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From YouTube: November 2, 2022 Development Review Committee Meeting
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A
So
folks,
who
have
joined
the
meeting
already
we're
just
going
to
give
it
a
few
more
minutes
to
let
participants
join
and
I'll
also
need
some
time
to
promote
folks
who
are
here
for
from
the
applicant
team
on
today's
first
item.
So
if
you're
in
the
audience
dance
already,
please
just
bear
with
me.
While
we
get
some
of
these
startup
items
in
the
virtual
world
of
meetings
happening
in
the
background.
So
thank
you.
A
So
Tom
and
Rebecca
I
did
just
attempt
to
promote
Dan
and
Renee
and
they've
declined.
Are
they
just
here
to
listen
or
will
they
be
participating.
A
Great
so
I
think
I've
got
the
key
Folks
up
then,
and
with
that,
I
will
welcome
everyone
to
the
wow.
It's
already
November
November,
2nd
meeting
of
the
development
Review
Committee
I
am
Rebecca
Shapiro,
Deputy,
designing
administrator
and
I
chair.
This
group
I'm
joined
on
the
DRC
by
our
two
Consulting
architects
of
Independence
Sherman,
and
we
have
two
items
today,
so
we'll
we'll
attempt
to
be
efficient
with
our
time.
A
First
up
is
500
Ellis
Street,
which
is
a
planned
hotel
and
office
building
project
in
the
East
wisman
neighborhood,
just
as
a
sort
of
a
matter
of
order
for
folks
who
are
unfamiliar
with
or
have
forgotten
our
sort
of
standard
procedures
for
the
meeting
we
for
each
item,
we'll
typically
welcome
a
brief
applicant
presentation,
followed
by
an
opportunity
for
any
members
of
the
public
who
are
in
the
audience
today
to
share
thoughts
and
questions
with
the
DRC
and
the
applicant
team
and
then
we'll
bring
it
back
to
the
the
DRC
and
applicant
to
have
a
discussion
about
you,
know,
site
and
Building
architecture
or
the
projects
that
are
agendasized
and
we'll
follow
that
procedure
for
each
item
today.
A
One
final
reminder
is
for
folks
who
are
participating
via
the
Zoom,
app
or
web
interface.
You
can
use
the
raise,
can
funding
raise
hand
button
when
I
call
for
public
comment
to
raise
your
hand
and
I'll
pull
people
up
one
by
one
to
to
comment,
if
you're
participating
by
phone
you'll
use
star
nine
to
raise
your
hand
and
Then
star
six
to
unmute
yourself
when
I
call
on
the
last
couple
digits
of
your
number.
A
So
with
that
I
will
turn
to
the
applicant
team
for
500
Ellis
to
to
lead
off
with
your
presentation
and
that
you
should
be
able
to
share
your
screens.
B
My
name
is
Tom
Jess
I'm
with
Eris
Studio,
Architects
and
I'm
representing
the
applicant
for
the
for
the
project
here
appreciate
the
time
and
everyone
can
see
my
screen:
okay,
perfect,
okay,
so
I
thought
what
we'd
do
is
just
kind
of
briefly
run
through
this
and
I'm
hoping
that
we
can
have
plenty
of
time
for
question
and
answers
and
we
can
kind
of
answer
any
questions
you
may
have
and
and
look
forward
to
hearing
your
feedback.
B
So
the
project
site
currently
is
two
single
story:
Office
Buildings
with
surface
parking,
here's
a
couple
images
of
what's
there
and
here's
a
site
plan,
so
National
being
the
street
on
the
left,
Ellis
running
across
the
bottom.
Here,
there's
two
buildings
here:
they're
going
to
be
removed
along
with
the
surface
parking.
B
However,
we
are
doing
our
best
to
preserve
as
many
of
the
trees
as
possible,
so
we
are
preserving
trees
around
the
perimeter
and
there's
one
tree
in
the
center
of
the
site
that
we're
able
to
preserve
and
the
landscape
architect
is
on
the
call.
As
well,
there's
specific
questions
but
I'll
kind
of
touch
on
that
a
little
bit.
B
The
proposed
site
plan
is
for
a
six-story
hotel
here
on
the
corner
of
Ellison
National
and
then
a
two-story
office.
Building
a
little
further
down
Ellis
with
a
the
hotel
lobby
entrance
is
on
the
corner.
The
guest
pick
up
and
drop
off
from
the
vehicles
is
in
the
back
here.
Their
the
vehicle
circulation
comes
off
of
National
and
circulates
here.
This
is
where
most
of
the
circulation
is
going
to
go.
B
However,
there
is
a
secondary
access
and
an
exit
only
out
onto
Ellis
one
of
the
things
that
we
looked
at
with
this
and
and
we
went
back
and
forth
with
staff
and
and
different
layouts
configurations.
A
number
of
times
had
to
do
with
the
parking
and
how
to
address
the
parking.
So
the
parking
is
shielded
and
sheltered,
so
it's
hidden
in
the
back.
B
So
you
come
off
the
back
and
we're
utilizing
a
mechanical
parking
system
which
I'll
kind
of
show
you
a
couple
images
of,
but
the
parking
is
Central
to
the
building
and
that
allowed
us
to
line
the
building
around
the
sides
with
with
active
uses
and
different
things
that
other
than
parking.
So
the
automated
parking
system
is
located
in
the
center
of
the
project.
B
We
do
have
some
surface
parking
in
the
back
of
the
proposed
office
for
accessible
parking,
also
for
oversized
vehicles
or
things
that
don't
really
work
very
well
in
the
mechanical
parking
and
the
mechanical
parking
is
a
fully
automated
system.
It's
a
little
bit
different
than
puzzle,
lifts
or
storage
lifts
that
we
use
on
other
projects
this
one
they
slide
onto
a
tray
and
then
are
slid
into
their
space
that
come
back
out,
and
we,
if
there's
specific
questions
on
that,
we're
happy
to
answer
that.
But
it
would
be
a
valet
system.
B
But
we
worked
hard
to
make
sure
that
we
have
an
active
Street
Front
along
Ellis,
including
an
outdoor
patio.
That's
semi-recessed
into
the
building
to
kind
of
activate
this
area
along
here,
there's
a
landscaped
Paseo
which,
as
part
of
the
precise
plan,
there's
a
circulation
path
that
runs
through
here
up
to
where
National
curls
around.
But
we've
really
enhanced
this
and
went
above
and
beyond.
B
What's
in
the
precise
plan
to
really
make
this
an
active
and
inviting
place
and
I'll
kind
of
show
you
some
images
of
that
as
I
mentioned,
it's
a
pedestrian
connection
and
then
the
office
lobby
entrance
is
off
of
that
Paseo
upstairs
there's
office
space
upstairs
and
on
the
hotel
building
the
guest
rooms
wrap
the
parking
as
we
discussed,
so
they
were
up
around
the
perimeter.
The
parking
is
located
in
the
center,
and
so
this
is
some
of
the
items
that
we
wanted
to
kind
of
get
your
feedback
on
and
get
your
thoughts
on.
B
Just
a
general
configuration
the
massing,
the
hierarchy,
how
we
laid
things
out.
A
lot
of
it
was
driven
by
the
the
design
guidelines
and
the
influences
from
the
precise
plan.
So
when
we
look
at
massing,
we
kind
of
this
is
for
the
hotel
building,
obviously
the
The
prominent
key
corner
here.
It
plays
a
big
role.
It's
the
tallest
part.
B
It
has
unique
materials,
different
Lobby
entrants,
it
kind
of
sets
itself
off,
and
then
we
overlap
that
with
the
lower
massing,
which
is
broken
up
into
three
separate
masses
because
of
its
length,
and
then
we
downplay
the
the
massing
up
above,
which
is
kind
of
a
little
bit
of
a
recessed
element
there
and
that
kind
of
wraps
around
here's
another
diagram
of
the
national
elevation.
You
can
see
it
kind
of
carries
around
and
it's
very
similar
in
that
regard,
but
obviously
a
little
bit
different.
B
So
here's
the
the
corner
of
national
analysis
with
the
The
prominent
key
Corner
element
here
and
you
can
see
that's
driven
by
the
design
guidelines,
and
that
was
something
that
we
worked
with
staff.
Quite
a
bit
was
to
make
this
prominent
corner
here.
B
So
we
do
have
different
materials
here
on
the
corner
and
I'll
and
I'll
kind
of
go
into
the
materials
a
little
bit
later.
But
it's
a
metallic
finish
trespa
panel
here
on
there
we're
emphasizing
the
vertical
here
with
the
windows
in
slots.
We
have
a
frame
around
it,
that's
going
to
have
some
accent,
lighting
and
wood,
siding
as
opposed
to
other.
You
know
that's
kind
of
highlighting
this
element
here
that
frames
that
element
large
two-story
Lobby
entrance
here.
B
That's
really
prominent
there
on
the
corner,
lots
of
glazing
tearing
itself
up,
and
then
you
also
get
an
idea
of
this.
The
lower
massing
carrying
itself
across
here
the
window
pattern
is
dictated
by
the
guest
room.
So,
whenever
there's
a
hotel,
there's
a
regular
window
pattern,
but
what
we're
trying
to
do
is
distinguish
that
and
break
it
up
into
smaller
chunks,
rather
than
one
big
overwhelming
mask
here's
that
elevation.
B
As
you
turn
the
corner,
you
can
see
here
as
it
Thomas
comes
around
National,
where
it's
similar
massing,
but
just
condensed
a
little
bit
different
size
to
that,
and
then
here's
the
view.
Looking
back
at
the
building
from
Ellis,
you
can
see
that
the
step
back
areas
on
the
ground
for
the
ground
floor
is
really
important.
B
So
what
we
did
was
we
had
lots
of
transparency
with
large
windows
and
then
recessed
the
courtyard
into
here
and
punched,
a
little
railing
out
a
little
further
out
into
the
space
into
the
setback
area
here
and
try
to
keep
this
as
active
and
inviting
as
possible,
and
then
we
recessed
the
upper
two
stories
back
to
kind
of
create
a
break
in
the
building
and
have
the
the
lower
four
stories
clearly
distinguishable
from
the
upper
two
stories.
B
This
is
the
back
of
the
building
facing
the
adjacent
buildings,
so
we
have
the
way
that
the
parking
sits
in
the
center.
The
parking
is
recessed
back,
which
you
can
see
over
here
on
the
side
we
have
Windows
and
and
active
building
frontages
on
the
sides
where
the
parking
is
centered
in
this
in
the
middle,
we're
proposing
to
do
a
mural
on
the
face
of
the
parking.
It's
a
good
opportunity
to
do
that
because
it
is
a
blank
face.
B
So
here's
here's
a
look
at
the
hotel
building
and
some
of
the
materials
the
as
I
mentioned.
We
have
the
trespa
panels
here
on
the
corner
element
with
the
accent
lighting
and
the
frame.
We
have
some
eephis
and
we
kind
of
keep
the
colors
more
neutral,
with
highlighting
here
at
the
corner,
with
the
darkest
color
kind
of
drawing
your
attention
there
and
here's
a
couple
exonometrics
just
kind
of
diagramming
the
different
reliefs
in
there.
B
So
you
can
see
the
tower
has
the
frame
going
around
it,
the
other
one
that
the
other
masking
that
juxtaposes
and
contrasts
with
it.
The
big
awning
over
the
the
lobby
and
then
the
tall
glazing
on
the
ground
floor.
We
do
have
a
very
tall
ground
floor,
I
think
it's
almost
20
feet:
19
foot,
five
Florida
four!
So
we
have
a
tall
first
story
there.
So
we
get
that
that
extra
height
on
the
ground
floor,
here's
that
same
Tower
as
you
wrap
around
similar
massing.
B
B
This
is
wrapping
around
looking
at
the
Paseo
elevation,
where
we've
recessed
the
building
back
and
created
these
private
patios
that
look
out
onto
the
Paseo
and
that's
kind
of
to
activate
the
Paseo
have
multiple
levels
looking
down
into
it,
making
sure
that
that
space
is
an
active
inviting
space
and
then
having
a
awning,
Over,
The
Spill
out
area
for
the
meeting
room,
what
kind
of
touch
on
this
a
little
bit
and
then
for
the
office
building?
B
Because
the
office
building
has
two
stories
as
opposed
to
the
six-story
hotel,
we
wanted
it
to
have
its
own
presence.
We
didn't
want
it
to
get
completely
dominated
by
the
Hotel.
So
what
we
tried
to
do
was
really
simplify
the
massing
and
make
fewer
stronger
statements
with
the
office
building,
so
it
had
its
own
presence
as
opposed
to
breaking
it
up
into
smaller
elements
and
kind
of
see
this
with
a
little
massing
diagram
there
and
so
the
office
building.
B
We
kept
the
lobby
and
entrance
as
articulated
and
very
clearly
identifiable
off
the
Paseo,
but
the
face
facing
the
street.
We
did
the
frame
but
took
it
all
the
way
around
four
sides
and
can
levered
it
out
so
that
it's
kind
of
a
stronger
statement
and
then
on
the
ground
floor
plenty
of
large
Windows.
Looking
into
the
office
space,
we
did
raise
them
up
to
provide
a
little
privacy
for
the
office
dwellers,
but
still
lots
of
Windows.
And
then
you
can
see
that
element
that
we
discussed
there.
B
Here's
a
couple
diagrams
showing
the
relief.
