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From YouTube: Architectural Review Commission 4-5-21
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A
Welcome
everyone.
My
name
is
zachary
greco,
chair
of
the
commission.
If
you
are
here
to
present
a
project,
you
will
have
limited
time
to
make
your
presentation,
so
we
suggest
being
thorough
but
concise.
When
coming
to
the
microphone,
you
will
need
to
identify
yourself
and
your
relationship
to
the
project.
A
The
commissioners
will
not
ask
any
questions
during
your
presentation.
Your
project
should
be
presented
in
the
following
order:
site
plan,
elevations
architectural
details
and
wall
sections
staff
will
then
present
the
staff
report.
We
will
not
and
then
we
will
ask
for
public
comment
following
your
presentation.
The
commissioners
will
be
asking
questions
in
the
same
order
as
a
presentation,
please
state
and
spell
your
name
clearly.
If
you
are
here
to
speak
for
or
against
a
project,
your
time
will
be
limited
to
three
minutes.
So
take
some
time
now.
A
To
summarize
your
comments,
because
three
minutes
go
by
very
quickly
following
public
comment,
the
app
clint
will
have
five
minutes
for
rebuttal.
The
public
hearing
will
then
be
closed.
The
only
comments
which
will
be
allowed
after
the
public
hearing
is
closed
will
be
in
response
to
any
questions
from
the
commissioners.
A
The
arc
can
only
act
on
items
that
are
within
our
specific
jurisdictional
responsibility.
Owner
agents
are
independently
responsible
to
obtain
any
appropriate
permits
and
or
approvals.
If
you
haven't
already
done
so,
please
silence
all
cell
phones.
At
this
point
I'll
ask
my
fellow
commissioners,
starting
on
my
right
to
introduce
themselves.
F
A
As
we
vote
just
make
sure
to
please
raise
your
hand,
so
all
in
favor,
aye
aye
against
motion
passes.
Thank
you.
G
Good
evening,
commissioners,
dennis
fernandez
architecture,
review
and
historic
preservation
manager
welcome
to
this
evening's
public
hearing.
We
do
have
several
cases
for
your
consideration
this
evening.
I
did
want
to
first
of
all
enter
the
staff
approvals
for
march
2021
into
the
record,
provide
those
to
the
clerk
and
also
just
to
remind
you
that
we
will
be
host
having
another
hearing
on
wednesday
april
7th
to
take
care
of
the
rest
of
our
april
application
cycle.
G
Just
to
give
you
a
peek
into
the
future,
our
may
cycle
is
quickly
filling
up
as
well,
so
we'll
be
managing
the
cases
as
they
go
through
the
consideration
process
this
week
and
see
if
we
have
to
continue
those
possibly
to
the
next
month,
we'll
we'll
keep
assessment
on
that
as
we
go
along
with
that
I'll
now
turn
it
over
to
our
legal
counsel
for
the
discussion
of
the
conflicts
of
interest
and
exported
communication.
H
Good
evening
kamaria
petis
mackel
from
the
attorney's
office,
will
the
commissioners
please
state
whether
or
not
they
have
any
conflicts
of
interest.
Regarding
any
of
the
items
that
are
listed
on
the
agenda,
I
have
none.
I
have
none
none.
I
have
none.
Okay,
thank
you.
Additionally.
Will
the
commissioners
please
state
whether
or
not
excuse
me
they've
had
any
ex
parte
communication
regarding
any
of
the
items
on
the
agenda.
I
I
E
And
the
address
yes,
I'd
like
to
make
a
motion
for
continuation,
move
to
grant
a
continuous
encased
arc,
21-106
for
the
property
at
703,
south
newport
avenue
and
for
arc
21-185
for
the
property
at
1202,
north
howard
avenue
to
the
may
3rd
public
hearing
at
6
pm.
I
second
the
motion.
I'm
sorry,
2021.
E
G
I
I
I
I
H
I
C
I
Yes,
I'm
going
to
start
again,
then,
so
everybody
could
see
the
reference
photos
that
we're
going
to
present
tonight
to
the
north.
You
have
swann
avenue.
The
building
does
front
fielding.
As
I
stated,
there
is
no
alley
associated
with
this
blocking
lot.
You
see
some
of
the
other
blocks.
They
have
the
alleys
that
are
indicated.
This
is
a
lot
lined
a
lot
line.
You
have
bouvard,
as
you
work
your
way
to
the
east
and
they
bayshore
boulevard
to
the
south.
I
I
I
This
is
a
multi-family
structure,
that's
just
contributing
date
back
to
the
early
1900s.
This
is
to
the
south
and
directly
across
the
street.
So
you
get
a
understanding
of
the
fabric.
That's
along
that
block.
They
have
a
lot
of
good
references
to
the
early
1900s
style.
At
this
time
I
did
go
over
the
application
with
the
agent
she's
going
to
address
the
variants.
First,
at
this
time,
she's
going
to
have
10
minutes
to
do
her
presentation.
I
J
Sorry
about
that
good
evening,
commissioners,
I
forgot
to
bring
a
wall
section,
so
the
structural
engineer
actually
came
in.
You
don't
have
to
be
with
me
at
this
point,
but
you
will
be
so.
I
told
him
to
stay
and
he
can
present
the
wall
section
much
better
than
me
so
good
evening.
My
name
is
missy
shoecraft
and
I
represent
the
owners.
