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From YouTube: H-Board Meeting 9/13/22
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A
A
B
D
Member
guida,
I
understand
he's
excused
member
aguilar
medrano
member
berkeley,
yeah,
remember
beachside,
remember
bienvenue
here.
E
B
B
Seconded
roll
call
vote
please.
D
B
Thank
you.
We
have
minutes
of
august
23rd
2022
any
changes
to
these
minutes.
D
B
B
G
Madam
chair
we've
got
one
more
staff
communication
to
add
to
this
or
to
just
report
to
the
board.
We
do
have
a
new
staff
member
to
introduce
and
he's
in
the
back
I'll.
Have
him
stand
up?
His
name
is
ramon
sarason,
so
he's
joining
us
half
time
in
hpd
and
and
part-time
and
current
planning.
B
G
B
A
H
I
H
Historic
district
that
appeal
was
filed
and
it
was
placed
on
the
agenda
for
the
governing
body
meeting
tomorrow
night.
However,
because
we
learned
that
the
appellants
had
not
sent
out
the
notices
that
are
required
by
santa
fe
city
code,
section
4-14-3.1,
subsection
h4,
the
that
matter
will
not
be
heard
before
the
governing
body.
H
Tomorrow
night
we
are
determining
whether
or
not
there
was
good
cause
for
the
appellants
to
neglect
the
notice
requirement,
whereupon
if
there
was
there
will
be
postpartum
later
date.
B
Thank
you
attorney
and
talking
about
about
appeals
this
evening.
If
you
disagree
with
the
decision
that
the
board
renders
you
do,
have
the
option
to
appeal
and,
as
attorney
jubilee
said,
it'll
go
to
the
city
council
and
you
have
to
wait
till
the
findings
and
conclusions
have
been
approved
and
you
have
up
to
15
days
to
submit
your
appeal
and
staff
will
gladly
help
you
on
that.
C
The
applicant
requested
this
preliminary
review
from
the
board,
because
st
john's
college
of
the
peterson
center
is
considered
a
significant
building
per
the
historic
district's
regulations
and,
as
such,
all
facades
are
considered,
primary
and
and
and
so
in
order
for
any
addition
to
take
place
on
st
john's
college
on
the
peterson
student
center
would
require
an
exception
and
we
as
staff
as
well
as
the
applicant
thought,
would
be
good
and
productive
to
have
some
dialogue
with
the
board
regarding
their
impressions
on
the
proposed
editions
and
give
some
some
feedback
as
well.
C
The
building
was
built
in
1963
and
64
and
was
designed
by
julian
and
buckley
and
and
for
both
the
peterson
center,
as
well
as
with
the
master
plan,
the
campus
master
plan,
and
it
has
not
been
changed
very
much
over
time.
C
C
So
now,
there's
two
sets
of
doors
that
you
walk
through,
instead
of
the
just
the
one
set
of
doors
where
that
used
to
be,
and
so
with
the
changes
in
the
grade
and
the
connection
to
the
lavon
class
building,
then
you
know
there
were
some.
There
was
a
change
related
to
stairs
and
exiting
the
the
top
level
where
the
portal
is.
But
I
will
let
I'll
go
ahead
and
turn
this
over
to
sean
evans
and
his
team
and
let
them
go
through
their
presentation
and
thank.
J
Madam
chair,
prior
to
the
applicant
beginning
their
presentation,
I'd
like
to
recuse
myself
from
this
case.
Okay,
so.
B
Let
the
record
show
that
member
agile
medrano
is
stepping
out
of
the
room
she
has
recused
herself
and
then,
when
we
go
to
the
next
case,
we
will
call
her
back
in
okay
and
I
have
a
question
for
you
heather.
So
this
is.
Did
I
hear
you
say
this
is
an
informal
hearing?
Are
we?
The
board
is
going
to
give
a
list
of
suggestions
at
the
end
of
this
presentation,
or
is
this
actually
going
to
be
submitted
by
a
motion.
C
So
there
will
be
no
action
by
the
board
tonight,
so
this
is
informal
to
just
solicit
your
feedback
on
proposal
and
then,
at
a
later
time,
there's
been
no
formal
application
filed.
Yet
then
there
will
be
a
formal
application
that
is
filed
for
your
review
and
approval.
C
I'd
like
to
defer
to
melissa
on
that,
it's
not
quite
quasi-judicial
under
staff
communications,
but
I
will
leave
it
up
to
the
experts
or.
B
Maybe
two
other
attorneys.
Could
you
answer
that.
D
K
K
Can't
just
kidding
I'm
just
kidding,
I
would
fail
miserably
anyway.
It's
it.
It
is
the
center
of
the
campus.
It
is
a
student
center,
but
it's
terribly
lacking
in
what
it
offers
our
students.
So
as
a
recruitment
issue
and
a
retention
issue,
renovating
peterson
is
extremely
important
to
us.
We
haven't
had
the
funds
to
do
so
in
a
very
long
time.
We
now
do
have
the
funds
to
do
so
and
we're
very
enthusiastic
about
doing
it.
The
inside
of
the
building,
the
gerard
murals,
are
hugely
important.
A
K
L
Thank
you,
madam
chair
members
of
the
committee.
I
appreciate
your
time
tonight
and
really
look
forward
to
your
honest
feedback.
I
think
you,
oh
sorry,
I'm
shawn
evans,
1121,
north
luna
circle,
santa
fe,
I'm
principal
of
the
aos
architects.
L
Here
in
santa
fe,
as
as
mr
roosevelt
said,
the
the
building
is
is
really
quite
intact
and
we
understand
that
that
is
valuable
from
a
historic
preservation
perspective,
but
it
does
have
some
very
severe,
not
only
issues
related
to
program
and
recruitment
and
retention
that
are
critically
important,
but
some
severe
building
code,
life,
safety
and
accessibility
issues
that
we're
really
trying
to
resolve
so
you've
you've
seen
the
submittal.
So
I'm
going
to
go
quickly.
L
Mr
roosevelt
mentioned
the
the
interiors
by
alexander
rodriguez.
There
is
this
magnificent
mural.
If
you
haven't
been
there,
I
really
encourage
you
to
go.
It's
really
one
of
the
the
greatest
works
of
contemporary
art
in
santa
fe.
It's
140
feet
long
and
is
really
outstanding,
and
there
are
actually
many
elements
of
gerard
alexander,
gerard
who's,
an
incredible
legacy
to
santa
fe
within
within
the
building
light
fixtures.
These
really
interesting
painted
doors
and
many
other
features
a
site
plan
showing
where
it
is
on
the
campus
and
here's
existing
kind
of
state
fund.
L
I
just
wanted
to
quickly
note
a
few
things
for
you.
We
are
we
are
proposing
and
we
are
needing
to
make
some
changes
to
the
to
the
landscape
when
you
drive
into
the
campus
you're
driving
along
this
road,
if
you
can
see
my
hand
moving
right
on
the
upper
side
of
this
image
and
you
kind
of
stare
right
into
the
loading
dock,
it's
a
rather
unfortunate
introduction
to
the
campus,
and
then
there
is
this
drop
off
area
here,
where
there's
a
handful
of
accessible
parking
spaces.
L
The
stair
coming
up
into
the
campus
is
really
concealed
behind
landscaping,
and
the
college
receives
many
complaints
that
it's
confusing
people
don't
know
how
to
how
to
enter
the
campus
and
we're
trying
to
really
welcome
not
only
the
prospective
students
current
students,
but
the
people
of
santa
fe
to
this
campus.
They.
L
Wonderful
offerings
so
we'll
be
talking
more
a
little
bit
about
that.
We
are
proposing
a
series
of
additions
which
we'll
get
to
it
was
mentioned
before
that
the
landscape
has
changed
quite
a
bit.
If
you
look
back
at
this
original
photograph,
it's
really
very
spare.
It
looks
kind
of
like
a
dystopian
science
fiction
movie.
L
A
L
I
L
L
Ada
was
certainly
in
effect
at
that
time,
and
then
all
these
walkways
here
and
accessible,
we
will
be
making
some
accessibility
improvements
in
the
landscape
to
this
part
to
this
door,
which
is
a
room
called
the
cave,
which
is
kind
of
an
undergraduate
hangout
space
and
yeah
in.
A
L
Says
existing
site
plan.
That
was
a
mistake.
I
apologize.
This
is
a
proposed
site
plan.
This
is
again
very
preliminary.
I
just
wanted
to
point
a
few
things
out
to
you
this
evening.
Here
we
see
the
reconfiguration
of
the
roads.
L
Edition
here
that
I'll
talk
about
in
a
little
bit,
this
is
the
scare
here
is
the
reconfigured
garden
here
that
will
provide
accessibility
and
maintain
the
place,
an
outdoor
classroom
where
we
need.
We
do
need
to
make
a
series
of
small
modifications
to
the
landscape
in
the
building.
I'm
not
going
to
go
into
tonight,
because
I
know
we're
going
to
come
back,
but
there's.
L
N
K
L
Providing
the
access
to
that
cave
and
then
importantly,
what
we
haven't
yet
explored,
but
we
will
we
are
looking
into
now,
is
that
this
number
10
here,
where
my
hand
is
moving
around
if
we
do
need,
we
are
adding
air
conditioning
to
the
building.
It
is
currently
not
air
conditioning
and
the
college
is.
L
We
do
not
want
to
put
a
ginormous
chiller
on
the
roof,
but
we
have
to
put
it
somewhere
and
so
that
we've
done
a
fair
bit
of
analysis,
and
this
is
the
best
location
that
we
can
come
up
with.
It
will
be
screened
with
a
stucco
retainer
with
stucco
yard
wall,
as
well
as
the
trees
surrounding
it.
So
more.
N
L
To
come,
but
tonight
I
really
want
to
focus
on
the
buildings.
I
have
a
look,
I'm
going
to
skip
through
some
of
these
plans
and
come
back
to
them
if
there's
need.
This
is
the
existing
first
floor
plan,
but
I
wanted
to
jump
to
this
to
talk
about
some
of
the
interior
features
of
the
first
one.
I've
recognized
that
you
have
no
jurisdiction
of
the
interior,
we're
in
a
bit
of
a
pinch
here,
because
we're
really
trying
to
conserve
and
preserve
a
highly
significant
interior
by
alexander
duran
in
the
national
register
nomination.
L
It
specifically
says
this
building
is
significant
because
of
its
interior
because
of
the
work
of
alexander
gerard,
so
we're
trying
to
accommodate
the
necessary
programmatic
changes
and
preserve
the
draw
of
the
gerard
interior
and
resolve
critical
life
safety
issues,
as
they
mentioned
so.
L
I
It's
really
the
we.
L
See
bits
of
it
here
and
this
photograph
comes
down
here,
it's
a
magnificent
work
of
art
and
there
are
painted
doors
I
referenced
before.
I
see
this
red
photograph
here.
This
really
playful
wonderful,
many
many
colors
throughout
the
building
and
we're
working
with
stephen
prim's
renowned,
local
mural
conservator,
who
will
be
working
on
the
mural
and
the
doors
inside
inside
the
building
between
the
bookstore
and
the
coffee
shop.
L
If
we
keep
calling
it
the
wiggly
wall
that
it's,
this
kind
of
stepped
ball
is
indicated
in
pink
here
in
this
drawing
we
see
that
the
photograph.
L
Small,
the
images
are,
but
it's
this
kind
of
stuff
wall
with
chalkboards,
really
important
part
of
gerard's
legacy
in
the
building
when
we
were
hired.
The
initial
concept
for
for
the
project
was
to
to
merge
the
coffee
shop
and
the
bookstore.
The
coffee
shop
is
this
room
here
where
it
says
gerard
masonry,
while
looks
for
race
here,
because,
as
mr
roosevelt
mentioned,
they
in
focus
groups
and
talking
with
students
who
were
applying
to
the
campus,
they
really
didn't
feel
that
the
student
center
offered
them
anything
and
the
culture
of
the
campus
is
great
books.
L
My
foot
down
sorry
mark,
and
we
said
we'll
figure
out
another
way
to
do
this,
and
so
that's
what
that's
part
of
why
we've
kind
of
ended
up
towards
this
edition
and
I'll
talk
more
about
it.
We're
also
looking
at
the
incredible
views
out
of
the
building
and
from
various
places
and
trying
to
make
balance
preservation
of
the
building
with
life.
L
Everything
that
we
do
and
then
the
programmatic
needs
the
first
floor
proposed.
This
is
preliminary
as,
as
we
mentioned,
we're
looking
at
three
additions
that
are
shown
in
with
these
red
outlines
I'll
talk
about
the
the
bookstore
edition.
First,
as
I
mentioned,
we're
really
aiming
to.
I
think
it's
really
important
to
hang
on
to
this
really
curious
wiggly.
K
L
I
just
close
all
this
stuff
out
and
so
what
we've
really?
What
we've
come
up
with
as
a
solution
is
to
create
a
775
square,
foot
plus
or
minus
edition
here
that
represents
about
a
40
growth
of
the
bookstore,
which
will
make
it
economically
resilient
right
now,
they're
really
struggling
to
break
even
in
the
bookstore.