This
is
the
lobby
entrance
here,
how
it
wraps
the
corner
and
you
can
see
the
frame
coming
around
and
coming
down
and
then
on
the
second
floor,
there
is
a
recessed
patio
and
we
have
some
the
wood
signing
back
in
there
on
that
with
the
glass
railing
there.
B
This
is
in
the
back
where
the
office
projects
out
over
the
tuck
under
parking,
and
then
this
is
on
the
side
where
we
do
have
the
bike,
storage
and
trying
to
make
it
very
an
inviting
area.
So
you
don't
feel
like
you're,
just
in
the
back
of
the
building
parking,
your
bike,
but
try
to
make
it
an
inviting
retail
storefront
type
appearance
for
where
you
would
be
parking,
your
bikes
and
then.
Lastly,
I
wanted
to
talk
about
the
open
space,
and
this
is
the
open
space
primarily
on
this
building.
B
It's
the
Paseo,
which
links
through
to
the
adjacent
properties
that
are
going
to
be
developed
and
there's
some
plans
already
approved
for
one
of
those
two,
and
so
what
we're
doing
is
we're
tying
into
that
and
you
can
see
we're
bringing
the
landscape
down
the
center
and
what
we're
doing
is
trying
to
divide
this
into
a
couple
different
sides.
One
is
the
public
area
here,
which
is
the
The
Pedestrian
connection
through
here
you
can
see
through
here.
B
This
is
The
Pedestrian
connection,
and
then
we
have
a
semi-private
area
over
here.
That's
the
spill
out
area
for
the
meeting
rooms,
the
hotel
kind
of
a
little
bit
quieter,
Lounge
areas
over
here.
This
also
acts
as
the
circulation
from
the
parking
to
the
office
lobby.
So
we
wanted
to
make
sure
that
that
was
an
attractive
path
to
be
circulating
through
this
is
highlighting
those
semi-private
areas
that
we
were
just
talking
about,
and
then
you
can
also
see
the
Second
Story
spaces,
whether
it's
on
the
hotel
guest
rooms
or
whether
it's
on
the
office.
B
This
is
a
quick
little
landscape
plan,
showing
you
that
the
gray
striped
ones
are
the
existing
trees
that
are
remaining.
The
green
ones,
are
the
new
trees
that
are
being
planted
and
then
just
wanted
to
touch
real
briefly
on
the
lighting
most
of
the
lighting's
low
level,
bollards
and
so
forth.
B
There's
a
couple
pole
lights,
but
and
then
there's
some
bollers
here
to
kind
of
restrict
traffic
flow
through
here
you
know
very
clean,
simple,
modern
fixtures
and
that's
about
it
tried
to
keep
it
as
brief
to
kind
of
get
the
introduction
going
and
then
looking
forward
to
hearing
your
feedback
and
getting
your
thoughts.
Thank
you
very
much.
A
A
Rebecca
you're,
muted,
yeah
at
a
DRC
level,
I
think
we're
we
are
often
eager
to
get
to
the
building,
but
we,
we
will
often
start
with
with
site
and
Frontage
design
comments.
A
So
with
Russ,
and
this
commission
I'll
kick
things
off
there
with
I
think
probably
a
few
initial
bits
of
feedback
free
for
the
design
team
to
consider,
but
but
also
kind
of
setting
setting
the
stage
I
think
for
things
that
are
both
sight
and
and
building
design
related,
so
yeah
I
think
it.
It
doesn't
come
to
a
as
a
shock
to
anyone
participating
that
there's
a
a
real,
clear,
objective
and
imperative.
A
For
you
know
more
pedestrian,
engaging
and
oriented
you
know,
site
and
building
design
in
any
swissman
then
exists
today.
A
As
you
know,
the
area
transforms
into
you
know:
more
dense,
mixed-use,
District,
overall
and
so
I
think
you'll
hear
building
comments
today
that
are
are
really
about
how
how
you
Orient
the
design
and
and
provide
more
detail
towards
you
know
public
frontages
of
the
project,
but
at
a
site
level,
I
think
I.
You
know
I'll
appreciate
as
a
starting
point
the
the
work
that
you've
done
thus
far
on
tree
preservation.
A
It's
something
that
frequently
comes
up
at
at
DRC,
so
the
you
know
the
fact
that
you've
put
in
a
lot
of
that
work
already
is
appreciated.
It
saves
me
a
few,
a
few
extra
sentences
layering
on
that
you
know,
as
you
continue
to
work
on
your
landscape
designs,
I'll
mention
a
few
key
objectives
that
you
you
may
have
heard
from
staff
about
already,
but
bear
repeating.
A
If
so,
you
know,
the
first
is
that
you
know
we
have
we're
very,
very
strong
objectives
to
try
to
maximize
tree
canopy
in
in
development
Redevelopment
projects.
A
You
know
a
great
first
step
is
preserving
the
healthy
tree,
canopy
that
you
already
have,
but
you
know
as
you're
looking
at
your
tree
planting
plan,
our
hopes
is
that
you
find
Opportunities
to
incorporate
in
new
larger
canopy
trees
into
into
the
sort
of
the
ecosystem
of
the
project.
As
you
you
work
on
those
plans.
A
Additionally-
and
this
is
something
that's
come
up
more
recently
on
projects,
our
city
council
has
to
find
an
objective
for
projects
to
to
aim
for
75
percent
California
native
plants
across
the
sort
of
entirety
of
the
palette
and
planting
program.
So
we'll
we'll
want
to
see
you
incorporating
that
information
into
your
plans
and
working
working
towards
that
that
75
Target
as
well.
A
You
know
there
are
a
few
I
think.
A
lot
of
our
our
sort
of
potential
site
playing
comments
today
are
really
more
about
building
interface,
so
I'm
gonna,
I
think
for
stall
too
many
more
site
plan
comments,
but
I
do
have
two
remaining
things:
I
wanna,
to
bring
up
you
know.
The
first
is
I,
actually
appreciated
the
circulation
run
through
you
gave
you
know
about
the
transition
of
the
the
on-site
drive
into
a
one-way
Corridor,
as
you,
you
know,
pull
through
the
north
side
of
the
property.
A
A
You
know
wanting
to
delineate
pedestrian
from
bicycle
access
points,
but
what
I
think
we
don't
want
to
have
happen
is
a
bike
room,
that's
situated
in
a
way
that
means
that
we'll
have
a
lot
of
bicyclists
like
coming
the
wrong
way
down
that
drive
aisle
or
you
know,
being
forced
sort
of
off
their
bikes
into
a
like
an
overly
narrow
sidewalk.
A
In
order
to
get
to
the
bike
parking
areas,
so
I
I
would
do
some
reconsideration
of
of
where
you're
placing
that
bike
room
to
to
to
try
to
prioritize
sort
of
safe
and
convenient
like
access
to
the
secure
parking
areas,
because
I
think
it
will
be
a
a
well-used
amenity
in
this
area.
A
You
know
the
second
thing
that
that
is
is
catching.
My
eye
is-
and
this
is
a
little
bit
of
a
compliance
and
design
comment-
is
I.
A
I
appreciate
the
width
that
we
have
of
the
Paseo
through
you
know:
the
combination
of
the
circulation
Corridor
and
the
amenity
space
that
you're,
providing
on
top
of
it,
but
I
I
I,
also
want
to
make
sure,
given
the
depth,
that
we
have,
that
we're
providing
sort
of
opportunities
for
folks
passing
through
to
have
a
space
to
be
there
and
and
right
now,
both
that
Frontage
area
up
at
Ellis
at
the
Ellis,
sidewalk
and
sort
of
the
the
core
design
feels
like
it's
a
little
bit
heavily
focused
on
sort
of
the
circulation
component
and
at
the
frontage
I
feel
like
I,
feel
like
there's.
A
It
I'm
a
little
bit
concerned
that
the
sort
of
extent
of
planter
and
sort
of
stare
and
pathway
it
is
is
such
that
we're
losing
some
of
that
welcoming
feel
that
we'll
want
to
kind
of
pull
people
in
and
make
them
feel
like.
This
is
an
area
that
they
want
to
want
to
be
in
and
can
easily
circulate
through.
A
Some
of
that
might
be
the
grading
to
be
honest,
meaning
you
know
you
have
to
come
up
so
high
that
that
it
doesn't
feel
like
it's
an
obvious
area
for
for
people
to
move
into
and
through
and
I,
so
I
think
I
think
this
Paseo
condition,
particularly
at
the
access
point
at
Ellis,
needs
some.
C
Now,
let
you
know
for
me:
I,
usually
go
into
the
architecture.
Yeah.
D
Okay,
I
guess
the
only
the
only
comment
I
might
have
about
the
Paseo
in
follow-up
to
Rebecca's
comments
that
sometimes
with
this
sort
of
space.
If,
as
you
approach
it,
if
you're
immediately
hit
by
stairs
or
ramp,
something
like
that,
it
tends
to
say:
oh
I've
got
to
climb
up
here
and
get
up
here
to
this
other
level.
So
maybe
there's
a
way
to
push
those
elements
back
further,
so
that,
as
you
come
in,
you
have
a
significant
what
I'll
call
landing
area,
but
it
goes
back
in
quite
a
ways.
D
So
it
feels
part
more
part
of
the
sidewalk
along
Ellis.
Then
it
feels
like
this
private
space
that
belongs
to
buildings.
If
there's
a
way
to
look
at
where
you
make
that
break
and
where
you,
where
you
change
elevations,
that's
just
one
thought
I
had
and
you
might
be
able
to
bring.
You
know
more
planting
at
that
front
edge
to
soften
it
up
and
then
the
transition
spaces
with
steps
and
ramps
would
be
further
back
in,
but
I
would
say.
Maybe
take
a
look
at
that.
A
There's
so
many
different
points
of
access
and
types
of
actions
that,
like
also
thinking
about
how
you
could
simplify
that
so
that
yeah,
you
know,
you
know
it's
a
clear
that
this
is
where
people
come
in.
So
this
is
a
landscape,
Zone
and
then
sort
of
it
can
be
more
episodic.
As
you
move
further
in,
but.
B
Yeah
one
thought
I
had
just
while
we're
on
the
on
the
call
here
was
to
since
this
one.
This
entrance
here
is
really
the
the
primary
circulation
entrance
that
the
public
would
be
using
is
if
we
were
to
shuffle
things
around
a
little
bit
and
kind
of
downplay
this
one
over
here,
which
is
get
you
up
into
the
semi-private
space
Maybe
wide
in
this
area
and
shallow
the
stairs
up,
so
that
it's
a
couple
stairs
a
little
bit
of
a
landing.
A
couple
stairs
a
little
bit
of
a
landing.
C
B
You're
looking
at
the
stairs
right
there,
but
maybe
we
can
just
kind
of
soften
those
up
so
that
this-
and
this
is
clearly
inviting
and
this
side
a
little
bit
downplayed
so
that
there's
a
clear
hierarchy
that
this
is
the
one
that
the
Public's
going
to
be
using.
A
Objective
is
to
to
be
really
really
much.
You
know,
re
rethink
that
that
entry
point
and
and
again
sort
of
thinking
about
how
you're
providing
to
to
make
it
feel
just
a
little
bit
more
open
and
welcome.
A
A
Thinking
more
than
that
and
or
sort
of
the
the
nature
of
the
design
of
those
features
to
to
make
them
feel
a
little
bit
a
little
bit
more
special
on
and
eye-catching,
but
but
the
the
biggest
reaction
and
sort
of
area
focus
is
really
that
entry
that
entry
point.
Okay,.
A
Which
yeah
I
think
is
a
a
fine
point
at
which
to
LEAP
into
to
the
Building
architecture.
Could
you
bring
up
I,
don't
know
if
you
have
as
a
backup
slide
or
in
the
deck
already
I
think
there
was
a
combined
sheet
in
this
in
the
plan
set
that
showed
both
the
office
and
hotel
design
strategy.
Would
that
be
a
useful
sheet
to
have
up
Russ
and
Linda
as
a
starting.
B
A
Yeah
yeah,
so
yeah
I
think
just
maybe
to
kick
off
the
conversation
and,
and
you
know
wrestling
the
or
my
my
architectural
experts
but
I
think
one
of
one
of
the
things
we
were
reacting.
There
were
two
kind
of
I
think
lines
of
thought
that
we
had
reactions
to
in
in
looking
at
the
the
proposed
buildings.
A
You
know
one
was
you
know
this
question
of,
and-
and
you
highlighted
you
touched
on
this
a
little
bit
in
your
presentation-
is
how
much
and
what
relationship
should
the
two
buildings
have
to
each
other
as
far
as
their
design
strategies?
And
then
two
is
you
know
how?
How
effectively
are
we
finding
that
the
specific
design
of
each
building
is
in
in
implementing
and
these
sort
of
bigger
picture,
design,
strategies,
design
and
masking
strategies
that
you've
you've
highlighted
in
in
these
documents?
A
And
it's
it's
great
to
have
these
as
a
kind
of
a
cheat
sheet
to
illustrate
your
intent
and,
and
you
know,
Russ
and
Linda
I,
don't
know
in
those
two
big
buckets.
You
want
to
start
with
the
relationship
between
the
buildings,
kind
of
questions
and
and
discussion
or.
C
Maybe
Linda
maybe
start
if
you
want
to
start,
but
you
know
here's
well.
Maybe
I
will
start.
