►
From YouTube: Historic Site Preservation Board | February 13, 2018
Description
No description was provided for this meeting.
If this is YOUR meeting, an easy way to fix this is to add a description to your video, wherever mtngs.io found it (probably YouTube).
A
B
A
A
B
A
B
Chair
as
I
did
mention
to
you
earlier
vice
our
council
member
jr.
Roberts
will
be
joining
us
today
to
talk
about
the
Cordelia
white
house
and
if
we
could
ask
when
we
reach
a
moment
where
he
can
step
in
and
we'll
do
the
coordinating
White
House,
because
he
has
a
short
time
frame
with
us.
So
as
you
see
him,
and
we
reach
a
close
of
a
certain
item,
we'll
bring
him
up.
If
that's
all
right,
all.
A
You,
who
is
this
Linda
and
bill
I
already.
Thank
you
very
much.
The
following
time
has
been
set
aside
for
public
comment.
If
there
is
anyone
in
the
audience
today
that
would
like
to
address
the
board
now
would
be
an
excellent
time
to
do
that.
You'll
have
three
minutes
to
speak
to
the
board.
We
have
two
public
hearings
this
morning
on
the
agenda:
an
application
by
mark
and
Jane
garrison
and
an
amendment
to
the
class
1
historic
site,
designation
of
the
oasis
hotel.
A
A
Right
very
good,
all
right,
so
we'll
move
on
to
our
item
number
two
on
the
agenda.
It's
the
public
hearing.
This
is
public
hearing
to
a
this
is
an
application
by
mark
and
jane
garrison
owners
for
class
1
historic
site,
designation
of
the
William
Holden
residence
located
at
1323
South
driftwood
Drive.
This
is
HS
PB
number
110
can
Lions
staff
report.
Please
Thank.
B
You
mr.
chair
mm-hmm,
as
noted
in
your
staff
report,
this
is
a
incredible
post-and-beam
style
home
that
was
built
in
1955
for
the
family
of
George
F
Barrett.
The
whole
person
with
significance
that
is
associated
with
the
home,
however,
is
actor.
William,
Holden
and
thus
the
home
is
referred
to
in
our
staff
report
and
for
the
purposes
of
this
designation
as
the
Wilda
Moulton
residence.
B
The
applicant
has
brought
forward
this
application
and
the
historic
resources
report
which
was
provided
to
you
earlier,
was
prepared
for
the
homeowners
by
the
Palm
Springs
Preservation
Foundation,
the
home,
as
you
had
seen
on
the
tour
of
it
earlier
this
month,
is
quite
extraordinary.
When
you
look
at
many
of
the
other
mid-century
homes
that
we
have
in
Palm
Springs.
This
is
obviously
not
a
typical
tract
house.
This
was
a
custom-built
home
and
was
a
very
large
home
with
a
number
of
wings
and
a
lot
of
distinctive
separation
of
the
various
spaces
within
the
home.
B
As
noted
in
the
staff
report
and
in
the
historic
resources
report,
this
home
is
significant
in
that
it
reflects
a
particular
period
in
Palm,
Springs
history,
that
being
the
mid
century
period,
when
many
of
our
most
notable
structures
really
were
brought
into
focus,
and
this
home
stands
as
an
exemplary
example
of
that.
As
noted
on
page
four
of
your
staff
report,
the
hope
is
also
associated
with
persons
of
significance
that
being
after
William
Holden
holding
owned
the
home
for
about
ten
years,
and
the
significance
of
course,
is
well
noted
for
his
acting
career.
B
The
home
was
built
by
a
local
contractor
named
Joseph,
Pauling
and
Joseph.
Pauling
is
noteworthy
because
he's
built
many
other
significant
homes
in
Palm
Springs,
including
the
William
Burgess
residents
on
Palisades
Drive,
and
a
couple
of
notable
custom
homes
designed
by
Wexler
and
Harrison
on
Lilliana
Drive
in
the
Mesa
tract.
He
was
also
noted
in
this
historic
resource
report
for
having
created
what
he
had
dubbed
the
house
of
tomorrow.
That's
not
to
be
mistaken,
of
course,
with
the
Alexander's
house
of
tomorrow.
That
is
still
standing.
B
When
you
look
at
the
house
in
its
current
condition
and
I,
would
reference
you
to
page
four
and
work
excuse-me.
Seventh,
thank
you
of
the
of
the
staff
report.
The
home
has
undergone
a
significant
number
of
changes.
There
have
been
removal
of
sliding
glass
doors
replacement
with
the
pivoting
glass
doors
that
you
saw
on
the
tour
wood
front.
B
Photos
comparing
before
and
after
the
home
does
still
retain
a
high
degree
of
integrity,
though
in
terms
of
its
expression
of
an
unusually
beautiful
and
rambling
version
of
a
post-and-beam
home.
Of
course,
its
association
with
William
Holden
remains,
and
so
the
recommendation
on
your
staff
report
is
that
this
home
does
have
the
characteristics
that
make
it
eligible
as
a
as
to
being
defined
as
a
historic
structure
in
Palm
Springs.
On
page
10
of
your
staff
report
we
have
listed.
B
All
excuse
me
on
page
9
and
10
are
the
defining
historic
characteristics
and
then
we've
also
identified
those
items
that
have
been
added
or
changed
since
the
home
was
originally
built,
which
we
believe
do
not
represent
contributing
features
to
the
home,
and
that
concludes
my
staff
report.
Again.
This
is
a
recommendation
to
the
City
Council
for
class
1
historic
site,
designation
of
the
home
I'm
available
to
answer
any
questions
you
may
have,
and
the
applicant
is
also
in
the
audience.
Thank
you
all.
D
D
B
A
B
A
B
B
This
again
are
images
of
the
current
condition
here
some
of
the
details
in
the
glazing.
This
is
the
back
patio
area
between
the
home
and
the
casita.
That's
the
Western
review
again.
This
is
this
captures
I
think
in
a
dramatic
way
what
you're,
seeing
in
terms
of
the
setting
of
this
home?
It's
it's
truly
extraordinary.
B
A
C
Morning,
Jane
garrison,
my
husband
and
I-
are
the
owners
of
this
incredible
home
and
land
just
want
to
clarify
a
few
things.
The
pool
is
original,
which
I'm
incredibly
grateful
that
the
previous
owner,
who
did
do
the
remodeling,
did
keep
the
original
pool.
That's
nice
and
deep
I
think
it's
was
really
noted,
very
well
by
staff
that
our
desire
is
to
and
and
for
Todd
bringing
this
up.
C
One
is
there's
a
lot
of
confusion
in
town
when
we
say
we
own
the
William,
Holden
residence
or
house,
because
there's
two
so
I
don't
know
if
it's
possible,
but
it
Realtors
and
the
public
for
many
years
have
referred
to
this
house
as
the
William
Holden
estate
and
the
one
on
south
ridge
as
a
William,
Holden
house
or
residence.
C
So
it
would
be
nice
just
for
clarification
for
the
public
if
we
could
call
this
one,
the
William
Holden
estate,
just
to
make
it
a
little
easier
and
the
last
thing
is
I
was
I
was
sitting
and
I
was
thinking
about
this
last
night
about
as
preservationist
about
mid-century
architecture
and
other
architecture
in
homes,
and
we
always
look
at
what
a
house
was
and
what
it
is
today
and
I.
Do
that
myself,
I!
Look
at
so
many
I
go
back
and
I.
Look
at
that.
C
So
it
is
important
to
look
at
what
it
was,
what
it
is,
but
I
think
it's
also
important
what
it's
going
to
be
in
the
future.
So
we
are
very
much
in
support
of
this
and
incredibly
grateful
for
the
job
that
the
Palm
Springs
peasant,
Preservation
Foundation,
did
in
researching
the
home
and
they
certainly
know
a
lot
more
about
the
home
than
we
do
since
we're
new
owners.
So
I
know
that
they're
here
and
they
probably
answer
any
questions.
Anyone
has,
but
thank
you
all
so
much
for
this
consideration.
C
A
You
Jane
Ken
before
I
call
up
a
speaker.
Jane
just
said
that
the
swimming
pool
is
original,
but
we
have
it
listed
under
non-contributing
features
that.
B
A
F
F
I,
as
I
recall,
the
the
pool
is
identified
as
one
of
the
objects
in
the
nomination
as
a
contributing
item,
so
I
think
the
nomination
and
and
just
before
we
move
off
of
the
designation
of
the
site.
I
know
that
it's
a
good
point
that
we
shouldn't,
of
course
had
the
HSP
be
recommendation
to
that
effect.
But
of
course
it
falls
on
staff
to
make
sure
that
the
resolution
at
the
City
Council
signs
off
on
in
fact
says
exactly
that.
F
I'd
like
to
talk
about
criteria,
five
a
bit
and
that's
master
builder
and
staff-
decided
not
to
add
that
criteria
and
I
know.
It's
I
know
it's
kind
of
splitting
hairs
because
thank
you
for
agreeing
with
criteria
two
three
and
four
and
I'm
pushing
for
five,
even
though
we
only
need
one
so
Joe
Pauline's
career
shows
a
very
impressive
arc.
He
started
with
his
Wexler
designs
on
Lilliana
in
1954
a
year
later
he
does
the
Holden
residence
and
then
his
own
immensely
popular
original
design
with
the
1957
house
of
tomorrow.
F
He
was
the
one
doing
the
gorgeous
painted
trusses
that
we've
all
kind
of
come
to
love
and
many
of
Alba
Hicks's.
Most
impressive
Commission's
were,
of
course
designed
by
William,
Charles
Tanner.
You
know
a
few
years
ago,
Barbara
and
I
went
to
one
of
these
open
houses
with
a
new
christ,
'l
butterfly,
and
it
had
been
endorsed
by
bill
and
the
realtor
was
very
effusive.
F
He's
got
up
and
he
talked
about
how
wonderful
the
house
was,
and
he
said,
and
here's
the
man
who
invented
the
butterfly
roof
bill
kreisel,
so
I
had
an
opportunity
to
sit
down
with
bill
and
I
said
well.
I
didn't
know
that
you
invented
the
butterfly
room
and
bill.
Always
the
clever
gentleman
said
what
was
I
gonna
do
call
him
a
liar,
so
bill
knows
full
well
that
he
had
appropriated
the
design.
F
You
know
whether
he
got
it
from
good
men
on
the
east
coast
and
I
only
mentioned
good
men
on
the
East
Coast,
because
Goodman
always
said
that
he
stole
the
butterfly
from
Marcel
Breuer
and,
of
course,
Breuer
talked
about
stealing
it
from
Oscar
Niemeyer.
So
I
don't
know
how
far
back
we
would
go.
That
was
Oscar
Niemeyer's
in
the
30s.
F
F
He
did
great
designs
down
there,
Canyon
Country
Club,
but
he
did
those
with
Wexler
and
Harrison
or
Palm
Desert
builders,
Patton
and
wild,
who
did
some
great
houses
up
on
South
Ridge.
So
I
think
that
Pauline
is
the
perfect
candidate
to
be
identified
as
our
first
mid-century
master
builder,
the
term
master
builders
in
the
anisa
pal
code
that
we
never
really
have
decided
who
meets
that
criteria.
I'd
also
like
to
address
the
opinion
that
the
house
doesn't
meet
the
ascetic
ideal,
I
think
it
says
five
B
of
say
a
Kaufmann
house
at
the
house.
F
You
know
I
said
III
have
to
say
that
if
we're
gonna
set
the
bar
as
high
at
the
kauffman
house
with
regard
to
being
an
aesthetic
idea,
ideal,
that's
a
pretty
high
bar.
You
know
we
have
an
embarrassment
of
riches
here
if
this
was
the
historic
state,
Preservation
Board
of
West
Covina,
for
example,
and
the
staff
said
well,
it's
not
as
good
as
the
Coffman
house.