They
really
need
that
extra
space
and
by
doing.
I
L
K
L
We're
calling
the
south
court
edition
and
serves
a
number
of
purposes.
Interestingly
enough,
the
student
center
has
no
lounge.
O
I
L
In
the
campus
they're
all
in
the
dormitories,
and
so
the
undergraduates
only
have
lounges
in
their
dorms,
and
so
if
there
are
students
in
different
dorms,
they
really
can't
come
together
because
of
security.
It's
complicated
and
most
importantly,
students
who
are
off-campus
residents,
have
no
lounge
space,
so
we
really
need
to
get
this
into
the
student
center
there's
nowhere
to
accommodate
it
in
the
interior.
L
L
From
a
conservation
perspective,
this
addition
allows
us
to
really
remove
very
damaging
natural
light.
That's
flooding
through
this
existing
glass
wall
here
that
is
damaging
the
mural,
so
we're
trying
to
insulate
the
mural
from
from
those
from
that
uv
spectrum
and
just
the
photons
of
natural
light
existing
second
floor
and,
as
I
mentioned
before,
one
of
the
things
that
is
really
important
is
this
new
stair
we're
looking
down
on
the
roofs
of
the
bookstore
and
southport
edition,
we'll
talk
about
them
in
this
slide
here.
L
The
major
assembly
spaces
in
the
building
are
on
the
second
floor
and
they've
got
a
lot.
B
L
L
L
The
building
as
part
of
our
upgrade,
but
that
doesn't
that
doesn't
buy
us
enough
extra
convenience
in
terms
of
the
addition.
The
other
thing
to
take
note
in
terms
of
this
stair
is
that
there
are
a
series
on
the
north
side,
a
series
of
very
large
terraces,
which
provide
space
from
these
large
meeting
rooms
in
the
great
hall.
L
Trying
to
go.
Quick
we've
included
the
existing
and
proposed
elevations
for
each
facade,
and
we
are
not
changing
the
proportion
of
stucco
to
glass
on
the
building.
We
are
simply
moving
glass
out
away
from
the
building
to
preserve
views
and
provide
these
programmatic
expansions.
So
when
you
look.
A
L
L
Of
views
from
1964
1970-
and
you
can
see
this
dramatic
grade
change-
that's
happened
at
the
building.
You
can
see
here
in
this
image
in
the
right
particular
in
particular,
when
we
look
at
the
the
contemporary
photographs
in
a
second
you'll,
see
that
there
was
the
the
area
of
the
campus
was
actually
about
a
story
up
from
where
it
is
now,
and
that
was.
L
And
the
connection
that
was
removed-
that's
caused
this
problem,
so
here
we
have
our
early
computer
model
on
the
top,
and
you
can
see
now
this.
This
landscape
is
all
at
one
level,
whereas
before
it
was
tiered
and-
and
this
is
our
we
have.
L
People
that
need
to
egress
off
of
this
deck
that
we
that
we
need
to
get
safely
out
of
the
building
one
of
the
first
things
that
we
did.
We
also
have
an
accessibility
challenge
that
I
forgot
to
go
through
in
the
plans,
given
that
the
building
was
built
in
1964.
Obviously,
ada
was
enacted
in
1991.
L
K
L
L
L
O
A
L
N
L
L
A
a
small
raised
terrace
that
has
a
ramp
going
up
to
it
with
some
raised
seating
to
create
a
place
and
make
this
really
part
of
the
campus
and
allow
this
to
be
a
benefit
to
campus.
L
L
Campus
and
try
to
create
something,
that's
more
worried,
keeping
the
with
that's
not
providing
as
much
attention.
We
did
have
a
cursory
courtesy
review
with
the
state,
historic
preservation.
I
L
Last
week
and
they've,
given
us
some
really
wonderful
feedback,
their
their
concern
is
about
kind
of
the
monumentality
of
this,
and
they
would.
They
would
really
like
us
to
diffuse
the
prominence
of
the
second
floor
portal,
which
is
set
back.
One
of
the
things
that
we
have
to
do
is
think
about
energy
code.
Now,
of
course,
so
we
will
be
making
these
columns
out
of
steel,
whereas
the
existing
columns
are
concrete,
we'll
wrap
them
in
something
either
stucco
or
metal.
So
we
will.
L
L
K
L
Our
initial
design
below
was
a
quite
contemporary
kind
of
glassy
structure,
with
exposed
four
columns
on
the
north
and
but
but
trying
to
make
it
differentiated
more
recently,
we're
looking,
as
you
mentioned,
with
with
the
fair
entrance
looking
at
a.
P
L
The
last
edition
is
the
south
court
edition.
Here
we
have
this
very
broad,
south-facing
glass
wall
with
no
protection
from
the
sun,
and
we
do
at
times
of
the
year,
particularly
in
the
winter.
We
get
a
lot
of
direct
light.
P
L
Through
those
glass
onto
the
mural
and
our
this
is
our
initial
proposal,
which
was
again
more
contemporary
with
the
steel
canopy
casting
a
shadow
and
we're
looking
at
something
more
like
this.
Now,
which
kind
of
continues
this
language
of
the
column,
the
glass
behind.
B
What
I
think
that
we
need
to
do
is
take
one
elevation
at
a
time,
so
that
the
board
can
thoroughly
look
at
it
and
digest
what
is
happening
in
each
elevation.
And
then
we
will
give
our
comments,
the
elevations,
that
you
are
making
changes
toward
the
north,
south
and
and
the
east.
L
B
What
is
the
total
square
footage
that
you
are
adding
the
building
right
now
consists
of
45
000
plus
square
feet,
and
you
will
you
are
proposing.
L
The
the
bookstore
is
about
775
square
feet.
This
east
entrance
is
about
422
square
feet
and
these
are
enclosed,
heated
areas
and
it's
all
in
the
memo.
That's
in
your
packet,
the
southport
addition
is
990
square
feet.
C
F
Yeah,
so
I
am
really
appreciative
of
your
presentation.
Thank
you
so
much
I,
you
know,
I'm
really
happy
that
we
have
robust
documentation
for
this
property
and
it
helps
us
to
make
our
decisions
as
well
and
clearly
you've
put
a
lot
of
thought
into
this
building
which
we
may
not
have
seen.
You
know
10
15
20
years
ago.
F
This
might
have
just
been
dismissed,
as
you
know,
insignificant
architecturally.
So
it's
really
nice
to
see
it
being
honored
by
the
proposed
additions
and
also
really
enlightening
to
see
the
the
consideration
that
the
exterior
is
putting
to
the
interior,
which
you
know,
of
course,
is
contributing
for
its
association
with
alexander
girard
and
his
design,
and
I
just
really
appreciate
that
you
know
we're
thinking
holistically
about
the
property.
F
You
know
a
little
bit
different
of
a
way
of
doing
things
in
santa
fe,
but
but
that's
not
to
say
that
we
can't,
you
know,
consider
the
least
impactful
choice,
even
if
it
is
not
totally
in
the
school
of
the
spanish
pueblo
revival
or
spanish
territorial
revival.
Styles.
F
So
that
being
said,
I
I
really
like
either
the
the
revised
proposed
or
the
initial
proposed
ideas
for
for
each
elevation,
but
specifically
looking
at
the
east.
I
think
that's
the
most
subtle
of
the
previous
proposed.
F
I
think
it
provides
a
nice
clarity
to
the
original
elevation
and
is
less
you
know
dominant,
but
at
the
same
time
I
think
you've
defended
your
decision.
I'm
using
you
know
a
more
structured
interpretation
of
the
portal
or
of
the
you
know,
column
and
cornice,
and
that's
also
very
much.
You
know
in
the
interest
of
the
college
and
it's
you
know,
connection
to
those
classical
sort
of
elements
as
well.
So
I
think
that's
really
interesting
so
either
way.
I
think
they're,
both
very
very
nice
and
appealing.
Q
I
would
also
second
what
you
said
in
terms
of
appreciating
how
much
thought
you
put
into
this
in
your
presentation,
and
I
know
that
interiors
aren't
at
all
part
of
our
preview,
but
we
did
go
inside
since
you
mentioned
it
quite
a
lot
in
your
report
and
it's
absolutely
magnificent
and
I
just
want
to
say
I've
never
been
there
myself
and
anyone
who
has
never
been
there.
Q
I
say:
go
and
it's
just
a
really
work
of
art,
it's
beautiful
and
very
much
worth
saving
and
thank
you
for
considering
that
the
question
I
had
generally
in
an
even
bigger
picture
with
your
campus,
because
when
on
the
field
trip
you
can
see,
your
very
newest
building
is
right
next
door
to
this
building,
and
so
the
question
that
came
to
my
mind
was:
do
you
have
an
overall
new
master
plan
campus
plan
since
the
very
first
one
or
is?
Are
you
kind
of
doing
one-off
projects
as
you
go
along
as
needed.
Q
Yeah,
I
was
just
curious
because
I've
been
in
a
similar
situation
in
my
other
life
of
college
campuses.
Trying
to
modernize
and
meet
student
needs,
while
also
trying
to
maintain
the
architectural
integrity
of
the
grounds,
and
I.
E
A
L
L
Know
from
our
perspective,
we're
we're
really
most
interested
in.
Does
this
board
see
a
possibility
of
giving
us
an
exemption
for
these
additions?
From
my
mind,
this
one
that
we're
looking
at
the
east
entry,
the
stair-
we
simply
must
do
this.
We
don't
need
to.
It
doesn't
need
to
be
designed
this
way.
L
L
The
same
would
have
a
huge
problem
with
additions
on
the
building
and
let's
talk
about
it
and
if
you
and
then,
if
aesthetic
concerns,
we're
we're
we're
moving
quick,
we
want
to
get
this
designed
quickly,
so
we
can
get
it
into
construction,
but
but
that's
really,
you
know
we're.
N
E
A
A
E
And
has
been
recognized
as
part
of
a
national
property
on
the
historic
registry
and
I
think
changed
it
enough
in
multiple
elevations
that
it
no
longer
retains
that
historic
integrity.
I'm
not
saying
that
it's
not
as
attractive,
it
might
be.
It's
just
that
to
me.
None
of
the
elevations
any
longer
that
are
being
altered
really
read
the
same,
because
the
massing
and
the
the
negative
spaces
are
so
important
to
the
original
building,
and
essentially
what
you've
done
is
just
build
in
the
negative
spaces
to
get
more
room.
L
I
would
I
would
contest
that
a
little
bit.
I
think
one
of
the
things
that,
as
we've
looked
at
the
building
that
is
so
interesting.
You
know
this
was
designed
by
holland
and
buckley.
This
is
john
gall
meme's
descendant
firm,
and
it's
a
really
one
of
the
things
that
I
love
most
about.
The
building
is
the
playfulness
of
the
massing,
and
it's
really,
these
guys
were
really
skilled
at
studying
the
historic
pueblos
from
which
our
architectural
language
is
based
upon
understanding
the
the
ways
in
which
those
pueblos
were
never
static.
L
And
if
you
look
at
the
cornice
heights
and
the
massing
it's
it's
based
on
that
pueblo
methodology
of
construction,
where
it's
really
about
the
room,
and
so
each
of,
if
you
look
at
each
of
these
facades,
the
cornices
don't
line
up
they're,
always
kind
of
hopping
up
and
down
a
little
bit,
and
it
almost
reads
like
a
building
that
has
grown
over
time,
even
though
it
wasn't-
and
I
think
you
know-
we've
worked
on
many
john
galming
buildings
and
he
certainly
understood
that
these
buildings
were
living.
L
E
By
the
fact
that
we
have
an
ordinance
that
provides
that,
once
the
structure
is
considered
significant,
you're
not
supposed
to
make
the
kinds
of
evolutionary
changes,
you're
talking.
E
Strong
reasons
that
have
you
know
that
have
to
be
proven
to
do
a
very
high
evidence.
L
L
L
They're
all
they're
all
they
are
all
intertwined
and
don't
have
enough
time
to
get
into
that.
So.
E
But
the
I'm
not
necessarily
clear
on
the
need
for
the
portals
and
the
additional
space
on
the
east
facing
facade
other
than
the
fact
that
it
might
make
the
space
more
useful
inside
which
I
understand
again.
We
as
a
board
are
passed
with
the
responsibility
of
protecting
the
historic
integrity
of
the
building.
Once
it's
been
designated
as
significant,
and
I
just
I
really
do
feel
that
in
filling
all
of
these
spaces
has
will
change
the
integrity
sufficiently,
that
it
will
no
longer
qualify.
Us.
L
I
would
like
to
say
that
we,
as
I
mentioned
we
did
meet
with
the
state
historic
preservation
office.
They
were
very
enthusiastic
about
the
project,
I'm
very
excited
about
what
we
were
doing
very
complimentary
about
this.
They.
K
I
L
Concerns
about
damaging
the
historic
integrity
of
the
building
and
that's
their
job,
to
make
sure
that
that
is
not
that
that
is
maintained.