Rick
woods
and
terry
knights,
704
south
fielding
as
ron
indicated,
it's
an
rs60
zone.
This
particular
block
in
hyde
park
is,
has
a
shorter.
J
J
The
current
existing
condition
on
the
accessory
structure,
which
is
the
worst
case
scenario
for
the
whole
property,
is
zero
setbacks
on
the
on
the
east
side
and
four
inches
on
the
north
side
and,
of
course,
by
joining
those
two
buildings.
Now
the
portion
that's
now,
the
accessory
structure
has
to
meet
current
building
setbacks,
which
would
be
7
feet
to
the
side
and
20
to
the
back.
J
This
is
the
rear
of
the
property
that
16
feet
is
a
vacated
alley
that
no
longer
is
in
place
and
actually
has
not
been
in
place
since
the
1920s.
So
we
have
the
document
that
shows
the
vacation,
so
the
yellow
highlight
is
actually
the
current
property
line
and,
as
you
can
see,
the
condition
that
I
was
talking
about
the
accessory
structure
is
right
on
the
property
line
and
on
this
side
it's
it's
I'm
sorry,
it's
six
inches!
J
It's
point,
five
from
the
north
side,
as
you
can
look
closely,
there's
an
indication
of
a
masonry
wall.
That
wall
was
supposedly
part
of
this
owner's
property
but
has
been
taken
down
by
the
neighbor
and
I'll
show
you
a
picture.
They
put
up
a
wood
fence,
so
that's
gone
that
no
longer
exists.
That
happened
like
a
month
ago
and
what's
driving.
This
is
this
so,
as
ron
indicated,
this
accessory
structure
sits
way
way
way
back.
It's
87
feet
from
the
front
property
line.
J
It's
67
feet
from
the
front
facade
which
is
20
feet
from
the
front
property
line.
So
this
is
the
existing,
and
this
different
gray
area
is
the
addition
that
would
connect
the
two
structures
and
I
can
show
you
in
plan
how
that
would
work.
But
first
we
have
to
talk
about
the
variance
and
go
through
the
various
conditions.
J
And
I
would
be
happy
to
go
through
the
the
statement
of
hardship,
so
the
first
question
it
says
basically
are
the
alleged
hardships
or
practical
difficulties,
unique
and
singular
with
respect
to
this
property
or
with
respect
to
the
structure
or
building
they're
on
and
are
not
those
suffered
in
common
with
other
property
structures
or
buildings.
Similarly
located
and
I
basically
said
the
north
elevation,
the
east
elevation
of
the
accessory
structure
are
five
inches
and
zero
inches
from
the
property
line,
and
that
is
an
existing
condition.
So
it's
not
like
we're
creating
this.
J
It
just
exists
now,
and
it
was
there
as
of
1915,
which
is
when
the
structure
was
built.
The
hardship
of
practical
difficulty
does
not
result
from
actions
of
the
applicant.
No,
it
was
an
existing
condition
as
of
the
teens,
and
it's
not
something
that
can
be
changed
without
having
to
tear
down
the
building.
J
The
variance
if
granted,
would
not
substantially
interfere
with
or
injure
the
health
safety
or
well
for
others,
whose
property
would
be
affected
by
the
allowance
of
the
variance
the
variance
the
responses.
The
variance
would
would
vest
a
legally
non-conforming
condition
in
places
as
of
1915
to
our
knowledge,
there
has
been
no
injury
to
the
health,
safety
or
welfare
of
any
of
the
neighbors,
since
many
of
them
share
exactly
the
same
condition.
J
J
The
variance
if
granted
would
allow
development
that
is
consistent
with
the
design
guidance
and
compatible
with
the
historic
pattern
of
development
within
the
district,
historic
conservation,
overlay,
district,
multiple
property,
designation
or
the
locally
designated
landmark
or
landmark
site
in
which
the
subject
property
is
located.
Yes,
this
is
an
existing
condition
as
to
1950,
so
it
is
therefore
historic
and
certainly
a
contributing
aspect
of
this
particular
historic
district.
The
high
park,
historic
district-
so
that
is
the
summary
of
my
presentation
to
the
board
and
I'll
be
happy
to.
A
I
I
I
This
is
a
brick
structure
that
is
stucco.
Excuse
me
covered
with
stucco,
and
then
you
see
the
the
existing
condition
back
in
1929
in
the
proximity
from
the
accessory
structure
to
the
primary
structure
on
this
block,
it
seems
like
they
are
a
little
challenged
and
they're
a
little
closer
to
the
primary
structure,
the
accessory
structures.
As
you
look
on
some
of
the
blocks
that
are
a
little
deeper,
you
have
the
separation,
that's
more
typical
in
the
area.
So
I
wanted
to
share
that
with
you
and
it's
here.
If
you
have
any
other
questions.
A
C
J
J
J
A
So
I
have
a
couple
questions
you
made
a
comment
about
trying
to
come
in
and
basically
vest
an
existing
condition
through
this
process.
A
J
No,
I
mean
well,
yes,
I'm
sorry.
If
it's
not
attached,
it
doesn't
have
to
meet
the
main
structure,
setbacks.
So
main
structure
setbacks,
as
you
know,
are
25
20
front
and
back
seven
and
seven.
The
accessories
are
three
and
three,
and
then
they
have
to
be
sixty
feet.