F
F
How
do
you
sort
through
all
this
I
think
it's
simple
I
think
when
you
stand
in
the
backyard
and
you
look
at
the
house,
it's
one
of
the
most
gorgeous
examples
opposed
to
being
architecture,
pushed
them
being
architecture,
as
as
bill
would
tell
you
it's
very
simple
in
concept.
The
execution
is
a
whole
different
thing
and
I
think
when
you
stand
in
the
back,
you
see
how
sublime
it
is.
You
know,
I
know
post-and-beam
architecture,
bah,
bah
bah
for
years
when
I
stand
in
that
backyard
and
I
walk
around
that
back
yard.
F
It
really
is
sublime.
So
it's
really
about
the
execution
and
I.
Don't
know
that
I
can
think
of
it
being
executed.
They
were
better
in
the
city
but
at
the
Holden
house.
So
that's
why
I
think
it
criteria
five
holds
up
in
this
and
you
know
I
think
the
staff
to
their
credit,
tries
to
have
a
high
standard
with
regard
to
these
criteria
and
I
appreciate
that,
but
I
think
if
we're
gonna
identify
our
first
mid-century
master
builder,
I
think
Pauline
deserves
that.
It's
always
a
surprise.
G
F
They
get
hung
up
on
this
time.
It
was
five.
This
time
you
got
hung
up
all
so
had
had
I
known
that
was
gonna,
be
the
case.
You
know
we
could
have
had
a
laundry
list
of
other
residences
in
in
Palm
Springs
that
that
Pauling
did.
In
fact,
if
you
look
at
a
lot
of
the
places
in
deep
well,
you
know
you
don't
think
of
deep
well
as
anybody's
particular
tract,
but
you
look.
If
you
start
you
anything.
Building
permits,
they're
gonna,
see
Pauline
Pauline,
Pauline
Pauline
through
deep,
well
I.
F
F
We
never
created,
we
never
created
one
because
mostly
it
would
have
required
yanking
a
lot
of
building
permits
and
we
thought
the
fact
that
he
had
gotten
such
good
press
with,
especially
with
the
house
of
tomorrow,
the
57
House
of
tomorrow.
As
you've
probably
read
in
the
report,
they
flew
down
the
LA
press,
I
think
I
had
10,000
people
go
through
the
house
at
a
dollar
apiece
for
a
fundraiser,
so
pretty
much
the
whole
city
saw.
The
house
was
pretty
impressed
if
you
were,
if
you're
a
Palm
Springs
during
the
summer
of
57.
E
Mr.
chair,
mr.
Marshall
integrity
is
the
issue
of
having
yes
and
and
I
read
recently
and
I.
Guess
it
was
about
sites
that
if
mr.
Halden
drove
up
to
this
house,
would
he
recognize
it,
and
so
my
question
to
you
is:
had
we
designated
this
house
and
say
mm?
Would
we
have
allowed
this
remodel
in
2012
I?
Think.
F
Not,
but
you
know,
I
think
if
you,
if
you
had
blindfolded
Bill
Holden
you'd,
find
that
Bill
Holden
would
know
the
floor
plan
that
the
floor
plan
has
in
fact
stayed
pretty
much
intact,
and
it's
really
about
the
materiality
replacing
one
type
of
door:
glass
door
with
another
type
of
glass
door.
I
I
at
first
was
really
unnerved
bill
and
I'm
glad
you
bring
this
up.
I
was
unnerved
that
the
slump
stone
and
I
loved
my
slump,
stone
had
been
purged
over
and
made
nice
and
smooth.
F
I
said,
oh,
my
god,
that's
terrible,
but
then
I
reflected
on
the
fact
that
so
much
of
the
materiality
for
some
of
our
significant
structures
here
has
been
changed.
I
mean
how
much
would
have
we
seen
converted
to
stucco
and
I
offer
you,
for
example,
the
Frank
Sinatra
house
stuccoed
over,
because
that
that
you
know
II,
Stuart,
Williams
great
board-and-batten,
that
absolutely
scorched
and
chopped
up
in
the
Sun
here.
Should
they
have
replaced
it
with
board-and-batten
every
15
years
20
years
ago?
F
Maybe
that
would
have
been
my
preference,
but
the
fact
that
matters
we've
designated
a
lot
of
houses
that
that
the
materiality
has
been
changed
and
one
might
argue,
it's
really
just
switching
smooth,
concrete
or
bumpy
concrete.
It's
not
that
slump.
Stone
is
a
particularly
precious
material,
but
I
see
your
two-year
point.
Would
he
recognize
it
from
the
front?
No,
if
you
blindfolded
him,
would
he
know
that?
What
do
you
know
the
floorplan,
intimately
yeah,
absolutely
and
so
many
times.
F
You
know
we're
spending
a
lot
of
time
on
the
integrity
section,
because
the
floor
plans
have
been
changed
and
we're
really
making
these
torturous
rationalizations
about
yeah.
You
know
they
converted
this
to
a
garage
or
they
do
this,
and
that-
and
you
know
sometimes
that
that
starts
to
get
a
little
old.
So
I
I,
appreciate
I,
appreciate
what
you're
saying
we're.
D
F
D
Shore
house
well,
which
one
are
you
talking
about
and
I,
would
agree
that
William
Holden
has
two
significant
or
had
two
significant
houses,
and
so
not
that
it's
gonna
necessarily
be
the
be-all
end-all
solution
to
this.
But
I
would
love
to
a
to
be
able
to
officially
in
our
the
designation
if
it
happens,
correct
at
least
part
of
that
confusion.
And
so
could
you
address
whether
or
not
the
appropriate
name
for
this
would
be
residence
or
estate?
F
My
argument,
of
course,
would
be
that
the
proper
name
is
the
Bennett
residence
I
mean
there
is
one
historic
name
for
a
house:
they
name
with
the
first
owners
and
fortunately
the
city
form
asks
for
the
historic
name,
and
we
provide
the
historic
name
as
the
as
the
Bennett
residence.
Then
it
asks
for
other
names.
I
think
I.
Think
that's
where
that's
really.
The
crux
of
the
discussion
here
there
is
a
there
is
a
a
William
Holden
residence
as
a
historic
name:
William
older
residents,
historic
name
up
on
South
Ridge
and
of
course
you
know.
F
I
I
think
that
William
Holden
stage
is
perfectly
fine.
I
mean
if
it
I
mean
we're
really
talking
about
common
names.
Here,
I,
don't
think
that
there's
they're
injecting
any
confusion
into
this.
If
we
want
to
call
it
William,
Holden
residents,
William
Holden
number
one
William,
Holden
number
two
I
think
came
to
talk
about
1
&
2
he
wanted
to,
but
there
is
only
one
historic
name
to
the
to
the
residents,
but
I
have
I.
F
Don't
think
that
the
owners,
the
garrison,
has
really
care,
except
that
they
would
preferably
him
hold
an
estate
only
because
the
realtors
have
made
that
the
common
name
they
refer
to
it
as
the
William
Holden
estate,
pretty
consistently
over
the
last
over
the
last
five
years.
So
I
don't
have
a
problem
with
that.
If
the
staff
once
use
that
it's
a
common
name,
the
historic
name,
will
never
change
so.
F
Think
that
that
I
think
that
the
staff
is
probably
better
qualified
to
talk
about
that,
because
I
don't
think
that
the
staff
has
slavishly
adhered
to
the
historic
name
convention
in
the
past.
You've
you've
referred
to
the
common
name
on
many
occasions
as
I
recall,
I,
think
you
had
a
listing
of
common
names
that
you
now
refer
to
these
residences.
As
generally.
B
Speaking
generally
speaking,
if
there's
been
an
individual
or
a
person
of
significance
was
associated
with
the
house,
we've
typically
had
the
home
named
after
that
person
of
significance.
So
when
you
look
at
the
Charlie
Farrell
residents,
it
was
named
after
Charlie
Farrell,
even
though
he
was
not
the
first
owner
same
story.
Here
there
are
a
couple
of
others
like
that.
So
simply
out
of
a
matter
of
consistency,
we
identified
this
house
as
the
William
Holden
estate
or
the
William
Holden
residence
in.
I
A
I
To
really
what
the
interpretation
of
integrity
is
all
about,
and
you
gave
some
very
good
examples
so
and
I
so
I
guess.
If
I'm
just
trying
to
understand
from
your
standpoint,
then
the
integrity
of
the
house
is
there
from
because
there
are
so
many
positive
you're
way
more
positive
against
negative.
You
said
absolutely
basically
what
you're
saying
so
so
this
would
be
a
case-by-case
situation.
F
F
That's
a
Department
of
the
Interior
set
of
criteria,
and
we
owe
it
to
Patrick
McGrew,
who
started
sticking
in
he's
rather
voluminous
and
long-winded
sections
on
integrity,
but
I
think
that
they've
been
very
good
for
for
both
the
city
and
for
the
people
who
write
nominations
to
go
ahead
and
make
sure
that
these
this
integrity
criteria
is,
is
rigorously
applied
to
these
new
residences
and
and
sometimes
I
go
overboard,
because
I
don't
want
someone
to
just
to
impeach
one
of
these
nominations
and
say:
well
you
never
mention
this
change.
You
never
mentioned
that
change.
I
I
I
F
You
and
I
think
you
know
bill.
Would
it
have
been
nice
to
have
this
designated
prior
to
2012?
Absolutely
that
doesn't
mean
we
shouldn't
designate
it
now,
because
who
knows
what
somebody's
gonna
try
to
do
in
2020
when
another
owner
has
it?
Hopefully
you
guys
will
be
there
a
long
time.
I
don't
mean
2020,
you'll
I'm,
fooling
my
what
downstream
you
know
that
that's
the
that's
the
point
of
these
designations
because
you
know
intuitively
or
you
know,
people
well,
it's
the
local
designation
that
has
bhatia
that's
this
board.
F
H
This
is
more
of
a
question
for
staff
on
page
31.
Basically,
it
shows
the
configuration
of
the
four
Lots
are
the
two
Lots
in
the
rear.
Well,
first
of
all,
is
the
house
built
on
two
of
the
Lots
and
then
the
two
rear
Lots?
Are
those
legally
accessible
losses,
they're
a
side
street
that
potentially
could
lead
to
the
rear
lot,
so
they
illegal
lots
of
record
right.
B
B
H
A
C
Everyone,
my
name
is
Chris
man,
rad
I'm,
a
resident
of
Palm
Springs
for
19
years,
and
also
president
of
Palm
Springs,
modern,
Committee
and
I'm
really
here
to
talk
to
you
about
one
word
and
it
is
not
plastics,
but
it
is
integrity
and
we
believe
that
integrity
is
really
everything.
Everything
should
flow
from
that.
C
If
you
don't
have
in
the
report,
they
that
has
been
prepared
by
staff,
as
is
literally
riddled
with
this
word,
and
we
feel
that
if
you're
gonna
designate
something
it
has
to,
if
the
person
were
to
come
back
from
the
dead
and
they
can't
recognize
it,
then
what
are
you
actually
designating?
It's
really
important
I
think
it's
confusing.
If
something
is
designated
that,
then
people
are
gonna,
look
and
go
like.
Is
that
what
it
looked
like?
It's
not
what
it
looked
like.
I
saw
that
house
or
it
was
renovated.
It
was
for
sale.
C
C
But
it's
really
much
more
apparent
if
you
kind
of
do
it
yourself,
because
it's
not
blurry
and
you
really
kind
of
see,
but
this
house
has
been
significantly
changed
from
what
it
was,
and
you
know
if
you
want
to
designate
because
William
hold
had
it
for
11
years
or
the
site.
That's
great,
but
I
really
think
we
need
to
change
something
in
our
codes
such
that
Patrick
McGrew
introduced
and
dick
Burkett
has
sort
of
brought
up
to
where
integrity
is
absolutely
essential
and
everything
has
to
flow
from
that.
C
And
if
you
don't
have
integrity,
then
what
are
you
actually
designating?