C
So
I
so
I
appreciate
Tom
that
the
buildings
don't
necessarily
need
to
have
a
common
architectural
language,
and
that
was
something
that,
in
the
meeting
prior
to
this,
that
that
we
debated
back
and
forth,
should
they
shouldn't
they
should
they
shouldn't
they
I
was
more
on
the
should
they
should
just
so
you
know,
but
I
do.
But
it's
it's
not
my
project.
You
know
and
I
I
I.
You
don't
know
me
from
this
from
this
committee,
but
I
tend
to
try
and
do
it.
C
So
all
right
so
so
I
I
I'm
just
saying
I
kind
of
appreciate
where
you
know
that
that
they're
they're
trying
to
be
different.
They
have
different
modularities.
Let's
say
one
of
you
know:
cellular
kind
of
modularity
versus
a
kind
of
big
open
floor
plan
of
these
of
the
office
building
and
I
think
the
vocabulary
that
you've
struck
relative
to
the
office
building
at
least
does
does
touch
upon
that
I.
C
Would
you
know
I
so
I
don't
know,
maybe
I'll
stop
there
and
and
I
know
that
I'll
let
Linda
kind
of
go
I'm
not
going
to
make
a
comment,
maybe
until
we
get
to
the
architecture
of
both,
but
so
I
appreciate.
I
appreciate
these
diagrams.
To
be
honest,
I
think
Rebecca
said
that
I'm
I'm
begging
Architects
every
every
two
weeks
to
give
us
these
diagrams.
So
they're
very
helpful
and
I
appreciate
it.
Yeah.
D
Yeah
I
agree
with
that.
I
I
think
that
just
in
looking
at
the
diagrams
for
me,
the
the
strategy
for
the
massing
of
the
office
building
is
much
more
clear
than
it
is
for
the
Hotel,
because
it's
it's
simpler.
It's
a
smaller
scale,
I
think
that
there
are
proportion
elements
of
the
office
building
that
are
much
more
successful
than
than
the
ones
for
the
hotel,
and
that's
just
purely
going
from
the
diagrams
I.
D
Do
think
that
one
thing
that
we
did
talk
about
a
little
bit
with
in
the
briefing
meeting
was
with
the
hotel
in
looking,
especially
at
the
East
Elevation,
that
that
corner
at
Ellis
and
National
does
want
to
be
emphasized.
But
then
there's
this
I'm
going
to
call
it
the
gray
piece.
That's
the
first
four
stories.
Apparently
it
seems
to
interrupt
that
it.
It
pushes
out
more
and
becomes
more
prominent
than
the
corner
and
I
think
when
we
get
into
the
architecture
more
we
can.
D
We
can
discuss
how
there
might
be
ways
to
let
that
corner
have
more
prominence
than
it
does
right
now
and
so
I
I
understand
what
the
idea
is:
Behind,
These.
You
know
these
different
forms
and
and
elements,
but
I
think
I
think
it.
It
somehow
needs
to
be
more
exciting,
so
I
guess
particularly
for
the.
C
Hotel
I
guess
Linda
I'm,
gonna
I'm
gonna
pick
up
a
little
bit
on
just
a
little
bit.
More
is
because
I,
maybe
I,
didn't
give
enough
suggestion
or
whatever
here.
So
here's
what
here's,
the
things
I
kind
of
notice
about
about
the
buildings
and
they're
they're,
clearly
different
architecturally.
So
we
can
talk
about
that
in
a
minute,
but
if
I
just
think
about
where
entry
is
what
my
eye
does
and
and
the
language
being
proposed,
while
the
language
of
the
architecture
doesn't
need
to
be
the
same,
some
of
the
ideas
should
carry
through.
C
So,
for
instance,
I
do
see
where
the
the
golden
tone
is
called
prominent,
Corner
entry,
okay
and
in
some
regard,
when
you
look
at
the
perspectives
right,
the
and
I'm
going
to
annotate
here
right,
this
thing
becomes
the
tallest
piece
and
we'll
get
maybe
get
to
the
architecture
in
a
little
bit
and
the
eye
tries
to
get
to
that
point.
That
is
not
what
happens
on
the
office
building
in
the
office
building
the
architecture.
In
my
mind
this
is
the
most
prominent
piece
because
it
is
coming
forward.
It
is
the
framed
element.
C
But
but
I
don't
think
that
the
the
from
the
massing
from
the
diagram
that
the
corner
of
the
entry
of
the
of
the
office
building
is
in
fact
prominent
to
me.
In
fact,
it's
actually
separated
from
the
rest
of
the
building,
both
in
architectural
language
and
in
massing.
When
you
look
at
the
perspectives
in
particular,
so
while
I'm
not
asking
the
architecture
to
be
the
same,
if
you're
telling,
if
you're
telling
me
that
this
is
the
prominent
thing,
my
eyes
should
get
there
right
and
I,
don't
I,
don't
think
it
does
in
the
office
building.
C
I.
Think
the
the
the
framed
element
is
the
prominent
piece
on
this
architecture,
so
I'm
trying
to
be
more
clear
that
I'm
not
asking
to
be
the
same,
because
clearly
the
vocabulary
is
different,
but
I'm
asking
that
that
that,
if
it
is
the
prominent
Corner
that
somehow
they
are
handled
in
a
way
that
makes
them
prominent.
B
Gotcha,
okay,
yeah,
the
I'm,
not
arguing
with
you,
I
think
that
that
makes
a
lot
of
sense.
The
thought
process
was
that
the
hotel
corner
is
actually
at
the
the
corner
of
the
site,
so
it's
it's
a
key
corner
and
that
one
needed
to
be
a
lot
more
prominent
just
because
of
its
location
in
the
you
know,
in
the
context
of
the
city
streets
as
opposed
to
building
the
building.
So
we
did.
The
thought
process
was
that
we
did
distinguish
this
element
with
materials
and
colors
and
glazing
and
so
forth.
B
But
I
would
not
argue
with
you
at
all
that
this
element
here
is
the
most
prominent
element
on
the
office
building
and
the
reason
that
we
did
that
was
just
so
that
the
office
building,
because
the
office
building
really
is
only
a
two-story
building
in
this
much
smaller
footprint.
In
order
to
give
it
some
visual
weight
we've
had
to,
we
tried
to
make
a
big,
strong
statement
on
that,
one
so
that
it
wouldn't
get
lost
relative
to
the
scale.
B
Just
the
scale
of
the
hotel,
but
I
mean
we
could
make
that
statement
and
still
make
the
the
lobby
entrance
more
prominent.
We
can
certainly
do
that.
So
I
think
that's
something
we
can
consider,
but
that
was
the
thought
process
behind
it.
A
Yeah
and
I
think
picking
up
on
that
that
point,
yeah
I,
think
there
are
a
lot
of
different
ways
that
you
can
take.
Take
that
I
mean
I,
think
you
can
you
can
do
it
in
a
way
that
feels
like
it's
comparable
and
similar
to
the
hotel.
You
could
also
do
it
in
a
way
that
is,
you
know,
specifically
reactive
by
sort
of
material
and
other
means
to
the
you
know,
prominent
projecting
form.
A
You
know
the
other
thing
that
we
really
want
to
focus
on
I
appreciate
you
highlighting
the
larger
Windows
into
the
office
at
the
building
base,
but
when
we
were
looking
at
the
this
diagram,
we
saw
you
know
that
on
the
office
building
along
Ellis,
you're,
you're
kind
of
creating
this
relationship
between
the
northeast
corner
and
the
building
base.
A
That
carries
through,
but
when
I
was
looking
at
the
elevation,
it
was
actually
seemed
like
two
like
detached
elements:
I
think
they
get
like
a
different,
color
and
or
material
treatment,
but
and
so
that
was
sort
of
Point
number
one
about
the
building
base.
We
spent
a
lot
of
time
talking
about
the
base
of
buildings
and
and
in
thinking
about
ways
to
make
them
engaging
interactive
and
interesting
to
folks
who
are
circulating
by
by
walking
or
bicycling.
And
so
even
though
you
have
the
large
Windows
the.
E
A
Think
we
found
that
the
the
building
base
felt
a
little
bit
too
plain
and
other,
and
actually
here,
yeah
you're,
seeing
so
like
when,
when
I
look
at
that
elevation,
I
don't
see
the
diagram
at
all
because
the
you
know
coloring
material.
The
the
ground
plane
in
the
center
is.
E
A
Like
a
really
really
plain
material
reality
as
well
so,
like
you
know
given
given
the
diagram
and
the
strength
of
the
massing,
the
second
floor
massing
in
order
to
make
that
ground
plane
feel
a
little
bit
more
special
in
connection
with
the
you
know,
the
comments
we
already
made
about
the
key
Corner
you
know
I
would
ask
myself
what
what's
the
sort
of
material
and
or
landscape
design,
that's
going
to
create
that
sort
of
pedestrian
interest
and
comfort
in
the
ground
plane
to
kind
of
like
stand
up
a
little
bit
more
against
this.
E
A
G
C
B
A
Just
before
we
move
on
to
maybe
to
the
hotel,
are
there
other
facades
of
the
office?
Building
that
we're
talking
about
like
this?
Does
the
rear
facade
need
some
attention
and
I
think
the
thing
that
that
struck
me
as
you
sort
of
as
we
were
pulling
the
sides
in
the
rear,
is
that
spaces
seem
to
not
as
strongly
follow
kind
of
the
diagram
that
you
have
set
up.
A
Things
got
kind
of
a
little
bit
busier
and
it
was
hard
to
hard
to
just
find
a
consistent
theme
and
then
yeah
when
we
got
to
the
rear.
It's
like
that
that
projecting
form
just
has
like
an
entirely
different
application
and
I
understand
I.
Think
you're,
probably
doing
that
to
try
to
to
to
you
know,
minimize
the
talk
under
parking,
but
it
felt
a
little
bit
odd
man
out
on
the
rear
elevation.
That's.
B
Our
little
corbusier
Pilots
I.
C
Was
I
was
actually
okay
with
it
on
the
rear?
It's
on
the
sale
part
right
of
the
dark
jungle,
the
the
you
know,
the
those
several
ways
that
the
yeah
is
so
the
I
don't
know.
If
we
go
to
the
maybe
we
went
to
the.
C
C
So,
like
again
me
I'm
I'm,
you
know
the
when
I
first
looked
at
this
I
was
like
wow,
if
the,
if
the
lobby
could
pull
and
that
stare
that's
in
there
right,
which
is
an
open,
stair
correct,
could
be
more
visible
on
that
thing
instead
of
the
there's
the
gray
Mass.
Next,
if
you,
if
you
go
back
to
the
elevation
I'm
sorry
to
make
you
jump
around,
the
the
stair
in
fact,
could
be
the
the
element
right.
C
E
B
See
what
you're,
saying
and
I
do
think
that
a
couple
little
minor
moves
will
help.
This
and
I
think
that
you
guys
are
right
on
with
this
one
in
terms
of
simplifying
the
massing
in
the
in
the
in
the
scheme,
so
that
there's
a
Common
Language
where
I
shaded
it
with
red
and
then
and
then
I
think
we
can
do
it
like
Rebecca
was
suggesting
with
materiality
or
something
else
here:
I,
don't
I
mean
I'm,
hesitant
to
just
make
this
element
taller
just
for
the
sake
of
trying
to
make
it
more
prominent.
I.
B
Don't
think
I
want
to
do
that,
but
we
can
do
something
with
materiality
here
or
simplifying
this
or
doing
something
here
that
draws
your
eye
to
this
entry
and
as
we
wrap
the
corner
that
same
language
would
carry
over
to
here.
Yep.
C
B
I
think
that
we
can,
we
can
do
something
there
and.
D
My
tendency,
when
you,
when
you
now
that
you've
put
these
color
blockings
on
there
with
that
curvussier
idea
that
if,
if
this
lobby
area
and
the
story
above
it
that
green
area
now
I
tend
to
want
to
see
that
really
glassy.
But
that's.
C
D
D
I'm
sort
of
thinking
back
to
that
adjacent
project
at
600,
the
sobrato
project,
which
has
that
that
very
glassy
facade
on
the
large
building
and
I
tend
to
want
this
building
to
be
very
simple.
E
D
Feels
like
it's
getting
that
that
corner
feels
a
little
heavy.
B
Yeah
and
to
be
honest,
I
mean
not
to
be
too
critical
of
my
own
design
here,
but
the
I
feel
like
we're
trending
a
lot
more
modern
and
contemporary
with
this
office
building
than
we
are
with
other
ones
and
I
feel
like.
Maybe
this
just
feels
a
little
Suburban
right.
D
C
D
B
C
C
When
I
look
at
this
thing
and
in
fact
it's
I,
don't
it's
not
I,
don't
think
what
you
talked
about
either
when
you,
when
you
spoke
about
the
piece
you
what
you
spoke
about
was
a
was
a
a
kind
of
a
piece
and
then
a
piece
set
back
and
then
an
entry
piece.
But
when
I
read
the
elevation
in
perspective
right,
what
I
really
get
is
three
vertical
pieces
on
the
facade
right
that
is
not
reading
as
a
piece.
C
It's
reading
us
three
distinct
elements
along
the
street
Edge
right
and
again
and
one
of
the
things
we
say
you
know,
one
of
the
things
we
drew
was
if
that
was
one
piece
and
this
Portico
could
somehow
get
larger
it.
You
know
to
us
that
started
to
say:
okay,
this
is
the
this
is
going
back
to
the
diagram
right.