E
Right,
their
standards
are,
of
course,
different
than
ours,
but
I
understand
that
that's
useful
information
so
anyway
we're
just
looking
at
the
east
facade
right
now.
I
would
have
some
issues
with
the
bookstore
expansion
and
also
the
southern
facing
facade,
which
is
basically
and
then
more
or
less
an
infill
of
again.
E
L
E
In
favor
of
the
exterior
alterations,
although.
H
E
L
E
E
Between
the
two
proposals
is
an
interesting
one,
because
I
think
that
the
the
more
recent
proposals
you
have
there
have
the
unfortunate
effect
of
looking
too
much
like
the
existing
building,
so
that
it
becomes
very
difficult,
I
think,
to
an
untrained
eye.
It
would
look
like
that's
the
original
building.
You
could
be
very
hard-pressed
to
make
the
differentiation
unless
it
was
pointed
out
to
you,
whereas
your
original
proposal
made
a
much
stronger
differentiation.
L
C
Sorry
yeah,
I
can
make
it
just
a
few
general
comments
and
I
like
to
say
I
appreciate
the
thoughtful
presentation
that
you've
offered
and
the
reasoning
behind
what
you're
what
you're
trying
to
accomplish.
I
think
it's
interesting.
C
Building
originated
as
part
of
a
contemporary
design
for
its
time,
in
response
to
a
need
for
a
modern
educational
institution,
and
I
think
what
you're
trying
to
do
now
is
accomplish
very
much.
The
same
thing
meet
the
needs
of
something
that's
more
modern
for
our
time
with
a
building.
That's
now
historic.
K
C
C
It's
very
unique
and
with
respect
to
to
its
interpretation
of
the
territorial
revival
style
in
a
mid-century
expression,
the
large
storefront
openings
and
the
repetitive
glazing,
especially
at
the
top
of
the
doors,
is
something
that
we
consider
to
be
unique
and
I
don't
think
repeated
elsewhere
in
santa
fe
they're.
Preserving
those
elements
I
find
to
be
of
particular
interest.
C
I
also
think
that
the
the
the
land
that
was
donated
for
this
campus
spans
both
sides
of
an
arroyo.
So
it
was
always
sloping
and
the
the
original
landscaping
took
into
account
that
flipping
by
terracing,
so
the
landscaping
seems
to
be
integral
to
the
feel
of
the
campus
and
I'm
a
little
concerned
about
the
other
purview,
the
the
flattening
out
of
spaces
and
eliminating
that
sort
of
unique
setting
of
the
building.
C
L
The
student
center
is,
is
the
appropriate
is
in
the
appropriate
location
in
the
center
of
campus
and
where
there
are
dorms
to
to
the
east
and
to
the
west
and
yeah
we
have
we.
Certainly
you
know
we.
We
actually
went
in
every
building
on
campus,
most
impor
to
to
confirm
that
the
some
of
the
the
upstairs
meeting
rooms
in
the
building
couldn't
be
repurposed
as
lounge
space,
and
we
found
that
those
were
unique
size
spaces
on
campus.
L
There's
a
room
called
the
junior
commons,
which
is
the
largest
meeting
room
on
campus,
and
it's
the
only
room
on
campus.
That
is
large
enough
for
an
entire
faculty
meeting.
So
we
really
can't
we
can't
take
that
away
and
turn
that
into
a
lounge
space
and
similar
explorations
for
for
all
the
other
spaces
on
campus.
So
we
did
investigate
that.
F
Yeah,
just
a
couple
more
comments,
I
think
that
you
know
the
way
that
we
you
know
are
thinking
about.
This
is
just
the
way
the
board,
you
know
always
tries
to
think
about
things
from
both
sides.
You
know,
and
at
this
point
we're
at
a
really
interesting
precipice
at
the
campus
right,
where
we're
facing
probably
enrollment
challenges
and
clearly
accessibility
and
safety
challenges.
F
So
this
is
the
point
where
you
know
the
historic
preservationist
has
to
think
about.
You
know
the
actual
principle
of
this
case.
You
know
the
fact
is.
This
building
is
significant
to
our
history.
It's
been
determined
as
such,
and
at
this
point
you
know
we're
at
a
severe
loss
for
or
we're
at
a
severe
risk
for
losing
that
building.
F
If
we
do
not
allow
it
to
meet
modern
needs,
for
you
know,
equitable
reasons
of
accessibility,
and
you
know,
for
the
reasons
of
the
the
college
being
allowed
to
move
into
the
21st
century
in
its
design
and
in
its
function.
So
so
with
that
being
said,
you
know
we.
We
have
to
think
about
this
as
more
than
just
the
physical
setting
and
physical
appearance.
F
You
know
when
we
look
at
places
we're
thinking
more
holistically
and
beyond
just
the
material
aspects,
and
I
think,
as
a
board,
we
should
you
know,
try
to
move
into
that
thinking
of
considering
all
seven
of
the
aspects
of
historical
integrity
beyond
just
the
material
value
and
beyond
just
the
design,
but
also
thinking
about
how
this
building
functions
and
how
it
should
be
allowed
to
function.
F
Also,
you
know
with
consideration
and
respect
to
the
interior
of
the
building.
You
know
when
you
present
this
case.
Ultimately,
I
think
it's
very
important
that
you
assert
the
actual
historical
significance
and
how
it
was
determined
what
the
methodology
was
behind
that
because,
under
you
know,
criteria
c
we're
looking
at
design
and
to
me
you
know,
was
this
actually,
my
question
is:
was
this
actually
determined
as
undersea
from
the
exterior
or
was
it
determined
from
the
interior?
And
where
is
the
argument
in
that?
In
that
way,.
F
So
you
know
as
a
board,
I
think
it's
really
relevant
to
consider
the
the
interior
because
it
and
it
it
only
exists
because
you
know
of
the
significant
design
it's
only
existing
as
a
significant
property
based
on
its
design
of
the
interior
and
then,
of
course,
the
the
greater
design
of
the
college
and
campus.
F
And
lastly,
just
the
you
know.
The
final
point
I
want
to
make
this
building
or
this
project
is,
you
know,
presenting
something
that
you
know.
Other
projects
couldn't
even
dream
of
with
the
proposal
to
restore
a
mural
that
is
extremely
intricate
and
I'm
assuming
very
delicate
on
the
interiors
that
is
facing
uv
damage
and
probably
environmental
damage
from
moisture,
and
you
know
several
other
concerns.
F
B
B
Everyone's
comments
are
very
valuable
and
they're
different,
as
I've
been
stated
this
evening.
Do
you
have
anything
further
at
this
point?
Yes,
remember
berkeley.
F
Q
That
question
is:
if
you
had
a
new
overall
campus
master
plan,
you
did
a
lot
of
explaining
about
why
you
were
making
these
changes
in
large
part
based
on
the
interior
of
your
building.
But
you
didn't
really
speak
much
to
the
availability
or
lack
of
availability,
build
availability
anywhere
else
on
your
campus
for
a
new
building
or
any
consideration
of
just
repurposing
buildings
throughout
the
campus.
So
this
is
just
thinking
that
it
might
perhaps
help
your
case
if
you
were
able
to
a
little
bit
more
into
that.
G
Madam
chairman,
yes,
I
just
want
to
interject
a
point
of
clarification,
so
member
larson
had
spoke
about.
You
know
the
national
register
nomination
and
and
it's
the
integrity
that
that
piece,
why
it's
significant
that
is
separate
from
our
local
code.
So
when
or
does
it?
I
just
wanted
to
make
it
clear
that
when
our
board
designates
significant
it
can't
it
is
a
separate
process.
It's
for
it
can
be
separate,
it's
a
completely
separate
case
and
for
separate
reasons.
G
So
that
is
something
that
I
believe
yes
should
be
factored
in,
because
we
don't
want
to
undercut
our
partners
in
the
preservation
community,
but
we
have
to
look
at
it
in
a
very
different
light
so
that
it's
not
significant
to
us.
For
that
reason,
but
we
we
still
need
to
factor
it
in
in
a
way,
but
the
reason
I
think
we
have
the
old
case
information
it
becoming
significant
as
part
of
your
packet.
So
I
just
want
to
refer
you
back
to
that.
B
Carly,
yes,
that
is
true,
because
we
have
to
uphold
our
ordinance
and
we
have
to
that's
what
we
have
to
rely
on
our
ordinance,
and
that
is
not
to
say
that
we
cannot.
We
do
not
respect
the
national
ordinances,
but
we
have
to
go
by
what
our
ordinance
indicates
and
dictates
to
us.
Yeah.
F
I
should
have
you
know
finished
that
thought,
but
I
think
sometimes
you
know
the
the
national
register
significance.
Nominate
determination
might
also
parallel
the
locals,
so
it
might
be
interesting
to
see
you
know
what
findings
were
made
at
the
local
level.
That
may
be
in
line
with
what
was
determined
at
the
national
level.
L
And
if
I
may,
just
you
can
interject
one
last
thing.
I
think
you
obviously
you're
absolutely
right
from
a
regulatory
perspective,
but
I
would
just
ask
that
that
that
that
be
considered
in
in
terms
of
the
exception
we
do
have.
I
believe
we
have
a
good
hardship
case
in
terms
of
building
code,
accessibility
and
preservation
of
the
interiors,
which
are
called
up
by
the
united
states
government
as
highly
significant.
B
D
R
My
name
is
elizabeth
west
and
I
live
at
318
center
street
in
santa
fe,
and
I'm
really
quite
surprised
at
how
pleasing
this
addition
to
a
really
favorite
building
of
mine.
I
have
grown
up
with
st
john's
because
I
arrived
here
in
1966
and
so
I'm
very
very
familiar
with
that
building
because
I
went
to
so
many
talks
and
I've
bought
books
there
and
all
that
good
stuff.
So
I
really
appreciated
what
miss
larson
said
about
the
holistic
approach.
R
Actually,
you
all
have
addressed
that
and
the
fact
that
you
have
taken
into
consideration
because
of
the
way
it
was
presented
that
the
indoor
and
outdoor
sort
of
organic
reaction
to
the
different
parts
the
indoors
the
outsource
reacting
to
each
other
is
very
pleasing.
I
liked
what
you
mentioned
about
it.
Having
a
playful
approach
very
much.
The
way
meme
was
himself,
so
it
really
does
honor
that
now
these
are
mostly
reactions.
I
have
to
the
design
the
most
recent
updating
of
the
designs.
R
I
much
prefer
the
very
modern
eyebrow
and
one
elevation
is,
is
not
as
attractive
to
me
because
it
jars
and
it's
it
sticks
out
too
much.
I
like
the
idea
so
much
of
trying
to
preserve
the
mural
and
I've
been
there
so
many
times
where
there's
blazing
sun
and
strange
ways
of
adapting,
also
the
business
of
moving,
say
the
bookstore
or
a
coffee
shop
to
a
different
place.
R
I
don't
think
is
appropriate
for
the
kind
of
structure
of
the
whole
campus,
but
that's
probably
another
comment
that
could
be
made
in
more
depth.
This
place
was
given
to
saint
john's,
knowing
what
st
john's
university
tries
to
do
and
the
college
tries
to
do
and
so
spreading
coffee
shops
around.
This
is
not
harvard
square
this.
This
is
a
very
welcoming
place,
but
it's
a
cellular
but
very
connected
so
to
spread
it
around.
It
doesn't
seem
like
a
good
solution.
R
One
thing
that
I
don't
quite
understand
is
the
the
change
in
the
landscape,
but
I
I
like
it
all
being
kind
of
peculiar
and
lumpy,
so
you
probably
can
figure
all
that
out
anyway.
I
am
surprised
that
something
where
we
could
talk
about
infill
is
so
appealing
and
the
variety
of
heights,
the
variety
of
setbacks,
the
the
amount
of
glass.
R
D
N
Thank
you,
please
state
your
name
and
actress
for
the
great
contractor.
94
fly
street
as
alumni
class
of
79
and
colleague,
architect
in
town.
I
want
to
commend
you
guys
on
great
job
devendra
contractor.
I
want.
K
O
B
C
Chair
rios
members
of
the
board,
I
certainly
did
not
review
in
detail
the
the
second
phase
of
design
drawings.
We
said
we
were
at
the
site
visit
and
we
were
looking
at
that
first
set.
C
My
only
concern
with
the
second
set
is
making
sure
that
it's
distinguishable
enough
as
board
member
larson
said
so
that
we're
not
replicating
exactly
what's
there
with
reference
to
the
historic
status
of
the
building,
I
I
would
have
to
study
it
a
little
bit
more,
but
I
think
they're
on
the
right
track.
Let
me
just
say
that.
B
I
know
that
you
have
been
working
closely
with
the
applicants,
and
so
I
was
going
to
ask
mr
evans:
did
we?
Did
the
board
provide
enough
information
for
you
to
move
forward
on
your
project.