You're
kind
of
diluting
all
of
the
designations
that
have
gone
before
and
may
go
after,
and
so
it's
a
little
bit
of
a
slippery
slope.
So
anyway,
that
is
my
I
want
the
board
to
really
really
really
look
at
those
early
pictures
such
as
they
are
in
this
report
and
what
it
is
there
now?
Yes,
the
form
is
there
and
I
kind
of
speak
to
a
little
bit
myself,
because
my
house
has
been
designated
and
actually
the
original
owner
of
my
house
is
Charlie.
C
Farrell
and
I
wrote
my
report
to
designate
my
house.
I
didn't
really
mention
Farrell,
because
to
me
it
was
about
the
architecture
and
the
integrity
of
the
house.
Now
my
question
to
you
is
I
say
my
house
was
not
designate
I.
Think
you
all
know
my
house
if
I
were
to
take
it
and
remove
the
tectum
panels
and
wood
elements
and
the
brick
and
smooth
coated
in
white
stucco,
and
there
would
be
the
form
butterfly
house.
Would
you
designate
my
house
and
I
put
Charlie
Farrell's
name
on?
That
is
something
you
have
to
think
about.
C
How
are
you
designating
it?
Is
it
Charlie,
Farrell's
house,
or
is
it
an
important
mid-century
type?
We
would
like
to
see
that
distinction
made
so
that
the
confusion
of
historic
designations?
Why
is
it
historically
designated?
Is
more
is
not
there?
That's
a
really
important
photograph
that
right
there,
that
postcard
of
William
Holden
house
you
can
see
detail
of
what
it
was.
C
It
was
very
sort
of
a
Japanese
kind
of
looking
thing
is
a
beautiful
house
and
it
is
a
beautiful
house
now,
but
it's
not
what
it
was
and
we
really
want
you
to
think
about
it
and
if
you're
gonna
designate
it
be
very
clear
what
your
designated
but
integrity
going
forward
is
everything,
and
if
that's
not
there,
we
don't
think
it
should
be
something
that
is
designated.
That's
it.
A
C
C
Architecture
of
the
house,
the
posted
beams,
is
phenomenal.
The
sight
is
phenomenal.
I
think
the
way
they
the
former
homeowner
redid,
the
house
that
he
kept
I
think
the
integrity
of
the
floorplan
I'm,
not
sure.
If
many
people
would
come
back
to
Palm
Springs
and
recognize
their
homes
and
we've
made
them
historic
class,
one
designation,
so
I
I
feel
the
property
definitely
needs
to
be
recognized.
It
needs
to
be
preserved.
The
site
needs
to
include
all
four
parcels
and.
C
C
Sometimes
it's
really
hard
to
define
when
you
have
a
property
that
is
significant.
I
think
that
Joseph
Pauling
needs
to
be
recognized
in
this
town.
I
think
he's
done
a
lot
of
great
work
and
he's
been
overlooked,
similar
to
when
we
had
the
site
at
the
corner
of
Palm
Canyon
I
can't
remember
the
architect.
C
Pomp
can't
wear
the
Wendy's
wanted
to
go
in
I
mean
laughter,
I
mean
that
was
no
one
was
talking
about
him
until
that
site
came
to
our
our
board
and
then
all
of
a
sudden
he's
he's
been
recognized
and
people
are
talking
more
and
more
and
he
did
this
and
he
did
that.
We
need
to
save
this
and
I
think
that
this
is
very
similar
to
that.
A
A
few
comments
Todd,
you
know
when
when
we
have
someone
mentioned,
if
William
Holden
were
to
pull
up
in
front
of
the
house
today,
would
he
recognize
it
I'll
fantasize
for
a
minute
and
put
Frank
Sinatra
in
a
car
and
have
him
arrive
at
the
Twin
Palms
house?
Would
he
find
the
front
door?
No
I,
don't
think
he
would
because
the
front
door
has
been
significantly
altered.
The
the
front
of
the
house
is
now
on
Gran
vÃa
Belmonte
and
not
on
Alejo.
A
The
board-and-batten
has
been
removed
and
the
stucco
is
there.
So
it
is
an
issue
that
I
think
this
board
has
to
acknowledge
and
wrestle
with,
but
I
don't
think
anyone
would
deny
that
the
Easter
Williams
Twin
Palms
House,
with
its
changes,
might
have
compromised
the
integrity
of
the
property.
So
I
think
that
the
integrity
issue
needs
to
be
further
explored.
But
in
this
particular
situation,
we've
heard
from
Linda
I
would
certainly
feel
like
the
integrity
has
been
maintained.
A
With
with
some
changes.
If
we
go
forward
this
morning,
I
would
like
to
mention
that
the
the
the
the
the
quandary
that
we
face
about
whether
this
is
the
William
Holden
estate
or
the
William
Holden
residence.
What
I
would
put
to
the
ward
is:
could
we
acknowledge
these
two
houses
or
recognize
these
two
houses
by
their
distinctive
neighborhoods?
We
have
the
William
Holden
deep-well
house,
and
we
have
the
William
Holden
Southridge
house.
Does
that
does
that
define
a
I
see
bill
nodding
his
head
and
that
always
helps
so
maybe
that's
how
we.
A
D
However
I'm
my
quandary
is,
you
know:
does
that
prevent
us
from
designating
a
house
and
I
think
what's
before
us
today?
Is
we
have
an
opportunity
to
save
this
site?
We
have
an
opportunity
to
stop
anything
else
from
happening,
and
a
lot
of
what
has
happened
could
essentially
be
undone,
and
this
house
could
relatively
easily
be
brought
back
to
what
it
was
at
almost
in
looking
at
it.
The
hardest
thing
would
be
to
restore
the
wall
in
the
front.
D
I
think
that's
equally
as
important
and
that's
what
the
opportunity
is
before
us
today
is
to
save
this
house,
where
it
is
in
time
for
future
people
and
that,
if
somebody
in
the
future
of
twenty
years
from
now,
somebody
else
buys
this
house
and
they
want
to
restore
it.
They
have
the
opportunity
to
restore
it
because
it's
been
saved
and
not
changed
any
more,
and
so
that's
all.
I
have
mr.
G
Chair,
if
I
could
just
energy
briefly
following
Todd's
comments,
there's
language
in
our
ordinance
relative
to
that
point,
we've
already
discussed
the
fact
that
integrity
is
not
one
of
the
criterion
that
we
use
in
our
ordinance
currently,
and
that's
certainly
something
that
we
can
discuss
at
a
later
point
in
time.
But
under
the
language
for
class,
one
designation,
it
indicates
that
class
one
is
intended
for
use
when
the
structure
or
site
or
site
still
exists,
as
it
did
during
the
historical
period
or
is
restorable.
And
mr.
G
E
One
of
the
characteristics
of
modernism
in
Palm
Springs
as
I've
come
to
learn
is
a
blending
of
aesthetics,
and
one
of
them
is
the
post
and
beam
here
expressed
in
a
very
museum
way.
I
would
even
blame
Cody
for
the
inspiration.
Thank
you.
I
would
also
note
that
Cody
quite
often
used
slump,
stone
and
and
played
off
that
that
very
me,
Xion
Poston
beam
against
a
walls
that
were
very
textural
and
quite
often
some
stone
in
one
form
or
another.
E
Also
the
way
the
landscaping
is
in
the
front
yard,
the
site,
walls
in
the
front
or
a
very
60s
modern
move
and
and
yeah
everybody
was
reading,
I
mean
I
actually
was
going
to
school
back,
then
everybody
was
reading,
Sunset
magazine
and
and
being
inspired
and
copying
and
copying.
Well.
Welcome
to
architecture
have
been
copying
ever
since
the
pyramids.
That's
part
of
what
we
do.
There
have
been
a
few
new
ideas,
but
when
I
see
this,
this
is
a
house
worth
preserving
as
as
a
piece
of
architecture.
E
E
So
how
do
I
get
what
I
want
and
get
this
designation,
because
I
do
agree
that
this
is
a
designated
structure,
but
I
don't
want
someone
to
drive
up
20
years
from
now
and
look
at
the
look
at
the
building
as
it
exists
today
and
go:
oh
that's
what
they
did
in
1960.
They
did
these
pivoting
doors.
They
did
smooth
plaster
walls.
That's
a
line
that
when
you
will
go
up
to
the
house,
it's
beautiful
example
of
1912
or
2012
remodeling.
E
We
didn't
have
pivoting
doors
in
1980,
and
if
we
did,
we
only
had
two
of
them
and-
and
so
it's
it's
creating
a
false
sense
of
history,
which
we're
prevented
from
doing
so
in
in
the
designating
documents
under
under
integrity
and
character.
Defining
features.
I
would
like
very
clearly
identified
those
elements
on
page
9
of
the
staff
report
item
for
those
items
that
were
removed
and
that,
should
the
house
be
restored
to
its
period
of
significance
that
those
items
should
be
replaced.
B
Mr.
chair
I
want
to
just
address
two
items
that
were
mentioned
earlier
and
clarify
a
bit.
If
you
go
into
the
historic
resources
report
on
page
20,
there
is
a
building
permit
that
was
issued
in
2011
to
remodel
the
existing
pool.
Add
the
spa.
Add
the
tanning
ledge,
add
the
steps
with
the
drains
new
equipment
and
gas
line.
B
So
the
argument
that
I
would
have
in
this
case
is
that,
yes,
there
was
a
swimming
pool
there
at
the
time
of
William
Holden's
occupancy
of
this
house,
but
it
is
not
the
pool
that
is
there
now
and
part
of
why
it's
important
that
we
identify
the
character.
Defining
features
is
that
for
future
boards,
it's
important
to
understand
what
is
part
of
the
original
fabric
of
these
buildings
and
what
has
been
added
or
modified
and
in
the
staff
report
in
which
I
said
the
swimming
pool
is
not
a
character
defining
feature.
B
I
was
having
to
dredge
my
memory
up
here
as
to
why
I
came
to
that
conclusion.
It
was
because
the
pool
has
been
substantially
remodeled
to
the
point
that
it
doesn't
reflect
the
pool
that
was
there
during
the
50s
and
60s,
and
part
of
this
goes
forward
to
the
notion
of
if
a
future
homeowner
chooses
to
make
modifications
to
this
home.
These
questions
come
back
to
the
board,
and
so
the
board
is
going
to
look
and
let's
say
the
owner
decides
he
wants
to
put
a
pool
that
is
oriented
east-west
instead
of
north-south.
B
If
you
characterize
this
pool,
which
is
not
the
original
pool
as
a
historic
defining
characteristic,
then
there's
some
trouble
in
terms
of
a
future
homeowner
deciding
he
may
want
to
modify
that
pool.
So
that's
the
argument
that
we
would
make
it
a
staff
level
for
saying.
Yes,
there
was
a
swimming
pool
there
during
the
holding
period.
This
is
not
the
one
that
was
there
and
if
a
future
homeowner
wanted
to
further
modify
this
pool,
he
should
be
permitted
to
do
so.
B
The
second
thing
that
I
want
to
speak
to
is
on
the
issue
of
the
analysis
of
a
home
against
the
definition
of
a
Historic
Site.
That's
really
what
we're
doing
here
when
you
make
findings
is:
is
this
home
historic?
Does
it
meet
the
definition
of
a
Historic
Site
according
to
the
city's
ordinance
and
I
want
to
speak
very
briefly,
just
to
the
comment
as
to
why
we
took
a
different
tack
with
respect
to
the
contractor,
William
or
Joseph
Pauling.
B
The
point
that
this
says
is
not
only
that
the
individual
happens
to
be
a
master
builder
designer
or
artist.
The
rest
of
the
sentence
needs
to
be
read
that
possesses
high
artistic
value
and
has
influenced
his
age
that
has
influenced
his
age,
I.
Believe
in
writing.
The
staff
report
and
analysis
this
project
that
Joseph
Pauling
has
done
some
remarkable
homes
in
the
city,
but
I'm
not
sure
that
the
argument
has
been
made
to
say
that
he
has
actually
been
such
an
influence
that
he
has
influenced
others.
