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From YouTube: Historic Landmarks Commission - 11/01/2018
Description
Historic Landmarks Commission - 11/01/2018
A
We
have
a
pretty
big
agenda
tonight,
so
we'll
try
to
keep
things
moving
along
briskly,
but
we
do
want
to
have
time
to
hear
from
the
public.
So
you
will
all
be
included
a
report
on
what
we've
done
so
far.
The
commissioners
took
a
field
trip
to
visit
the
Union
Union
Depot
project
and
the
project
at
1017,
first
Avenue
and
then
commissioners
had
dinner.
We
did
not
discuss
any
items
of
business
and
we're
here
for
the
meeting,
Michaela
or
Paul.
Is
there
anything
that
you
need
to
update
the
Commission
on
please
I.
C
C
B
The
mayor's
decision
on
the
historic
landmark,
Commission's
economic
hardship,
revealed
review
panel
findings
for
the
three
Bishop
Place
properties.
Just
to
let
you
all
know
that
the
mayor
overturned
the
economic
hardship
panel
and
the
landmark
Commission's
decision
for
demolition,
ultimately,
granting
demolition
for
those
three
properties.
A
A
C
A
A
A
The
first
item
on
the
agenda
is
regarding
new
construction
at
690
North
public
comments.
Thank
you,
oh
by
the
way,
this
is
my
first
meeting
as
chairman.
So
please
excuse
me
if
I
stumble
over
things
or
I
get
a
nudge
from
Paul
or
Robert
to
do
things
properly,
public
comments
that
are
not
directly
related
to
any
of
the
agenda
items.
We
have
one
card
from
Cindy
Cromer,
no.
C
A
G
Good
evening,
thank
you.
This
is
a
request
for
a
certificate
of
appropriateness
for
new
construction
in
the
Capitol
historic
district,
along
with
the
Krupp
will
request
for
two
special
exceptions:
one
for
building
height
and
one
for
exterior
wall
height.
As
Kenton
mentioned,
the
HLC
heard
this
request
on
March
1st
of
this
year.
The
project
was
tabled
to
give
the
applicant
an
opportunity
to
respond
to
concerns
of
the
public
and
the
historic
landmark
Commission
I've
outlined
the
concerns
and
the
applicants
response
in
the
memorandum
for
tonight's
meeting
that
you
have
you've
been
provided
meeting
minutes.
G
The
original
staff
report
and
a
set
of
revised
plans
for
consideration
I
want
to
mention
that
you've
also
received
written
public
comment.
All
that
we've
received
since
the
time
that
the
memorandum
for
tonight's
meeting
was
prepared
and
distributed.
Those
had
been
placed
in
the
Dropbox
I
hope
you've
had
an
opportunity
to
review
those
I
am
going
to
let
the
applicant
talk
to
you
about
the
plan
revisions
tonight,
as
well
as
the
course
of
events
that
has
occurred
since
the
original
hearing
in
March.
G
H
H
H
Think
of
what
I
want
to
do
is
just
give
a
brief
recap
of
what's
happened
over
the
last
six
months
since
our
first
meeting
I
think.
The
the
overwhelming
message
from
last
time
is
that
we
needed
to
do
a
little
more
work
and
spend
more
time
with
the
neighbors
and
better
understand
their
concerns.
I
mean
there
was.
There
was
quite
a
bit
of
comment
from
the
neighborhood
last
time
around,
and,
and
so
that's
really
where
we
focused
our
our
efforts.
Scott
Tyler
and
I
took
the
opportunity
to
hold
an
open
house
invited
neighborhoods.
H
They
were
all
lined
up
right
in
a
row,
totally
parallel
with
the
street
and-
and
so
you
know
after
that
meeting
after
some
private
discussions
and
some
additional
efforts,
we
went
back
to
the
drawing
board
and
and
started
working
on
some
changes.
So
some
of
those
changes
originated
with
the
site
plan.
Our
goal
was
to
try
to
break
up
the
street.
H
One
of
them
unique
characteristics
of
the
street
and
most
of
marmalade
is
that
you
know
the
houses
aren't,
aren't,
aren't
exactly
perpendicular
to
the
road
they're
asymmetrical.