L
A
B
Well,
thank
you
because
this
is
a
difficult
project
you
can
well
imagine
that
we
are
sitting
here
on
this
board,
see
that
this
building
is
significant,
which
means
all
sides
are
primary,
and
then
you
are
making
changes
to
three
of
those
four
side,
and
I
think
that
we
have
to
weigh
this
very
diligently
and
I
think
by
the
comments
that
were
made
this
evening.
You
know
that
this
board
is
very
much
involved
in
every
project
that
comes
before
us.
Yes,
so
hopefully
we
have
provided
some
good
information
to
you.
B
Good
luck
and
we
will
move
on
to
old
business.
We
have
one
case
central
business
and
that's
located
at
532
dongas
far.
B
Let
the
records
show
that
member
aguilar
metronome
is
back.
G
Thank
you,
madam
chair
members
of
the
board.
We
have
seen
this
property
before
we
are
looking
at
532
dongas,
far
avenue
that's
case:
2022,
zero,
zero,
five,
four,
four,
eight
for
the
new
board
members.
I
think
this
is
the
first
time
they'll
be
seeing
this
tonight
in
the
past.
We
have
seen
this
come
forward
for
a
status
review
earlier
this
year
and
then
recently
about
a
month
ago.
We
saw
it
come
forward
and
the
board
asked
for
changes
in
more
detail.
G
G
G
G
If
you
can
see
that
little
porch
in
the
back
here,
okay,
there's
this
1982
photo
a
1995
photo,
so
you
can
see
that
ramp
was
added
and
that'll
be
removed.
As
part
of
this
application,
I'm
going
to
point
and
direct
your
attention
to
the
the
site
plans
where
there
is
a
yard
wall,
the
addition
of
this
yard
wall
that
wasn't
very
clearly
shown
in
the
last
hearing
that
we
saw
this
come
forward,
but
you'll
see
it
starts
in
the
northeast
corner
and
wraps
around
to
where
the
parking
stalls
end
there.
G
G
A
G
So
you
can
see
in
the
dashed
lines
we
see
which
windows
are
going
to
be
replaced,
that
ada
access
ramp
will
be
removed
and
there
will
be
a
lift
added
in
the
back.
G
So
this
is
the
back
porch
detail,
and
this
did
require
an
exception
and
we
believe
staff
recommends
that
all
the
exceptional
criteria
will
met,
but
you
may
require
some
further
testimony
testimony.
Rather
so
one
of
the
boar's
comments
last
time
was
to
space
these
vertical
these
vertical
posts,
these
columns
out
a
little
further
because
they
were
very
tight
and
did
not
fit
the
building's
proportionality
very
well.
G
Another
comment
was
to
add
some
more
come
back
and
add
the
details,
so
it
can
be
further.
G
What
this
back
porch
is
really
going
to
be.
Looking
like
that
has
been
added,
there's
been
an
increase
of
about
six
inches
of
this
little
of
the
overhang
of
the
porch
of
the
porsche
post
and
pulling
it
back
a
little
bit
more
in
with
the
house.
Now
all
of
the
railings
are
wood
and
to
be
painted,
and
then
we
also
have
details
for
the
the
replacement
of
the
roof
and
the
roof
has
been
found
to
be
pretty
heavily
damaged.
Roof.
G
G
It's
divorced
comments
were
that
it
was
very
reflective
and
it
was
very
flat
and
panelized
to
try
to
match
closer
the
detail
of
the
the
individual
shingles
that
were
there
and
it
was.
The
comments
were
to
go
with
this
more
flattened
panel,
but
an
individual
shingle
and
one
that
might
not
have
that
bright
reflectivity.
G
G
C
G
D
I
A
B
I
O
There
is
three
windows
that
are
fixed,
they're,
not
operable,
so
I'd
like
to
propose
that
change
be
made
and
then,
as
carly
said,
that
we're
going
to
paint
the
the
wrought
iron
black
and
item
number
four,
it
says
to
match
the
el
rey
stucco.
O
We're
very
happy
with
the
changes,
and
we
hope
that
you
approve
it.
Is
there
any
questions
for
me.
B
F
I
just
want
to
thank
you
for
the
you
know,
thorough
research
that
you
put
into
the
property
it
helps
to
have.
You
know
a
lot
of
context,
and
I
think
you
have
put
a
lot
of
thought
into
the
you
know,
replacements
and
minimizing
those
as
much
as
you
can
also
appreciative
of
finding
an
alternative
to
the
roof
material.
F
I
think
it's
you
know
it's
great
if
we
can
get
something
that
looks
exactly
like
what's
already
there,
but
in
the
case
of
a
roof.
I
think
this
achieves
that.
You
know
it's.
It
still
has
the
same
effect,
and
I
think
I
wasn't
here
at
the
last
meeting,
but
I
can
see
that
you've
taken
those
comments
into
account
and
I'm
very
appreciative
of
that.
R
Q
Also
wanted
to
say,
I
wasn't
here
for
your
first
presentation,
but
in
reading
this
I
really
appreciated
the
care
and
effort
you
seem
to
be
putting
into
the
restoration
of
this
again,
really
not
a
very
special
building
and
it.
I
was
just
curious,
this
question,
so
you
have
this
very
historic
metal
roof.
I
know
you
have
to
replace
it,
but
what
are
you
going
to
do
with
all
that
roofing
material
or
if
someone
is
going
to
have
a
chance
to
repurpose
it
in
some
other
way
or
reason,
some
other
way
if
you've.
O
E
And-
and
is
it
in
any
way
aged
in
appearance
or.
G
B
A
good
example
of
a
house
on
that
street
that
has
very,
very
shiny,
roofing
material
and
it's
been
there
for
a
while,
and
I
thought
it
was
going
to
kind
of
get
dull
at
some
point
and
it
so
far
it
has.
C
Remember,
thank
you
for
coming
back
and
thank
you
for
taking
our
suggestions.
I
still
am
a
little
concerned
about
the
the
stucco
wall
proposal.
I
I
don't
think
a
stucco
wall
matches
the
house
style
at
all.
We
had
suggested
a
picket
sense.
I
don't
know
if
you
were
able
to
consider
that,
but
I
find
that
the
the
stucco
element
and
the
wrought
iron
detail
in
the
gate
and
the
motorized
vehicle
gate
and
not
to
be
in
keeping
with
the
house
style,
which
is
quite
light.
A
C
Also,
currently
has
a
small
picket
fence
in
one
area
near
the
back
porch,
I
believe,
were
you
able
to
think
about
a
picket
fence.
C
No,
I
think
it's
the
material
that
I
object
to
and
the
reality
of
a
significant
historical
house
is
maintenance
to
some
extent
or
or
just
no
wall
at
all,
which
is
pretty
maintenance-free.
I.
B
J
You,
madam
chair.
Yes,
I
also
had
the
same
concerns
that
you
just
expressed
about
the
wall,
and
I've
tried
to
catch
myself
up
to
date
as
best
as
possible
about
the
last
meeting.
So
the
stucco
struck
me
as
a
strange
combination
with
the
brick
house.
I
do
recognize
that
there's
a
house
on
a
separate
block.
J
The
one
on
the
west
side
is
a
very
significant
tree
and
it
touches
its
right
adjacent
to
the
sidewalk.
So,
as
the
site
plan
currently
shows
the
yard
wall,
there's
no,
you
know.
I
see
that
you
have
a
note
there
that
the
trees
to
remain
in
place,
but
there's
no
way
that
that
wall
could
be
constructed
as
it's
shown
and
that
tree
not
be
damaged
to
the
point
where
I
think
it
it
would
die,
and
so
I
have
a
major
concern
there
and
just
to
put
into
perspective
for
board
members.
J
If
you
look
at
that
tree,
the
canopy
isn't
accurately
represented
in
this.
It's
roughly
45
feet
wide.
So
it's
a
very
large
tree,
I
would
say
the
trunk
diameter
is
close
to
30
inches,
if
not
more.
It
nearly
reaches
the
corner
of
the
house.
Just
to
put
in
perspective
how
large
that
tree
is
so.
I
guess
I
I'm
in
favor
of
there
not
being
a
wall
at
all.
J
It
would
just
need
to
be
further
set
back
from
the
sidewalk
or
stop
before
the
tree
or
there
would
need
to
be
some
sort
of
notch
out
which
the
notch
out
wouldn't
be
my
preference
and
breaking
that
sense
pattern,
and
then
I
did
want
to
just
point
out
that
there
was
a
motorized
gate.
I
didn't
see
that
in
the
summary,
so
just
pointing
that
out
to
my
fellow
board
members,
I
saw
that
there
was
a
note
about
the
manufacturer
design,
but
I
didn't
see
any
sort
of
design
included
in
this.
J
The
middle
I
see
in
the
section
here.
It
appears
to
just
be
a
solid
gate,
so
I'm
not
sure
what
the
design
of
that
gate
is
or
what
the
material
is,
and
so
some
further
clarification
on
that
would
be
needed
and
then
agree
with
staff,
with
the
condition
that
the
rod
irb
be
blackened
and
not
painted,
and
I
guess,
depending
on
what
the
proposed
design
is
for
that
motorized
gate,
I
would
have
that
same
possible
concern
of
if
painting
it
is
the
most
appropriate
approach.
B
I
would
like
to.
I
would
like
to
hear
your
comments,
sir.
In
reference
to
first
of
all
the
brick
wall,
I
mean,
excuse
me
the
wall
either.
B
Could
you
comment
in
reference
to
what
these
two
board
members
have
just
commented
on,
that
they
feel
that
the
wall
that
is
being
proposed
now
is
not
in
harmony
or
is
not
appropriate
with
the
design
of
the
house.
O
B
And
what
about,
can
you
give
us
a
little
bit
more?
Can
you
tell
us
more
about
the
design
of
the
motorized
gate?
Would
you
describe
that.
O
O
O
O
D
P
P
Thank
you.
Madam
chair
welcome
new
board
members.
I
really
appreciate
the
fact
that
you're
here
putting
in
your
time,
I
am
so
grateful
that
you
have
identified
issues
with
the
stucco
wall
and
I
think
that
will
be
resolved
and
I
would
assume
that
if
they
bring
picket
plans
to
staff,
perhaps
they
could
be
administratively
approved.
I
don't
know
I
leave
that
to
you,
but
I
think
it
would
be
clear
in
your
motion
that
would
that
would
be
necessary.
P
P
B
You,
mr
eddie,
anyone
else
wishing
to
comment
on
this
particular
project
and
board
members.
If
you
have
no
further
comments
or
enough
further
questions,
I
will
entertain
a
motion
and
remember
there
is
an
extension
and
that
has
to
do
with
replacement
of
historic
fabric,
and
that
is
referring
to
the
porch
and
in
your
motion,
please
be
very
specific
about
any
item
changes
that
you
are
making.
C
Madam
chair,
before
we
have
a
merchant,
I
guess
I
have
a
remaining
question
for
the
applicant.
If
the
picket
fence
design
is
acceptable,
what
would
you
be
your
proposal
for
the
vehicular
gate?
Would
that
remain?
I
don't.
I
don't
see
how
a
raw
iron
gate
could
be
attached
to
a
good
fence.
Well,.
C
I
can't
I
can't
really
picture
that,
but
I
mean,
but
would
it
it
seems
like?
Maybe
it
should
also
be
wood.
G
Madam
chair
remember
be
shy.
What
might
be
because
we're
not
looking
at
a
detail.
Your
motion
could
include
for
a
detail
to
be
submitted
to
staff.
That
includes
the
an
elevation
of
the
picket
fence
and
the
motorized
gate,
so
we
can
make
sure
it's
in
harmony.
B
C
C
C
And
that,
with
respect
to
item
number
six,
that
the
concrete
masonry
suckered
wall
has
been
denied,
but
the
board
would.
B
J
I
will
second
the
motion
and
would
add
the
friendly
amendment
that
the
picket
fence
be
placed
as
such,
that
the
mature
trees
are
not
harmed.
C
B
B
D
B
Thank
you,
and
I
want
to
thank
you
also
for
your
cooperative
spirit
that
you've
shown
this
evening
and
that
you've
worked
with
staff
and
the
board.
Thank
you.
Thank
you.
We
appreciate
it.
We
will
move
on
to
new
business.
We
have
four
cases
under
new
business
and
the
first
one
is
located
at
four
plaza
fatima,
and
that
is
angela's
case
yes,
and.
I
I
Plaza
fatima
is
a
580
square
foot
residence
listed
as
contributing
to
the
downtown
and
eastside
historic
district.
It's
located
in
the
circular,
plaza
fatima
compound
with
a
center
garden
and
a
shared
gravel
driveway.
That's
what
you're
seeing
in
the
upper
photograph
the
photograph
below
is
what
you
see
upon
approach
of
this
of
this
house.
I
I
A
I
A
decorative
wood
screen
the
front
door
opening
extends
to
a
front
door
panel,
wood
casement.
Within
the
same
opening.
There
have
been
no
major
exterior
alterations
to
the
building.
It
has
remained
unchanged
since
the
1950s,
when
the
current
owners
bought
it,
the
south
elevations
combined
window
and
door,
and
the
east
elevations
single
four
panel.