We
don't
I,
don't
I,
don't
to
me
again
when
we
first
looked
at
it.
It
felt
too
broken
up
this
elevation,
but
the
diagram
is
not
broken
up
at
all.
The
diagram
is
super
clear.
B
B
Massing
which
wanted
to
be
a
single
mass
and
then
we
were
trying
to
break
it
up
into
three
sections
to
to
work
within
that
that
language.
That
being
said,
we
maybe
we
make
those
breaks
much
more
subtle
or
I
mean
if.
A
You
guys
are
okay
with
eliminating
them,
we're
on
board
with
that
I
I
think
that
they
yeah
I,
don't
I,
don't
think
that
those
goals
are
necessarily
mutually
exclusive,
and
you
know
I
I
would
urge
you
as
a
starting
point
to
maybe
study
a
few
different
options.
A
You
know
one
it's,
how
a
one
is
to
to
Russ's
Point
how
to
how
to
have
from
a
higher
amassing
hierarchy
standpoint
how
to
how
to
better
reflect
the
the
diagram
which
which
we
think
or
what
we,
what
we
were.
We
were
intuiting
and
what
I
think
you're
you
may
be
leading
us
swords
is
trying
to
do.
Is
you
know,
have
you
know
a
street
wall
that.
A
Is
relational
to
it
to
itself
and
is
designed
in
a
way
that
helps
highlight
the
key
corner
and
and
what
we're
commenting
on
is
is
when
you
sort
of
get
down
to
the
the
Building
architecture.
What
we're
we're
actually
reading
is
not
kind
of
a
a
sort
of
a
simple
Street
wall
that
highlights
the
architecture,
but
a
series
of
masses
that
actually
sort
of
detracts
attention
from
the
key
Corner.
A
And
so
what
we
want
you
to
study
is
sort
of
ways
to
you
know,
still
give
a
well-defined,
particularly
building
base
that
has
those
breaks
and
recesses
that
we
desire
and
celebrates
them
in
from
a
from
an
architectural
standpoint
as
well,
because
we
want
them
to
engage
and
activate
the
public
Street
Frontage
and,
to
you
know,
simplify
the
design
of
what's
happening
around
and
above
it
in
a
way
that
actually
lets
the
key
Corner
stand
out,
because
it's
like
the
key
Corner
isn't
drawing
our
eye.
C
E
C
What
the
eye
wants
to
do,
breaking
this
thing
vertically
precise
plant
or
not
makes
the
eye
do
the
opposite
of
that.
It
makes
it
through
this
and
then
they're,
not
in
that
instance,
I
mean
I.
Suppose
right,
one
could
say
well
if
I
was
going
to
break
it
up
that
way.
I
you
know,
I
could
do
a
series
of
stepped
pieces
right
and
that
would
lead
to
that
thing.
But
I
don't
think
that's
I,
don't
think
that's
the
diagram.
You
drew
either
right.
E
B
C
A
Yeah
I
I'm
not
sure
that
it
actually
necessarily
means
that
that
Center
Center
portion
above
the
current
you
know
outdoor
patio
needs
to
necessarily
change
where
it
is
in
plane,
but
I
think
look
at
the
color
look
at
the
frame.
Look
at
the
actual
proportion
of
that
outdoor
patio,
like
the
the
the
elements
as
put
together
like
we
were
saying,
don't
sort
of
you
know
read
as
a
whole
that
emphasize
these
other
things.
E
D
C
If
you
look
at
the
you
know,
the
windows
and
I
think
you
said
this
in
your
presentation.
They
become
vertical
right,
and
so
they
are
in
fact
highlighting
the
verticality
and
the
separation
of
this
as
separate.
You
know
it's
vertical
here,
it's
vertical
on
the
end
in
the
middle.
It's
not
it's
it's
something
else.
So
it's
really
highlighting
this
verticality
as
opposed
to
this
one
element.
B
Correct
what
I'm,
what
I'm
thinking
in
my
head,
what
I'm,
what
I'm
while
we're
talking
here,
is
I
think
that
the
items
that
I
want
to
explore
and
look
at
are
just
like.
You
said
the
grouping
of
the
windows.
Maybe
we
leave
the
vertical
orientation
of
the
windows
to
the
tower
to.
E
B
C
C
I
know
I'm
just
saying:
there's
a
kind
of
a
deep,
Punch
or
or
even
a
you
know,
even
a
even
fins
on
on
you
know.
Even
you
know,
I
know
we
typically
use
nail
on
for
hotels
and
residential
work,
but
there
could
be
fins
that
that
kind
of
highlight
things
you
know
there
can
be
this
next
level
of
detail
that
that
that
that
pulls
us
or
you
know
or
gets
more
shadow.
B
B
There
are
some
elements
that
we
can
work
with
to
add
some
interest
to
it,
but
I
do
think
that
simplifying
the
massing
and
keeping
it
like
like
more
like
the
diagram,
does
draw
your
eye
more
towards
here
and
I.
Think
the
other
thing
I'm
looking
at
in
this
diagram,
which
it
shows
up
better
to
be
honest
in
the
perspective,
but
there's
a
little
bit
too
much
of
a
distinction
between
the
tower
above
and
the
lobby
element
where
I
kind
of
lose
a
little
bit
of
that.
This
is
a
tower
where
this
feels
like
it's.
B
A
A
You
know,
highlight
this:
this
area,
it
it,
and
maybe
it's
just
that
I
didn't
see
it
in
renderings
and
there's
more
detail
in
the
landscape
sheets,
but
it
it
seemed
like
that
area
was
missing.
Some
treatment.
A
At
the
main
corner,
to
make
it
a
more
special
area.
C
So
one
question
I
did
have
and
I
was
if,
when
when
we
were
looking
for
when
I
was
looking
through
the
package,
there
were
some
precedent
images
that
you
pulled
out
of
the
precise
plan,
that
kind
of
showed
you
know
this
sort
of
base
and
one
of
the
things
that
they
did
and
I
know.
You're
gonna
shoot
me,
but
is
there
the
the
upper
portion
of
those
became
more
curtain?
Wall-Like
now
I
know
in
residential?
C
It's
it's
tough
to
do
that
window
wall,
but
I,
wonder
if
the
pr,
if
the
proportions
of
the
of
the
glazing
on
that
upper
the
upper
white
volume
that
pushes
back,
can
you
bring
up
those
press,
those
that
precise
plan
precedent
image
for
a
second
yeah?
So
if
you
see,
if
you
look
at
this
one
here,
right
yeah,
how
that
we
have
the
punch
windows,
but
that
upper
thing
that's
set
back,
has
has
more
glazing
now,
I
know
for
hotel
rooms
right.
We.
A
Yeah,
no
I
think
that's
a
great
idea.
Russ
I
was
actually
just
thinking
back
to
a
Downtown
hotel
project
that
we
we
ran
through
a
couple
years
ago
and
I
think
that's
one
of
the
things
that
they
did.
They
were.
They
were
key
locations
where,
where
the
the
window
proportions
increase
to
sort
of
set
off
different
different
masses
differently,
what
do
you?
What
would
you
think
is
it?
Is
it
just
the
top
level
or
is
that
something
that
would
make
sense.
C
B
E
A
How
I
guess,
maybe
a
tough
question
for
the
the
group?
How
how
does
how
does
this
conversation
pull
the
corners
into
the
the
smaller
side?
Elevations?
That's
that's.
The
one
thing
I've
been
struggling
with
the
most
in
in
reviewing
the
design
because
kind
of
similar
to
the
office
building
things
seem
to
get
kind
of
busier
and
the
the
the
strategy
I.
C
A
Of
the
things
I
did
want
to
highlight
here
is
like
another
opportunity.
We
talked
about
just
a
little
bit
earlier.
How
and
the
the
key
Corner
design
and
the
ground
plane
help
highlight
this,
but
we've
got
another.
Probably
pretty
active
entrance
area
with
your
sort
of
Port
could
share
it's.
It's
like
semi-open,
air
and
there's
a
there's.
I
feel
like
there's
an
opportunity
to
create
a
secondary
treatment
on
this
facade,
in
particular.
A
That
kind
of
relates
maybe
to
what
you're
doing
at
the
the
key
Corner
in
some
way
like
at
the
ground,
plane
or
like
in
the
same
way
that
you,
you
have
a
you,
have
a
you
know
that
that
covered
patio
area
or
that
patio.
A
We're
going
to
be
working
to
highlight
more
strongly
on
Ellis.
Like
you
know,
each
of
these
frontages
could
have
kind
of
like
the
key
pointer
and
then
another
another
area
that
that
sort
of
activates
and
enlivens
the
the
streetscape
and
it's
it
seems
like
on
National.
You
know
it
could
be
this.
This
secondary
kind
of
pedestrian
entry
area
that
you
have.
E
A
And
again
that
there's
something
you
could
do
in
the
in
the
landscape
too,
that
that
you
know
people
are
probably
gonna.
You
know
they've
been
going
there
to
getting
their
lifts.
You
know
drop
off
their
cars.
They
drive
here,
like
I.
Think
it's
going
to
be
a
pretty
active
area
with
people
moving
about.
D
Thing
that
kind
of
that
I
was
concerned
about
in
terms
of
how
that
drop-off
area
relates
to
the
lobby,
because
almost
everyone
is
going
to
go
to
that
drop-off
area.
E
D
You
still
feel
like
to
me
I
feel
like
I'm
going
through.
You
know
the
back
door,
but
that's
all
you
know
internal
design
and
things
to.
A
Guess
I
wonder:
is
there
a
way
to
kind
of
I?
Don't
stairs
are
not
my
my
expertise,
but
is
there
any
way
sort
of
the
the
the
stair
and
work
area
could
be
more
on
the
the
interior
Edge
and
we
could
pull
out
some
of
that,
like
movement
and
circulation
towards
the
front
wall
of
the
building,
so
kind
of
yeah
I'm.
B
B
Exactly
yeah,
it's
possible,
so
this
area
here
that
I
highlighted
is
probably
the
area
that
we've
worked
on
back
and
forth
the
most
trying
to
get
this
vehicle
circulation.
We
initially
had
two
curb
Cuts,
where
you
would
had
one
for
just
drop
off
and.
E
B
Going
back
and
forth
quite
a
bit,
but
we
had
to
limit
it
to
one
curb
cut,
so
we
kind
of
joined
them
together
and
then
this
whole
area
in
here
wants
to
be
a
really
special
drop-off
area.
It.
B
To
be,
you
know,
it
doesn't
want
to
look
or
feel
like
the
back
of
house
correct.
We
just
did
that
on
a
on
a
Downtown
hotel
down
here
that-
and
it
was
very
successful,
looks
really
nice,
but
you
know
we
do
it
with
with
special
Lighting
in
the
ceiling.
We
do
it
with
special
Paving.
We
do
it
with
there's
a
mural
on
this
particular
one
that
we
did
in
San,
Luis,
that
that
goes
on
the
wall
and
so
forth.
B
So
I
do
agree
that
that
the
interaction
between
it
and
the
street
can
be
improved
and.
E
B
We
were
to
flip,
it
I
mean
we
do
have
some
issues
with
egress
and
having
to
exit
you're
like
out
and
all
that
kind
of
stuff,
but
that
doesn't
mean
there's
there
aren't
other
options
we
that
are
there
possibilities.
We
can
look
into
so
we'll
look
at
that
this
area
here
for
sure,
because,
as
you
mentioned,
this
is
the
area
that
everyone's
going
to
use
the
bulk
of
the
time,
and
so
that's
why
we
did
put
reception
over
there.
B
A
And
yeah
so
I
think
there's
a
similar,
similar
statement
on
the
side
elevations
here
about
wanting
to
to
to
have
a
a
simpler
and
more
related
design
strategy
on
the
short,
the
short
elevations
that
that
feels
like
it.
It
works
with
with
what
you
have
going
on
the
longer
elevations
and.
D
A
I
have
a
couple
of
minor,
maybe
one
or
two
minor
questions
you
highlighted
the
mural
on
the
back
side
is:
is
the
intent
there
to
to
work
with
an
artist
and
have
it
be
in
sort
of
an
honest
to
goodness
mural
location,
like
sometimes
folks,
will
put
things
in
plans,
and
you
know
say
that
it's
a
mural,
but
it's
really
just
sort
of
you
know
they're
going
to
do
something
interesting
in
in
pattern
materials.
Can
you
tell
us
a
little
bit
more
about
what
the
intent
is
there.
B
No
I,
ideally,
we
would
like
to
work
with
an
artist
and
and
come
up
with
something
interesting
there.
That's
an
actual.
You
know
piece
of
public
art,
that's
more
so
than
just
you
know
like
some
different
textured
CMU
blocks
or
something
like
that.
That's
not
what
we
intend
in
there
we'd
like
to
create
some
type
of
a
piece
of
public
art.
Okay,.
A
And
out
of
curiosity,
just
because
on
at
least
a
lot
of
residential
projects,
we
get
questions
about.
You
know
for
our
decision
makers
and
Community
about
using
root
for
active,
open
space
and
such
is
there.
Is
there
any
potential
to
to
do
something
useful
on
the
rooftop
above
the
the
parking
area,
or
are
there
some
challenges
that
aren't
obvious?
There's.
B
A
lot
of
challenges
we
did
have,
we
had,
we
initially
proposed
it
for
an
outdoor
area
and
the
structural
engineer
and
the
contractor
came
back
and
threw
rocks
at
us
because
it's
a
parking
structure
with
a
non-load
bearing
roof
over
it.
