeal
with
council,
because
again
the
bottom
line
is,
is
an
ordinance
that
is
already
in
place.
Now.
Ordinances
are
living
documents
that
can
be
amended
right
and
I
believe
that
when
this
ordinance
was
discussed,
a
former
board
member
who
was
my
predecessor,
was
in
on
the
discussions.
But
for
reasons
unknown
to
me,
this
either
may
have
happened
before
some
of
us
came
on
board
or
what
have
you
the
rest
of
us
weren't?
A
We
weren't
advised
or
filled
in
on
the
discussion.
It's
not
so
much
that
we
were
crying
over
spilt
milk,
but
I
would
recommend
given
a
time
sensitive
nature.
It
was
the
intent
to
have
this
mural
up
for
Washington's
birthday,
which
is
in
February,
and
so
I
would
recommend
that
we
would
proceed.
I
understand
there
are
concerns.
I
know,
I
have
raised
concerns
about
items,
but
in
this
case
we'll
be
pitting
ourselves
against
the
council.
That
appointed
us,
because
we're
talking
about
an
ordinance
now,
that's
already
in
place.
Let.
B
F
B
Addition
of
paint
on
on
a
historic
building
it
would
be
approved
if
the
paint
was
going
to
be
not
just
repainting
with
historic,
called
colors
or
or
the
original
material
or
enhancing
it.
In
this
case,
Texas
Historical
Commission
is
concerned
is
the
use
of
a
permanent
material
other
than
you
know.
A
painter
can
be.
B
Their
comment
was
how
does
this
affect
the
building
historic
building
and
is
it
reversible
and
that's
the
not
the
language
that
they
use?
So
in
light
of
that,
I
would
say
that
this
particular
product
is
it's
being
presented
to
us.
It's
it's
not
reversible,
because
it
was
identified
as
permanent,
permanent
glue
or
adhesive
that
would
be
used
now.
I
went
by
the
building
to
look
at
it
because
Texas
Road
Commission
also
mentioned
the
concern
when
an
interior
wall
is
exposed
and
becomes
the
exterior
of
ability
and
many
buildings
have
had
moisture
problems
because
of
it.
B
I
did
go
by
and
I
see
a
lot
of
cracks
that
have
been
at
times
repaired.
I,
don't
know
the
history
of
it
just
driving
by
it
took
some
pictures
and
in
there
are
cracks
so
one
advised
not
us.
That's
being
a
member
of
this
board,
but
just
as
per
my
profession,
I
would
say
that
any
agreement
between
the
city
and
the
and
the
building
owner
needs
to
address
whether
what
is
being
done
is
appropriate
if
it's
going
to
damage
or
or
or
have
any
effect
to
the
existing
improvement.
So
those
are
my
comments.
J
Think
that's
a
real
concern
is
that
we
don't
have
an
ordinance
in
place
that
addresses
murals
in
a
historic
area,
yes
and
a
historically
designated
area.
Yes,
we
have
an
ordinance
in
place
for
murals
throughout
the
city,
but
it's
very
different
when
you're
talking
about
you
know
historically
designated
areas
specifically
downtown,
and
this
is
setting
a
precedent
as
crazyness
said
and-
and
we
do
want
murals.
K
There
was
an
adjacent
building,
so
they
it's
considered
the
zero
lot
line
where
the
building
is
connected
to
it.
They
didn't
monitor
the
other
building.
The
landowner
is
taking
a
proactive
approach
to
clean
that
surface
off,
because
that
wall
is
not
a
brick
wall.
It's
it's
a
it's
a
plaster
wall
on,
maybe
the
substrate
may
be
important
place,
concrete
or
or
something
else,
but
it
seems
like
this
building
that
you
look
at
the
first
photograph
as
we
presented
it
and
it's
a
canvas.
So
is
there?
K
K
L
I
L
No
I
guess
what
I
wanted
to
kind
of
clarify
is
the
the
Murrell
ordinance
when
it
comes
to
our
the
sign
ordinance
in
general.
The
only
content
that
we
worry
about
is
more
specific
if
it's
advertising
the
business
name
or
the
business
content,
that's
that's
one
component,
and
so
when
it
comes
forth
for
this
section,
what
it's
trying
to
do
is
pretty
much
saying
since
it's
not
a
business
aspect,
it's
I
guess.
L
None
of
our
business
to
look
into
it.