A
I
The
six
feet-
stucco
guard
yard
wall
guard
wall-
is
the
lower
left
photograph
extends
across
the
east
elevation
and
closes
the
backyard
court.
Courtyard
walls
believed
to
have
been
constructed
after
1984,
which
is
when
the
historic
building
survey
was
written
at
six
feet.
It
is
highly
unlikely
that
it
was
built
before
1972
or
three
other
yard.
I
The
historic
status
of
the
structure
we
maintained
as
contributing
for
14,
5.2,
c
destination
of
significant
and
contributing
structures,
and
that
the
east
and
south
facades
respectively,
one
and
two
designated
primary
facades
staff
recommends
that
the
yard
wall
be
designated
non-contributing
based
on
its
tall
height
and
age.
That
concludes
my
report.
Stand
for
question
mark.
B
And
I
will
indicate
that
we
cannot
discuss
possible
future
plans.
We
are
simply
wanting.
This
is
a
designation,
a
historic
designation
and
primary
facades.
And
yes,
sir.
N
We
are,
I.
E
N
They
continue
to
intend
to
continue
to
use
it.
We
want
to
make
it
more
functional.
We're
not
going
to.
Our
intention
is
not
to
change
it
in
any
significant
way.
The
there
was
we've
been
led
to
believe
and
there's
been
communication
that
the
owner
prior
to
engaging
us
did
have
a
meeting
with
david
rash
related
to
a
designation.
David
had
indicated
that
the
portions.
N
Facing
the
the
public
way,
primarily
the
north
facade
was
was
the
contributing
facade.
The
entire
development
is
one
of
those
wonderful
schemes
in
santa
fe,
where
there's
public
access,
there's
a
driveway
and
then
everyone's
private
spaces
are
in
the
back
and
there's
a
public
face
to
the
building.
I'm.
B
So
you
and
or
the
owner
rather
agree
with
angela's
assessment
of
having
the
east
and
the
south
assaults
primary
and
having
the
building
made
contributing.
N
N
J
J
J
N
B
Anything
else
anywhere
from
the
public
wishing
to
comment
on
this
particular
case.
It
appears
not.
I
will
entertain
a
motion.
I
E
D
D
B
I
I
This
house
is
a
single
family
residence
constructed
in
1951
designated
non-contributing
to
the
downtown
and
east
side
historic
district.
The
house
is
single
story
flat
roof
with
pair
pips.
In
the
spanish
pueblo
revival
style.
It
was
extensively
remodeled
in
the
1970s,
when
all
the
windows
and
doors
were
replaced
and
clear
story.
Windows
were
added.
I
A
I
We
discussed
on
a
field
trip
today
to
correct
that
the
applicant
proposes
to
add
a
400
excuse
me
404
square
foot,
studio
to
the
southwest
elevation
at
the
same
height
as
the
house,
which
is
thirteen
feet.
Six
inches.
I
I
I
The
applicant
is
proposing
that
to
discuss
with
the
board
tonight
and
then
remains
part
of
his
proposal.
I
Recommends
approval
of
the
proposed
project,
with
the
condition
that
the
sliding
glass
doors
are
divided
light,
if
found
to
be
publicly
visible
and
finds
that
the
application
complies
with
section
14-5.2
d,
the
general
design
standards
for
all
historic
districts
and
14-5.2
e,
the
downtown
and
east
side
design
standards,
and
with
that
I
stand
for
questions.
Any
questions
for.
B
D
N
What
we'd
like
to
do
is
to
add
a
studio
for
the
owner,
who
is
an
artist
and
has
a
studio
in
her
house
right
now.
She's
owned
this
house,
but
she
lives
nearby
and
she's,
going
to
move
back
into
this
house,
which
is
very
nice
and
and
so
we're
just
adding
a
very
small,
300,
well
400
square
foot,
basically
400
square
foot
addition
as
a
studio
for
her,
it's
so
small
that
the
one
swinging
door
has
to
open
out.
N
So
we
can
fit
all
the
furniture
into
the
space
and
the
sliding
glass
door
that
we
have
doesn't
have
any
dividers,
because
the
windows
and
doors
on
the
house
don't
have
any
dividers.
And
so
I
was
trying
to
not
make
it
stand
out
in
that
little
courtyard,
but
otherwise
the
doors
and
windows
that
are
on
the
outside
of
the
studio
do
have
dividers
because
they
don't
face
in
and
they're
more
publicly
visible.
N
These
are
not
on
the
street
they're
in
the
yard
spill,
but
it's
where
you
where
they
will
come
in
and
park,
and
perhaps
there
will
be
some
guests
that
will
come
into
park
as
well.
N
Besides
this
addition,
which
is
again,
is
no
taller
than
the
house
itself,
the
where
we
would
like
to
make
the
existing
arched
doorways
a
square,
not
any
taller
but
we'd
like
to
take
away
the
archedness
and
make
and
make
it
square
so
that
it's
more
open
so
that
we
have
more
opening
to
the
to
the
street
and
and
make
it
one
door
instead
of
two
doors
where
it
is
now
because
they're,
very
small
and
you
sort
of
have
to
duck
because
you're
not
coming
in
the
middle
right.
N
N
G
B
G
G
Angela
had
mentioned
something
about
that
maybe
being
pulled
back-
and
this
is
at
my
my
comments
earlier,
based
on
to
make
a
change
in
a
wall
per
14-5.2
a6.
B
So,
in
other
words,
if
you
don't
change
the
arch,
then
it
can
go
forward
because.
A
G
So
the
board
can
make
it
part
of
their
requirement
that
they
bring
it
down
to
the
maximum
allowable
height.
Now,
if
we
have
that
height,
but
otherwise,
it
does
have
to
come
into
compliance
if
you're,
if
they're,
making
a
change,
if
they're
not
making
a
change
to
it,
that
that's
where
that
change
is
where
it
triggers
14-5.286.
N
I
I
understand
what
carly
is
saying.
My
understanding
is
that
if
you're
making
the
wall
more
non-compliant
with
the
existing
regulations,
then
it
requires
what
we're
doing
is
not
making
it
more
non-compliant
we're
making
it
the
same
height,
the
same
width,
we're
just
squaring
up
the
arch,
and
actually
that
means
a
larger
opening
to
the
street.
So
it
doesn't
mean
that
we
are
making
it
in
any
way
less
compliant
or
more
out
of
regulations
than
it
is
right.
Now.
N
H
G
B
You
both
do
you.
C
Beachside
just
a
question
about
your
interpretation
of
the
code,
the
sectional
non-conforming
structures,
which
doesn't
call
out
walls
specifically.
I
think
our
code
has
a
weakness
in
addressing
walls,
but
it
does
call
out
structures
and
it
says
that
no
alteration
of
repair
may
be
made
to
any
such
structure
other
than
its
removal.
So
I'm
sort
of
wondering
if
they
just
were
to
remove
the
arch
with
that,
would
that
be
compliant
with
the
code
and
not.
G
The
entirety
has
to
be
brought
back
into
conformance,
in
this
case
you're
referring
to
removal,
but
a
a
wall
or
fence
that
is
constructed
to
the
maximum
allowable
height.
That
would
remove
the
material
that
made
it
non-compliant.
So
that's
one
way
to
interpret
that
too.
G
That
would
be
that's.
That's
generally,
how
we
deal
with
the
walls,
and
this
section
doesn't
necessarily
say
walls.
It
says
structures,
but
in
our
code,
in
the
height
sections
in
the
streetscape
section
under
heights,
that's
where
it
also
refers
to
walls.
So
there's
a
kind
of
there's
a
path
through
the
code
that
will
get
you
to
walls.
C
Okay,
and
just
to
be
clear
in
case
the
applicant
finds
this
the
possibility,
if
they
remove
the
arch
and
replace
the
gate,
would
that
be
allowed
without
having
to
bring
the
wall
down
in
height.
G
C
N
H
G
G
Look
at
with
non-conforming,
if
you're,
making
an
addition
onto
a
house
a
lot
of
times.
The
board
will
see
non-conforming
windows,
non-divided
lights
and
maybe
see
that.
Well
there,
there
is
an
addition
they're
doing
just
this
addition,
removing
all
the
windows
on
this
entire
house
is
materially
costly
and
wasteful,
and
so
the
board
has
had
some
a
lot
of
seen
that
as
something
that
that's
to
their
satisfaction,
and
that's
also,
the
code
reading
is
to
the
satisfaction,
not
the
satisfaction,
that's
not
the
exact
language,
but
basically
to
the
satisfaction
of
the
board.
G
N
The
example
given
of
replacing
the
windows
in-house
is
would
be
true
if
you're
replacing
all
the
windows,
there
are
some
windows
that
could
be
replaced.
We
are
not.
A
N
This
case,
making
this
make
any
law
any
taller
than
it
is,
and
the
code
does
allow
that
gates
can
be
as
tall
as
they
need
to
be.
They
have
nothing
to
do
with
the
height
of
the
wall.
This
is
the
gate
itself.
C
With
respect
to
the
divided
lines,
I
I
just
wanted
to
add
that
this
house
has
only
undivided
light
windows
and
I
think
that,
for
the
sake
of
harmony
with
the
house
itself
and
the
property
that
you
know,
keeping
the
windows
in
the
same
style
as
the
existing
structure
on
the
addition
would
be
a
better
match
than
trying
to
have
some
divided.
And
some
not
yes.
N
Okay,
and
also
I
just
want
to
mention
that
we
have
no
plans
and
no
budget
to
lower
this
wall,
and
so,
if,
if
it's
not
allowed
that
we
can
change
the
gate
without
lowering
the
wall,
we
will
do
none
of
it.
So
it's
just
so
that's
I
would
like
to.
I
would
like
to
change
the
gate,
but
if
I
can't
I
can't.
B
So
richard
did
I
hear
that
there
are
some
divided
lights
on
this
house.
I
don't.
B
B
Okay,
so
I'm
hearing
the
attorney
say
any
changes
made
to
that
gate
to
that
yeah
to
the
gate
it
incorporates
into
the
wall.
So
you'd
have
to
come
back
with
this
with
exceptions.
If
you
want,
if
you
want
that
proposal,
that's
what
I
am
understanding
the
attorney
to
say
or
unless
you
just
want
to
keep
it
as
this.
E
Care,
so
let
me
pursue
this
just
a
bit
with
carly
and
frank.
If
I
could
so
the
a6
says
the
no
non-conforming
building
may
be
added
to
or
altered
in
any
way,
unless
the
proposed
addition
or
alteration
will
bring
the
whole
to
a
degree
of
conformity
acceptable
to
the
board.
So.
R
H
The
issue
there
is
to
be
acceptable
to
the
board.
I
I
don't
know
that
there
is
any
criteria,
say
what
is
acceptable
and
what
is
not.
G
And
otherwise,.
G
Madam
chair
and
member
ben
venue,
it
also
assumes
that
it
it
depends
on
what
the
board
finds
tonight.
If
that
discussion,
if
you
find
that
that
is
allowable
now,
it's
just.
I
think
it's
important
to
remember
that
this
portion
of
the
code,
we
often
find
really
high
yard
walls
that
never
never
came
before
the
board.
G
G
C
Rios
thank
you,
member
being
new,
so
there's
another
section
of
the
code.
That
applies
and
is
operative
in
the
situation,
and
you
know,
legal
non-conforming
structure
may
be
modified
in
ways
to
eliminate
or
reduce
the
degree
or
extent
of
non-conformity.
C
One
could
argue
that
the
the
you
know
arch.
The
proposed
treatment
is
going
to
be
lower
than
the
arch,
including
the
demolition
removal
of
a
non-conforming
feature
for
any
reason,
but
it
cannot
be
reconstructed
except
in
conformance
with
chapter
14.
and
part
and
parcel
of
chapter
14
is
our
high
regulations
is
found
in
the
historic
districts
ordinance,
and
so
it
certainly
is
within
the
purview
of
the
board
to
find
differently,
but
an
exception
wouldn't
have
to
be
requested
to
the
code
to
to
permit
that.
C
The
code
citation
is
section
14
dash
10.3,
oh
non-conforming,
structures.
That
applies
not
only
in
the
historic
districts
but
throughout
the
city.
B
So
that's
something
that
you
can
that
you
probably
need
to
discuss
with
your
clients,
but
in
the
meantime,
I'll
ask
for
public
comment
and
it
looks
like
one
person
is
ready
to
comment.
P
Thank
you,
madam
chair.
I'm
sorry
this
has
gotten
you
into
the
weeds
because
I
think
you're
in
the
weeds
here.
I
want
to
offer
a
potential
solution.
I
think
one
of
the
difficulties
that
they're
having
with
this
gate
is
that
you
have
to
open
up
both
leaves
of
the
gate
to
comfortably
go
in
without
banging
your
head
on
the
arch.
P
Fulfill
their
needs
on
that
property,
and
this
would
be
could
this
be
possibly
acceptable
to
the
board
as
a
solution
which
would
keep
them
from
having
to
bring
down
the
entire
height
of
their
wall.