I
think
from
the
front
facades
of
the
60
from
the
front
property
lines.
A
A
C
E
F
I
don't
take
particular
issue
to
it,
knowing
just
how
close
they
are
today,
like
22
inches
is
not
really
even
enough
to
squeeze
through
it.
The
only
comment
that
I
have
on
the
variants
for
this
evening
is.
F
The
existing
condition
I
we
typically
don't
lose
a
lot
of
sleep
over
approving
an
existing
condition
in,
but
noting
maybe
like
the
entire
rear
of
the
house,
is
not
going
to
extend
to
that
zero
lot
line.
A
Yeah,
I
agree
in
terms
of
the
historical
precedent,
the
idea
that
typically
the
garage
is
separated.
I
tend
to
have
a
little
bit
of
concern
with
that
as
well.
My
other
issue
that
I'm
having
is,
I
think,
there's
a
kind
of
a
mix
between
what
this
variance
and
the
setback
requirements
are
asking
for,
is
you
know
vesting
in
existing
condition
when
it
almost
seems
like
in
reality
we're
investing
in
existing
condition
by
adding
on
and
saying
it's
now
the
main
structure
of
the
house.
E
I
think
that's
significant,
I
mean
we
start
to
think
about
precedent.
Setting
we've
certainly
had
to
come
behind
other
commissions
that
have
set
precedents
that
maybe
some
of
us
have
had
some
heartache
over
that
we've
had
to
accept,
and
you
know
moving
forward.
You
can
certainly
see
where
that
could
be
misused
by
a
future
landowner,
and
you
certainly
don't
want
to
see
that
come
into
the
historic
fabric
right
and
this
property
is
contributing
at
this
moment,
but
once
we
were
to
set
reset
those
setbacks,
we
do
allow
for
that.
A
I
mean
there
might
be,
but
unless
we
have
that
information
in
front
of
us
it's
kind
of
hard
to
make
a
decision
off
that.
So
since
we
don't
you
can't
but
yeah
that's,
it
would
be
something
that
would
have
to
be
looked
at
later.
On.
F
F
B
Okay,
it
does
seem
to
me
that
in
allowing
an
existing
accessory
to
become
part
of
the
main
house
we
are,
there
is
a
certain
problem.
However,
the
closeness
of
the
two
in
history
would
seem
to
suggest
that
they
have
always
been
almost
and
in
fact
really
they
are
one
structure
at
this
point,
you
know
that
a
21
inch
separation
is
is
absolutely
it's
negligible.
A
Yeah,
I
think
for
for
me
that
the
21
inches
stands
out
a
little
bit
more
because
there
is
that
addition,
that's
not
on
the
historic
sanborn
map.
If
I
think,
if
that
addition,
that's
on
the
rear
was
not
there,
it
wouldn't
look
as
congested
towards
the
back
and
with
that
it
seems
to
just
be
a
little
bit
more
tighter
and
everything's
condensed.
A
E
I
I
I
understand
what
what
you're
seeing
and
I
also
understand
what
you're
seeing
and
that
perspective
of
historically
that
21
inch
gap
would
not
have
been
significant
to
our
eyes,
but
because
of
that
addition,
especially
the
way
that
that
one
appendage
sticks
out
into
that
sort
of
taupe
colored
space
between
really
adds
that
sense
of
compression
and
the
need
to
connect
right.
I
mean
we're
talking
here
with
designers,
but
the
idea
that
that
connection
is
so
close.
H
Kamaria
pettis
mackel
from
the
city
attorney's
office.
Again,
I
think
it's
important
to
focus
on
this
application,
and
this
and
determining
whether
or
not
this
applicant
has
met
the
hardship
criteria
and
not
taken
into
consideration
down
the
road
the
what
if
category.
H
H
A
For
me,
I
think
the
biggest
issue
is
this:
hardship
does
not
put
into
place
to
match
what
is
already
there.
So,
instead
of
coming
in
and
saying
our
new
setbacks
for
our
main
structure
and
our
accessory
structure
will
be
what
they
are
now,
it's
doing
that
and
kind
of
going
beyond.
C
H
Sorry,
mr
chair
he's,
I
think
there
he
is
he's
coming
he's
got
the
information.
C
A
A
A
So,
for
me
the
the
issue
becomes,
I
think,
multiple
of
the
hardships
don't
kind
of
achieve
their
goal.
You
know
number
two
in
existing
condition.
As
of
you
know,
1915.
we're
not
investing
again
we're
not
investing
in
existing
condition,
we're
we're
adding
on
to
it
number
three.
The
idea
of
it's
besting
a
existing
condition.
It's
not
it's
changing
it
and
then
for
five.
A
H
A
A
Sure
the
reason
I'm
saying
that
number
hardship
number
two
is
not
a
hardship
is
the
existing
condition
is,
if
you
were
to
vest
the
main
structure,
setbacks
and
the
accessory
structure
setbacks
separately,
then,
yes,
that
would
be
correct.
This
is
an
existing
condition
that
is
not
towards
the
applicant,
but
the
variance
for
today
would
be
to
combine
the
accessory
structure
into
the
main
structure,
which
now
has
a
setback
specifically
for
the
main
structure
and
not
separate.
B
A
C
Okay,
so
that
was
kind
of
my
question
just
the
language
that
you're,
using
with
the
vesting
and
the
like.