B
He
has
certainly
built
homes
by
many
notable
architects,
Wexler
and
Harrison
and
others,
but
the
reason
that
we
recommended
that
it
not
meet
the
criteria
in
terms
of
the
distinctive
characteristics
of
a
masterbuilder
designer
is
because
we
couldn't
find
the
information
in
the
report
that
demonstrates
that
Pauling
actually
influenced
others.
Pauling
was
influenced
by
others,
but
we
couldn't
find
evidence
in
the
report
that
Pauling
had
influenced
others
and
that's
the
minor
distinction
I
just
wanted
to
make
on
that.
A
C
C
B
Difference
of
the
distinction
of
words
might
be
restore
if
one
were
to
pull
a
building
permit
to
restore
a
swimming
pool.
One
would
assume
that
you're
keeping
the
coping
and
you're
keeping
the
tile
and
you're
repairing
the
plaster
and
you're
keeping
the
overall
physical
appearance
of
that
pool.
That
would
be
a
restoration
but
to
remodel.
B
Something
generally
means
that
there's
a
change
has
taken
place
now
there
are
subtleties
in
this
and
if
you
were
to
go
to
the
building
department,
if
they
got
a
building
permit
application
that
said,
restore
or
remodel
or
rehabilitate,
they
might
not
make
a
difference
one
way
or
the
other.
But
when
you're
talking
about
something
that
has
a
historic
resource
characteristic
to
it,
then
I
think
the
wording
becomes
more
important.
Well,.
C
I
guess
my
argument:
there
is
I,
apparently
the
house
that
we
know
in
Indian
Canyon.
That
was
was
that
remodeled
where
they
tore
the
whole
house
down
and
they
kept
the
fireplace
and
you
know
everything
went
and
they
did
that
the
house
should
have
come
before
this
board
before
it
was
demolished.
Literally.
Yes,.
D
C
E
Exactly
it
it's
it's,
the
language
we
use
as
architects
a
remodel
is
everything
and,
and
and
this
used
to
be
played
on
the
coast
more
than
it
does
here
to
get
around
the
coastal
permanent,
a
remodel.
You
have
to
leave
three
studs
and
tear
everything
else
out,
and
you
left
either
the
fireplace
or
three
studs
and
it
was
a
remodel
and
and
and
that
suited
the
Coastal
Commission
and
most
building
departments
in
California
and
it's
since
then
we
have
substantial
demolition.
E
E
A
I
B
Well,
our
ordinance
doesn't
specifically
use
the
words
integrity
in
the
opening
definition,
which
is
what
you're
considering
when
you
look
at
this
broad
any
of
these
projects,
you're
looking
at
a
building
that
is
quote,
unquote,
unique
or
significant
because
of
its
location,
design,
setting
materials,
workmanship
and
aesthetic
effect.
Those
are
the
qualities
of
integrity.
So,
while
it
isn't
literally
spelled
out
in
your
ordinance,
you
are
evaluating
these
properties
against
the
qualities
of
integrity
by
the
very
definition
of
what
we
have
in
our
coordinates
for
Historic
Site.
B
I
B
E
E
A
Okay,
good,
yes,
I
wanted
that
included
as
well.
The
four
lots
designated
the
only
thing
else
that
I
would
add
is
I
would
just
a
while
we're
in
discussion.
We
have
a
friend
a
second
a
little
more
discussion
about
whether
we
do
now
recognize
Pauling
and
add
in
add
the
criteria.
Number
five
Linda's
point
really
well
made.
When
we
talked
about
Howard
Lapham
a
couple
of
months
ago,
some
people
knew
Howard
Lapham,
some
didn't
today.
A
C
E
A
Objection,
okay,
so
Ken
mm-hmm.
So
we
have
the
motion
on
the
floor.
The
maker
of
the
second
has
added
the
four
Lots
and.
A
C
B
A
B
B
The
city
came
forward
with
an
alternative
scheme
that
incorporates
many
of
the
details
from
the
various
studies
and
contractors
who
have
looked
at
it
and
the
application
is
before
you
is
as
close
to
what
the
board
I
believe
was
originally
desiring
this
project,
be
it
is
quote-unquote
a
piece
by
piece
restoration.
However,
it's
going
to
be
a
significant
deconstruction
of
this
house
in
order
to
accomplish
the
work.
B
That's
necessary
and
I'd
make
that
point
and
emphasize
it,
because
when
the
public
sees
this
house
go
under
construction,
it
is
going
to
look
like
the
house
is
being
torn
down.
That
is
the
degree
to
which
the
extensive
amount
of
deterioration
is
going
to
need
to
be
dealt
with
so
with
that
I'm
going
to
turn
it
over
to
councilmember,
Roberts
and.
A
A
J
A
C
A
J
C
H
J
Only
are
we
gonna
do
that
I
think
we're
gonna
wrap,
you
know
fence
and
maybe
we
can
wrap
the
project
and
we
might
even
put
a
donation
box
there.
We
talked.
We
talked
about
that
because
every
little
bit
will
help
on
that
house
and
I.
Think
if
we
wrap
the
house
with
the
image
you
know,
much
is
the
way
they
do
in
Italy
I'm
your
wrist
story
and
we'll
we'll
probably
attract
some
dollars,
which
is
great.
Thank.
A
J
Be
well,
we
just
got
him
to
recently
from
DW
and
it's
still
an
estimate
but
worried
about
what
400
yeah
we're
give
or
take
about
four
hundred
thousand.
So
let's
say
that
I'm
going
to
go
up
ten
percent
at
least,
but
it's
still
a
dramatic
reduction
from
the
original
million
plus
right.
That
was
estimated.
So
we're
really
excited
about
moving
forward
and
and
we're
trying
to
fast-track
this
to
get
it
done
once
and
for
all.
This.
J
C
J
I
A
J
E
Please
to
two
suggestions:
one
is
to
photo
document
before
you
begin
construction
and
archive
those
documents
in
several
places:
ident
the
building.
If
I,
were
you
during
construction,
so
it's
completely
enclosed
to
protect
anything
that
isn't
when
the
roof
comes
off,
to
protect,
what's
left
and
might
have
to
be
restored
and
the
other
and
and
I've
went
through
all
of
this.
It's
it's
exhaustive!
E
Thank
you!
Jeff!
You
did
an
excellent
job,
but
how
am
I
gonna
tell
what's
new
from
what's
old.
Hopefully
you
won't
know
the
difference.
Well,
no
I'm
supposed
to
be
able
to,
according
to
the
Secretary
of
Interior
standards,
I'm
supposed
to
look
at
that
building
and
be
able
to
tell
what
was
original
and
what
was
new.
So.
J
What
I
would
say
to
you
on
that
in
the
restoration
of
this
sort,
we're
not
doing
an
addition
to
the
house?
We
are
what
I
call
doing
an
honest
restoration
where
we're
replacing
rotted
materials
with
new
materials.
The
Secretary
of
State
may
say
that
you
should
be
able
to
look
at
that
building
and
recognize
those
material
differences.
Frankly,
I'm
hoping
we
don't
frankly,
what
I'm
hoping
we're
looking
at
is
a
building
that's
aged,
well,
that
that's
aged
well
and
looks
fresh
I
frankly,
I
feel
like
we
failed.
J
D
B
Just
speak
a
little
bit,
I
understand
what
Bill's
point
is
well
ative
to
the
Secretary
of
the
Interior
standards,
because
the
notion
is
to
not
imitate
and
to
not
falsify
history.
In
this
case,
I
understand
the
distinction
that
jr.
talking
about
as
well
this
this
home
when
it
goes
through
this
reconstruction
rehabilitation.
Whatever
we
want
to
call
it,
it's
going
to
be
tremendously
difficult
for
the
new
material
to
match
the
old,
particularly
on
these
railroad
ties,
and
to
the
extent
that
we
can
that's.
B
Why
I
put
into
the
conditions
of
approval
that
control
samples
be
set
up
so
that
we
can
understand
before
the
thing
gets
all
put
together.
What
this
is
going
to
look
like
to
the
extent
possible
we're
trying
to
not
make
this
thing,
look
like
a
patchwork
quilt,
but
it's
going
to
be
a
patchwork
quilt
and
ultimately
I
think.
B
As
one
looks
at
the
home
once
it
is
painted
it's
going
to
appear
as
close
as
possible
to
the
way
that
it
did
during
its
historic
period
and
I
think
that,
through
the
archival
material
that
you're
talking
about
I
think
we
could
make
a
legitimate
case
for
the
approach
that's
being
taken.
That
we
will
be
able
to
identify
that
which
is
original
and
that
which
has
been
replaced.
J
I
mean
board
for
board.
Most
of
the
siding
on
that
house
is
going
to
be
replaced.
I
think
every
window
pretty
much
every
window
is
going
to
be
replaced
with
respect
to
replication,
we're
using
wood,
we're
using
the
same
styles,
we're
using
the
same
finishes
we're
using
the
same
colors.
So
at
the
end
of
the
day,
the
way
you're
going
to
know
the
difference
between
today
and
tomorrow
is
that
it's
not
going
to
look
like
it's
rotting.
J
Any
more
I
mean
that's,
that's
that's
really
yet
I
mean
with
respect
to
materials,
the
materials
that
are
new
new
fangled,
so
to
speak,
that
wouldn't
have
been
used
in
that
era,
we'll
all
be
under
the
skin
and
under
the
house,
and
what's
there
right
now
isn't
exactly
original
to
the
house?
I
can't
imagine
that
the
the
mobile
home,
the.
J
C
J
H
There's
extensive
documentation
from
2016
prior
to
construction
will
you
do
photo
documentation
and
any
other
kinds
of
recordation
of
the
site
as
exists
now
so
pre
conditions
and
proposed
existing
condition.
Ism
proposed
conditions,
I,
don't
know
if
the
2016
document
will
suffice
in
terms
of
of
what
exists
now
or
whether
that
needs
to
be
updated
prior
to
commencement
of
construction.
J
I
would
simply
say
that,
yes,
we
will
do
that.
We
intend
to
do
that
staff.
Here's
you
on
that.
You
know
it's
it's
more
than
recommendation,
it's
something
that
we've
already
considered.
More
importantly,
we
want
to
leave
a
clear
record
of
what
we've
done
so
that
when
people
are
sitting
at
this
table
in
some
future,
they
they
can
refer
to.
All
of
that
know
what
we
did
to
the
building
and
what
they
might
need
to
do
to
the
building.
B
A
On
that
note,
I'm
bored
and
I'll
come
back
in
just
a
second,
but
Jerry's
walked
in
a
chair
if
she's
just
another
few
minutes
Jerry,
if
you
come
up
for
just
a
second
I,
know
that
the
Historical
Society
of
late
has
been
conducting.
Some
oral
histories
have
been
your
whole.
Your
whole
talk
series.
This
season
is
being
videoed.
Is
there
a
possibility
that,
as
Ken
and
junior
are
suggesting
a
video,
a
video
diary
might
be
organized
through
the
Historical
Society?
Yes,.
D
A
C
C
A
A
C
J
C
We've
already
documented
all
the
items
inside
the
house
and
so
that's
all
on
record
and
then
we're
ready.
Actually
we
had
to
pack
everything
up
when
we,
but
when
they
put
the
roof
on
two
years
ago,
so
we
know
what
to
do
with
that
and
at
that
time
we
were
able
to
leave
some
of
the
furniture
on
the
inside.
But
now
we
know
we
will
not
this
time
we're.
C
J
I
C
You
know
we
went
round
and
round
with
that
on
the
structural
analysis
and
I
think
that,
at
the
end
of
the
day,
two
structurally
support
that
chimney
we'd
have
to
completely
dismantle
the
all
of
it
and
retrofit
it
from
inside,
and
we
just
felt
that
that
was
just
too
destructive
so
to
the
extent
that
there's
an
earthquake
and
some
of
that
chimney
might
topple
down
at
this
point,
we're
suggesting
that
we're
just
gonna
live
with
that
risk,
and
so
it's
not
part
of
this
scope
of
this
restoration.