Now,
I'm
sorry,
if
I'm
complicating
things,
but
this
to
me
seems
like
a
very
simple
solution
here.
Thank
you.
There's.
B
Else
for
you
to
think
about
richard
anyone
else
from
the
public
wishing
to
comment
on
on
this
case,
richard
tell
us
what
you
and
your
clients
think
what
avenue
do
you
think
you're
gonna
take
take.
N
B
Okay
board
members:
I
will
entertain
a
motion.
B
C
Madam
chad,
I'm
not
trying
to
be
difficult,
but
it
just
really
doesn't
make
sense
to
me
that
we
that
we
couldn't
I
mean
what
I
was
proposing-
is
just
eliminating
the
masonry
arch
all
together.
So
you
only
have
a
gate.
That's
squared
off
that
you
wanted.
I
don't
know
if
that's
acceptable
to
the
applicant
or
not,
but
that
seems
to
reduce
the
non-conformity
to
me,
but
I'm
not
really
clear
why
that
wouldn't
be
allowed.
If
not
some
of
the
applicants,
I
think
because
they're.
B
A
B
So
what
jennifer
just
suggested
are
you
saying
that
that
would
bring
it
into
conformance
taking
off
the
arch
and
just
putting
a
gate.
N
Can
can
I
comment
please,
my
understanding
of
the
code
is
that
the
arch
is
not
non-compliant.
N
It
is
because
you're
allowed
to
increase
the
height
over
gates
in
order
to
make
arches
and
orb
or
lintels,
or
things
like
that,
on
top
of
the
gate,
in
speaking
with
my
client
just
now,
we
would
be
amenable
to
modifying
our
design
of
the
gate
and
making
the
our
leaving
the
arch,
the
stucco
arch,
that's
there
and
making
one
gate
in
the
design
that
I
have
proposed,
but
not
square,
but
an
arched
top
gate.
J
Question
for
the
applicant
one,
just
a
technical
thing:
these
elevations
are
missing
dimensions,
so
it's
hard
to
refer
to
heights
and
widths
here.
But
what
is
the
width
of
the
existing
gate
and
if
you
were
to
replace
that
with
a
single,
a
single
gate?
What
would
the
width
of
that
be.
N
I
believe
that's
four
feet
between
three
six
and
four
feet:
it's
like
three
nine
feet
wide.
So
it's
not
it's
not
too
wide
to
have
a
single,
a
single.
J
It
leaf
me
a
bit
on
the
wider
side.
I,
like
the
proportion
of
the
double
doors
myself
just
so
my
fellow
board
members
know
where
I
stand
with
this.
I
think
I'm
in
favor
of
keeping
the
arch
and
the
gates
as
is,
and
just
to
clarify,
even
if
it
were
squared
off.
That's
not
reducing
the
height
of
the
gate
portion
of
the
wall
at
all.
A
F
B
F
F
Say
in
case.
F
I
move
that
we
approve
the
project
as
of
her
staff's
recommendation,
finding
that
the
sliding
glass
doors
are
undivided
and
are
not
publicly
visible,
as
verified
by
the
applicant's
preservative
presentation,
and
that
the
arched
wooden
gate
be
replaced
and
kind
of
slightly
modified
to
be
a
single
arch
joining.
What
is
now
currently
two
leaves
in
the
style
that
was
proposed
with
a
metal
frame
and
vertical
wood
plank.
E
And
as
for
friendly
amendment
that
the
addition
that
the
corners
on
the
addition
have
a
radius,
at
least
in
the
same
degree
as
the
existing
house,.
C
C
I
B
You
very
much
thank
you
richard.
We
move
on
to
the
next
case,
which
is
located
at
the
1
000
canyon,
road,
and
may
we
have
this
report
please,
and
it's
also
angelus.
A
I
For
1000
canyon
road,
some
of
you
have
come
familiar
with
this
house
in
its
previous
case,
which
was
a
status
evaluation
and
primary
facade
designation.
The
board
voted
to
designate
the
south
facade.
I
So
1000
canyon
road
is
an
850
square
foot,
one-story
long
and
narrow
adobe
structure
built
between
1929
and
1934,
which
is
designated
contributing
to
the
downtown
in
the
east
side:
historic
district,
it's
a
simple
rectangular
residence
built
in
the
spanish
pueblo,
vernacular
style,
with
a
flat
roof,
metal,
canalis
and
adobe
walls.
With
a
round
rounded
parapet.
It
sits
at
the
east
property
line
of
the
driveway
easement
that
leads
to
the
neighboring
houses
up,
which
are
south
of
the
lane.
It's
first
it's
front
entrance
space
is
canyon
road.
Where
a
seiki
madre
marches
into
canyon
road.
I
The
front
and
then
the
north
elevation
features
its
original
t-shaped
door
and
window
configuration
where
the
door
is
flanked
like
two
connected
windows,
each
of
which
are
six
light:
wood
casements.
This
simple
configuration
that
combines
one
door
and
two
windows
in
one
opening
versus
three
is
common.
It's
common
in
vernacular
buildings
in
the
downtown
and
eastside
historic
district.
It's
the
house
is
relatively
low
height.
Another
of
its
distinctive
vernacular
features
is
10
feet
at
its
high
at
its
north,
facing
elevation
and
decreases
to
seven
feet.
Six
inches
at
the
back
of
the
house.
I
I
I
I
K
I
The
current
proposal
the
applicant
has
brought
before
you
is
to
replace
the
front
window
indoors
on
the
north
elevation.
The
current
door
is
wood
with
glazing
and
is
flanked
by
windows
on
each
side,
and
the
applicant
proposes
to
replace
both
with
the
new
door
and
windows
in
the
existing
openings
to
match
existing
materials
and
design
in
kind.
Essentially,
the
applicant
has
provided
a
window
and
door
assessment
that
recommends
replacement
because
the
existing
are
beyond
repair
with
rotting
jams
and
wood
frames
that
are
structurally
unsound.
I
I
I
The
applicants
proposing
to
replace
this
is
the
front
door
from
the
inside
and
shows
that
it
is
according
to
the
assessment,
and
I
agree,
unrepairable
and
requires
replacement
or
warrants
replacement.
I
I
Thank
you.
So
the
proposed
changes
are
to
remove
this
window
and
this
window
in
this
window
and
replace
them
with
true
divided
light
windows,
including
the
center
window
and
add
a
window
here.
So
it's
in
net
two
more
windows
and
I'll
point
out
that
the
board
did
not
designate
this
as
a
primary
facade.
So.
A
I
Adding
new
outdoor
lighting
on
the
south
elevation,
it
consists
of
two
mexican
tin
and
glass
lanterns
from
artisanas,
which
he
refers
to
as
the
goro
fixture
on
each
side
of
the
door
and
windows
and
to
re-stucco
the
entire
building
with
cementitious
buckskin
by
el
rey.
I
The
applicant
also
proposes
to
add
a
patio,
a
patio
wall
at
the
at
the
rear
south
elevation
to
match
the
height
of
the
existing
garden
wall
in
the
back
on
the
south
elevation
to
enclose
a
12
by
17,
feet,
garden
space
and
the
wall
will
have
locally
made
wooden
gates
with
a
window
with
window
shutters
and
a
mexican
tin
and
glass
light
at
the
gate.
Entry.
I
A
I
Recommends
recommends
approval
of
the
proposed
design
finding
that
the
applicant
has
met
all
the
criteria
and
the
board
may
find
otherwise,
but
otherwise
staff
does
recommend
approval
of
the
proposal
consistent
with
the
the
general
design
standards
for
all
age
districts
in
the
downtown
and
eastside
historic
design
standards.
Thank.
B
B
A
I
Right
now,
I
believe
so
I
believe
that
those
are
being
replaced.
I
think
that
needs
clarification
here
today.
Okay,
well.
I
I
I
You
can
tell
if
I
can
enlarge
it
a
little
bit
the
mexican
tin
with
glass.
Thank
you.
B
Any
other
questions
it
appears
not
with
the
applicant
kind
that
gets
worn
in.
D
M
Thomas
ortiz
tom
ortiz
design,
52
condenser,
roads,
mexico
8750
good
evening.
I
think.
M
K
N
M
Sorry,
I
put
together
a
fairly
extensive
presentation,
which
showed
some
historical
images
of
that
particular
property,
as
well
as
other
farming.
I
M
M
M
M
Better
to
read
some
of
these
sort
of
simpler
designs,
if
we're
looking
at
the
massing
with
just
punctures,
because
it's
really
what
it's
really
the
two
things
that
you
know
really
make
up
this,
this
small
house
is
the
solution
to
the
punctures
and
keeping
them
simple
and
straightforward
and
making
them
all
consistent.
So
all
of
the
all
of
the
new
windows
there's
basically
three
different
size
windows
throughout
the
house.
M
The
windows
that
are
there
with
exception
to
the
metal
window,
which
is
no
longer
operable,
we're
replacing
that
with
also
a
wood
window
with
an
aluminum
aluminum
aluminum
powder
coated,
exterior
with
wood
interior
with
true
divided
lights
and
paintable.
It's
paintable
in
the
on
the
inside
in
terms.
I
B
E
A
E
E
Clear,
though
I
can
see
the
one
across
the
street
or
one
of
the
other
two
photos
of
this
exact
house.
M
Sorry,
the
this
one
here
is
just
to
show
this
is
a
new
house
under
construction
in
1947,
it's
600,
canyon,
road,
okay,
just
it's
to
show.
E
E
E
Very
humble
efforts
at
territorial
style,
but
extremely
extremely
typical
of
that
style
of
building,
and
for
that
to
still
be
on
canyon
road
in
such
a
physical,
visible
location,
I
think,
is
something
to
be
protective
if
at
all
possible,
regardless.
N
M
Can
we
pull
up
the
photo
of
that
window
just
to
show
you
the
there
was
an
assessment
by
ray
patterson
on
those
windows
and
the
pediments
around
the
vinyl
windows
were
in
addition.
Typically,
that
detail
is
plastered
into
the
stucco
these
protrude
out
beyond
it.
It
was.
It
was
probably
a
very
inexpensive
way
when
somebody
put
up
those
vinyl
windows.
P
M
M
You
know
in
these
houses
and
they
kept
things
very,
very
simple
sure,
so
the
pediments
I
mean
the
the
assessment
that
ray
had
given
regarding
the
the
east
side,
vinyl
windows,
those
are
those
were
just
tacked
onto
these
onto
the
sticker.
E
M
That
now
extends
over
into
what
is
the
the
easement.
The
easement
is
owned
by
the
the
family
that
owns
the
very
back
part
of
property,
so.
M
E
E
M
Well,
ray
did
mention
that
they're
not
operable
and
they're
they're,
also
single
pane
they're.
They
it
probably
you
know
it
wasn't
inherent
it
wasn't
original
to
the
structure
and
if
we're
trying
to
bring
the
whole
house
to
a
system
level
where
it's
an
example
of
a
particular
type
of
architecture
and
time
in
that
neighborhood
placing
the
steel
window
along
with
the
vinyl
windows.
J
Madam
chair,
I
have
the
same
questions
as
member
bienvenue,
but
thank
you
for
your
explanation
of
the
pediments
and
I
can
see
now
a
difference
between
the
north
and
east
facade.
My
question
is:
is
there
a
what
is
the
reason
for
the
shutter
on
the
south
elevation?
J
M
That
believe,
it's
a
particular
name
for
those
types
of
openings
here
in
new
mexico.
It
is
specifically
so
that
you
could
be
in
that
courtyard
space
and
get
some
ventilation
in
there.
So
you
could
without
having
to
open,
have
the
gate
open.
You
could
open
those
shutters
and
be
able
to
get
some
air
circulation
in
that
patio
space
and
some
security.
J
J
There's
no
pain,
there's
no
window
or
anything
I
see
and
then
to
clarify.
I
think
you
spoke
to
this
a
minute
ago,
but
on
page
three
of
five,
when
you're
referring
to
the
door,
it
says
will
be
painted
and
doesn't
specify
color.
So
is
it
your
intention
to
paint
it
to
match
the
existing
blue?
That's
there.
C
A
C
Was
curious
about
the
design
details
for
the
door?
That's
being
added
on
the
south
elevation
see
that
in
the
packet,
the
one
that
faces
the
courtyard.
M
E
M
Q
M
It's
not
just
in
terms
of
bringing
light
into
it,
but
it's
a
fairly.
You
know
it's
a
fairly
narrow
house.
I
think
it's
maybe
12
12
and
a
half
feet
wide.
There's
the
sense
of
wanting
to
create
some
some.
M
Being
able
to
look
outside
and
be
it's
not
just
about
bringing
skylights,
and
you
know
I
think,
there's
these
these
clients
currently
have
a
house
on
camino.
B
From
the
public
member
of
benvenue.
E
I
A
E
Still
a
little
fixated
on
that
east
of
thought,
I
think
that
the
steel
window
is,
you
know
we
we
try
to
protect
them
whenever
we
can
and
that
one
is
highly
distinctive
on
that
facade.