Maybe
I'm
just
not
understanding
so
you're
you're,
saying
that
there
should
be
a
step
prior
to
what
she's
asking
for
so.
A
C
A
C
C
C
E
B
C
F
Right
so
right,
the
concern.
The
concern,
I
think,
is
just
that:
we're
not
we're
not
grandfathering.
In
going
from
three
feet
of
setback
for
an
accessory
structure
to
half
a
foot
and
zero
feet,
it's
the
whole
house
going
to
half
a
foot
and
zero
feet
so
once
we
grant
the
variance,
everything
else
receives
the
same
variance.
F
A
C
C
H
Mr
chair
just
kamaria
pettis
mackel
from
the
city
attorney's
office.
If
there's
concern
about
what
the
garage
space
could
be
used
for
or
no
no
okay,
I
I
was
just
going
to
make
a
recommendation
that
or
just
to
to
advise
that
you
can
place
conditions
if
you
want
to
place
conditions
on
a
variance
approval.
H
H
E
H
B
Yes,
but
can
we
but
can
we
condition
the
variance
so
that
it
so
that
the
non-conform,
so
that
the
six
inch
setback
is
allowable
only
as
far
as
the
existing
structure,
you
know
only
for
the
existing
historic
structure
and
not
for
and
and
cannot
be
carried
forward
in
a
possible
addition.
D
A
For
me,
I
think
the
biggest
issue
that
I'm,
I
think
the
this
is
not
meeting
the
hardships.
Is
it's
saying
that
this
is
an
existing
condition
that
they're
trying
to
basically
vest
and
put
into
legal
documents
when
we're
not
looking
at
an
accessory
structure
in
the
main
structure
separately,
we're
now
combining
it
so
we're
combining
what
was
an
accessory
structure
into
the
main
dwelling
and
now
using
those
footprints
and
those
dimensions
to
vest
for
the
main
house.
A
E
I
would
also
like
to
add
that
this
is
not
necessarily
a
unique
and
singular
condition
for
this
property
alone.
I
mean
it's
been
pointed
out
that
several
properties
nearby
have
similar
conditions
without
going
into
them
in
specific
detail.
We
can
only
take
that,
as
stated,
and
that
you
know
puts
hesitation
forward
in
terms
of
that
particular
criteria
being
that.
A
I
think
it'd
be
one
thing
if
if
the
applicant
had
come
forward
and
said
you
know,
because
the
house
and
the
accessory
structure
are
so
close
together,
we
need
to
keep
that
21
inches
in
between,
because
otherwise
we
have
to
remove
portion.
That
is
something
that
we
would
look
at
and
understand
that
that
is
a
hardship
and
that's
not
an
applicant
created
condition.
A
A
B
Is
it
possible
that
the
that
the
representative
would
like
to
withdraw
the
variance
and.
H
H
Sorry
so
the
application
is
before
the
commission.
The
commission
can
either
vote
to
approve
the
variance
or
deny
their
variance.
If
the
variance
is
denied,
then
the
certificate
of
appropriateness
will
be
continued.
H
C
E
A
I
E
I
I
And
moving
to
the
photo
presentation,
it's
a
little
different
than
what
you
used
to
see,
but
this
is
the
sanborn
map.
Once
again,
we
try
to
use
the
1929
as
a
point
of
reference.
You
see
the
the
density
that
is
here.
It's
a
lot
different
than
what
we're
usually
seeing
the
red
indicates.
A
brick
construction,
blue
is
concrete
block
and
the
yellow
is
frame
construction,
so
in
the
downtown
area,
there's
a
lot
of
more
buildings
that
reflect
the
brick
construction.
I
I
This
is
our
vicinity
map
just
once
again
showing
some
of
the
the
streets
that
are
in
proximity,
and
you
see
the
address
here
of
the
property
in
question.
I
I
I
I
Once
again,
getting
a
little
closer
showing
you
the
existing
condition,
there
are
some
pie,
lasters
that
are
appropriate
to
the
overall
character
of
the
of
the
construction.
That
is
to
remain
it's
the
infill
here,
that's
going
to
be
in
question
this
evening.
I
I
Tampa
theaters
over
here.
This
is
the
parking
lot
that
I
referred
to
with
the
overhead
I
shot,
and
this
is
working
your
way
to
the
south
and
a
couple
street
shots.
You
see
the
theater
here,
the
this,
the
lighting
and
the
signage
came
to
this
board
some
time
ago.
So
the
tampa
theater
is
moving
in
the
right
direction
as
far
as
bringing
it
back
to
some
precedent
that
it
once
had.
This
is
the
north
shot
looking
down
franklin-
and
this
is
the
south
shot.
So
that
completes
the
photo
presentation.
I
This
time
we'll
have
the
agent
address
the
board,
also
everybody
that
wishes
to
testify.
Please
stand
up
and
raise
your
right
hand
to
get
sworn
in.
Thank.
I
K
L
L
C
L
At
that,
so
this
is
a
photograph
of
the
tampa
theater
that
I
took
last
year
when
we
started
this
project
and
the
area
that
we're
talking
about
is
right
here.
It's
a
flower
shop
right
now,
so
what
I've
done
is
a
photo
montage
where
I've
inserted
our
project
in
there.
It's
a
little
hard
to
see
with
this,
but
I've
got
some
much
closer
shots.
So
what
we've
done?