They
don't
line
up
exactly,
and
so
we
made
some
articulation
in
the
build
and
we
changed
the
articulation
in
its
relation
to
the
street.
We
angled
some
of
the
buildings,
some
more
than
drop
more
drastically
than
others.
If
you
look
in
close
detail,
we
we
added
some
articulation
and
depth
between
one
unit
and
the
other
unit
within
buildings,
to
create
some
additional
relief
along
the
front
up
front
architecture.
H
H
So
after
we
incorporated
these
changes,
we
had
a
second
neighborhood
meeting
and
invited
everybody
back
and
we
had
good
showing
and
we
had
good
feedback
and
I.
Think
overwhelmingly
the
comments
we
got
from
the
neighborhood
was
that
one
they
were
very
appreciative
of
the
time
we
gave
them
to
listen
to
them
and
hear
them
out,
and
it
was
a
great
experience
for
us.
H
So
we
actually
made
some
changes
after
we
met
with
staff,
we
then
went
back
to
the
neighbors
again
and
showed
the
changes
and
they
seemed
supportive
of
it
as
well,
and
so
here
we
are
back
before
the
landmark
Commission
and
hoping
that
you
guys
will
see
the
value
in
our
efforts
and
meeting
with
neighbors
and
seeing
the
results
of
what
collaboration
between
staff
and
neighbor
and
developers
can
achieve.
So
that's
our
presentation
tonight
we're
here
to
answer
any
questions.
J
H
J
H
J
D
H
D
H
Long,
so
you
can
see
that
there's
actually
a
retaining
wall
back
behind
some
of
these
units
that
acts
kind
of
as
a
natural
break
between
the
area.
Where
will
landscape
in
the
area
where
we'll
just
revegetate,
if
needed
existing,
you
know
grasses
and
native
grasses,
so
no
they're
too
big,
and
it's
too
steep.
It's
not
really
functional
until
landscape.
All
now
sure.
J
The
retaining
walls
and
I
suppose
we've
introduced
that
that
long
serpentine
retaining
wall
to
lower
the
elevation.
So
you
have
less
height
challenges
with
the
property
and
realize
that
that's
been
greatly
reduced,
see
that
from
your
presentation,
yeah
the
amount
of
area
that
now
you
have
just
one
or
two-
maybe
three
small
locations
that
are
slightly
over
allowed
Heights.
But
that's.
H
J
Really
minor
in
comparison,
yeah
and
then
I
guess
the
other
thing
I
noticed
in
the
effort
to
separate
the
buildings
and
to
turn
them
slightly.
There
are
fewer
retaining
walls
between
the
buildings
between
the
developed
buildings,
which
I
think
is
a
plus
yeah
I'd
encourage
variation
in
those
interest.
You
know
variations
in
planting
sand
things
like
that's
a
good
fall
positives,
I,
think
yeah.
H
A
H
I
think
I
believe
there
yeah
there's
a
new
sewer.
This
includes
widening
the
existing
road
yeah
and
includes
curb
and
gutter
and
sidewalk
on
the
east
side
of
the
street
and
I'm
pretty
I've
been
focusing
on
elevation
stuff
but
I'm
pretty
certain
it
as
a
new
sewer,
maybe
new
water.
It
also
includes
that
turn
around
for
fire.
H
A
H
A
A
A
K
L
To
Brandon
this
is
my
50th
year
of
having
to
do
with
you,
people
to
keep
my
area
marmalade
districts
I'm
the
board
member
of
the
Capra
Hill
Community
Council
I've,
been
there
49
years
that
these
pictures
look
perfect
to
everybody
and
I'm
sure
you've
all
went
up
and
seeing
the
grounds
is
that
a
fact
you've
all
went
and
seen
what
the
lamb
looks
like
kid.
Do
you
visualize
how
much
money
it's
going
to
cost
to
flatten
that
ground
and
let
the
other
people
have
light
on
the
other
side
of
West
Capitol?
L
They
won't
see
light
Tilda
until
the
Sun
Goes
Down.
We
have
a.