I'm
just
afraid
that
sorry,
removing
just
changing
the
entire
facade
to
be
to
be
very
uniform
with
new
windows
is,
is
going
to
lose
the
historical
integrity
of
that
that
I
think,
is
very
contributing
to.
A
E
M
The
construction
and
the
lentils
around
all
of
these
are
consistent,
typically
in
the
in
these
sort
of
metal
frame
windows
that
you
see,
and
sometimes
in
some
memes
more
public
buildings,
the
detailing
around
how
how
you
put
a
metal
window
onto
a
onto
a
masonry
structure.
It
doesn't
normally
have.
P
M
A
really
wide
wood,
windowsill.
L
L
K
P
As
far
as
the
casements
are
concerned,
I
would
bemoan
the
removal
of
casements
that
are
there,
even
though
it
could
be.
K
P
That
they're,
not
as
historical
as
they
may
have
been
on
this
on
the
south
or
the
north
elevations,
but
even
more
importantly,
to
me
personally-
and
the
applicant
has
mentioned
this-
that
he
is
going
to
try
to
maintain
some
of
the
color
of
these
windows,
but
I
think
he
also
stated
that
he's
going
to
change
the
color
of
the
north
facade
door.
The
t
doorway,
which
I
strongly
strongly
object
to.
P
Oh
those
colors
as
they
stand
now,
are
a
variation
on
taos.
Blue
chairwoman
will
recognize
that
term
as
being
a
deep
historical
reference
in
santa
fe.
Not
very
many
people
recognize
that
anymore
and
I
think
it's
very
very
important
that
the
colors
on
this
house
be
maintained,
as
is
for
that
reason.
Thank
you.
A
F
Yeah,
thank
you,
mr
eddie,
for
you
know
bringing
up
the
vernacular
style
of
the
house.
Typically,
I
agree
with
the
you
know.
The
consideration
that
we
give
to
wooden
windows
or
any
other
type
of
historical
window
should
be
applied
to
the
steel
casement
windows
as
well.
I
think,
in
the
case
of
this
building,
since
there
is
such
a
you
know,
variety
of
periods
represented,
but
I
think
it
would
be
appropriate
in
this
case
to
maybe
replace
that
window
and
like
if
there
happens
to
be
you
know,
flexibility
with
the
applicant.
F
I
also
really
like
the
the
blue
color,
but
I'm
not
certain
or
I'm
not
completely
familiar
with
the
history
of
the
colors
of
the
windows
and
all
that
and
since
it's
such
a
small
structure,
you
know
that
does
strike
me.
As
you
know,
something
that's
defining
of
the
house,
and
you
know
I'd,
be
curious
if
you'd
considered
maintaining
that
color
or
if
your
strong
preference
is
to
modify
it
to
be
white.
M
Well,
in
looking
at
the
peeling
away
the
paint
from
what's
there,
I
think
the
the
blue
period
of
windows
came
about
at
a
time
when
you
know
I
I've
included
the
reason
I
included
the
photo
of
1947
and
600
canyon
road
is
that
there
was
a
common,
a
period
of
time
where
people
weren't
you
know
they
weren't
gilding.
The
literally.
As
I
said
before,
I
was
just
very
simple
white.
You
know
white
paint
around
stucco
and
then
doing
an
evaluation
of
this
window.
M
We
did
come
to
find
that
the
paint
underneath
the
blue
paint
was
was,
in
fact,
white
or
not.
That's.
F
Okay,
so
I
think
the
suggestion
would
be
then
to
to
make
the
window
a
white
color
as
what's
available.
F
I
don't
know
if
my
board
members
have
feelings
about
that,
but
I
think
you
know
that's
something
that
I'm
amendable
to
and
then
regarding
the
the
replacement
of
that
casement
window.
F
M
The
the
window-
that's
in
the
elevations
for
replacement
is,
is
a
three-day
window
which
is
similar
in
layout
to
the
steel,
the
metal
frame
window,
but
it
is-
and
in
fact
it
is
powder
coated
aluminum
on
the
outside
and
wood
on
the
inside.
Are
you
suggesting
that
I
do
a
metal
window?
No.
F
Yeah,
so
I
imagine
that
you
know
I
don't
I'm
not
this
familiar
with
replacing
a
casement
window,
but
you
know
I
want
to
also
reiterate
that,
like
normally
when
we're
considering
the
replacement
of
casement
windows,
you
know
I
feel
more
strongly
when
there
are
multiples
of
those.
You
know,
for
the
sake
of
sustainability
and
for
you
know,
being
historically
accurate
and
all
of
that
and
sensitive
to
the
you
know
the
time
period.
F
But
I
think
in
this
case
like
something
like
that,
I'm
willing
to
be
more
flexible
with,
and
I
think
that
echoes
the
sort
of
you
know
scale
of
what
we
currently
have
and
I
think
that's
acceptable.
B
No,
he
just
indicated
indicated
that
in
peeling,
the
blue
color
that
it
was
white
underneath.
P
B
B
Okay,
I
just
heard
you
say
the
original
color
was
white
and
you
are
not
going
to
that
cover.
B
J
F
I
have
one
more
question
for
the
applicant
so
since
some
of
the
board
members
are
interested
in,
you
know
the
blue
color
of
the
windows.
You
know
over
the
off-white
choice.
Are
there
any?
Do
you
know
of
any
blue
shades
that
are
available
in
the
brands
that
you're
looking
at.
M
M
F
So
you
know
in
respect
to
the
motion
when
we
make
the
motion,
maybe
we
should
suggest
that
it
should
be
a
true
white
or
as
close
to
the
blue
as
we
can.
It
stops
approval.
F
J
I
was
just
gonna
ask
and
you
know
if,
if
the
trim
was
to
be
maintained
as
blue,
correct
me,
if
I'm
wrong,
but
I
think
it's
pretty
common,
that
the
windows
are
just
black
as
they
currently
are,
and
I
think
we
see
that
in
new
construction
that
you're
not
necessarily
trying
to
match
the
windows
exactly
to
the
trim.
But
rather
the
windows
maintain
are
neutral.
J
I
think
I
think,
if
we
put
in
the
motion
that
it
to
either
be
bright,
white
or
to
be
blue,
I
think
we
have
to
do
that.
Knowing
that
it's
going
to
be
bright,
white
is
my
only
concern
if
we.
B
Q
M
I
can
do
further
research
on
it,
but
we
did
do
some
extensive
research
on
this.
First
of.
M
This
is
a
very
small
home.
This
is
for
a
client
that
doesn't
have
a
you
know,
an
extending
budget
where
we
can
have.
You
know,
custom
powder,
coating
or
things
like
that.
A
I
F
Hgrb
at
1000
canyon,
road.
I
move
that
we
approve
the
application
following
staff's
recommendation
with
the
following
clarification:
that
the
windows
be
replaced
in
the
same
color
as
the
historic
paint
color
that
was
found
by
the
chip
test
being
a
true
white
and
finding
that
the
exception
criteria
have
been
met.
A
C
Remember
I
guess
I
just
have
a
question
for
the
applicants.
Is
there?
Is
there
a
proposal
you
can
find
acceptable
that
retains
the
tiles
blue
color
on
the
painted
elements
of
the
house,
but
uses
a
more
neutral.
I
suggested
by
ocular
magento
that
neutral
color
for
the
metal
windows
themselves.
More.
A
M
C
M
Well,
I
I
think
it
could
work,
because
the
windows
on
the
east
and
west
side
are
not
going
to
have
the
pediment
design.
That
was
that
you
know
that
was
sort
of
tacked
on
that's
there.
So
all
you
really
have
is
stucco
and
then
the
color
of
the
of
the
trim
and
the
trim.
You
know
we're
trying
to
make
it.
You.
I
K
C
Okay,
do
you
plan
to
paint
the
the
canales
and
the
downspouts
like
they
are
now.
L
F
I
just
have
to
say
like
I:
I
think
this
is
getting
way
too.
You
know
we're
asking
the
applicant
to
jump
through
a
lot
of
poops
here,
and
you
know
I
think
it's
fair
to
have
expectations,
but
this
might
be
getting
a
little
too
down
into
the
details.
I
think
these
windows
that
we
have
that
are
black
right
now
with
the
wood
trim.
F
B
F
Yeah
I'll
give
it
one
more
go
and
case
2022-005598,
hcrv,
1000,
canyon,
road.
I
move
that
we
approve
the
application
following
staff's
recommendations
with
the
following
conditions:
that
the
replacement
windows
be
a
true
white
and
that
painted
wood
elements
be
maintained
and
the
taos
blew
color,
with
the
exception
of
the
trim
of
the
windows,
which
should
be
white.
A
E
E
B
Board
members,
please
think
about
it:
let's
try
another
motion.
E
I
will
try
my
problem
is:
I
want
to
maintain
the
skill
casement
window,
which
is
already
blue,
so
I
think
I'm
gonna
have
to
go
stay
with
the
blue
colors
here,
which
I
also
agree
with
so
in
case
number:
twenty,
twenty
two:
zero:
zero:
five,
five,
nine
eight
hdrb,
one
thousand
canyon
road.
E
I
move
that
the
project
be
approved
on
condition
that
the
steel
casement
window
on
the
east
side
be
retained
and
that
the
trim
that
is
currently
in
everything.
K
F
I
will
second
with
a
friendly
amendment:
yes,
that
the
the
window
be
allowed
to
be
replaced
and
kind.
First,
steps
approved
per
administrative
approval,
should
it
be
in
poor
condition.
B
Any
other
amendments,
if
not
we'll
call
vote,
please.
Q
D
Remember
beach,
side!
No!
Excuse
me.
No!
No
remember
bienvenue.
Remember
larson.
Yes,
the
motion
failed.
J
I
just
want
to
make
my
reservation
about
this
clear
and
I'd
be
curious
to
hear
from
you
remember,
bienvenue
as
well
the
east
elevation.
I
guess
my
reservation
is
changing
the
openings
and
adding
openings
to
that
elevation.
That's
for
I'm
not
in
that's
why
I
haven't
voted
yet
in
the
past,
so
I
would
be
in
favor
of
I'd,
be
in
favor
of
keeping
the
location
of
the
windows
and
I
I'm
more
flexible
on
the
color
I
think,
than
changing
the
window.
Openings
on
that
facade,
so
much
so
be
curious.
J
E
That
general,
generally
speaking,
that's
the
consensus,
the
board,
that's
my
view
as
well.
M
Can
I
comment
on
the
window
openings
because
I
think
there's
maybe
a
misunderstanding
on
the
left
side.
We
are,
we
are
not.
We
are
not
expanding
or
shrinking
any
of
those
window
sides.
We
are
maintaining
the
openings
of
those
the
door
that
is
below
grade.
We
are
replacing
it
with
a
window
dimension
in
like
to
all
the
other
windows
that
are
currently
on
the
building
and
we're
just
adding
another
window
to
a
to
a
to
a
facade
that
is
not
considered
primary.
M
L
I
J
C
Remember
yeah,
just
just
I
feel
like
we
should
continue
the
conversation
with
the
applicant
a
little
bit
more.
I
think
that
the
east
elevation
with
its
changes,
presents
a
more
cohesive
set
of
openings
in
terms
of
the
size
of
the
windows
and
the
light
pattern
it
will,
it
will
become
consistent,
but
it
still
retains
that
long,
distinctive
facade.
I
I
applaud
the
applicants
for
proposing
really
rather
minor
changes
to
this
property,
which
is
quite
special,
and
I
my
I
feel
uncomfortable
discussing
the
the
paint
color
without
some.
C
No
one
on
the
sport
is
an
architect
at
the
moment
right.
So
so
we
I
feel,
like
we
shouldn't,
be
the
ones
you
know
designing,
that
element
or
choosing
a
color
there
so
appreciate
your.
I
mean.
Obviously,
the
the
tallest
blue
is
a
significant
color
and
I
wanted
to
respect
that
if
we
could,
but
I
don't
know
about
the
practicality
of
that,
and
also
I
didn't,
I
didn't
see
the
window
assessment
or
the
paint
color
mentioned
in
the
package.
G
Madam
chair,
yes,
so
I
I
understand
the
board
is,
is
struggling
with
a
couple
things
here:
one
is
the
vernacular
style
of
the
building
and
then
changing
the
windows
and
adding
openings
that
that
may
have
impact
on
the
style
of
the
building.
G
Now
it
being
not
being
a
primary
facade,
we
cannot
deny
a
adding
an
opening
unless
you
really
see
that
or
that
these
changes
are
changing
the
style
of
the
building
itself,
that
you
know
there,
unless
you
see
another
legal
basis
for
that,
I'm
just
going
to
motion
or
nudge
the
board
into
thinking
about
in.
In
that
light,
I
understand
the
information.
Yes,
it
appears
the
window
assessment
isn't
in
the
packet
and
we
go
by
historic
colors.
G
So
we
don't,
if
we
don't
necessarily
know
and
there's
not
information
on
when
that
blue
came
into
effect
and
how
many
layers
there
are.