If
you
look
at
the
the
two
openings
so
the
front
of
tampa
theater,
it's
interesting!
It's
really
three
openings!
It's
not
a
facade
at
all!
L
This
is
wide
open
here
with
the
marquee
in
the
center,
and
this
area
is
set
back
about
three
feet
before
you
see
the
doors,
but
it's
still
kind
of
perceived
as
an
opening
an
opening
and
our
goal
was
to
create
that
same
feel
of
an
opening
in
our
project
as
well.
Although
it's
it's
going
to
be
interior
space,
so
let
me
move
in
closer.
Hopefully
we
can
see
that
better.
L
L
So
now
here's
a
straight
on
elevation
so
now
we're
starting,
I
think,
with
this
elmo
starting
to
be
able
to
see
what
it's
really
looking
like.
So
the
continuation
of
this
beam
and
then
opening
below.
Now
we
had
to
set
back
the
glass
right
here
so
that
we
could
swing
the
door
out
for
emergency
egress.
I
wanted
to
carry
it
along
straight
and
we
tried,
but
it's
just
not
legally
possible,
because
the
door
cannot
swing
out
onto
a
public
property,
so
let's
zoom
in
a
little
closer.
L
L
L
They
might
have
it's
a
screening
room,
they
might
have
openings
for
movies
or
film
festivals
and
it's
a
very
small
space,
but
it
allows
kind
of
a
a
little
celebration
space
before
you
go
inside
the
theater
or
the
screening
room.
The
actual
projector
is
behind
this
wall
here.
So
we've
got
a
interesting
spiral,
staircase
to
go
up
there
and
that's
just
for
the
person
to
manage
the
digital
projector.
L
L
This
shows
the
bar.
So
what's
interesting
is
this
is
what
you're
going
to
see
from
from
the
outside?
We
have
this
fabric
wall.
That's
tufted
with,
like
a
velour
finish,
we're
trying
to
get
the
feel,
it's
obviously
a
very
modern
design,
but
we're
really
trying
to
get
the
feel
of
the
rich
materials
that
were
done
in
the
original
tampa
theater.
The
out
camp
theater
is
outlandish,
and
so
we
tried
to
get
that
kind
of
feel
that's
going
on
too
the
ceiling.
It's
an
eight
foot
ceiling
right.
There
we've
got
so
it's
actually
a
mirror.
L
So
it
feels
like
that
space
is
much
taller
like
16
feet.
Instead
of
eight
feet,
we
set
the
lights
inside
the
mirror,
and
we've
got
this
copper
material
to
match
to
mimic
the
the
copper
that's
going
on.
We
have
a
tile
floor
with
the
pattern,
that's
reminiscent
of
next
door
and
then
this
solid
mono
block
bar
that's
just
pure
marble
of
a
very
special
piece.
L
L
So
our
goal
is
to
do
an
exciting
design.
That'll
get
people
interested
in
coming
there.
It's
a
small
screening
room.
I
can't
remember
the
number
of
seats
they'll
tell
they'll
talk
to
you
about
that
and
have
this
fit
in
with
historic
fabric,
that's
around
the
space
and
be
a
real
attractor
for
people
to
come
to
tampa
theater
and
not
touch
just
kind
of
touch
with
as
light
as
possible,
the
historic
materials
around
it.
But
let
this
project
be,
you
know
its
own,
its
own,
exciting
little
screening
room.
L
So
so
the
glass
we
chose-
this
is
a
the
glass
I
told
you,
it
can
span
12
feet
and
be
10
foot
wide,
which
is
very
unusual.
It's
it's
only
in
the
last
maybe
five
years
that
this
glass
has
been
able
to
do
that
and
meet
the.
C
L
The
requirements
and
the
other
thing
about
this
glass-
it's
a
low
iron
glass,
so
it's
very,
very
clear.
A
normal
glass
would
be
a
green
tint
and
you
can
see
the
thickness
of
this
glass.
It's
got
three
lamb,
two
laminates
in
there
three
panes
of
glass
and
that's
to
meet
the
hurricane
and
impact
loads
at
that
at
that
height.
L
L
Cell,
so
this
is
the
rendered
image.
That's
on
your
screen
right
now,
and
then
this
is
the
the
detail
of
that
elevation
and
you
can
see
the
sorry
you
can
see
the
the
butt
joint
right
here.
L
L
All
right,
so
it's
a
one
and
a
half
inch
triple
glazed
glass
and
then
there's
the
butt
joint.
That's
3
8
of
an
inch,
that's
even
less
than
what
I
showed
it
on
the
rendering
I
had
a
half
inch.
So
that's
that's
even
better.
This
is
the
glass
door
how
it
swings,
and
you
can
see
that
as
it
swings
out
the
the
outward
swinging
door
can't
be
on
public
property.
L
And
then
this
is
a
section
of
the
glass
itself.
You
can
see
how
the
glass
comes
right
down
to
the
concrete,
and
then
it
goes
to
the
beam
at
the
top
which
we
talked
about.
We're
adding
this
beam
to
match
the
two
other
ones,
the
one
over
the
marquee
entrance
of
the
tampa
theater
and
going
over
the
tampa
theatre
offices
as
well.
We're
matching
that-
and
this
and
the
glass
goes
at
11
feet
four
inches
from
here
to
the
to
the
ground.