They
have
this
plan
of
a
turnaround
for
a
fire
truck.
Well
wonder
if
the
fire
truck
can't
get
you
the
turnaround
to
get
there.
That's
insane
I
have
a
nephew,
that's
a
fireman
for
our
neighborhood.
I
could
have
him
come
and
talk,
but
you
got
to
look
just
realize
a
big
truck
and
everybody
come
in
and
they
pull
into
this
place
and
they
blow
up.
L
What's
going
on
between
and
also
the
design,
I
know
that
this
is
the
Preservation
Board
I
helped
make
this
historical
board.
I
was
proud
of
it.
People
built
to
be
like
us,
because
what
was
so
nice
about
our
area,
you
can't
find
one
house,
that's
identical,
you
know
why,
because
they
were
pioneers
and
they
were
individualist,
they
had
their
idea
of
what
was
beautiful
and
wasn't
now
you
guys,
pardon
me:
I
call
guys
I'm
a
great-grandmother.
What
do
you
expect
variances?
L
They
want
these
variance.
It's
like
right
next
door
to
me
and
a
former
member
of
the
board
Mary
Pinkerton
or
close
to
that
name
assured
me
that
my
neighbor
would
level
the
ground
and
put
a
garage
just
like
her
house,
well,
Mary
transferred
to
County
and
I
believed
her.
Now
you
come
to
my
house
and
you
step
out
that
out
the
door.
L
L
So
all
this
I
know
you're
trying
to
cut
time
I
understand,
but
you
got
to
see
it's
a
way
of
life
up
there.
That's
why
people
like
it
there?
That's?
Why
I've
been
there
55
years
raised
all
my
children,
everybody
up.
There
has
been
there
for
years
for
why,
because
of
it,
because
what
it
represented,
we
were
a
part
of
the
original
group,
and
now
you
guys
are
gonna,
give
variances
like
what
my
neighbor
got
a
variance
for
her
garage.
Okay,.
A
L
L
I
will
I
expect
you
to
do
as
being
the
say
that
the
historic
buildings
I
think
you
should
start
thinking
of
design.
You
say
that,
well,
we
can't
make
it
they
can't
make
it
well
bent
it
across
the
street.
He
did
his
he's
had
he
has
built.
It
looks
at
story
to
us
these.
Don't
they
don't
appeal
to
it?
Is
it
gonna
bring
our
property
value
down
or
everybody
thinks
gonna
bring
it
up.
L
A
H
Jakub
ball
stay
with
Garbett
Holmes
I
appreciate
the
comments
I
want
to
be
since
we
through
the
process.
I
think
we've
tried
to
be
sensitive
to
the
historic
nature
of
this
area
and
a
lot
of
that
has
to
do
with
the
street
and
the
houses
that
have
been
there
and
this
property.
That's
been
there
for
so
long.
H
As
we've
evaluated
things,
we
looked
at
another
purple,
another
plan
that
showed
buildings
up
on
the
hill,
both
of
which
we
abandoned
they
would
have
had
significantly
more
impacts.
They
would
have
been
much
higher
on
the
hill
and
would
have
been
blocked
the
sunlight
in
the
morning
from
the
neighbors
on
the
west
side
of
the
street,
and
given
the
situation
of
this
property
and
the
natural
constraints
that
are
there,
this
is
really
the
lowest
impact
way
to
develop
the
property
and
I
would
say
we
are
asking
for
some
exceptions
as
it
relates
to
building
heights.
H
H
J
H
So
we'll
put
up
signage,
the
saying
it's
it's
it's
it's
for
a
fire
truck
turn
around
will
paint,
curbs
and
things
of
that
nature
and
and
do
all
we
can
to
make
sure
that
it's
you
don't
park
there
so,
but
it
meets
the
regulations
we
met
with
with
Ted
and
and
designed
it
to
meet
what
what
he
specified.
So
it's.
J
H
J
H
A
G
I
think
it's
just
worth
pointing
out
that
the
process
seems
like
it's
worked
really
really
well.
I
appreciate
the
developer
for
engaging
with
the
neighborhood
as
much
as
they
did
and,
frankly,
just
listening
as
closely
as
they
clearly
have
I.