Well,.
J
There
is
some
work
in
there
to
tie
it
to
the
house
better,
but
in
order
to
bring
that
chimney
to
current
codes,
we
literally
have
to
rip
it.
Apart
and
again,
you
know
going
back
to
what
Bill
Doyle
was
a
century
we'd
be
building
a
new
chimney
and
I
think
we
went
round
and
round.
We
thought
you
know
that
house
was
moved
with
that
chimney.
J
I
C
A
A
C
A
Now
we
are
coming
back
to
item
2
B.
This
is
indeed
a
public
hearing.
This
is
an
amendment
to
the
class
1
historic
site,
designation
for
the
Oasis
Hotel
to
incorporate
the
Oasis
hotel,
dining
hall
located
at
211
219,
South,
Palm,
Canyon
Drive
and
the
commercial
storefront
and
casita
buildings
located
at
121
South,
Palm,
Canyon
Drive,
designed
by
master
architect,
Lloyd
Wright
case
hsdb
case
number,
10,
Ken
line
staff
report
I'll
be
right
with
you.
A
B
All
right,
thank
you,
Ken.
This
is
like
trying
to
talk
and
chew
gum.
At
the
same
so
as
you
know,
the
Oasis
hotel
was
designed
in
1923
for
Palm
Springs
pioneer
pearl
McManus.
The
building
was
completed
in
1925
and
it's
recommended
by
many
architectural
historians
as
one
of
the
most
important
works
of
early
modernist
architecture
in
the
state
of
California.
B
On
page
three
of
your
staff
report,
I
want
to
just
point
out
if
I
can
get
to
this.
This
is
what
the
original
hotel
was
and
I'm
gonna
step
up
to
this
screen
in
just
a
minute
and
point
a
couple
of
features
out
and
explain
to
you
what's
left
and
then
I'll
get
into
the
content
of
what
we're
looking
at
here.
B
So,
what's
important
to
understand
is
that
first
of
all,
North
is
up.
This
is
Palm
Canyon,
okay,
the
Oasis
commercial
building,
which
was
done
by
Easter
at
Williams
in
1953,
occupies
this
area
here.
Okay,
so
when
you
used
to
see
the
old
Starbucks,
it
was
right
here
so
up
here
is
tahquitz
canyon
way,
and
this
is
the
intersection
the
well
would
Murray
library
is
over
here.
Okay,
so
what
is
sitting
out
there
today?
Is
this
part
right
there?
B
The
shops
are
still
there.
The
tower
is
still
there.
The
building
that's
attached
to
the
tower
and
this
casita
building
everything
else
on
this
site
plan
has
been
demolished
originally,
when
this
was
built,
you
see
this
is
labeled
as
office,
and
then
there
were
some
men's
and
women's
lounges
here
sometime
in
the
future,
as
you'll
see
in
the
photos,
it
appears
that
the
office
was
moved
into
this
particular
storefront,
perhaps
because,
as
cars
come
in
here,
the
passenger
would
get
out
here
and
maybe
go
in
here,
rather
than
over.
There.
B
I
can't
surmise
with
what's
going
on
there,
but
this
is
the
part
that
is
under
consideration.
This
is
the
dining
hall.
So
when
you
look
at
what's
in
the
portion
of
the
building,
that's
down
at
the
village
Green
Park,
it's
this
piece
right
here.
Okay,
all
of
this
is
gone
and
it's
been
demolished.
This
is
the
original
McCollum
Adobe,
and
this
is
sitting
over
on
the
village
green
Park.
This
predated
the
Oasis
hotel.
This
was
in
approximately
1888.
B
B
So
when
you
look
at
that,
suzer
truss
system
and
your
staff
reported
in
the
vintage
photos
you're
looking
right
down
through
here
when
you
see
the
one
that
has
the
two
trees
in
it.
Those
are
the
two
cottonwood
trees
that
were
in
place
and
the
building
was
built
around
them
and
when
you
look
at
the
part
of
the
building
that
was
in,
that
is
currently
the
agua
caliente
cultural
museums,
main
lobby.
B
It's
this
right
here:
okay,
so
there's
a
portion
of
this
90
foot,
long,
dining
room
that
is
currently
what
I
refer
to
as
the
fudge
shop
and
then
a
portion
of
it
is
the
back
area
of
the
museum
and-
and
this
was
taken
out
of
this
very
linear
position
when
it
went
down
to
the
village
Green
Park
and
was
cocked
at
a
bit
of
an
angle.
Okay,.
B
So
in
1985,
the
City
Council
considered
a
recommendation
from
the
Historic
Site
Preservation
Board
to
designate
this
as
a
class-one
site.
At
that
time,
the
City
Council
designated
the
tower
and
the
building
attached
to
it,
and
the
staff
report
noted
quote-unquote
that
the
other
portions
of
the
buildings
had
been
significantly
altered.
However,
no
analysis
was
provided
to
substantiate
that
assertion.
The
dining
room
was
not
given
any
consideration
at
that
time.
B
The
the
additional
material
that
I
have
in
here
is
also
some
excerpts
from
a
2004
analysis
that
was
done
by
an
urbis
as
part
of
a
potential
renovation
of
the
building
for
a
restaurant
and
I
also
have
included
excerpts
from
a
book
called
the
Palm
Springs
weekend
by
Allen,
Hass
and
Android
Danish.
So,
as
noted
in
your
staff
report,
this
hotel
was
conceived
as
a
carefully
planned
group
of
buildings
encircling
the
site
in
the
sense
like
a
Hacienda
and
in
fact,
on
the
original
drawings
you
see
at
the
very
bottom.
B
There
right
had
originally
called
it.
The
Hacienda
hotel,
the
hotel,
is
a
combination
of
wood
frame,
construction
and
slip
form
concrete
construction,
and
this
concrete
construction
at
its
time
was
considered
quite
revolutionary,
so
I
want
to
just
go
through
these
slides
a
minute.
This
is
what
I
just
explained
to
you.
This
is
what's
left
so
from
this
image.
B
Everything
is
gone
except
this,
and,
of
course
the
dining
hall
is
is
at
the
village
Green
Park.
This
image
helps
you
understand
a
bit.
The
top
part
of
this
is
looking
along
the
Palm
Canyon
frontage.
So
if
you
understand
towards
the
left
in
this
upper
image,
that's
the
storefronts
building,
then
there
was
the
Porte
cochere
under
which
cars
would
drive
up
where
it
says
entrada
and
then
you
see
office
and
then
the
dining
hall
and
the
McCollum
Adobe
at
the
right.
The
lower
level
is
looking
at
this
thing
from
the
north.
B
This
is
the
tower
shortly
after
its
construction
and
as
you
can
see,
when
I
walked
all
of
you
through
this
site.
Earlier
last
week,
the
brackets
that
you
see
on
the
tower
actually
supported
a
large
set
of
wood
lattices,
and
this
wood
lattice
motif
is
that
right
carried
throughout
the
entire
hotel.
You
can
see
it
toward
the
right
in
this
photo.
You
can
also
see
it
in
the
railings
that
are
just
to
the
left
of
the
tower.
B
This
is
an
understanding
of
the
connection
between
the
commercial
buildings
which
is
at
the
left
in
this
photo.
You
can
see
at
all
little
black
slot
that
slot
was
just
recently
for
those
of
you
that
toured
the
site,
the
shop
owner
there
explained
that
that
had
been
covered
up
and
they
were
able
to
uncover
that,
and
it's
a
very
narrow
slot
window,
the
portion,
then
you
see
with
a
little
Porte
cochere
and
where
the
word
Oasis
is
that's
where
the
current
Oasis
commercial
building
is
those
portions
have
since
been
demolished.
B
This
is
an
artist
rendering
that
right
did
back
in
the
20s,
which
helps
you
understand
the
proximity
of
each
part
of
this
particular
project
and
I'm,
going
to
just
again
step
up
real
quickly
and
explain
each
part,
so
you
understand
its
relative
positioning
so
in
this
particular
drawing
Palm
Canyon
is
out
here.
This
is
the
storefronts
building.
This
is
the
narrow
slot
through
which
the
Oasis
commercial
building
is
here.
The
tower
is
here
and
the
attached
building
off
the
rear
side
of
this
is
where
the
dining
room
came.
This
is
the
about
column
Adobe.
B
This
is
another
rendering
that
kind
of
helps
illustrate
the
context
of
the
dining
hall
with
the
tower,
as
you
were
looking
at
the
interior
of
the
what
is
now
the
cultural
museum,
you
saw
the
scissor
truss
and
you
saw
the
open
almost
like
clerestory
windows.
This
is
an
early
sketch
that
Wright
did
in
which
he
was
envisioning.
How
the
view
of
the
mountains
toward
the
West
might
have
been
seen
through
that
clerestory
window
in
the
dining
room.
B
These
are
images
of
the
dining
room
where
it
connects
back
into
the
cover
door
passage
that
connects
to
the
tower
so
in
the
in
the
lower
right
picture.
Here.
That's
if
you
guys
remember
when
you
walked
into
the
oasis
tower
building,
there
was
an
opening
that
came
out
the
side
of
it,
that's
where
the
dining
hall
connected
and
you
can
see
again
the
use
of
the
wood
slats
and
almost
an
Arts
and
Crafts
style
stenciling
that
was
occurring
on
the
lintels
that
also
occurred
in
the
storefronts.
B
Here
you
see
the
dining
room
when
it
was
in
use
and
its
present
day
condition.
As
you
can
see,
and
as
I
explained
to
you
in
the
field
visits
the
wood
slats
that
you
see
in
the
photo
on
the
left
are
most
likely
still
present
under
the
drywall
that
you
see
in
the
right
and
I
believe
the
drywall
probably
had
to
be
installed
as
a
Health
Department
issue,
because
they
do
serve
food
in
that
space,
and
then
this,
lastly,
is
simply
a
compilation
to
help.
You
understand
some
of
the
context
within
which
this
all
lies.
B
B
To
the
left
of
the
top
is
an
aerial
view
showing
the
Oasis
commercial
building,
abutting
the
remnants
of
the
hotel,
and
then
the
images
below
are
of
the
dining
hall
and
then
a
computer
rendering
that
was
done
some
time
ago
by
a
local
architect
and
again,
this
is
showing
that
connection
between
the
two,
the
use
of
the
slats
and
some
of
the
decorative
elements
that
Wright
had
brought
into
the
dining
room.
This
is
the
corner
of
the
commercial
building.
That's
the
slot
window
that
was
recently
uncovered
there
again.
B
But
these
buildings,
although
they
have
lost
their
the
integrity
of
setting,
still
possess
and
are
able
to
convey
their
historic
significance.
Because
of
the
conditions
that
are
on
the
interior.
And
it's
unusual
that
you
have
an
opportunity
to
look
at
an
interior
as
a
possible
component
of
a
historic,
designation
and
you're
doing
so
only
because
the
city
owns
these
buildings.
So
the
outside
of
the
dining
hall
buildings
as
they
sit
over
at
the
village
green
and
that
which
has
happened.
B
Sort
of
from
the
from
the
ridge
point
and
down
or
from
the
bearing
point
down
of
the
gables
is
really
all
new
stuff,
but
what
you're
seeing
there
in
terms
of
the
roof,
the
scissor
trusses
and
then
that
complex
crossing
area?
That's
in
the
cultural
museum.
Those
are
the
parts
that
you
would
be
identifying
as
defining
historic
characteristics
of
the
Oasis
hotel.
Okay,.
B
I'm
gonna
try
to
just
I'll
answer
your
questions
if
you've
got
any
in
terms
of
the
analysis
on
each
one
of
these
pieces
rather
than
exhaustively
go
through
them,
but
I
want
to
get
you
back
then,
to
the
position
on
page
15,
where
we
start
talking
about
defining
physical
characteristics,
the
dining-hall
fragments,
the
commercial
storefronts
and
the
casita
building,
and
then
the
non
contributing
issues
are
identified.