If
we
added
you
know
like
massive
weight
on
top
of
it,
it
became
a
big
ordeal
and
then
we
were
possibly
looking
at.
B
Exactly
and
the
system's
not
designed
anywhere
near
that,
and
then
we
also
looked
at
it
in
terms
of
using
it
for
our
biofiltration
system
so
because
we
have
to
treat
the
roof
water
and
that
created
similar
issues.
So
what
we
ended
up
doing
was
we're
just
going
to
be
able
to
put
we'll
be
able
to
put
some
solar
on
it,
we'll
be
able
to
put
some
equipment
on
it,
but
that's
about
it
on
top
of
it,
and
then
this
is
way
more
in
the
weeds
than
we
need
to
get
for
this.
E
B
A
Oh
yeah,
so
yeah
I
think
the
other
thing
I
I
wanted
to
talk
about
just
to
to
highlight,
because
we
I
think
we
kind
of
glossed
over
it,
except
for
that
that
white
portion,
but
do
really
think
about
how
you
are
designing
and
using
the
shape
and
size
of
Windows
and
detailing
you
know,
giving
giving
treatment
to
those
windows
as
an
opportunity
to
add
sort
of
Shadow
and
texture
to
the
building
mess
and
in
a
way
that
complements
Building
architecture
and
I.
Think
everyone
knows
when
you
look
at
hotels.
E
A
See
it
and
a
lot
of
that
has
to
do
with
the
the
window
design,
and
you
explain
some
of
that
in
your
presentation
and
the-
why
of
it,
but
I'd
really
like
to
encourage
you
to
think
about
how
there
can
be
some
creativity
in
the
window
design
to
make
it
feel
a
little
bit
less
recognizable
hotel-like
in
in
that
way,
that
I
say
people
recognize,
but
it's
usually
not
recognizing
in
a
terribly
positive
manner.
So
that's
just
one
other
item.
A
We
don't
typically
tend
to
dive
in
deep,
deep
on
details
and
materials,
but
I
think
it's
important
for
this
type
of
project
to
touch
on
it,
at
least
briefly,
to
kind
of
set
the
page
for
a
little
later
conversation
and
then
again
to
highlight
that
I
think
in
both
buildings
we
spent
more
time
talking
about
it
on
the
office
building.
We
want
to
really
strongly
encourage
you
to
be
be
creative,
with
your
ideas
around
the
materials
to
to
Really.
A
You
know,
make
make
the
right
area
use
them
in
the
right
ways
to
make
the
areas
that
you
want
to
stand
out.
Stand
out.
I
think
at
this
stage,
we're
more
focused
on
the
the
massing
and
articulation
comments
that
we
provided
today,
but
I
think
everyone
and
Russell
Linda
correct
me.
If
I'm
wrong
wasn't,
wasn't
it
sort
of
inclined
to
think
that
the
the
metallic
trust
the
treatment
the
corner
was
was
maybe
going
to
be
enough
and
and
that
it
may
need
something
a
little
bit
more
different,
but.
C
You
know,
and
so
I
just
think
it's
that
next
level
of
push,
because
otherwise
it's
everything
else
is
just
past
him.
You.
E
B
C
E
C
B
B
I
mean
we,
we
bubble
diagram
stuff
out
all
the
time,
whether
it's
in
plan
or
whether
it's
in
elevation
or
whatever
it
happens,
to
be
just
circulation
and
just
getting
a
clear
concept
from
the
beginning
helps
inform
all
the
decisions
moving
forward.
So
I
think
we're
we're
timely,
we're
talking
the
same
language.
E
A
So
so
yeah
I
think
that
wraps
up,
you
know
the
the
main
things
that
we
wanted
to
chat
with
you
about
today,
and
you
know
I'll
just
close
just
as
a
as
a
Next,
Step
sort
of
recommendation.
This
is
something
we
recommend
with
almost
every
project
that
comes
through
is
that
you
know
we
are
happy
and
encourage
you
to
sort
of.
A
You
know
work
at
a
you
know,
a
more
schematic,
sketchy
level
with
studying
you
know,
revisions
and
and
collaborating
with
your
project
planner,
who
has
easy
access
to
me
on
on
working
revisions
and
and
find
that
that
sort
of
iteration
with
staff
is
is
really
beneficial
to
you
know
avoid
this
thing,
where
we
sort
of
end
up
trading
paper
and
and
sort
of
you're
you're
working
to
you
know,
revise
100
sheets
before
we,
you
know
we
feel
like
we're
all
on
the
same
page
as
far
as
the
the
revisions
heading
in
the
right
direction.
A
So
we
encourage
you
to
work
with
your
your
project
planner
in
that
manner.
A
A
Lot,
we're
gonna,
wrap
up
item
2.1
and
move
on
to
item
2.2,
which
is
returning
to
us
for
some
final
review.
This
is
oh
dear
I,
accidentally
clicked
on
the
link
hold
on
a
second.
This
is
a
request
for
two
personal
storage
buildings
at
1040,
Terra,
Bella,
Avenue,
I'm
gonna
just
again
take
a
moment
and
and
try
everyone's
Patience
by
doing
a
series
of
promotions
of
pertinent
staff
for
the
second
application,
so
bear
with
me.
A
A
Okay,
so
I
think
I
have
everyone
up.
It
looks
like
we
have
a
fairly
small
audience,
but
and
just
as
a
reminder
welcome
a
a
short
presentation
from
the
applicant
team.
Typically,
when
you
know
project
is
returning
to
DRC
the
most
beneficial
information
is
just
you
know,
highlighting
the
key,
the
key
things
that
have
been
addressed
since
you
were
last
that
you
last
joined
us
that
opened
up
for
any
public
comment.
We
have
and
then
bring
it
back
for
discussions
and
what
we
anticipate
will
be
final
recommendations.
A
So
you
know
Brian
and
Jonathan
and
Ellis.
Take
it
away.
F
So
hopefully
the
Wi-Fi
keeps
up
Jonathan's
running
the
running
the
PowerPoint,
just
in
case
just
a
just
a
little
bit
of
a
reminder
in
history.
Jonathan.
Can
you
go
into
presentation
mode?
It's
pretty
small.
When
it's
not
and
you
can
see
the
notes
is.
G
Is
it's
just
going
on
the
wrong
screen?
Give
me
one
second
here.
F
He's
doing
that
I'll
give
you
a
little
bit
of
background.
This
project
is
a
collaboration
with
Alta
housing,
where
we're
donating
land
to
all
to
housing,
to
increase
their
affordable
housing
bedroom
count
in
exchange
we're
re-entitling
our
site
to
densify
from
what
is
existing
drive
up
storage.
F
You
know
the
first
generation
product
that
is
a
bunch
of
garage
doors
all
next
to
each
other,
to
a
pair
of
buildings
Market
permitting
first,
one
I
am
very
confident
will
likely
be
built,
a
six-story
and
and
again
as
subject
to
market
conditions,
whether
or
not
four
story
will
be
built,
but
given
that
how
difficult
it
is
to
get
storage
in
this
market,
I
would
be
surprised
if
that
doesn't
get
built
as
well.
F
F
This
is,
hopefully,
you
know
one
of
the
one
of
the
last
ones
before
we
sail
off
to
our
Planning
Commission
hearing
and
city
council
engineering
early
next
year,
right
Edgar.
So
we
when
we
brought
this
to
both
Planning
Commission
and
city
council.
They
had
and
granted
I
know
that
this
doesn't
drive
this
body's
decision
making,
because
you
are,
you
know,
scrubbing
the
details
and
making
sure
that
the
General
Vision
of
what
it's
supposed
to
be
is
executed
properly,
but
both
through
Planning
Commission
and
city
council.
F
We
had
unanimous
support
for
the
architectural
design
almost
to
the
person.
They
were
shocked
that
a
storage
building
could
look
this
good
and
a
reminder.
This
is
a
storage
building,
not
an
office
building,
not
a
not
an
apartment,
complex,
not
a
not
a
Google
headquarters,
and
so
there's
been
a
great
deal
of
support
and
I
know
that
a
lot
of
the
comments
that
we've
seen
out
of
the
first
ERC
meeting
and
also
in
some
of
the
staff
comments,
are
really
getting
to
the
details.
F
F
F
Don't
see
it
but
that
oh
there
we
go
there,
we
go
so
and
then
this
is
the
reconfigured
site
where
we
give
a
half
an
acre
of
our
property.
We
also
give
all
to
housing
the
Terra
Bella
Frontage,
and
it
helps
our
buildings
help
to
be
a
buffer
between
the
freeway
and
the
overpass
and
Alta
housing's
property
and
as
a
reminder
as
we're
going
through
design.
F
We
do
have
an
overpass
that
covers
the
majority
of
the
site
and
gets
up
to
be.
You
know
two
and
a
half
stories
tall.
So
from
a
realistic
standpoint
when
you're
looking
straight
on
the
building
the
site,
the
the
elevation
view
will
never
happen
here,
just
because
there's
no
way
to
see
it
unless
we
have
flying
cars
some
days
and
we
remove
the
the
freeway.
F
But
if
you
go
to
the
next
slide,
I
think
that's
it
I
think
at
this
point
we
hand
it
over
to
to
Jonathan
in
a
second,
so
I
mentioned
some
of
this
two-phase
project.
The
building
on
the
left
is
phase.
One
building
in
the
right
is
phase
two
Total
Building
area,
just
over
400
000
square
feet
Heights.
F
For
these,
two
buildings
are
84
feet
for
the
six
story
and
63
feet
for
the
four
story,
and
the
far
is
just
under
two
and
a
half
which
is
the
city
limit
and,
as
I
already
mentioned,
it
provides
a
buffer
and
and
Etc
I'm
happy
to
answer
any
questions
about
the
operational
nature
of
the
of
the
facility.
If
that
helps
going
through.
G
Beautiful,
thank
you
Brian.
Thank
you,
everybody
for
welcoming
us
back
and
taking
a
look
at
the
changes
in
elevations
that
we've
done
here
today,
where
we
like
to
obviously
walk
away
from,
is
a
decision,
but
also
there's
some
very
kind
of
minor,
pointed
questions
and
comments
that
we
got
from
the
last
DRC
review
and
so
I'm
happy
to
go
through
and
do
the
presentation.
A
Looking
at
the
attendee
list,
I
suspect
we,
we
may
not
have
public
comment,
but
let's,
let's
run
through
the
presentation
and
then
ask
for
public
comment
and
then
we
can.
We
can
run
through
questions
and
so
forth.
Okay,.
G
G
Okay,
so
just
as
a
reminder
where
we
started
with
the
gatekeeper
application
is
the
elevation
on
top.
So
don't
worry,
we
didn't
go
back
to
that
design.
Just
as
a
reminder
here
is
where
we
were
with
the
latest
package
that
you
guys
have
seen
and
reviewed.
You
know
we
we
increased.
A
lot
of
the
glazing
gave
patterns
really
took
that
feedback
from
the
last
two
years
of
comments
on
on
elevations
and
have
really
come
a
long
ways
in
our
last
meeting.
G
It
was
great
to
hear
that
there
was
pretty
strong
support
here
and
just
some
things
we
could
actually
do
to
simplify
some
of
the
elevation
features
and
kind
of
make
it
a
little
more
holistic
overall.
G
So
looking
at
left
to
right,
this
was
the
last
ERC
review
and
elevations
that
we've
made
changes
to
you
know.
So
one
of
the
biggest
ideas
here
from
the
beginning
was
the
one
that's
more
into
the
parabola
neighborhood,
which
has
a
mixture
of
uses
and
different
character.
G
The
site
is
zoned
industrial,
but
the
building
definitely
appears
you
know
much
more
like
a
tech
building
than
a
self
storage
or
industrial
product
which
used
a
lot
of
different
materials
here
that
don't
clasp
but
kind
of
coordinate
with
each
other
and
and
we're
trying
to
actually
simplify
that
just
a
little
bit
here
and
had
some
good
comments
from
you
guys
last
meeting
so
looking
at
the
North
and
South
elevations
of
this
is
building
one.
G
We
had
kind
of
an
overarching
comment,
the
the
kind
of
simplify
things
as
well
as
make
a
little
more
symmetrical
and
trying
to
tie
all
the
elevations
and
materials
together
and
the
moves
that
we're
making,
which
I
thought
were
really
good,
so
happy
that
we're
going
that
direction.
One
was
you
know
the
base
of
the
building
where
we
have
the
split
face,
CMU
and,
and
it
seemed
to
be
a
little
bit
busy.
So
on
the
upper
left
here
in
the
north
elevation,
we
had
a
couple
of
bandings
and
then
breaks.
G
It
seemed
a
little
bit.
You
know
discombobulated
in
a
way,
so
we've
simplified
that
on
both
buildings,
all
elevations
to
a
more
solid
base,
because
we
still
have
these
vertical
elements
that
come
down
touch
the
ground
that
help
give
the
Rhythm
a
pattern.
So
it's
not
just
like
this
Podium
feel,
but
it
does
simplify
it
so
made
the
changes
to
that
that
CMU
to
ground
it
on
the
south
elevation.
One
of
the
comments
was,
you
know,
to
take
a
look
at
these
elements.