L
C
G
C
A
I
Good
evening,
commissioners
ron
vlom
staff
for
the
historic
preservation
staff
for
you,
this
application,
and
it
is
consistent
with
the
secretary
of
interior
standards,
with
the
plans
that
were
submitted
on
3
19
21.
So
since
this
is
not
in
any
local
historic
district,
we
go
to
the
standards
to
review
this
project.
I
Staff
did
have
some
conditions
through
his
presentation.
He
addressed
the
majority
of
the
conditions
that
are
on
page
four
and
five,
just
a
little
more
discussion
on
the
scope
of
the
exterior
demolition
and
talk
about
the
sensitivity
to
the
historic
building.
I
We
had
asked
for
additional
information
on
the
grill
for
the
air
exchange
on
the
top
of
the
storefront
and
to
address,
if
there's
going
to
be
any
additional
signage
attached
to
the
storefront,
also
included
on
your
staff
report.
I've
included
a
couple
pages
from
the
secretary
of
interior
standards,
starting
with
page
90,
which
addresses
new
additions
to
the
historic
buildings
about
halfway
through
that
first
paragraph
it
speaks
upon.
The
new
additions
should
be
designed
and
constructed.
I
I
And
moving
to
page
92
under
recommendation,
it
addresses
considering
the
attached
exterior
edition,
both
in
terms
of
the
new
use
and
appearance
to
other
buildings
in
the
historic
district
or
neighborhood
design
for
the
new
work
may
be
contemporary
or
it
may
reference
design
motifs
from
the
historic
building
in
either
case.
It
should
always
be
clearly
differentiated
from
the
historic
building
and
be
compatible
in
terms
of
massing
materials,
relationship
to
solids
and
voids
and
color.
I
A
I
A
All
right
at
this
point
we'll
open
the
public
hearing
to
any
public
comment
scene
hearing
none.
The
commissioners
can
now
ask
questions
regarding
the
project.
Commissioner
boyd,
would
you
like
to
begin.
F
I
guess
my
my
first
question
is
for
stop.
Were
the
the
documents
included?
Are
we
considering
this
a
renovation
or
an
addition.
I
This
is
a
rehabilitation
to
the
storefront
with
the
standards
the
the
introduction
of
this
contemporary
design.
I
try
to
address
through
the
criteria
that
this
is
an
avenue
that
can
be
explored,
so
we
did
try
to
do
some
research
and
we
had
some
photos
from
a
distance,
but
to
do
a
reconstruction
of
what
was
there.
I
C
K
We
have
yes,
you
know
this
project
you
can
see
from
the
the
number
is
is
a
long
time
coming,
we've
been
working
with
staff
for
a
long
time.
We
work
with
the
fire
marshal.
The
tampa
theater
is
a
1926
building
to
to
maximize
the
life
safety
of
the
patrons
of
this
micro
cinema.
To
have
direct
access
to
the
outside
in
an
emergency
was
a
must
to
the
fire
marshal.
K
E
In
terms
of
the
wall
section,
can
we
put
that
back
up
there?
I
wanted
to
look
at
something
really
quick.
Please.
E
L
L
No,
it's
it's
just
that
these!
These
two
excuse
me
these
two
columns
here,
which
are
this
design
of
granite
and
that
piece
in
the
middle,
which
I
believe
is
like
a
terracotta
and
then
so
those
two
pieces,
and
then
this
this
beam
on
the
top
again
and
the
beam
is
just
to
match.
C
K
L
A
L
Yes,
if
I,
if
I
understand
you
correctly
you're
you're,
saying
that
this
is
going
to
remain,
as
is
we're
not
changing
this
correct
yeah
we're
we're
building
this
over
here.
If,
if
you
know,
I
would
say
as
an
architect
if,
if
there
were
no
requirements
for
a
grill
here,
I
wouldn't
put
it
in,
but
I've
got
a
pretty
good
feeling
that
we're
going
to
need
it,
and
so,
when
we
put
it
in
we'll
make
it
look
just
like
this
one
here,
okay.
C
C
L
L
Be
inside
the
beam
and
it'll
be
integral
within
it
covered,
you
won't
ever
see
it
it'll
just
be
like
a
you
know,
a
four
by
eight
tube
inside.
K
This
is
the
same
detail
we
used
at
the
the
other
side,
it's
the
same
proprietary
fiberglass
assembly
and
we
were
able
to
get
it
into
a
three
and
five
h.
Stud
assembly.
C
E
Right,
I
I
think
that's
where
I'm
coming
from
is
whether
or
not
aesthetically
that
it's
going
to
change
it
from
a
street
view
in
a
forum
view
now,
in
my
mind,
based
on
what
you're
saying
there
are
ways
to
do
it,
where
you
hide
it
in
the
profile.
It's
beyond
it's
above
the
ceiling.
Plane
correct
is
that
the
intent.
L
Right
and
I
I
I
understand
your
concern
and
it's
certainly
something
we're
going
to
have
to
work
through,
but
I
don't.
I
don't
see
a
change
in
the
look
of
this
at
all.
B
D
K
We
we
looked
at
that
option
with
staff
and
and
did
find
that,
ultimately,
no,
it's
the
historic
elevations.
I
think
that
you're
looking
at
we
did
determine
that
the
most
transparent
that
this
storefront
could
be
the
better
for
the
historic
rehabilitation.
F
You
had
mentioned
that
the
other
side
of
the
entrance
that
the
the
facade
is
set
back
in
order
for
the
door
to
swing
out.