On
page
16.
B
B
What
you're
looking
at
here
is
identifying
or
expanding
those
components
that
exist
that
are
contributing
to
the
historic
significance
of
this
site,
so
in
its
current
condition,
only
the
tower
and
the
attached
structure
are
identified
as
quote-unquote
historically
significant.
But
the
point
that's
been
brought
to
you
in
the
staff
reports,
and
the
arg
report
is
that
the
casita
building,
which
is
just
to
the
west
of
the
tower,
stands
with
quite
good
integrity.
It's
boarded
up,
but
it
still
has
not
been
destroyed.
It
still
has
the
slip
form
concrete.
B
It
still
exists
as
a
pretty
much
abandoned
set
of
six
hotel
rooms,
the
commercial
building
at
the
front.
It's
the
same
story,
you
have
a
building,
that's
still
functioning
and
it's
used
for
what
it
was
originally
designed
for.
Its
exterior
is
essentially
intact.
There
have
been
changes
in
the
storefronts
that
you
can
see
with
this
sort
of
a
gold-anodized
bay
windows
that
can
be
reversed
and
brought
back
to
the
original
storefront
design.
B
If
you
read
more
about
her,
both
in
the
staff
report
in
the
materials
I've
included
was
a
pretty
interesting
character
because
she
owned
almost
all
of
that
part
of
downtown
at
the
time,
and
she
found
shortly
after
the
construction
of
the
hotel
that
she
couldn't
make
a
go
of
it,
and
so
she
sold
it
in
the
30s.
But
when
she
sold
it,
she
retained
the
right
to
salvage
the
buildings.
If
they
were
to
ever
to
be
demolished.
So
1952
the
Oasis
hotel
gets
sold
to
Western
hotels,
they
devised
a
plan.
B
B
So
the
recommendation
before
you
is
to
make
a
recommendation
to
City
Council
that
the
Oasis
Hotel
Historic
Site
designation,
be
amended
to
include
the
casita
building,
the
storefront
building
and
the
dining
hall
fragments
as
contributing
elements
to
the
historic
significance
of
that
building,
and
with
that
I'm
going
to
shut
up
and
answer
any
questions
you
may
have
and
I
think
we
have
a
representative
of
the
building
here,
Steve
Lyle,
who
can
speak
to
it.
I
believe
at
this
point.
The
owner
does
not
support
this
amendment
and
he
can
speak
certainly
to
that
as
well.
B
I've
had
some
conversations
with
him
and
others
from
ownership
explaining
the
nature
of
the
designation
and
the
nature
of
adaptive,
reuse
and
the
opportunities
with
Mills
act,
so
their
understanding
of
it
they're
eager
to
see
something
happen
with
this
building
they're
afraid,
and
they
want
to
make
sure
that
the
actions
that
the
board
and
the
council
take
place
at
this
time,
don't
block
them
from
having
an
opportunity
to
do
an
adaptive.
Reuse
on
this
on
this
parcel
I'll
answer
any
other
questions
you
may
have.
Thank
you.
Ken.
A
Thank
you,
excellent
staff
report
before
I
will
open
the
public
hearing,
but
we're
gonna
see
if
and
if
the
board
has
any
questions
of
staff
at
this
time,
but
I
wanted
to
acknowledge
staff
at
this
point
for
this
particular
staff
report,
it's
the
first
time
that
I've
seen
and
I
apologize
if
you've
used
it
before,
but
I've
not
seen
computer-generated
renderings
of
what
it
did.
Look
like
this
has
been
fantastic.
I
think
I
mean
the
the
the
one
on
page
4
of
17
the
computer
generated
seeing
the
Adobe.
A
B
B
F
E
E
B
A
K
Good
morning,
Steve
Lyle
and
I've
been
involved
with
this
building
for
over
30
years
managing
leasing
and
then
I
was
fortunate
to
get
a
little
piece
of
ownership
with
the
current
owner,
and
we've
been
struggling
with
this
part
of
the
property
for
30
plus
years.
What
to
do
with
it,
trying
to
make
it
a
part
of
the
property
that
brings
an
income
and
and
has
good
aesthetics,
and
it's
really
been
a
problem
I
convinced
ownership
years
ago,
to
spend
hundreds
of
thousands
of
dollars
to
try
and
develop
the
property.
K
B
K
Okay
Wow
more
than
10
years
ago,
and
we
actually
got
to
the
point
of
working
drawings.
We
had
the
air
conditioning
people
electrical
plumbing,
everybody
do
their
homework
to
figure
out.
How
can
we
work
with
this
slip?
Form
construction,
building
to
air
conditioned
at
modern
to
bring
in
plumbing
for
kitchens
and
so
on,
and
when
we
got
done
with
the
process,
and
we
started
to
market
the
property
to
try
to
find
someone
to
make
this
a
reality.
K
We
we
started
getting
into
the
actual
cost
to
do
it
and
we
had
HJ,
h,
HJ,
h,
construction
hal
do
some
bidding
on
it
and
he's
the
one
who
bought
the
historic,
JW
robinson
building
and
has
since
refurbished
it
and
spent
a
couple
million.
K
Well
this
building,
it
costs
so
much
more
to
refurbish
it,
to
get
it
to
a
point
where
a
tenant
could
even
start
to
work
with
it.
It
was
a
couple
million
more
than
we
thought.
At
the
end
of
the
day,
it
was
about
four
million
dollars
to
pull
off
the
Loretta's
hideaway
plan
to
convert
8,000
to
9,000
feet
into
this
restaurant
bar
concept.
The
landlord
was
willing
to
put
in
excessive
tenant
improvements
to
help
tenant.
Improvements
are
usually
20
to
40
dollars.
A
foot
this
owner
was
willing
to
put
in
$100
a
foot.
K
You
know
a
million
dollars
to
give
to
a
restaurant
or
to
try
to
make
this
work,
and
at
the
four
million
dollar
cost
it
wasn't
nearly
enough,
and
so
what
I
want
to
impress
upon
this
board
is
we
need
help.
This
is
a
fantastic
piece
of
architecture,
I'm
very
proud
of
the
buildings,
and
you
know:
how
can
we
put
this
to
use
I'm
embarrassed
with
the
way
it
looks?
I've
been
embarrassed
for
a
long
time.
K
It's
boarded
up,
it's
a
homeless
problem
nightmare
but
I,
just
if
there's
a
use
for
measure,
J
funds
or
some
other
kind
of
funds
for
the
city
to
help.
This
is
the
building.
In
my
opinion,
that
needs
the
help
and
I
don't
know
how
this
board
can
get
the
message
out
to
those
people
that
economic
development
and
such
that
make
these
things
happen,
but
there's
not
a
more
complicated
gem
of
a
building
in
the
desert.
K
In
my
opinion
that
you
could
help
with
in
this
building
and
the
18
inch
thick
walls
and
such
boy
they're
a
challenge,
and
so
that's
my
message
today
is
I'm.
Not
fighting
this
historic,
designation,
I
think
it's
appropriate,
but
I'm
just
asking
for
help.
If,
if
you
can
talk
about
it
and
support
this
particular
building,
getting
some
extra
help
from
the
city
and
then
I'll
market
it
to
find
the
right
person
to
make
this
happen.
But
it's
a
shame
the
way
it's
sitting
right
now,
I.
A
A
B
K
C
K
C
And
the
reason
I
bring
that
up,
because
the
excitement
of
downtown
Palm
Springs
has
spread
and
the
reputation
is
known
throughout
the
world.
I
mean
not
just
the
United
States
and
so
I'm
curious
as
to
why
there
isn't
any
advertising
of
this
parcel.
That
could
be
a
tremendous
investment
for
someone.
Who's
got
money
and
I
guess.
My
other
question
is:
have
you
appeared
before
the
City
Council
or
the
appeals
board,
or
anyone
the
economic
development
to
ask
for
any
type
of
funding?
C
K
H
C
I
D
B
Just
wanted
to
add
when
we
finished
the
tours.
Mr.
Lyle
and
I
talked
about
this
issue
that
you
know,
there's
there's
somewhat
in
a
discouraged,
State
right
now
and
I
said
you
know
we
have
a
new
director
of
Economic
Development.
We
have
a
new
City
Council.
There
seems
to
be.
You
know
some
changes
in
terms
of
the
interest
of
how
Historic
Preservation
influences
cultural
tourism
and
so
part
of
what
I
mentioned
to
mr.
B
A
Well,
mr.
o,
if
it
were
up
to
me,
I,
would
certainly
greenlight
whatever
project
you
had
on
this
property,
whatever
board,
whatever
influence,
this
board
has
I
think
we're
very
supportive
of
the
architectural
merits,
the
historic
quality
of
the
property,
but
I
would
encourage
you
to
seek
out
some
some
fresh
air
with
our
new
economic
developer
and
the
City
Council,
etc,
because
it
is
a
gem
of
a
property
and
I
think
we'd
all
like
to
see
it
revitalized
and
and
thriving
any
other
questions
at
this
time
of
Misurata.
Okay.
Thank
you
very
much.
A
D
D
You
know
which
there's
a
little
bit
of
a
discouraging
sight,
but
you
know
to
realize
that
all
of
that
is
in
there
it's
just.
Oh
my
god,
I
mean
talk
about.
You
know
hope
that
something
could
be
done
with
it
and
I
think
that's
a
really
wonderful
star.
So
thank
you
for
allowing
us
to
see
it
that
really
we
very
much
appreciated
and
I
think
also
at
least
speaking
on
behalf
of
myself.
D
I
I
A
E
Discussion,
mr.
chair,
yes,
please
a
commendation
to
staff
for
an
exhaustive
and
very
detailed
report.
Thank
you.
Welcome.
I
A
I
One
request:
is
there
a
way
can
that
we
could
put
in
this
motion
that
if
they
can't,
if
the
flood
shop,
the
candy
shop,
if
that
were
to
no
longer
be
a
if
it's,
the
drywall
was
hood
up
there
or
the
health
department
I
mean
that
element
is
so
important
of,
what's
being
covered
up
on
on
that
ceiling
that
that
drywall
comes
off.
Let's
say
it's
going
to
be
a
dress
shop
or
something
else,
I
just
think
that
we
are
covering
up
a
major
important
element:
interior
architectural
element
in
the
building
I.
A
And
I
would
second,
that,
or
or
or
certainly
support
that
if
a
food
service
vendor
is
no
longer
in
there,
it
becomes
a
dress
shop
or
a
sporting
goods
store
and
they
come
to
the
city
for
any
kind
of
remodeling
or
whatever
that
that
be
restored
to
what
we
hope
is
under
there
under
that
drywall.
So
the
private
point
did
you
feel
good
with
that?
Absolutely
okay,
any
further
discussion,
first
and
second
on
the
floor,
all
in
favor
aye
aye.
Anyone
opposed
all
right.
Thank
you.
Thank
you,
sir
Lyle.
Thank
you
for
coming
this
morning.
A
M
M
3
years
has
been
going
through
steps
to
make
some
revisions
to
the
property
which
ultimately
led
to
the
designation
last
year,
and
now
they
are
bringing
forward
the
kind
of
what
their
vision
is
for
the
interior
space
to
remodel,
as
essentially
removing
the
the
parking
bays
and
remodeling
that
to
be
convenience
and
retail.
So
as
a
part
of
that
change,
they
are
replacing
the
entry
door
which
I'll
go
through
here
on
the
slide.
What
you
have
on
the
top
is
the
existing
elevation
that
it
is
today
and
the
bottom
shows
the
proposed
front
elevation.
M
So
you
see
they
are
replacing
the
single
entry
door
to
the
dual
entry
doors,
the
double
doors
on
the
bottom.
They
are
also
removing
the
parapet
on
the
upper
facade.