G
I'll
call
them
the
L
the
inverse
L
and
you
know,
there's
a
little
bit
a
differentiation
between
all
these
different
parapets,
and
maybe
we
could
simplify
that.
So
we
actually
pulled
them
to
the
stepping
of
the
building
to
the
masking
of
the
of
the
corners
or
a
vertical
element
and
try
to
make
them
more
symmetrical
as
well.
G
G
Looking
at
the
East
and
Western
elevations
of
that
same
building
number
one
again
simplified
the
CMU
split
face
base
of
the
building,
not
a
whole
lot
else
changed
on
the
Eastern
elevation,
but
we
did
receive
comments
on
the
western
which
faces
the
street
Frontage
there,
and
you
know
it
seemed
like
the
mural
was
a
little
bit
small
and
that
there
wasn't
this
kind
of
balance
on
either
side
of
the
mural.
G
So
we
made
that
change
extended
that
down
and
have
that
mirrored
and
made
that
mural,
larger
yeah
and
again
that
mural
oops.
That
mural
is
a
placeholder.
It's
not
what
we're
proposing
very
similar
nature.
G
What
we
talked
about
previously,
here's
the
perspective
of
that
design
from
the
overpass
to
101,
driving
Southeast
and
then
from
the
dead
end.
All
the
stack
here
from
Linda
Vista,
looking
at
the
main
corner
of
the
building,
would
be
the
northwest
corner
of
the
building.
G
This
is
building
number
two
fourth
story,
similar
comments
in
nature
here,
so
we
looked
at
you
know
simplifying
that
base
again,
and
one
of
the
other
overarching
mostly
just
for
this
building,
was
that
there
was
a
disk
connection
between
the
upper
glazing
and
where
our
loading,
Lobby
and
entry
doors
were,
and
so
we
shifted
those
on
that
North
elevation
to
be
in
line.
So
it's
gives
some
balance
to
those
facade
features.
It's
a
little
bit
misrepresented
in
a
flat
elevation
that
you
know
a
through
perspective
again.
G
I
won't
get
all
of
this
because
it
actually
is
a
you
know,
three-step
process
in
the
building,
but
when
you
look
at
overall,
you
kind
of
get
the
parts
and
pieces
put
together
and
it
feels
good
on
the
south
elevation
again
we
continued
the
inverted
L's
to
the
vertical
massing
elements
and
simplified
the
design
on
both
sides
so
that
it
was
balanced.
G
One
of
the
other
comments
was
there
seemed
to
be
a
little
disconnect
or
an
opportunity
myth.
We
have
a
horizontal
eyebrow
elements
on
the
corners
and
it
wasn't
necessarily
carrying
through
as
strongly
you
can
see
here
in
the
South
elevation.
Previously,
where
we
we
took
that
purple
banding
accent
from
the
corners
and
we
didn't
do
it
between
the
third
and
fourth
floor.
And
now
we
we
do
each
one
of
these
kind
of
horizontal
floor
elements.
G
We're
building
two
here,
the
East
and
West
elevations.
We
continue
that
purple
accent
around
the
corners
I
kind
of
tie
in
one
elevation
into
the
other,
as
well
as
tying
into
those
vertical
kind
of
main
masking
movements
on
the
facade,
and
we
shifted
some
of
the
glazing
as
well.
So
we
had
some
more
storefront
that
was
fandral
along
San
Rafael
and
it
wasn't
aligned
with
the
vertical
elements
above
and
so
we
shifted
that
to
be
more
in
line
and
balanced.
G
Do
the
perspective
from
the
end
of
that
called
effect
that
San
Rafael,
you
can
see
the
masking
of
the
new
housing
project
that
is
happening
next
door.
That
really
is
pretty
close
and
kind
of
covers
up
that
South
facade
and
then
just
the
touch
base
on
the
material
board.
I
know
you
guys
have
the
physical
material
board
was
made
available.
Hopefully,
we've
got
their
hands
on
that
and
gives
you
more
a
representation
on
the
true
colors
of
these
I
know.
G
Digital
material
boards
are
always
a
challenge
right,
because
everybody's
screen
is
different
and
even
Brian
was
poking
me
yesterday,
because
he's
like
is
that
pink
and
I'm
like
no
sir?
That's
your
standard
off
light
that
goes
with
the
gray
cool
color
scheme,
so
these
are
just
Representatives.
G
One
thing
that
did
change
is
we
took
away
those
extra
CMU
base
colors?
So
that's
the
only
changes
that
have
been
made
for
the
material
palette
I
wanted
to
address
the
screening
comments.
These
are
actually
these
rooftop
units
are
double
screens
in
a
way,
so
we
have
natural
screening,
which
is
why
I
put
the
stacks
in
this
on
here,
which
are
made
available
in
that
final
package
that
you
guys
have
quite
step
back
in
as
much
as
possible.
G
So
a
little
bit
hard
to
see
here,
but
for
these
blue
clouds
are
these
darker
spaces.
We
we're
grouping
MEP
equipment
on
the
rooftop
and
setting
them
from
the
parapet
as
far
as
possible.
Of
course,
at
this
point
in
the
design
we
haven't
fully
engineered
the
building
so
working
with
the
MEP.
They
give
us
some
preliminary
locations,
Max
height
of
the
units
themselves
and
we're
being
very
conservative.
G
So
in
these
we're
showing
six
foot
screens
around
those
mechanical
units
in
which
none
of
the
units
themselves
are
going
to
be
over
five
feet
and
they
might
actually
be
skorter,
so
this
is
kind
of
worst
case
scenario.
G
What
I
like
to
do
to
make
sure
that
you
know
our
parapet's
going
to
screen
it
from
you
know
every
angle
on
the
ground
them
being
set
back
so
far.
Really
you
do
not
see
them
from
the
ground
unless
you're
at
eye
level
with
the
parapet
which
they
stick
over
just
just
lightly.
In
all
honesty,
the.
G
Integral
to
the
building
as
well
in
the
design,
because
the
corrugated
panels
that
we're
proposing
to
clad
those
units
with
are
actually
going
to
be
similar
in
nature
to
the
facade
materials
that
you
see.
So
it's
not
formed
a
lot
of
times
in
these
buildings
when
they
do
a
metal
screen
on
the
roof.
It
doesn't
happen
anywhere
else
on
the
building,
but
we're
actually
utilizing
that
as
an
important
architectural
material
feature
on
the
facade
of
the
building,
so
they
really
stood.
G
You
know
blend
in
even
if,
when
you
could
see
it
in
taller
buildings
around
or
and
flying
cars,
like
Brian,
said
landscape
comments.
We
really
took
these
seriously.
G
We
decided
to
take
a
look
at
what
we
could
do
to
address
your
guys's
concern,
so
the
landscape
architect
reviewed
the
planting
list
and
spent
a
lot
of
time
making
sure
we
had
as
many
Native
species
as
possible
and
in
some
instances
you
know
we
got
kind
of
conflicting
comments
where
you
know
we
want
to
pack
on
as
many
trees
as
possible,
but
we
also
got
the
comments
and
make
sure
that
these
are
going
to
be
sustainable
over
the
years
right.
G
So
that
they
actually
don't
just
survive,
but
they
Thrive
and
provide
adequate
canopy,
and
we
heard
that
loud
and
clear
that
adequate,
canopy
and
maximizing
that
on
site
is
a
is
a
big
move.
G
The
nice
thing
about
this
site
and
the
way
that
it's
oriented
that
works
out
well
for
the
operation
is
that
all
this
parking
lot
is
actually
on
the
you
know,
north
side
of
the
building,
six
story,
building
and
then
next
door
being
a
four
story
that
we'll
see
next
really
is
going
to
give
natural
dating
to
this
area
and
really
it's
going
to
be
the
the
roof
and
the
facade
that
take
a
a
brunt
of
the
punishment,
and
you
know
having
white
TPO
roof
and
then,
of
course,
black
solar
panels,
which
we're
doing
on
purpose
to
gain
that
Sun's
Natural
Energy
is
really
going
to
be
where,
where
that
energy
is
focused
and
not
so
much
on
the
pavement
on
the
north
side
of
the
building.
G
But
that
being
said,
we
still
have
a
lot
of
trees
and
cover.
So
the
changes
between
the
two
you
guys
have
probably
seen
as
we
reduce
the
parking
stalls
that
still
work
with
the
operation.
Public
Storage,
is
still
fine,
with
the
number
that
we're
proposing
now
but
allowed
us
to
do
a
couple
things.
One
pulled
this
trash
enclosure
back,
so
we
can
naturally
green
it
a
little
bit
better.
So
it
took
away
the
parking
stalls
there
put
a
big
tree.
These
are
also
the
storm
water
treatment
areas
in
these
triangles.
G
The
site
is
pretty
limited
on
where
we
can
actually
treat
the
storm
water
and
the
landscape.
Architect
went
back
to
the
well
so
to
speak
and
figured
out
what
kind
of
tree
would
actually
survive
in
these
planting
areas.
So
we've
specified
a
species
here
that
can
actually
planted,
so
we
added
more
trees.
We
also
faced
some
out
as
well
as
adding
some
different
varieties.
G
Another
comment
was:
you
know,
trees
along
the
south
of
north
property
line.
We
were
staying
out
of
that.
There's
no
trees
there.
Now,
there's
no
plantings
at
all.
It's
just
kind
of
a
curb
that
goes
down
and
collects
run
off
water.
We
have
low
planting
and
then
we
added
trees.
They
is
far
enough
away
from
that
main
line.
It
is
still
in
the
the
easement
area,
but
we
can
get
some
smaller
rooted
trees
along
that
property
line.
So
added
a
bunch
there,
foreign.
G
So,
overall,
we
reduce
or
stalled
on
building
one
here
and
added
a
lot
of
degrees
screen
the
trash
enclosure,
and
we
think
overall,
this
works
pretty
well
for
building
two
similar
nature
added
trees
along
that
North
property
line.
I
took
advantage
of
any
of
these
landscape
areas
where
we
could
add
trees
and
get
more
canopy
area,
and
then
we
removed
all
of
the
parking
stalls
along
the
furthest
Eastern
side
of
this
building.
G
We
don't
have
a
lot
loading
lobbies
in
that
area,
so
it's
not
necessarily
as
useful
for
the
occupants
for
the
the
tenants
that
will
be
in
the
space.
So
we
added
more
trees
for
for
screening
and
I.
Think
that
was
successful.
We
pulled
the
gate
back
and
made
it
parallel
or
perpendicular
to
the
facade.
So
it's
off
of
the
frontage
a
little
bit
further.
As
you
can
see
in
the
renderings
that
we
provided
and
yeah,
we
just
spruced
it
up
a
little
bit
and
got
some
more
three
canopy
coverage.
A
G
A
So
I'll
just
briefly
turn
my
attention
to
our
attendee
list,
see
if
anyone
in
the
audience
today,
by
raising
your
hand,
has
any
comments
or
questions
to
share
with
the
DRC
and
seeing
No
Hands
raised
I'll
just
bring
it
back
quickly
to
DRC
for
questions
and
discussions,
so
yeah
I'll
kick
things
off,
I!
A
Think,
as
you
guys
highlighted
in
your
your
presentation,
we
had
last
time
around
some
some
pretty
specific
and
directed
areas
that
we
we
had
asked
for
you
to
make
some
refinements
in
the
design
building
off.
You
know
the
the
fine
start
that
you've
had
already
and
so
yeah
I
think.
As
far
as
building
comments
are
concerned
today,
it's
mostly
just
a
few
targeted
tweaks
for
the
the
improvements
that
you
did
make
and
you
know
again
I'll
highlight
that
you
know
we.
A
We
found
that
the
revisions
you
made
at
a
very
high
level
to
be
fairly
successful
in
addressing
our
our
prior
feedback
and
again
there
are
a
few
locations
that
we
want
to
talk
with
you,
a
few
locations
and
a
few
more
detailed
topics
that
we
want
to
speak
with
you
in
more
detail
about
today.
Okay,
just
quickly
with
a
couple
questions
that
are
more
site
in
landscape
focused
along
the
in
front
of
building
one
along
the
the
sound
wall
to
the
highway
is
the
the
identification
of
smaller
sized
trees
there.
A
Just
because
of
the
amount
of
the
planting
area
you
have
or
can
you
can
you
describe
a
little
bit
more
about
why
you
only
have
sort
of
much
smaller
canopy
trees
in
this
locations?.
A
Okay,
yeah
I
think
one
of
the
things
that
I
I'd
like
to
recommend
today
is
and
I
know.
You
probably
have
stretched
the
stretched,
your
landscape
architect
to
their
limits,
but
yeah
I
think
knowing
knowing
the
feedback
that
we
received
previously
and
and
that
you
were
able
to
sort
of
remove
more
spaces
over
at
building.
A
Two
I
I
would
encourage,
as
a
final
recommendation,
for
you
to
to
work
with
your
landscape
team
to
see,
if,
like
even
in
just
like
a
few,
a
few
appropriate
locations
along
that
stretch,
you
might
be
able
to
find
and
intersperse
a
tree.
That's
a
bit
taller
and
has
has
has
a
little
bit
more
height
than
the
I.
Think
it's
a
an
Ironwood
that
you're
you're
showing
there
and
you
know-
maybe
it's
something
that's
sort
of
spatially
can
correspond
to.