Think
Jacob
encapsulated
all
the
feedback
that
we
gave
him.
The
initial
hearing
really
well
I
think
it
was
a
great
showing
on
the
neighborhood's
part
to
to
engage
with
the
developer
in
a
really
positive,
constructive
way.
E
The
public's
comment
and
also
the
changes
that
you've
made
seems
like
you're,
definitely
aware
of
what
the
concerns
are
and
just
looking
at
the
speech,
the
this
one
I
mean
they're
going
into
so
much
detail
here
in
addressing
the
height
issues
and
just
letting
us
see
it
because
a
lot
of
times
I,
don't
think
we
get
to
see
the
you
know
the
the
facade,
the
way
that
I'm
more
visual
I
need
to
see
things,
and
this
is
very
helpful
for
me.
So.
D
I,
like
it,
it's
good
use
of
a
difficult
piece
of
property.
You
know
that
the
concerns
that
I've
read
about
and
seen
pertain
to
the
classic
American
development
issue
of
whoever
goes
last
gets
the
most
feedback
from
everybody,
but
you
know
what
they
have
a
right
to
develop
their
land
and
as
long
as
they
comply
with
the
zoning
code
code,
which
they're
doing
there's
the
variances
I
would
call
them
material
and
I.
Think
it's
an
excellent
much
of
a
much
improved
plan
over
the
prior
one
I
like
it.
J
M
M
Doing
both
the
same
time,
okay
thanks
I,
also
move
to
a
purr,
also
based
on
the
analysis
of
findings
in
the
staff
report.
The
standards
for
prove
a
certificate
of
appropriate
and
evolving
new
construction
in
a
local
historic
district
have
been
substantially
met.
Testimony
and
the
proposal
presented
moved
that
the
Commission
approved
the
request
for
new
construction
located
in
approximately
690
North
West
Capitol
Street,
subject
to
conditions.
As
listed
in
the
staff
report,
we.
E
N
A
Of
historic,
landmark,
Commission
decision,
anyone
aggrieved
by
the
historic
landmark
Commission's
decision
may
object
to
the
decision
by
filing
a
written
appeal
with
the
appeals
hearing
officer
within
10
calendar
days
following
the
date
on
which
a
record
of
decision
is
issued,
the
applicant
may
object
to
the
decision
of
the
historic
landmark
Commission
by
filing
a
written
appeal.
Nope
I,
don't
need
to
read
that
second
one.
So
the
first
part,
if
you're
aggrieved
you
may
file
an
appeal.
Thank
you
very
much.
C
I
The
hotel
will
use
part
of
the
station
building,
excluding
the
northern
wing
and
a
new
building
which
will
be
would
be
built
on
the
west
side,
slightly
detached
from
the
station
building.
It
would
use
the
ground
station
Hall
in
the
east
range
of
rooms
of
the
existing
Union
Pacific
station
and
this
south
wing
of
that
station
building
three
floors
of
that
wing.
I
I
I
Briefly,
looking
at
the
historic
station
building,
this
was
constructed
in
1908,
1999
was
built
for
the
San
Pedro
Los
Angeles
and
Salt
Lake
Railroad,
and
the
Oregon
short
line
providing
a
new
Los
Angeles
real
service.
At
that
point
in
time,
reducing
the
journey
time
by
approximately
400
miles,
it
has
been
a
Salt
Lake,
City,
landmark
building
since
1972
it
has
been
on
the
National
Register
of
Historic
Places,
since
1975
French,
Renaissance
and
style.
I
I
Current
use
of
the
station
building
is
actually
a
music
venue
and
then
in
the
northern
wing
that
would
stay.
This
is
nuts
not
part
of
the
hotel
proposal
and
on
the
south
wing
office
is
an
exhibition.
Space
generally
has
just
been
vacated.
The
ground
hall
itself
is
open
to
the
public.
Certain
hours
of
the
day.
There
is
a
public
access
easement
through
that
area
and
is
used
for
occasional
function,
use
where
it
where
it
tends
to
be
closed.