I
spoke
with
the
applicant
before
the
meeting,
and
so
one
thing
to
note
that
my
understanding
of
what
what
is
shown
here
is
actually
slightly
going
to
be
slightly
different.
The
the
parapet
above
the
storefront
glass
would
also
be
removed,
so
that
doesn't
reflect
on
this
drawing.
A
Not
to
interrupt
you,
but
I
did
want
to
hopefully
get
clarification
on
that
that,
on
the
lower
proposed
front
elevation
the
parapet
above
the
new
entry
that
comes
in
front
of
the
windows-
yes,
but
now
with
all
due
respect
to
the
applicant.
Can
we
be
assured
of
that
as
opposed
to
him
telling
us
that
that's
what's
going
to
happen?
M
Just
a
sec,
so
that
will
be
removed.
So
there
are
two
units-
and
that's
actually
incorrectly
noted
in
my
report
on
the
roof
plan
that
you
have.
There
are
showing
yeah,
but
I
just
wanted
to
show
this
exhibit
real,
quick.
The
two
rooftop
units
that
are
there
now
will
be
removed
to
answer
your
question,
but
to
go
back
to
what
you
see
currently,
they
would
remove
all
of
that
and
you
would
be
able
to
see
the
underside
of
the
canopy
in
greater
detail.
C
A
D
D
Sorry,
I
don't
see
the
relation
there's
like
things
on
that
and
the
photograph
that
don't
match.
Okay,
so
like
there's
windows
above
the
parapet,
in
the
illustration
that
aren't
in
the
photograph
there's
windows,
it
looks
like
a
brick.
A
lower
part
is
brick
or
something
in
the
photograph
that
that
looks
like
it's
glazing,
so.
M
M
D
E
M
Okay,
so
that's
so
there,
as
I
said
they
were
replacing
the
entry
door
they're,
removing
the
metal
parapet
on
the
upper
portion
of
the
the
storefront
windows
and
the
the
block
wall.
They
are
removing
the
package
units
on
the
roof.
So
there's
two,
the
one
that
you
see
here
on
the
photo
on
the
right.
It's
you
can
briefly
see
it
or
kind
of
barely
see
it
there
above
the
parapet
and
obviously
what
the
parapet
being
removed.
It's
it's
of
great
interest
to
have
that
unit
removed
as
well.
M
M
You
see
an
outdoor
storage
area,
that's
surrounded
by
essentially
a
block
wall
that
is
as
tall
as
the
garage
door,
so
it
would
be
located
in
that
area
and
what
they
are
also
doing
as
a
part
of
the
overall
kind
of
package
for
site
lighting
is
they're,
removing
all
of
the
appended
light
boxes
attached
to
the
underside
of
the
canopy
and
retrofitting
the
existing
light.
Troffer
x',
that
are
there,
show
you.
So
what
you
see
here
are
the
the
troffers
that
are
highlighted
in
red.
M
Okay,
so
this
just
really
kind
of
shows
some
of
the
detail
of
the
underside
of
the
canopy
and,
of
course,
they're,
not
touching
the
existing
doors
that
were
that
are
there
for
the
server
space
would
essentially
remain
in
place,
and
so,
lastly,
the
they
are
also
doing
some
upgrades
through
the
to
the
landscaping,
but
before
I
get
into
that
I
just
highlight
these
are
some
of
the
these
are
the
new
pre
standing
and
light
fixtures
that
are
proposed
to
provide
illumination
around
the
site?
Do.
M
So
yeah
like
I,
said,
lastly,
they
are
upgrading
the
landscaping
too.
They
are
retaining
the
existing
olive
trees
that
are
on
site.
Thank
you
right.
It's
in
that
detail
there.
So
they
are
retaining
the
existing
olive
trees
that
are
there
on
site.
They
are
adding
some
Palo
Verde
trees
at
the
rear
of
the
property
for
some
of
the
parking
areas
and
they
are
installing
some
desert
appropriate
landscape
materials,
all
of
which
are
found
in
the
desert.
M
M
So
when
we
evaluated
the
project,
we
essentially
went
back
to
what
the
council
designated
as
contributing
and
non-contributing
elements
of
the
site,
and
those
are
all
listed.
On
pages
three
and
four
of
your
report.
We
felt
that
the
changes
were
with
as
it
relates
to
the
sort
for
an
entry
door
would
not
impact
the
character
defining
features,
as
it
was
part
of
the
addition
that
had
occurred.
So
we
did
not
feel
it
would
be,
have
an
impact
to
those
features
we
did
have.
M
Some
concerns
with
the
two
new
fixtures
that
word
that
would
be
installed
at
the
ends
of
the
canopy
shown
on
the
right
side
of
the
screen.
The
two
just
for
the
fact
that
they
are
adding
two
new
penetrations
to
to
the
canopy,
so
the
applicant
I
know
is,
is
is
saying
that
they
they
really
need
those
lights.
So
I
know
that
they
may
have
some
comments
about
that
and
would
still
request
that
the
board
approve
those
fixtures
in
their
location
and
also
to
match
the
the
others
that
are
shown
on
the
plan.
I
M
L
L
L
A
L
The
the
parent,
all
of
it,
is
coming
off
to
be
able
to
show
the
higher
part
of
the
roof,
and
that
is
one
of
the
things
that
we
had
talked
to
Dave
about
it,
and
we
want
to
put
lighting
on
the
inside
to
where
the
roof
had
actually
shine.
You
know
what
I
mean
they'll
be
seen
through
the
new
glass
that
goes
around
I,
believe
we
had
this
conversation
when
we
were
up
there
as
far
as
replacing
the
glass
around
it.
Many
you
guys
suggested
single
or
dual
pane.
L
A
G
From
this
photo,
sorry
if
I
might
just
interject,
because
this
is
not
shown
in
the
drawings,
but
the
applicant
has
offered
this
to
remove
that
parapet.
What
we
would
want
do
is,
in
the
conditions
of
approval,
indicate
that
the
parapet
would
be
removed
from
the
front
of
the
convenience
store.
And
can
we
note
that
now
we
can
note
that
now?
Okay,
that
in
the
conditions.
A
L
L
Be
black
okay,
let's
step
back
a
little
bit,
that
place
has
been
robbed
four
times
in
the
last
month,
so
that's
painted
glass,
okay,
okay,.
A
L
A
L
E
A
L
Will
not
have
that
as
I
talked
to
Dave
this
morning
we
suggested
that
from
the
height
of
the
wall
on
the
inside,
we
put
up
lights.
So
that
way
you
don't
see
them.
It
would
only
shine
on
the
ceiling,
but
you
don't
see
lights
like
a
fluorescent
light.
There
will
be
no
fluorescent
light.
Okay,
I'm,
not
seeing
at
all
all.
I
Right
all
right,
so
we
can
incorporate
that
as
part
of
condition
of
any
motion
right.
Okay,
that's
important
also
on
the
service,
so
you're
now
gonna
go
in
and
you're
going
to
expand
into.
What's
the
now
the
service
automobile
area
right,
okay,
so
on
the
north
side
of
the
building,
where
those
doors
are
what
happens
to
that
area
because
I
don't
see
that
anywhere
on
the
plans.
I.
A
A
A
I
If
you
look
at
it,
they
want
light
on
this
side
of
the
of
the
gas
tanks
which
are
out
there,
which
sounds
like
practical,
necessary
solution.
And
then
you
hear
with
you
know
the
braking
problem
there.
The
additional
illumination
I
think
is
absolutely
essential,
and
at
least
it's
done
in
the
spirit
of
what
the
original
was
so
I
have
no
problem.
A
M
M
L
Said
out
there,
yes,
and
between
the
two
polite
freestanding
lights
that
are
out
to
the
west
side
on
Palm
Canyon
between
the
pump
and
where
those
lights
would
be.
It's
about
25
30
feet,
so
you
don't
get
the
light
from
those
poles
to
come
there.
So
at
nighttime
it's
it's
kind
of
a
dark
spot.
So
that's
why
we
want
to
put
the
lights
and
we
want
to
make
sure
that
whatever
goes
inside
here
matches
out
here.
It
all
look
the
same.
E
E
L
E
Question
went
when
back
to
the
storefront
when
excuse
me,
when
this
is
glass
again,
what's
gonna
be
behind
the
glass,
is
it
going
to
be
a
merchandise
racks,
the
back
side?
Probably
yes,
probably
yes,
so
we're
gonna
be
seeing
the
back
side
of
merchandise
racks
and
how
tall
are
those
racks.
L
L
So
we
want
to
put
all
the
lights
they're
all
lined
up,
and
if
there
is
left
opening
on
the
Trop
that
exists,
then
we
would
take
care
it
to
block
it
up
to
cover
it
paint
it
whatever
we
got
to
do
to
all
match
the
ceiling
we'll
put
cement
in
there
too
long
match,
but
they
don't
make
a
light.
But
it's
gonna
be
a
feet,
long
precise
that
it
is
up
there
to
be
able
to
fit
in
okay.
A
A
D
E
D
D
B
B
These
can
go
in
as
LED
strips
and
be
eight
feet
long
and
get
the
light
that
they
want,
and
that's
what
I
think
we're
recommending
is
that
the
LED
replacement
fixtures
that
go
in
the
existing
troffers
are
eight
feet
long.
They
look
just
like
a
fluorescent.
They'll
have
a
face
on
them,
but
they're
brighter.
This
same
detail
can
occur
out
here
on
this
face
without
cutting
into
the
canopy,
in
other
words,
by
framing
this
out
with
steel
and
then
setting
that
new
light
fixture
in
they
can
get
the
additional
light.
B
B
A
E
A
E
M
A
H
I
I
A
Right
so
bored
I
think
that
we
we
we
know
that
staff
did
not
approve
or
suggest
that
these
new
troughs
be
cut
in
Todd's
point
was
very
well
made
about
what
potential
damage
might
occur,
and
so
the
proposed
light
trough
to
be
added
to
the
far
west
end
of
the
canopy
bill.
Your
final
thoughts
on
that
please,
okay,.
E
E
This
canopy
should
not
be
standing
by
current
engineering
standards,
so
you
do
not
want
to
touch
it.
Oh
yuria,
even
to
court
I'd
be
I'd,
be
scared
of
corn
that
that
top
okay,
and
so
you
don't
want
to
diminish
that
structural
thickness
at
all.
So
the
staffs
recommendation
of
perimeter
lighting
is
a
great
one.
Actually
I
wish
I'd
thought
of
it.
It
also
allows
you
to
get
wiring
to
those
lights
without
coring
through
the
canopy,
by
coming
up
a
side
wall
and
running
it
around
the
whole
perimeter.
E
We
deal
with
gas
stations
all
the
time
and,
while
you're
lucky,
you
don't
have
to
make
this
look
Hispanic
the
what
happens
behind
the
glass
can
be
really
ugly.
So
when
you
say
it's
glass,
it's
really
ugly.
It's
the
back
end
of
a
merchandiser
and
you
know,
I've
been
in
your
store
several
times.
You
know.
I
get
my
propane
gas.
There
I
was
very
concerned
that
was
not
going
away.
E
So
so
the
way
to
deal
with
it
is
is
to
either
put
spandrel
glass
or
a
spandrel
panel,
which
is
a
piece
of
metal
or
a
piece
of
glass.
That's
opaque
and
or
paint
the
back
black
so
that
the
glass
looks
like
it
does
and
and
and
it
does
need
to
be
about
four
and
a
half
to
five
feet
high,
because
that's
how
tall
the
stuff
is
behind
it,
but
I'm
also
concerned
about
okay,
but
we've
got
drawings
that
show
the
parapet.
There.
E
I
really
want
to
know
what
it
looks
like
with
the
parapet
gone.
Is
it
gonna
be
a
fascia
panel?
It
is
what's
it
gonna
look
like
and
we
don't
have
drawings
that
show
that,
and
so
well,
I
really
want
to
see
this
project
move
forward.