The
other
component
is,
is
it's
the
the
paint
component
that
itself
doesn't
require
a
permit
on
the
building
aspect
when,
when
this
section
that
got
this
ordinance
got
made,
the
only
purpose
that
in
no
manner
was
meant
to
be.
You
know
the
first
step.
If
anything,
this
is
just
pretty
much
a
advising
that
this
is
not
a
business
aspect.
It's
not
a
structure,
it's
not
such
and
so
there's
nothing
with
us.
If
it
came
first
with
us,
I,
don't
know
that's
what
he
implied.
L
If
he
came
first
with
us,
I
mean
no
intent,
it
was
because
we
told
them
all
were
first
there.
Second,
it
was
just
because
they
just
stopped
by
because
it
was
part
of
this
ordinance,
and
so
the
the
the
thing
I
do
want
to
clarify
what
this
ordinance
is
just
on
the
business
aspect
and
it's
the
structure,
it's
neither
when
it
comes
to
building
its
and-
and
you
know
just
it's,
none
of
our
business
of
what
gets
done.
What
we
did
we
make
comment
with
them
is
because
it's
a
historic
building.
L
We
did
recommend
to
them
because
it's
such
you
know
please
come
to
this
board,
and
so
that
comment
was
made
and
like
I,
said
in
no
sense
it
was
to
be
rearranging
any
order
or
anything
like
that
and
and
and
I
believe,
when
this
organs
came
about
and
I'm
talking
about
the
whole
ordinance
it
was.
It
was
more
of
that
that
the
business
aspect
and
structure
aspect
aside
of
that
we
have
no
we're
not
trying
to
impose,
encourage
anything
or
such
one
thing.
L
I
would
just
suggest
or
recommend
is
if,
for
some
reason,
if
we
ever
see
something
like
this
on
the
downtown
area
and
then
what
we
can
suggest
this
even
before
coming
to
build
enos
and
make
it
in
form
of
a
policy,
you
know
come
with
a
historic
board
first
and
then
a
second
because
from
our
part,
is
just
content
and
such
this
is
not
a
business.
It's
not
it's
not
promoting
the
hotel.
It's
not
promote
promoting
any
rates.
Anything
like
that.
So
at
our
end,
but
that
was
the
purpose
of
our
letter.
L
I
I
C
C
C
They
talk
about
location,
the
friend
mural,
the
the
murals,
using
the
boundaries
of
the
building,
which
it
complies
with
that
painting
a
portion
of
the
wall
and
cells.
The
whole
wall
that
complies
with
that.
The
only
thing
that
they
recommend
is
to
to
consider
how
many
mills
will
be
within
the
certain
area,
but
they
don't
provide
any.
You
know
specific
distance.
They
also
stay
very
clear
that
any
surface.
B
C
B
So
I'll
go
back
to
my
comment
since
I
spoke
to
the
same
person
that
you're
referring
to
context
historical
mission,
and
she
indicated
that
as
far
as
preservation
No,
before
that
she
said,
the
Texas
total
Commission
main
guide
is
if
it
is
reversible.
If
it
were
paint
on
an
existing
brick
wall,
it
would
not
be
reversible.
B
This
is
plaster
in
a
surface
which
was
meant
to
be
an
interior
wall,
some
similar
situations
as
experience,
moisture
issues,
our
responsibilities
to
protect
and
guide
the
treatment
of
historic
materials
when
she
says
hours,
she's
talking
about
this
board,
this
board's
responsibilities
to
protect
and
guide
the
treatment
of
historic
materials,
including
the
exposed,
pics
post,
blank
south
wall
of
the
local
landmark,
and
that
nothing
that's
where
most
of
our
issues
war
is
right.
The
product
I.
B
I
C
B
C
B
Is
basically
saying
it's
not
a
sign,
so
that's
why
he
did
not
have
it
to
issue
a
building
permit.
So
right
now,
murals
are
in
a
limbo
state,
because
neither
this
guideline
or
ours
address
Merrill's
and
the
recommendation
that
I
received
this
morning
protected
soil
Commission's
that
we
need
think
of
having
a
working
working
committee
or
group
to
be
able
to
resolve
addressed
in
murals
in
both
you
know,
from
the
city's
ordinances
to
the
guidelines.
A
A
Designating
because
the
thing
is
our
historic
preservation
officer
has
one
set
of
commentary
that
the
same
person
gave
her,
which
seems
to
kind
of
contradict
what
you've
been
told.
That's,
why
I'm
trying
to
ascertain
the
line
of
questioning
involved,
because
there
might
have
been
a
possibility
that
she
could
have
bought
this?