This
is
something
that
we
run
into
on
a
regular
basis.
Is
you
know
when
we're
trying
to
identify
what
paint
was
actually
used
when
there
might
be
several
layers-
and
you
know,
does
that
give
an
applicant
a
selection,
not
necessarily
it's
just?
It
makes
it
there's
more
latitude
for
the
board
to
really
think
about
there.
G
So
that's
on
those
two
fronts
remaining
within
our
code
and
what
the
board
can
and
cannot
do.
That's
the
two
areas
that
we
have
to
look
at.
What
are
the
historic
colors
you
know:
are
there
other
historic
colors
if
we
do
not
have
that
information?
G
A
H
That,
but
under
subsection,
1b
of
sub-section
e
and
14-5.2
public
reads
with
respect
to
colors
are
all
exterior
walls
of
the
building
are
painted
alike.
The
colors
range
from
a
light
earth
color
to
a
dark
earth.
Color
the
exception
to
this
rule
was
the
protected
space
under
portfolios
or
in
church
derived.
H
K
B
H
H
B
F
I
will
say
one
last
thing
and
that's
you
know
this
applicant
has
done
their
due
diligence.
He
has
experience
with
these
properties.
This
is
a
very
modest
property
and
he
made
a
very
important
point
of
the
hardship
that
it
poses
to
replace
these
windows
and
powder
coat
them
based
on
the
preference
of
this
board,
which
does
not
have
you
know
historical
evidence
to
back
up
the
color
of
this
house.
F
It's
based
on
preference,
and
you
know
I'm
always
willing
to
work
to
find
a
solution
that
you
know
satisfies
the
board
and
the
applicant
that
I
think
this
has
gone
way
too
far,
and
you
know
I
think
we
we
have
to
consider
strongly
that
this
poses
a
hardship
to
continue
to
search
for
window
brands.
That
would
you
know,
meet
the
niche
color
that
we're
suggesting,
and
that
would
also
satisfy
the
price
point,
and
you
know
all
of
these
things
that
are
beyond
the
purview
of
this
board.
I
C
B
Nobody
ever
said
some.
Some
of
these
applications
were
going
to
be
very
easy.
The
last
case
this
evening
is
located
at
5,
13
canyon,
road.
You
will
hear
that
place
case.
Please.
G
Thank
you,
madam
chair.
This
is
case,
2022-005
795
hdrv.
We
are
at
and
I'm
going
to
ask
it
to.
Please
switch
the.
G
G
As
you
kind
of
come
down
to
the
parking
lot-
and
this
is
kind
of
the
south
end
of
that
property
here
so
this
is
the
building-
is
in
an
l
shape.
It
is
a
spanish
pueblo
revival,
style
and
we're
looking
at
the
south
end
here,
the
building
grew.
G
Pre-1912,
it
could
be
as
early
as
1880
according
to
the
historian's
information
that
was
included
in
the
packet,
so
you're,
looking
at
the
oldest
portion
here
and
as
as
you
go
north
and
to
the
west
on
the
building,
we're
going
north,
the
building
gets
a
little
newer
and
newer,
and
then
we
get
to
some
essentially
where
it
becomes
is
in
the
1950s
of
this
second
story
edition.
R
G
1984,
when
morningstar
gallery
becomes
the
owner
and
the
chimney
here
and
the
mechanical
room
get
added,
there's
a
remodel
done
at
that
time.
Yard
walls
were
added
okay,
and
so,
as
you
can
see,
we
go
west,
and
here
is
this
western
edition
the
vegas
on
this
portion.
Are
they
don't
go
all
the
way
through
they're
only
on
the
exterior
there,
unlike
the
rest
of
the
building,
so
here's
a
little
some
of
the
aerials.
G
G
So
you'd
like
to
refer
to
your
packet
for
that,
that's
where
you
would
want
to
be
all
right,
so
we
are
looking
at
the
we've
got
the
gallery.
We've
got
the
former
residents
and
you
see
you'll,
see
via
protruding
vega
ends
on
this
on
the
upper
portion
here
and
the
lower
portion
here,
and
they
there
as
well
further
down
now.
G
This
is
the
kitchen
which
is
just
west
of
the
former
residence
and
that
has
a
smaller
diameter
timber
vega
latias
on
the
interior,
and
so
we
expect
that
to
be
kind
of
the
older
portion
of
the
house
and
then
that
mechanical
room
is
labeled
here,
and
that
was
added.
And
so
this,
the
recommendation
is
really
for
that.
This
outline
portion
that
excludes
the
mechanical
room
on
the
west
elevation
to
the
primary.
G
So
we're
looking
also
the
south
right
here
and
then
the
the
west
minus
the
mechanical
room,
the
river
rock
walls,
I'll
talk
to
speak
to
the
courtyard
walls.
Courtyard
walls
were
added
sometime
around
1984.
G
they're,
relatively
newer.
The
west
courtyard
wall
is
as
well
now
the
river
warlock
walls
here
and
then
that
the
wall
that
is
along
the
streetscape,
those
are
indicative
of
don't
have
a
real
they.
They
don't
really
show
up
in
the
aerial,
so
we
don't
have
a
good
date
on
them,
but
they
are
indicative
of
the
older
walls
and
and
are
quite
a
bit
different
from
what
was
newly
added.
So
the
recommendation
from
staff
is
for
contributing.
G
Okay,
and
here
are
the
elevations,
I'm
just
going
to
speak
to
the
south
elevation
briefly.
These
are
1990s
windows
right
here
with
some
snap-in
muntins,
maybe
late
80s,
but
that's
what
you're
seeing
on
on
this
elevation.
These
are
the
vega
protruding
vegas
that
don't
go
into
the
house,
so
there's
some
evidence
of
some
sort
of
remodel.
That
happened
that
potentially
changed
that
it
looks
like
it
could
have
been
a
portal.
G
We
don't
really
have
evidence
to
see
exactly
what
it
was,
but
that
is
one
of
the
main
reasons
that
this
is
we're
pushing
outside
of
that
zone
of
what
could
be
primaried.
I
G
And
and
then
we
have
this
two-story
edition
here
and
it
is
from
before
1958
for
that
two-story
edition.
But.
C
G
Have
the
chimney
edition
and
the
mechanical
room
added
onto
that
portion
and
the
architectural
value
that
it
adds
is
questionable,
and
so
that
is
why
it
is
left
out
of
the
staff
recommendation
tonight
and
so
just
to
conclude,
we
are
looking
at
maintaining
the
historic.
The
staff's
recommendation
is
to
maintain
the
historic
status
as
contributing
and
to
designate
the
south
elevation
of
the
east
wing
and
the
west
elevation.
G
The
east
wing,
excluding
the
mechanical
room
and
chimney
making
this
designating
business
primary
also
recommending
that
the
river
rock
walls,
including
the
wall
along
the
street
or
along
canyon
road,
be
designated
as
contributing
while
maintaining
the
central
courtyard
wall
and
the
west
courtyard
role
as
non-contributing.
Just
for
clarity,
and
I
will
stand
for
questions
where
I
can
turn
it
over.
Thank.
B
You
carly
carly.
Did
you
also
address
the
three
little
rock
portions.
G
So
those
are
the
river
rock
walls
and
we
did.
I
didn't,
give
a
number
of
the
river
off
walls
there
actually
there's
actually
three
small
retaining
walls
plus
the
wall
along
the
streetscape
for
clarity
that
makes
four
and
those
should
all
be
included.
As
from
the
contributing
designation.
B
Thank
you,
carly.
Any
other
questions
for
carly
gala.
D
C
I
agree
with
most
of
it.
I
do
would
like
to
present
a
slightly
different
primary
facade
on
the
west
or
south.
What
is
this?
The
south?
No,
the
south,
I
think
it's
wonderful
and
so,
and
it
brought
looking
at
the
south
elevation,
helps
me
to
make
my
argument
that
the
oldest
part
of
the
gallery
is
truly
special
and
when
you
walk
in
it's
really,
you
can
very
you
feel
the
the
oldness
of
the
structure,
and
that
was
in
the
1800s
1880s,
something
like
that.
It
extended
further
underneath
the
second
floor.
C
The
the
thing
that
I'm
struggling
with
with
carly's
recommendation
is
the
kitchen
it
is
it
was.
It
was
built.
I
don't
it's
probably
single
wide
adobe,
the
vegas
I
mean,
so
it
is
an
appropriately
built
spanish
pueblo
style,
santa
fe
style,
building
or
portion
of
this
building.
C
C
G
G
C
B
C
As
well,
the
west
elevation,
so
the
west
and
south
elevation
of
the
easternmost
wing,
the
oldest
part
of
the
gallery,
just
not
the
kitchen,
the
kitchen
covered
up
the
old
wall,
the
inside
behind
the
kitchen
that
this
had
like
a
double
adobe
and
plus
wall
and
the
addition
of
the
kitchen.
It
just
appears
to
me
a
kitchen.
I
mean
an
addition
to
a
very
significant
work
on
canyon
road.
I
mean
it's
right
next
to
the
prada
house,
it's
attached
to
the
prada
house.
C
With
the
logic,
I
just
prefer
that
the
most
special,
the
most
characteristic
piece
of
this
building
be
primary.
Thank
you.
G
And
I'm
going
to
also
just
draw
a
little
box
in
the
elevation,
so
we
can
see
that
what
we're
referring
to
is
the
kitchen,
because
I'm
not
sure
that
the
the
staff
report
makes
that
super
clear
and
that,
or
at
least
the
facade
diagram
doesn't
make
that
super
clear.
So
what
we're
looking
at
is
right
there
and
we're
going
to.
G
So
part
of
it
is
what
I
saw
in
the
kitchen
is.
It
looks
to
me
very
much
like
an
enclosed
portal,
the
small
diameter
of
the
latia
feeling
and
those
you
know
throughout
time
portals
get
enclosed.
G
G
Now
the
other
piece
of
this
is
it's
really
I
going
by
the
definition
of
our
primary
facades
and
really
does
it
add:
does
it
hold
together
some
the
highest
character
and
really
the
way
we
look
at
these?
We
want
to
go
for
as
large
enough
of
the
elevation
to
show
what's
really
been
going
on
in
the
house
like
this
shows
some
kind
of
stepped
massing
that
is
happening
throughout.
G
So
you
know,
even
though
it
would
capture
the
expressionary,
the
the
change
over
time
and
vernacular
nature
of
this
building.
Is
it
really
necessary?
No,
but
only
preserving
this
small
area
as
a
primary
facade,
just
didn't
seem
quite
the
right
move,
especially
with
the
the
the
double
window
there,
but
as
you
get
right
up
next
to
the
mechanical
room,
that's
kind
of
where
everything
tends
to
break
down.
That's
where
the
dividing
line
is
for
me.
G
Yes,
one
area
is
a
beautiful
piece
of
architecture,
but
we
often
see
you
know
as
a
change.
We
we
do
get
capture
this
change
in
the
building,
as
you
go
a
little
bit
more
north.
So
that's
that's
really
the
main
reasoning
there.
B
Thank
you
board
members,
questions
for
carly
or
gala
or
comment
nothing
at
this
time.
Anyone
from
the
public
wanting
to
speak,
run
john
run.
K
P
Chair
board
members
I
was
in
and
out
of
this
house
as
a
youngster,
I
grew
up
with
a
reed
family,
but.
K
P
P
P
A
P
Spindles
above
a
panel
of
spindles
and
that's
a
very
classic
design
that
henderson
may
not
have
come
up
with,
but
he
used
it
repeatedly
in
his
own
house.
So
perhaps
there's
some
historical
connection
here,
because
the
timing
of
this
house
coincides
with
analog
henderson's
activity
in
santa
fe
as
well.
This
building
so.
P
B
J
Thank
you,
madam
chair.
I
have
a
question
for
staff.
Thank
you
for
your
comments.
I
found
them
very
helpful
and
I
appreciate
them
if
so
looking
at
the
west
facing
portal,
if
that
were
designated
as
primary,
does
that
automatically
give
protection
to
the
banco
feature,
or
would
that
have
to
be
noted
as
something
separate
contributing.
G
Madam
chair,
thank
you,
member
aguilar
madrana,
so
it
if
we're
go.
That
is
that
would
include
the
portal
now
where
it
gets
specific
and
where
I
think
it
needs
more
consideration.
This
is
why
we
go
for
a
more
the
larger
elevation
is
and
that.
G
Part
of
collecting
this
whole
elevation.
You
also
capture
this
on
the
south
elevation,
which
is
that
one
turn
of
the
building
there,
which
isn't
as
a
beautiful
historic
windows
and
divided
light,
lovely
double
window.
There.
B
Anything
else
board
members,
if
not
motion,
please.
D
B
D
B
B
G
I
will
be
sending
out
some
information
regarding
the
next
meeting.
We
will
have
the
new
mexico
school
for
the
arts
application
coming
forward,
which
is
a
different
section
of
the
code,
so
it'll
just
be
a
little
I'll,
send
that
section
off
of
the
code
so
that
you
can
refresh
or
during
before
that
time.