K
No,
the
the
other
side
that
you
might
be
referring
to
is
the
green
room,
caddy
corner
on
florida
avenue,
or
are
you
looking
at
the
entrance
on
franklin.
L
Glass
is
not
I'm
just
saying
that
the
glass
that
we're
putting
in
does
not
line
up
with
these
doors.
A
L
F
K
E
C
C
A
Okay,
so
do
you
have
one
of
the
comments
that
staff
made
on
their
staff
report
was
a
demo
plan?
Do
you
have
a
demo
plan
that
shows
not
only
the
work
kind
of
to
the
existing
wall
since
that
does
seem
to
have
you
know
some
characteristics
that
need
to
be
infilled,
but
also
any
of
the
sidewalk
floors.
Those
kind
of
things
that
are
right
now,
protruding
out
and
then
kind
of
into
the
building.
K
L
A
So
one
of
the
things-
and
I
know
this
is
not
typically
part
of
our
kind
of
area
of
what
we
would
review.
I
would
just
say,
as
you
do
go
into
the
interiors
since
you
are
looking
at
a
very
you,
know:
clear,
transparent
wall,
your
materials
on
the
inside
start
to
become
kind
of
your
exterior
materials
as
well.
C
L
So
the
door
as
a
glass
is
the
glass.
L
Door,
so
the
glass
door
has
these
long
handles
on
them.
These
push
fill
handles
and
there's
a
requirement
of
this
system
that
it's
stainless
steel,
and
this
is
the
material
of
the
door
handle.
So
what
we
don't
really
want
to
kind
of
oops.
You
know
show
that
so
we're
going
to
cover
that
with
leather.
So
it's
going
to
be
a
leather
wrapped,
stainless
steel
handle
and
that's
right
here
and
then.
L
The
the
frame
they
can
a
lot
they
they
can
do
powder
coating,
so
we're
going
to
have
to
choose
a
custom
powder
coat.
We
wanted
it
to
be
wrapped
in
copper.
We
they
won't.
Let
us
do
that.
I
don't
know
why,
but
they
it
won't.
It
won't
meet
the
wind
load
requirements.
If
we
do
that,
so
we're
going
to
powder
coat
that
in
in
a
material
that
close
as
close
as
possible,
mimics,
the
copper
and,
if
you're
familiar
with
powder
coat,
you
can
get
that
textured
kind
of
bump.
L
A
L
Yeah,
that's
that's
just
that's
a
good
question.
That's
just
plastered
and
we
we
made
it
gray,
so
it
just
would
kind
of
go
away.
You
know
not
not
draw
attention
to
it,
but
there's
options
to
make
make
that
something
else.
If
someone
has
a
really
good
idea.
A
Well,
I
would
just
yeah:
it
stands
out
as
it
is
now
kind
of
presented
to
us,
so
I
would
look
at
either
a
material
that
maybe
blends
in
or
is
maybe
getting
pulled
from
one
of
the
other
openings.
If
there
is
let's
maybe
look
at
something
that
works
a
little
bit
better
right,
are
there.
I
A
L
All
the
lighting
is
going
to
be
recessed
lighting,
they'll,
probably
be
I'm
not
showing
one.
A
a
recessed
can
right
here
above
the
above
the
door
to
light
this
area,
and
then
there
are
lights
in
the
ceiling
on
the
inside
just
to
light
generally
light
it
so
there'll
be
a
small
aperture
like
three
inch
round.
Recessed
can
lights
in
the
ceiling
also
in
this
back
ceiling,
so
the
so
there
won't
be
any
lights
outside
here,
that's
going
to
change,
but
there
will
be
a
light
right
over
that
door.
L
I'm
sure
that'll
be
a
requirement,
we're
not
showing
any
exit
lights
and
I'm
going
to
try
to
keep
that
to
a
minimum.
I
mean
I
don't
see
what
an
ex,
how
an
exit
light
would
help
there'll,
definitely
be
some
inside
the
screening
room
and
and
behind
this
door
here
on
the
other
side,.
A
K
K
Entrance
is
on
the
other
side,
so
we've
got
an
accessible
entrance
through
the
main
entry
of
the
theater.
The
main
entry
to
this
micro
cinema
is
actually
through
the
lobby
of
the
main
tampa
theater,
so
99
of
the
time,
99.5
percent
of
the
time
people
will
be
entering
this
micro
cinema
from
maybe
we
could
show
the
floor
plan
from
the
main
concessions
area.
There
is
an
ada
accessible
ramp,
there's
about
a
20
inch
change
of
elevation
that
that
ramp
occurs
in
the
kind
of
a
back
hallway
to
get
into
the
micro
cinema.
A
So
again,
I'll
state.
I
know
this
is
not
typically
part
of
our
area.
One
thing
I
would
suggest
looking
at
is
just
from
a
public
standpoint
is,
if
there's
a
way
to
maybe
accommodate
that
entrance,
to
also
have
an
ada
function,
to
where
you're
not
forcing
individuals
to
kind
of
go
all
the
way
around.
If
they're
wanting
to
come
in
towards
that
front,
it
might
just
be
nice,
but
you
know
it's
not
part
of
this
case.
It's
just.
A
It
might
be
a
good
thing
to
have
the
only
other
question
that
I
have
is:
do
you
have
any
other
sort
of
besides
the
glass
sample
that
you
have
any
product
information
or
cut
sheets
for
that
glass
or
any
of
that.