We've
been
talking
about
it
like
forever
I,
don't
think
we
have
an
approvable
proposal
in
front
of
us
today.
G
Mr.
chair
might
I
offer
a
suggestion,
would
it
be
appropriate
to
have
a
subcommittee
of
the
HSP
be
review
the
final
drawings
rather
than
coming
back
to
the
entire
HSP
B?
This
is
something
that
we
often
use
it:
architectural
advisory
committee
and
Planning
Commission,
where
there
are
conditions
associated
with
it,
but
they
want
to
see
how
those
conditions
are
actually
applied
in
terms
of
drawings,
slin.
B
Think
that's
a
great
idea.
I
I,
wanted
to
just
mention,
as
I
was
as
you
were,
discussing
I
was
having
a
conversation
with
Mario.
The
the
question
that
you
asked
is
how
what's
happening
behind
the
glass
well
behind
the
glass
is
merchandising,
but
it's
not
the
back
of
the
merchandising
they're
going
to
be
merchandise
cabinets
in
there,
but
along
the
glass
it's
going
to
be
an
aisle
way,
and
so
that
the
point
that's
important,
I
think
to
also
make
on
this,
which
is
critical.
B
So
what
you
have
right
now
is
an
opportunity
for
the
for
the
building
itself
to
come
back
as
closely
as
possible
to
what
this
thing
was
originally
and
I.
Think
it's
just
a
matter
of
how
you
set
those
interior
case
works
so
that
that
glass
is
able
to
actually
come
all
the
way
to
the
floor.
It's
a
tremendously
powerful
opportunity
right
now
that
they're
about
to
pose
to
you
to
bring
this
as
close
to
the
original
building,
as
as
you've
ever
seen
it,
which
is
very
exciting
and.
A
And
Ken
on
that
note,
mr.
Yousef
I
read
recently
7-eleven
their
success
in
avoiding
robbery
has
been
the
visibility
from
the
outside
into
the
store
and
they're
they're
purposeful,
not
blocking
windows
with
advertisements
with
them
showcases
and
that
type
of
thing
so
I
think.
Yes,
if
you
can
keep
your
cabinet
or
you
the
showcases
away
from
the
window,
and
that
will
certainly
create
a
much
more
visual
interconnection
with
the
outdoors.
B
B
K
B
E
K
E
E
C
G
A
Have
one
more
question
of
Mario
and
staff,
with
the
proposed
additional
lighting
on
the
on
the
trim
on
the
western
edge
of
the
canopy
the
distance
between
what
will
be
the
restored
troffers
to
this
lighting
out
here
on
the
trim
now
the
distance
there?
Is
it
going
to
create
a
dark
spot,
though,
if
we
look
at
this,
the
distance
between
the
two
truck,
the
two
troffers
there
and
the
new
proposed
one
out
on
the
rim.
K
E
A
A
E
B
K
B
A
G
D
G
Your
conditions
of
approval,
as
we've
discussed
them
so
far
number
one.
The
parapet
will
be
removed
over
the
storefront,
the
1984
storefront,
which
is
not
shown
currently
in
the
drawings,
and
so
that's
something
that
we
want
to
see
represented
before
the
subcommittee
number
two.
There
is
to
be
no
exposed
light
source
on
the
interior
light
fixtures
that
was
from
mr.
Burkett,
with
a
concern
of
the
clerestory
windows
that
we
would
have
exposed
light
sources
there.
Mr.
G
What
we're
talking
about
instead,
as
you've
mentioned
mr.
Jones,
is
that
again
you
keep
the
glass
floor
to
ceiling,
and
so
there's
visibility
into
the
store
and
then
finally,
the
subcommittee
would
then
review
and
make
sure
that
the
final
plans
that
are
submitted
conform
to
the
conditions
of
approval
imposed
by
the
HSB
B
and
Flint.
A
I
E
H
H
A
I
I
If
we
now
have
our
9
tours
the
last
two
being
a
Palmer
&
kreisel
in
Las,
Palmas
I,
forget
Verret
residents
strike
that
please
that's
in
the
wrong
place
that
scott
owner
Scott
hunt
is
the
owner
I've
known
Scott.
For
many
many
years
he
I
used
to
represent
his
panache
furniture
line
in
Chicago,
New,
York
and
Florida
in
our
showrooms,
and
he
has
a
really
fabulous
Palmer,
&
kreisel
in
Las
Palmas
and
then
the
William
Holden
estate
and
I
guess.
I
H
On
Monday,
April
16th
would
follow
up
with
a
real
estate
workshop,
and
this
would
be
co-sponsored
by
CPF,
in
conjunction
with
the
city
of
Palm,
Springs
and
I'm,
in
discussions
with
CPF
to
follow
the
model
that
was
done
in
pasadena
last
year.
It's
a
half-day
workshop
from
9:00
to
12:00
targeted
to
real
estate
agents.
Actually
now
through
the
valley,
because
I
understand
there
may
be
a
merger
of
the
real
estate
associations.
H
B
Received
an
invitation
from
these
Goolsbee
with
neighborhood
organizations
as
to
whether
or
not
the
city's
historic
site
preservation
board
would
like
to
have
a
table
at
the
annual
picnic,
and
so
we
wanted
to
bring
this
to
the
board
and
get
your
decision
on
whether
you
wanted
to
do
this
or
not,
and
of
course
tied
with
that
question
would
be.
Who
would
be
able
to
help
staff
that
booth
it's
an
afternoon
event
that
runs
from
11:00
a.m.
until
2
p.m.
B
on
March
24th
at
Ruth,
Hardy,
Park
and
all
of
the
different
neighborhood
organizations
and
city
organizations
are
there.
They
have
usually
food
and
drink,
it's
quite
a
lot
of
fun
and
you
meet
a
lot
of
your
neighbors
and
and
and
fellow
participants
and
many
of
the
other
city
boards
and
commissions.
So
we're
looking
for
direction
from
the
board
on
this.
A
A
G
I
I
will
just
tell
you
from
my
experience
it's
kind
of
hit
and
miss
in
terms
of
the
value
of
having
HSP
be
there
at
the
picnic
I
thought
the
first
year
there
seemed
to
be
more
interest
in
it,
and
people
took
our
flyers
and
things
like
that.
The
second
year
it
just
we
didn't
really
attract
people
to
our
booth.
So
is.
G
A
Neighborhood,
thank
you
on
5c,
I
know
that
this
is
a
very
important
issue
and
I'm
very
excited
to
get
into
the
discussion
on
it,
but
I'm
wondering
if
the
board
would
allow
approaching
the
noon
hour
that
we
table
this
to
the
next
meeting.
A
That
okay
plan
is
that
alright
with
you
so
do
we
need
a
motion
on
that
or
anything
we'll
just
table
it
to
the
next
meeting?
Okay,
thank
you
all
right.
So
then
board
member
comments,
I
had
one
that
I'd
like
to
really
begin
a
conversation
about
this
I
feel
very,
very
comfortable
that
the
Cornelia
white
house
will
see
the
light
of
day.
It's
been
a
long,
arduous
task
that
this
board
has
undertaken,
and
so,
as
mr.
A
Roberts
commented
when
he
left
on
to
the
laplacian
I
would
like
to
raise
the
Francis
Stevens
School,
Auditorium
I
have
lived
here.
12
years
and
I
went
to
an
event
there
recently
and
I
was
embarrassed.
I
was
embarrassed
that
this
city
owned
property,
one
of
our
class
1
historic
properties,
is
in
the
I'll,
choose
my
words
very
carefully
in
a
not
well-kept
or
well-maintained
condition.
A
The
for
I
know
it's
always
about
the
money,
but
with
some
power
washing
of
the
walkways
of
the
pavers,
so
that
the
gum
and
the
old
paint
and
just
the
dirt
be
removed.
I
took
some
photographs
of
the
literally
the
trash
container.
Where,
before
you
go
into
the
theater,
you
would
dispose
of
your
drink
or
your
coffee
cup.
It
is,
and
this
is
not
choosing
my
words
carefully
disgusting
and
how
nobody
who
works
there
or
volunteers
there
or
who
operates.
A
There,
has
not
brought
this
to
our
attention
that
I
had
to
see
this
firsthand
so
it
needs
it
needs
some.
It
needs
some
attention.
The
auditorium
was
not
in
great
condition.
It
was
a
very
successful
production.
It
was
a
hard-working
group
of
volunteers
and
people
and
we
have
to
put
some
emphasis.
We
talked
about
the
landscaping
recently
we
tripped
all
over
ourselves
whether
it
was
red
rock
or
green,
rock
or
white
rock,
and
here
the
cobwebs
in
the
windows
and
and
in
the
in
and
the
over
the
Paseo.
A
D
B
You'll
be
happy
to
know
that
I
submitted
twelve
markers
this
past
week,
including
yours,
on
Bell,
Vista
too,
and
I
actually
have
one
that's
already
ready
to
pick
up
so
I
appreciate
you,
like
the
fire
under
me
on
this.
It's
not
lost
on
me.
I
understand
the
urgency
of
it.
There
should
be
a
bunch
of
him
starting
to
come
out
now.
You
bet
and.
A
On
that
note,
and
on
that
note,
the
dr.
Hugh
Stephens
house
on
Marengo
Road
645
moraga
road
that
has
sold
mr.
Metcalfe
no
longer
owns
the
home.
It
is
under
new
ownership.
I
have
spoken
with
her
and
she
will
do
whatever
she
can
to
fast-track.
Getting
the
plaque
on
that.
One
and
I
know
that
the
the
previous
owner
was
was
to
his
own
admission,
dragging
his
feet
on
that.
So,
if.
E
E
G
Will
try
our
best?
One
of
the
things
you
all
have
to
understand
is
it's
difficult
to
coordinate
the
schedules
of
seven
people,
some
of
whom
are
not
full-time
residents,
so
it's
very
challenging
for
us.
I
just
want
you
to
understand
that,
but
we
will
try
and
accommodate
your
schedules
as
best
as
we
possibly
can.
B
I
Dick
just
a
couple
of
things
thanks
Todd
for
bringing
that
up
about
the
markers
I
know
ken
is
tired
of
hearing
me
talk
about
it.
It's
a
fresh
new
blood.
Thank
you
very
much
so
now
I
can
tell
the
people
a
loss,
arena
and
people
at
WGN
are
now
horbet
in
that
things
have
been
ordered
right
so
about
approximately
any
kind
of
time.
I
know
that'll,
be
the
next
question
so
well,
I.
Don't
know
that
yet.
I
A
H
H
I
think
that
applications
are
due
at
the
end
of
this
month,
but
I
was
thinking
that
that
would
be
a
perfect
thing
for
Laplace
a
theater
to
apply
for
and
I,
don't
know
if
it's
impossible
to
coordinating
a
grant
application
by
the
end
of
this
month,
but
I
think
that
fund
has
maybe
five
million
dollars
in
it
through
the
National
Trust.
So
it's
a
it's
something
to
look
look
into.
B
A
G
Just
have
one
thing:
at
the
last
City
Council
meeting
the
City
Council
had
on
there
agenda
discussion
of
appointing
liaisons
from
counsel
to
the
various
boards
and
committees
that
we
have.
They
had
indicated
that
they
won't
be
doing
that
for
every
board,
but
they
did
make
some
appointments
last
week
for
the
historic
site
preservation
board
mayor
moon
is
going
to
be
the
liaison
with
the
board.
So
any
questions
concerns
that
want
to
or
need
to
be
forwarded
to
the
City
Council.
He
would
be
our
liaison.
G
G
I
Sorry,
one
last
thing
just
so
that
you
know
we're
still
working
on
the
possibility
of
a
major
personality
being
an
honorary
chair
at
the
event
and
there's
lots.
There's
been
a
lot
of
behind
the
scenes
going
on
with
that,
so
by
next
meeting,
I'm
hoping
that
we'll
be
able
to
make
an
announcement
that
could
be
very
exciting.
Thank
you.
All.