I
One
of
the
application
renderings
here
showing
the
proposal
the
proposed
new
hotel
building
behind
the
existing
station
building
from
an
elevated
viewpoint
in
front
of
the
arena
to
the
southeast
and
then
a
view
from
the
west
of
the
new
hotel
building.
As
would
enclose
that
side
of
the
public
plaza
in.
C
I
I
I
You
will
note
that
the
new
Hotel
building
actually
steps
in
from
the
the
Ann's
south
and
north
end
of
the
station
building
and
then
looking
at
this
site
plan.
The
this
plan
actually
defines
some
of
the
public
easements,
which
actually
run
through
the
station
building
from
the
web
from
the
East
include
the
ground
hall,
through
the
plaza
behind
to
give
access
to
the
Gateway
plasm
to
the
west.
I
It
shows
you
also
the
the
new
hotel
building
and
the
relationship
with
the
roof
profile
of
the
existing
station.
Building
breakdown
of
the
the
proposed
use
of
the
building
is
that
both
new
and
within
the
existing
station,
the
applicant
will
be
going
into
this
in
greater
detail.
I
think
shortly
public
way
through
between
the
station
Grand
Hall
and
the
plaza
behind
you
can
see
in
the
center
of
that
and
then
rising
up
through
the
building.
I
This
would
represent
the
I
think
the
second
floor,
upper
level
of
the
ground,
home
state,
hotel,
suites
in
the
south
wing
and
an
Hotel
function,
spaces,
including
especially
bar
on
the
east
side
of
the
station
building,
and
then
the
bridge
link
is
through
to
the
new
hotel
building
behind
rising
up
again
showing
the
relationship
the
two
new
roof
profile.
The
existing
station
proposed
elevations
of
the
new
new
hotel
building,
both.
I
Representatives
section
through
both
buildings
and
showing
you
some
of
the
relationship
really
between
the
two
and
then
a
representative
detailed
section
of
the
facade
and
their
way
the
materials
are
actually
used
across
those
floors.
You
will
have
a
lot
more
detail
on
that
within
your
staff
report.
Then
the
applicant
will
be
speaking
to
that
further
representative
sections
through
the
new
building.
I
Proposed
materials,
primarily
above
gray,
brick
matching
the
sandstone
of
the
West
facade
of
the
station
building.
That
will
be
the
primary
material
for
the
new
hotel
building
and
then,
secondarily,
there
is
a
limestone
cladding
on
the
the
first
level,
the
ground
level
of
the
new
your
tell
building.
There
is
also
bronze
and
some
woodwork
as
well
in
terms
of
cladding.
I
Reminder
of
the
station
building
in
its
context,
faces
South
temple
iconic
view
with
in
Salt.
Lake
City
station
forms
devote
the
focal
point
of
that
view
from
some
distance
east.
It
forms
a
northeast
corner
of
the
gateway
gateway
development
and
as
the
historic
counterpoint
to
the
the
arena
across
the
street
to
the
southeast.
I
Its
front,
facade,
facing
400
watts,
rear
facade,
overlooks
the
Olympic
legacy
Plaza
and
Rio
Grande
Street
and
substantial
substantial
gateway
buildings
to
the
west
and
the
south
site
is
currently
well
served
by
tracks
lines.
There
are
public
access
easements
for
the
station
and
also
the
Gateway
Plaza.
I
I
And
then
moving
further
north
looking
back
towards
station
building
going
south
around
the
northern
and
northern
facade
moving
around
to
the
rear,
the
west
side
of
the
station
building,
the
proposal,
the
proposed
hotel
would
sit
in
this
location.
The
gantry,
as
you
see
in
terms
of
fire
escapes
fire
escape
in
this
case,
would
be
removed
as
part
of
that.
As
with
the
single
storey
additions,
those
would
be
rebuilt.
I
Walking
along
it
walkway
level
here
that
way
through
will
remain.
That's
part
of
a
public
access
easement
around
the
building.
You
can
see
the
station
building
to
the
immediate
left.
The
vegetation
on
the
left
here
largely
defines
the
line
of
the
new
Hotel
building
there.