K
Ron
tell
me
if
I'm
offline,
but
I
brought
up
photos
of
the
renovation
that
we
did
to
the
green
room
with
the
same
assembly.
Now
that
assembly
is
10
feet,
it
does
have
a
knee
wall
because
we
continued
that
on,
but
we
were
able
to
drop
the
size
and
reduce
the
thickness.
It
does
show
the
power
coat
powder
coating,
and
am
I
able
to
show
those
photos
off
of
the
phone?
A
K
A
Thank
you
well
at
this
point
we
will
close
the
this
portion
of
the
public
hearing
and
the
commissioners
can
now
discuss
the
case.
Commissioner
myers,
would
you
like
to
begin.
H
Kamaria
pedestal
from
the
city
attorney's
office.
I
understand,
commissioner,
your
your
concern,
but
again
just
a
reminder
that
we
have
to
take
each
case
on
a
case-by-case
basis
and
determine
whether
or
not
a
certificate
of
appropriateness
in
this
situation
should
be
granted.
Based
on
the
presentation
that
was
given
today
and
the
questions.
If
there
are
any
additional
questions,
you're
more
than
welcome
to
answer,
but
we
have
to
focus.
G
Dennis
fernandez
architecture
and
historic
preservation
manager,
I
believe
it
was
added
to
the
national
register
of
historic
places
in
1974
and
then
locally
landmark
soon.
After
that
it
was
one
of
the
first
landmark
buildings
along
with
tampa
union
station
in
the
city.
So
in
the
reports
everything
obviously
focuses
on
the
atmospheric
design
of
the
theater.
G
This
structure
had
been
altered,
but
I
guess
would
be
probably
in
the
late
50s
early
60s.
This
was
a
retail
component
of
the
theater
separate
from
the
theater
functions
and
then
the
portion
on
the
south
side
that
other
bay
is
essentially
an
entrance
of
foyer
to
a
condominium
business
building.
That's
also
part
of
the
theater
complex,
so
it's
a
large
complex
taked
up
almost
the
entire
city
block
and
obviously
there's
a
lot
of
other
storefronts
involved
with
that.
I
do
want
to
just
add
warm
up
here.
G
F
I'm
I'm
I'm.
I
have
two
items.
I'm
struggling
to
understand
this
as
a
historic
addition.
If,
like
the
the
unattached
exterior
addition
to
a
historic
building,
expands
its
outer
limits
to
create
a
new
profile.
E
E
There
are
portions
of
that
store
that
come
out
and
have
conditioned
space
really
like
display
cases,
it's
bringing
the
envelope
of
the
existing
structure
out
further.
So
in
essence,
you
are
adding
on
space,
you
just
don't
see
it
projecting
from
the
facade,
but
it's
an
addition
of
space
to
the
flower
shop
to
the
theater
building
proper.
C
E
On
the
first
second
page
of
our
report,
you
can
see
that
there
was
some
sort
of
storefront
in
there.
It
had
some
undulations.
It
had
a
base,
still
condition,
but
it
it
definitely
had
some
extension
to
that
facade.
It
just
wasn't
as
as
pronounced
as
what
we're
seeing
today,
but
it
is
an
addition,
because
it's
incorporating
more
space
into
the
envelope
of
the
building
yeah
does
that
make
sense.
F
E
E
C
F
E
I
I
agree:
it's
materiality-wise,
I
think
everything
we
heard
here
today.
Materialized
is
kind
is
consistent
and
unfortunately
we
can't
speak
to
the
color,
but
I
I
would,
I
would
also
say,
take
some
caution
right.
A
I
would
think
the
biggest
question
now
in
terms
of
materiality
would
just
be
that
portion
that
right
now
is
kind
of
reading
as
that
black
or
gray
band,
whatever
that
is,
and
how
that
comes
up
to
the
ceiling
just
spend
some
time.
Looking
at
that,
and
maybe
looking
for
a
either
a
precedent
within
the
existing
facade
or
kind
of
within
one
of
those
openings
that
you
could
draw
from,
or
look
at
how
you
can
either
take
whatever's
happening
on
the
inside
and
kind
of
blend
that
outside.
A
A
I
think
another
big
thing
is:
if
this
moves
forward
or
not,
I
think,
there's
a
couple
of
just
some
material
palettes.
I
think
the
demo
plan
kind
of
updating
that
and
showing
what
the
scope
of
the
demo
and
some
of
the
the
pieces
of
you
know
how
you're
going
to
kind
of
revitalize
some
of
those
exterior
walls
and
that
you
know
material
will
be
important
and
then
just
providing
a
little
bit
more
details
for
that
glass.
Once
you
have
that
system
kind
of
figured
out
will
also
help
as
well.
A
C
E
Because,
based
upon
the
finding,
a
factor
proposed
project
is
consistent
with
the
secretary
of
state's
secretary
of
the
interior.
Sorry
all
right
by
my
notes
of
the
interior
standards
for
the
following
reasons
that
the
proposed
edition
is
consistent
with
the
standards
and
specifically
that
the
historic
character
of
the
property
shall
be
retained
and
preserved.
And
that.
A
All
right
and
then
before
we
vote,
could
the
agent
just
go
on
record,
saying
that
you
understand
the
conditions.