A
You-
know
points
where
you
don't
have
taller
trees
on
the
sort
of
more
on
the
building
side,
I
think
closest
to
Linda
Vista,
you
kind
of
have
it
covered,
but
there's
that
sort
of
stretch
and
the
sort
of
next
two-thirds
of
of
the
building,
which
I
think
would
be
a
recommended
area
of
focus.
A
The
other
question
I
have
is
you
know:
I
keep
I
keep
on
saying
that
tree
shown
in
a
Transformer
location,
and
my
my
experience
is
that
of
any
one,
PG
e
and
or
Transformer
stuff
tends
to
not
play
well
with
with
trees.
So
I
I
just
want
to
double
check
that
your
your
confident
that
that
tree
can
be
planted
there.
G
E
A
Okay,
because
yeah
I
think
it
would
be
a
it
would
be
a
loss
to
lose
that
tree
there.
You
know
the
last
question
I
have
and
you
know
how
how
wide
I
think
this
is
the
last
question:
how
wide
is
that
sidewalk
area
to
the
along
the
east,
the
Far
East
edge
of
building
one?
A
G
E
A
I
guess
I
I
well,
the
one
question
I
had
there
is
that,
like
it's,
the
it's
the
obvious
spot
and
and
maybe
a
specially
sort
of
more
on
the
North
Edge,
where
it's
like?
Oh
man,
it'd,
be
really
great
to
get
some
trees
in
there
and-
and
you
know,
I've
been
thinking
recently
about
how
lovely
the
trees
in
our
our
downtown
are
that
are
in
a
sort
of
a
really
Urban
kind
of
graded
conditions.
So
I
I
wondered
if
some
like
a
a
tree,
great
style
tree
planting,
might
be
an
option
there.
A
Kind
of
recognizing
that
this
particular
stretch
of
sidewalk
is
probably
not
going
to
be
the
the
stretch
where
people
are
pushing
large
carts
of
of
stuff.
Just
because
of
where
the
building
access
points
are,
and
so
that
might
be
another
kind
of
final
opportunity
to
to
get
a
a
tree
or
two,
and
we.
G
Can
definitely
look
at
that
and
really
the
only
reason
for
that
sidewalk
is
to
connect
The
Pedestrian
Frontage
to
that
back
exit
stair,
so
definitely
yeah.
A
And
I'm
not
suggesting
that
it
encumbered
the
entire
sidewalk,
but
that
you
know
in
a
night,
especially
if
you
have
nine
feet
it
and
you
do
something-
that's
more
of
an
Urban
Tree
great
that
that
could
be
another
opportunity.
Space,
good
and
I
think
I
think
those
were
most
of
my
tree
related
questions.
A
Yeah
a
minor
minor
thing
about
the
security
gate.
I,
definitely
appreciate
the
work
that
you've
done
said
to
inset.
It
I
think
they're,
I,
we're
probably
talking
about
a
matter
of
feet,
but
in
my
preference
on
the
building
to
side
would
be
just
to
make
sure
that
that
that
starting
point
for
that
that
security,
gate
and
fencing
isn't
forward
of
the
building
face,
and
it
looks
like
it
maybe
was
a
little
bit
closer
to
the
street
than
the
the
building
actually
now
that
I'm
thinking
about
it.
A
So
yeah
I
guess
I'm
I,
guess
I'm
I'm
it
I'm
asked
I'd:
ask
you
to
study
whether
it's
it's
feasible
to
inset
it
further
to
more
sort
of
appropriately
correspond
to
the
Building
architecture
and
and
ensure
that
the
you
know
the
building
is
the
thing
that
is
is
most
apparent
from
the
street
and
not
not
the
security
fence
and
gate.
A
Now
that
I'm
thinking
about
it
more.
If
it's
like
it's
even
a
little
bit
more
odd
for
that
to
kind
of
be
intersecting,
a
clear,
a
clear,
storefront
kind
of
condition
at
that
northeast
corner
of
building
two.
A
And
then
this
is
connected
to
a
pretty
standard
condition
of
approval
that
we
have,
but
very
very
often
we
end
up
in
this.
The
circumstance
and
I
think
it
was
something
that
was
brought
up
last
time
around.
Where
you
know
at
the
building
permit
stage,
we
find
that
you
know
we
might
have
been
overly
optimistic
at
planning
entitlements
about
like
where
utility
above
ground
utilities
are
located
and
where
water
lines
are
so
kind
of
building
on
the
city's
the
planning
standard
condition
requiring
landscape
screening
of
utilities.
A
I
would
just
like
to
re-emphasize
through
this.
You
know
design
recommendation
that
you
work
closely
with
planning
stuff
on
the
utility
layout
and
make
adjustments
as
needed
to
maximize
the
planting
area
and
screening
of
those
above
ground
equipment
locations
along
frontages,
because
we
we
often
find
that
the
clearances
and
other
things
and
other
like
standard
of
detail
related
requirements
make
it
really
really
hard
for
us
to
get
adequate
screening.
Screening
of
those
utilities
so
want
to
make
sure
it
stays
on
your
radar.
A
Because
I
don't
want
sort
of
the
potential
issue
to
come
out
of
nowhere,
I'm
just
noting
one
last
question,
and
then
we
can
quickly
dive
into
the
building
things.
We
know.
You're
gonna
have
a
temporary
office
location
during
it.
It's
principally
just
for
during
building
one
construction,
correct,
correct
and
I
know
that
staff
previously
had
sort
of
raised
this
question
of
of
what
you
could
do
to
incorporate
San
Rafael
Frontage
planting
into
the
first
phase
of
construction.
A
Both
to
you
know,
improve
the
condition
around
the
temporary
office
trailer,
but
also
you
know,
with
uncertainty
around
the
the
timing
of
building
two
and
and
the
desire
to
have
a
more
polished
streetscape
next
to
the
Alta
project,
wanted
to
know
more
about
what
what
you
see
as
sort
of
challenges
to
being
able
to
to
do.
Frontage
planting
alongside
bail
in
phase
one
yeah.
G
So
and
where
we
have
building
two
here,
this
is
obviously
the
phase
two
side
of
the
site:
ultimate
development
right,
as
we
all
know,
during
during
phase
one
construction,
that
will
be
a
temporary
location
and
will
go
away
quite
quickly
and
nothing
else
on
the
site
is
changing
at
that
point.
G
So
I
mean
it's
no,
you
know
grading
and
utilities,
and-
and
all
of
that
will
not
have
taken
place
yet
and
working
with
the
landscape,
architect
and
the
civil
engineer
and
seeing
what
those
current
you
know
grades
are
we
don't
know
where
that's
going
to
land
at
this
point,
but
we
do
know
that
there
is
going
to
have
to
be
a
change
that
happens
during
construction
of
phase
two,
which
would
pretty
much
mean
we'd
have
to
redo
the
frontage
on
phase
two
side
of
the
site
as
soon
as
we
actually
went
into
construction
on
that
side
of
the
site,
so
it
seemed
like
kind
of
a
defeated
to
make
Street
advantages
on
the
opposite
side
of
the
site
that
we're
actually
doing
for
phase
one
and
then
have
to
redo
it
again
in
the
future.
G
Future
grading
impact
to
the
ground
around
it
right,
so
your
root
ball
is
trying
to
double
the
the
diameter
of
the
tree
canopy
and
that's
going
to
be
interrupted
and
pretty
much
kill
those
trees
off
during
phase
two,
a
very
difficult
thing
to
do,
and
so
you
know
leaving
that
side
effect,
as
is
the
center
of
the
planet.
At
this
point,.
F
Hey
Jonathan,
I
think
there's
a
site
plan
that
shows
phase
two
when
it's
not
done
somewhere
in
this.
F
You
can
see
you
can
you
go
back
to
that,
one?
Okay,
the
the
the
Reese
there
we
go
so
a
lot
of
these
buildings
are
going
to
have
to
be
cut
back
when
we,
in
order
for
all
to
housing,
to
even
have
a
project
right.
So
we
have
to.
We
have
to
demo
a
series
of
our
buildings.
F
We
also
have
to
demo
it
all
to
housing
house,
and
then
we
record
a
lot
line,
adjustments
that
provides
the
ultimate
blue
rectangle
to
all
to
housing,
and
so
we're
gonna
be
tearing
that
back.
But
we
we're
not
tearing
farther
back
because
that
would
require
demolishing
buildings
that
may
never
go
away.
E
F
E
F
You're,
looking
at
what
you're
looking
at
and
we're
not
tearing
more
down
than
we
are
required
to
to
transfer
the
land
to
Alta
housing.
A
Yeah
no,
like
I,
said
we're
not
suggesting
that
you,
you
know,
I
haven't
been
suggesting
we're,
not
we're
not
talking
about
sort
of
the
balance
of
this
area.
You
know
here
really
what
we're
what
we
were
talking
about
in
that
staff
generated
comment.
Is
you
know,
recognition
that
you
know
this
is
this?
A
Is
ballparking
somewhere
around
here
you're
putting
a
temporary
trailer
for
you,
know
an
office
and
so
there's
an
area
of
the
face
to
site
that
isn't
sort
of
encumbered
by
your
your
continued
operations
there,
while
phase
one
is
under
construction
and
in
operation,
and
so
you
know
that
and,
and
so
with
you
know,
access
coming
in
here
per
plan.
You
know
the
the
thought
was
was
really
just
you
know,
wow
this.
A
This
area
kind
of,
like
would
finish
the
frontage
along
amongst
San
Rafael,
and
you
know,
have
a
have
something
attractive
for
for
for
finishing
off,
like
literally
that
very
front
portion
between
where
you're,
showing
your
temporary
office,
trailer
and
and
the
San
Rafael,
Frontage
and,
and
our
hope
that
there
might
be
sort
of
you
know
creative
opportunity
to
to
to
get
Landscaping
in
early
there.
A
For
for
all
of
those
reasons,
I
stated
earlier,
both
you
know
the
temporary
operations,
the
adjacent
development
of
the
Alta
property
and
those
sort
of
the
uncertainty
around
you
know,
phase
two
happening
or,
or
you
know
happening
early
so
yeah.
It
wasn't
meant,
as
you
know,
something
that
you'd
have
to
seed
through
the
entirety
of
the
phase
through
two.
It
was
really
really
focused
on
that
that
Frontage
area
right
along
right,
alongside
Rafael.
F
So
I
just
want
to
make
sure
I'm
following
you.
You
want
us
to
improve,
as
the
landscape
plan
in
this
package
represents
or
you're
just
requesting
an
interim
condition
that
that
softens
The
Edge
there
well.
A
So
so
yeah
I
think
if
we
were
able
to
get
something
close
like
even
just
the
tree
plantings
along
that
Frontage
like
that
would
be
the
ideal
scenario,
but
but
yeah
the
fallback
would
be
thinking
about
what
what
what
interim
Landscaping
could
be
accomplished
to
to
make
it
nicer
along
that
Frontage
and
sort
of
feel
more
cohesive.
With
with
what
Alta
will
be
constructing
more
on
a
you
know,
on
a
building
one
timeline
or
hopes
to
be
constructing
out
of
building
one
timeline
so
that
we
have.
A
We
have
a
nice
face
to
the
street
sort
of
throughout
throughout
the
project
timeline.
F
A
F
E
A
Yeah-
and
you
know,
as
soon
as
someone
comes
in
with
an
application,
we'd
be
having
a
very,
very
same
conversation
with
them,
so
you
know
it
the
the
final
recommendation
from
this
body
is,
you
know
in
in
view
of
what
we
know
about
sort
of
the
Alta
project
in
your
project
and
the
timing
is
that
you
know
if
it
is
possible.
A
We
would
like
to
to
see
the
face
to
again
it's
just
the
frontage
planting
incorporated
into
the
The
Phase
One
Construction
timeline,
but
barring
that
we
are
recommending
that
you
work
with
with
staff
on
on
interim
planting
along
that
Frontage
based
on
you
know,
the
temporary
office
trailer,
that
is,
is
there
and
and
connected
to
the
adjacent
development
so
that
on
half
of
San
Rafael
we
have
an
attractive,
streetscape
environment.
A
For
you
know,
visitors
to
your
site,
you
know,
customers
to
your
site,
and
you
know
visitors
and
residents
of
the
Alta
project
immediately
next
to
you,
yeah.
F
Well,
we
won't,
we
won't
have
any
customers
entering
from
that
site
and
we'll
our
building
will
be
done
before
all
to
housing
is
likely
and
the
the
main
office
for
the
overall
facility,
whether
it's
only
phase
one
is
done
or
phase.
One
and
phase
two
are
done
is
in
the
phase
one
building,
so
that
temporary,
that
temporary
trailer
is
is
quite
literally
in
interim
condition,
because
we
have
to
tear
down
our
office
for
this
facility
in
order
to
deliver
land
to
all
to
housing,
understood.
G
A
Yeah
yeah
I
know
and
when
I,
when
I
refer
to
that
I'm
talking
about
the
plantings
and
not
not
all
the
sidewalks,
that's
a
that's!
A
public
works
once
you
get
into
the
sidewalk
Zone,
that's
a
that's!
A
public
works
sort
of
area
like
I,
I,
I'm
I'm,
merely
referring
to
the
The
Retreat
kind
of
things,
ideally
something
underneath
the.
G
Trees,
yeah
and
so
the
tree
plant.
That's
another
reason,
but
you
know
the
location
of
them
to
the
street.
Frontage
now
is
not
going
to
be
conducive,
it's
not
in
the
same
location
right.