These
were
two
different
things
all
together.
I
Regardless
would
it
is
a
whether
needs
to
go
to
the
state
or
not?
It
is
a
locally
designated
landmark,
it
is
a
local
decision
and
where
our
mission
is
to
protect
our
locally
designated
buildings,
it's
to
protect
our
historic
districts
as
a
whole.
I
go
back
to
the
same
thing
where
we're
going
back
and
forth
on
the
same
topic
when
we
just
don't
have
the
guidelines
in
place
to
move
forward
on
this.
With
that
being
said,
I
think
that's
our
biggest
concern
here.
B
K
K
K
The
the
thing
is
that
you,
you
take
the
item
back
to
Council.
They
don't
have
to
take
action
on
it,
because
they've
already
taken
positive
action
if
they've
already
voted
on
him.
So
there
is
no
appeal
process,
its
council
over
bruises
or
and
they've
already
approved
it,
and
and
that's
right
and
I-
understand
all
the
peers
everyone's
making,
but
we're
just
talking
about
the
situation
and
then
case-by-case
building
so
council
voted
to
approve
the
artwork
on
these
buildings
are
correct.
I
K
A
K
So
I
I'm
and
I'm
not
arguing
on
the
commis
you're,
making
I
think
their
value
promise
is
about
there's
no
precedence
factor
here.
We
do
need
someone
to
oversee
this.
We
do
need
some
guidance
and
language
that
we
can
use,
but
right
now
it's
so
brought
that
we
don't
have
it
and
there's
a
project
before
it
has
already
been
ruled
on.
K
K
B
A
F
F
K
I
D
This
motion,
we
have
a
motion
if
I
may
I
would
think
I
mean
y'all
need
to
take
some
type
of
action.
Whether
you
are,
you
know
believe
it's
obvious.
It's
gotta
be
a
denial
that
they
don't
proceed,
but
either
way
I
would
recommend
as
staff,
that
we
take
it
back
to
City,
Council
and
then
I'm
know
of
your
findings,
and
they
can
decide
at
that
point.
D
I
A
B
B
J
A
M
Did
we
proceed
or
not
proceed?
I'm?
Sorry,
the
commotion
in
its
entirety
was
to
prioritize
funds
in
the
amount
of
20,000
for
this
project
to
direct
staff
to
allow
Sandra
Gonzalez
access
to
the
southern
hotel,
determined
retrofitting
two
places
mural.
If
this
location
cannot
be
used
for
the
mural
to
direct
staff
to
enter
into
agreement
in
the
state,
I
get
a
phone
Rialto
or
consider
other
possible
properties
and
which
staff.
M
K
A
Moved
that
we
allow
the
mural
to
occur
with
the
recommendation
that
we,
that
council
will
amend
the
ordinance
to
factor
in
the
realm
of
the
ramifications
of
murals
in
an
historic
building
in
our
historic
district
and
to
work
with
the
preservation
officer
to
end
with
the
Historical
Commission
to
present
guidelines.
For
formulas.
B
J
K
That
but
that
wall,
if
the
landowner
hadn't
taken
a
proactive
approach
that
can
I
clean
that
wall,
that
wasn't
a
clean
surface
when
they
first
demolished
it
so
and
and
I'm
not
I'm,
not
I
strongly
believing
a
lot
of
comments
were
being
made.
You
know,
the
president's
whole
thing
is
on
the
case
by
case
there
was
something
that
they
cleaned
up,
there's
a
palette
or
still
paint
on
it.
It's
either
the
mural
or
there's
paint,
and
he
can
choose
any
paint
that
is
approved
by
the
board,
but
he's
still
gonna
seal
that
wall.
He
clean.
B
K
K
D
C
Madam
chair,
other
properties
were
considered
also,
and
the
decision
of
this
one
was
because
it
didn't,
like
you
said:
it's
canvas
waiting
to
be
painted.
The
other
had
issues
with
fire
code
because
they
had
windows
that
could
not
be.
You
know
covered.
That's
a
reason
why,
but
other
buildings
were
considered
children,
but.
F
D
I
would
just
say:
I
was
just
checking,
I
was
texting,
an
attorney
and
really
it
failed.
I'm
in
both
motions
have
failed,
I.
Think
if
you
can't
reach,
you
know
that,
obviously
it's
been
twice
then
I
think
we
just
hose
it
and
we'll
just
move
on
and
just
say
that
there
were
two
motions
but
there's
no
agreement.
We
do.