It
has
the
ultimate
build
out,
so
they
would
be
somewhere
off
of
that
sidewalk
area
and
that
sidewalk
could
kind
of
go
right
where
the
the
proposed
trees
are
so
it
would
have
to
be.
It
would
be
an
interim
solution
of
some
plantings
there
that
would
not
to
be
removed
or
relocated
if
possible.
If
phase
two
would
move
forward.
A
And
then
you
know
on
the
building
design.
I
think
we
just
had
a
few
key
key
locations
that
we
wanted
to
discuss
with
you.
Could
you
bring
up
the
building
to
South
elevation
I
think
is
the
probably
the
the
best
place
to
to
talk
about
it.
A
So,
okay,
yeah
Linda,
Russ
I,
don't
I,
don't
know
if
you
want
to
sort
of
lead
the
way
on
this
since
I've
been
monologuing
on
some
of
our
site
notes
but
and
I
think
at
a
very
high
high
level
like
I,
like
I,
led
with
you
know,
we
were.
We
were
pleased
to
see
the
progress
that
that
you
all
made
in
refining
the
designs.
A
I
think
that
the
few
areas
we
want
to
talk
to
you
about
in
in
the
facades.
This
is
the
South
elevation
of
building
two
is
probably
the
biggest
one
is
just
noting
that
the
kind
of
like
the
proportions
are
a
little
a
little
awkward
around.
The
the
inverted
L
I
think,
is
what
what
you
called
them
features
where
it
seemed
to
us
that
there
there
are
ways
to
kind
of
Rectify
this
a
little
bit
more
to
to
give
a
more
proportional
treatment.
So
you
know
that.
D
I
can
go
ahead.
Just
I
would
preface
that
by
saying
we
really
appreciated
how
you
responded
to
our
comments
and
and
that
you've
done
a
lot
of
good
work
on
really
making
these
buildings
really
come
together
and
and
they're.
You
know
aligning
elements
and
centering
doors.
That
type
of
thing
has
made
a
big
difference
in
how
it
looks.
So.
Thank
you
very
much
for
doing
all
that.
D
The
comment
on
the
south
elevation
is
that
that
we
were
thinking
those
inverted
L's
if
they
were
pushed
further
apart,
so
that
that
that
that
middle
piece
that
has
the
the
seven
on
it
were,
was
a
little
wider
and
not
really
changed
anything
else,
but
just
push
those
L's
a
little
further.
Apart
that
we
thought,
then
you
would
get
a
nicer
Rhythm
of
the
of
the
facade.
G
C
G
A
Significant
yeah
was
we
had
like
a
little
bit
of
back
and
forth
on,
like
this
kind
of,
like
double,
reveal
panel
being
a
little
bit
atypical
like
at
the
corner.
It's
usually
like
either
a
single
one
or
you
get
a
single,
and
then
you
get
like
one
of
those
like
narrower
Gray.
A
G
Yeah
so
I
think
we'll
take
that
opportunity
and
that
feedback
that
this
pause
space
would
really
benefit
and
the
kind
of
kind
of
levered
l-scape
feeling
a
little
bit
longer
and
in
proportion
here
we
do
skinny
it
up.
So
it
doesn't
quite
feel
that
way,
but
in
elevation
here
I
definitely
understand
what
you're
saying
and
we
would
take
that
opportunity
and
I
think
I'd
reduce
death
and
do
something
more
along
the
lines
of
what
happens
like
here.
Right.
A
Yeah-
and
you
know
we
kind
of
went
back
and
forth
on
a
similar
topic
on
building
building
one.
It's
I
think
less
of
an
issue
there,
because
you
have
a
few
sort
of
a
more
regular
pattern
of
other
elements.
You
know,
I.
A
Think
Russ
was
commenting
that
you
know
the
proportion
I'm
building
one
when
you
carry
it
down
to
ground
level,
it
kind
of
has
kind
of
a
square,
a
square
proportion
which
which
works
so
I
think
all
things
being
equal
in
the
end
we're
comfortable
with
with
building
one
as
it
stands.
But
you
know
if
you
want
to
take
a
final
look
at
that
and
and
see
if
there
are
any
final
tweaks
you'd
make
there.
We
we
sort
of
we'll
give
you
this
question
to
do
that.
G
That
sounds
good
and
the
funny
thing
is
you,
you
look
at
these
and
you
don't
really
think
about
it,
but
one's
a
six
story,
one's
a
four
story,
so
the
proportions
of
the
rectangle
of
the
square
change
dramatically
so
trying
to
keep
the
similar
elements
and
not
notice.
It
is
that's
kind
of
the
key
right.
Yes,.
A
Right
yeah,
we
had
a
couple
a
couple:
minor,
color
material
things
and
again
recognizing
that
the
electronic
color
board
is
is
always
a
challenge.
A
Our
our
observation
on
the
purple
which
I
don't
know
if
it
was
part
of
the
proposal
last
time
and
we
just
didn't
notice
because
we
were
focused
on
other
things
or
or
not,
I-
think
the
the
sentiment
of
us
all
is
that
the
purple,
maybe
is
a
little
bit
too
too
light
that
it
wants
to
be
a
sort
of
a
darker
version
of
itself.
A
I
think
it's
a
combination
of
darker
appearance
and
also
saturation.
It
ends
up.
It
ended
up
feeling
a
bit
I
think
almost
too
pastel,
particularly
next
to
the
orange
I'm,
not
suggesting
you
go
with
Ravens
purple,
despite
the
fact
that
I
am
from
Baltimore.
F
E
F
Whoever
yeah
exactly
whoever
contemplated
that
was
thought,
it
was
looked
like
the
sunset.
F
F
I
think
Jonathan
mentioned
that
in
his
in
his
presentation
that
I
was
giving
him
a
hard
time
yesterday,
because
I
thought
that
the
tan
looked
pink
yeah
and
that's.
Why
that's
why
you
all
have
a
should
have
a
material
board?
Well,
you
know
so
you're
actually
seeing
the
the
color
swatch
yeah.
A
Even
even
then
yeah
seeing
it
seeing
it
in
natural
light
and
on
you
know,
the
actual
material
it's
going
to
be
on
and
it's
something
a
little
bit
bigger
than
like
two
inches
by
two
inches.
You
get
a
a
much
more
true
sense
of
the
the
color,
so
I
think
what
we'll
do
with
that
is.
You
know
again
our
from
an
overall
composition.
Standpoint.
I,
understand
that
you
know
this
is
a
public
storage
color.
A
A
G
Yeah
I
was
going
to
say
the
same
thing,
so
the
reason
that
second
accent
color
came
up
was
you
know,
previous
conversations
with
I
can't
remember
the
name
of
that
The
Advisory
board
that
wanted
to
see
something
there,
but
I
think
it
would
be
wonderful
and
excuse
me
if
I'm
I'm,
wrong
or
correct
me,
but
if
there
was
a
recommendation
that
the
purple
went
to
a
more
neutral,
color
darker
band
of
the
gray
that
goes
in
that
cool
gray,
color,
family
I
think
we'd
all
be
happier.
A
A
Yeah,
a
minor,
no
I
know
it's
it's.
It
tends
to
be
standard,
but
I
do
want
to
make
sure
that
the
the
opaque
spandrel
application
occurs.
On
the
you
know,
the
back
face
of
a
window
systems
there
I
I've,
been
surprised
on
a
couple
of
occasions
to
see
it
on
like
phase
two
or
something
like
that
for
for
a
adult
band
window
system
and-
and
we
want
it
as
recessed
as
possible
in
the
in
the
system
yeah.
A
The
last
topic
we
had
for
you
today
is
is
the
rooftop
screening
and
what
what
staff
I
think
observed
and
the
plans
is
that
this,
the
structures
of
your
solar
system
look
like
they
may
exceed
the
the
the
lowest
parapet.
Heights
that
you
have
in
the
project.
Is
that
something
that
you,
you
can
verify
off
hand?
Sorry.
A
Yeah,
you
have
a
solar
solar
panel
areas
on
on
the
roofs
of
these
these
buildings,
and
you
know,
there's
a
structure
typically
associated
with
with
those
panels.
Yeah
that
looked
like
it
was
taller
than
the
the
parapets.
G
No,
those
would
definitely
be
lower
than
any
row
screening
that
we
have
here
the
antenna
not
to
be
stick
above
the
parapet.
I.
Remember
we
just
that
permit
on
another
project
and
I
think
those
are
the
low
base
stand
up
right
just
to
get
over
the
slope
and
get
you
enough
angle
for
those
panels.
So
we
have
pretty
tall
pair
of
pitch
here
and
those
you
know,
I
had
two
elevates
can
be
covered
cover
the
solar
panel
system,
all.
A
A
The
the
background
for
this
is
our
code
is,
is
pretty
straightforward
and
says
that
you
know
that
you
know
in
the
in
new
buildings
in
particular,
there
needs
to
be
mechanical
and
mechanical
equipment
screen
of
all
rooftop
equipment,
so
Ergo
the
check
on
the
solar
structure
and
and
and
B
when
we
have
new
construction.
A
The
idea
is
that
it,
it
sort
of
that's
the
opportunity
to
create
a
mechanical
screen
that
that
covers
covers
everything
needed
in
the
simplest,
most
architecturally
compatible
way,
and
so
it's
atypical
that
we
see
or
prove
these
areas
where
you've
got
these
little
PODS
of
mechanical
screens
scattered
around
a
rooftop
in
in
a
new
construction
project.
So.
F
F
We
cool
at
85
degrees
and
we
Heat
at
55.
So
we
don't
have
a
gigantic
load
for
equipment
right.
We
also
spread
them
out
so
that
they
can
go
down
to
the
variable.
F
The
VAV
units
below,
as
opposed
to
you,
know,
a
big
office
building
you'd
have
one
or
two
or
three
box
cars
up
there
and
then
Consolidated
in
the
middle
we've
also
spread
them
out
so
that
we
can
fit
solar.
F
If
you
and
we've
tried
to
push
them
back
from
the
parapet,
Edge
so
that
you
really
don't
see
them,
we've
got
roof
screening
that
is
substantially
matching
the
building
itself
from
a
from
a
color
scheme
standpoint,
but
at
the
same
time
not
pushing
them
back
so
far
that
we
can't
put
solar
in
because
I
think
solar
is
important
for
for
everybody,
not
you
know
for
some
design
on
something
that
I
I,
don't
you
know
short
of
another
Tower
right
next
door
that
no
one's
going
to
see
these
these
screens,
especially
from
the
freeway
Edge.
F
So
that's
why
they're.
A
Located
I
I,
never
I,
I,
I,
I,
I.
Think
I.
Understand
your
your
rationale
for
for
how
you've
laid
it
out,
I
I
would
encourage,
never
say
the
words
never
gonna
see
because
every
time
I've
I've
assumed
that
or
said
that
I've
been
proven
wrong
when
a
Project's
been
built,
but
the
so.
A
The
key
thing
is
making
sure
that
the
key
thing
was
really
to
verify
that
your
solar
installation,
which
is
you
know
the
the
largest
component
of
what
you're
showing
in
your
roof
plan,
is
not
going
to
exceed
the
height
of
the
lowest
point
of
any
pair
pit
on
this.
This
building
and
I
I
I
will
ask
Adam.
A
You
are
to
just
make
sure
that
that's
sort
of
reflected
in
in
our
design
conditions
so
that
you
know
any
final
design
that
comes
forward
because
I
we
often
found
that
there's,
there's
change
from
entitlement
assumptions
to
actual
rollout
of
solar
installs
is
consistent
with
that
and
and
along
with
that,
we'll
just
continue
to
say
that,
as
you
finalize,
your
your
mechanical
equipment
layout
to
you
know,
encourage
the
lowest
possible
types
that
you
can
manage
and
that
equipment-
and
you
know,
inset
as
much
as
possible
from
any
adjacent
parapet
while
providing
for
the
the
solar
locations
you've
identified.
A
G
Absolutely
I
think
all
that
that
makes
a
lot
of
sense,
no
issues
there.
We
don't
want
to
see
it
either
right,
yeah.
A
So
you
know
this
is
this
is
something
that
is
different
than
what
we
typically
require
and
recommend,
but
yeah
I
understand
Brian
that
that
your
strategy
for
for
heating
and
cooling
these
buildings
is
different
than
than
other
commercial
industrial
buildings
that
we
see
and
I'm
sort
of
willing
to
have
staff
work
with
you
on
that
within
within
the
the
conditions
that
I
that
I
just
spoke
through
so
I
mean
I.
Think
that
really
just
wraps
it
up
yeah
again,
thank
you
for
the
work
you've
done
on
this.
A
This
building
you've
been
responses
responsive
at
at
every
step.
So
you
know
we.
We
appreciate
that
and,
and
wish
you
well
in
in
making
these
final
modifications.
I
will
just
say:
I
think
you
do
have
a
little
bit
of
time
before
your
public
hearings.
So
if
you
can
pick
up
some
of
these,
particularly
the
elevational
changes
and
Landscape
changes
ahead
of
ahead
of
the
public
hearings,
I
think
it'll
be
beneficial.
A
Just
so,
you
know,
folks
can
see
something
that
that
resembles
what
we
anticipate
the
final
product
being
and
and
in
recognition
of
the
fact
that
you
know,
trees
and
Landscape
has
been
a
high
priority
topic
from
our
decision
makers.
So
you
can,
you
can
work
actively
with
with
Edgar
on
those.
After
this
meeting.