The
hotel
building
really
doesn't
encroach
beyond
that.
The
you
view
from
the
west
across
the
legacy
plasm
and
further
west.
I
I
That
would
become
part
of
the
hotel
along
the
south
wing
back
towards
the
central
part
of
the
station.
Building
and
I
know
everybody's
really
wondering
what's
above
the
Grand
Hall
in
that
huge
void.
Right
so
was
I,
so
we
actually
have
a
photograph
for
you.
It's
largely
empty
with
a
lot
of
air
conditioning
equipment.
I
I
Roof
lights,
not
skylights,
but
roof
lights
within
that
particular
Hall.
Those
were
previously
lit
from
the
top
of
this
mansard
roof.
One
consideration
is
that
they
may
be
artificially
lit
I.
Think
when
this
proposal
goes
through,
you
can
see
the
top
of
one
of
those
lights
and
the
foreground
of
that
photograph
on
the
Left,
where
they've
been
over
clad
with
plywood
and
various
other
things.
I
Okay,
summarizing
the
impact
of
the
proposal
on
the
Union
Pacific
station
building,
the
proposed
Sol
really
does
not
anticipate
major
alteration
to
that.
Building
the
country's
fire
escapes
would
be
removed,
minimal
alteration
to
any
of
the
historic
aspects
of
the
station
building
public
access
easements
would
remain
in
place.
I
The
proposal
really
actually
sits
within
the
footprint
of
the
existing
building
and
its
rear
single-story
additions.
The
new
building
would
step
in
from
the
length
of
the
Union
Station
building
at
either
end
the
career
additions.
Obviously,
single-story
additions
to
the
rear
of
the
station
would
go
in
this
proposal
and
you
use
single-story
accommodation
would
be
built
there.
The
open
court
between
the
station
would
continue
below
the
new
building
that
would
be
retained
and
reformed.
I
I
Concave
East
facade
is
demonstrated
and
framed
by
two
specific
wings,
which
are
more
solid
and
design
and
materials.
Convex
West
Wing
presents
a
serrated
fenestration
strong,
vertical
emphasis
with
a
central
entrance
axe
accent
the
ground
floor
on
the
top
floors
are
taller
in
stature.
Defining
the
building
is
some
base
metal
on
top
effectively
and
the
material
has
appeared
to
relate
relatively
well
to
both
the
station
and
the
gateway.
I
I
This
proposal
has
three
separate
working
parts
to
it.
This
is
the
certificate
of
appropriateness
application
you're
viewing
this
evening
if
there
is
also
a
planned
development
application
and
a
conditional
building
and
site
design
review
your
application,
both
of
which
will
be
reviewed
by
the
Planning
Commission
Planning
Commission,
had
a
work.
How
the
work
session
on
those
two
applications
on
October
the
10th,
and
it
will
come
back
before
the
Planning
Commission
on
November
the
14th.
Our
review.
I
Briefly,
in
relation
to
public
commentary
received
to
date,
climbing
the
climbing
Department
held
in
a
public
open
house
on
September,
the
19th
response
there
from
the
public
was
generally
positive.
Those
comments
received
that
evening
or
included
in
report
an
attachment
II.
We
have
had
several
additional
comments
since
three
phone
inquiries
for
additional
information
and
three
email
comments,
and
then,
since
I
wrote
this
one,
we
had
three
additional
letters
of
support
coming
through.
All
of
that
material
will
have
been
forwarded
to
you.
Hopefully,
you
should
be
aware
of
that,
and
those
comments
received.
I
I
And
the
staff
report
summarizes
perhaps
four
key
considerations
here:
one
is
the
Union
Pacific
railroad
station
and
its
historic
integrity.
This
proposal
seems
to
safeguard
most,
if
not
all,
aspects
of
that
this
recommendation
before
you
this
evening
actually
has
a
condition
attached
to
it
to
keep
an
eye
on
a
closer
eye
on
the
approval
of
finer
details.
As
far
as
that
side
of
the
proposal
is
concerned,
the
immediate
station
setting
and
associated
public
realm.
All
of
that
largely
remains
the
proposed
new
building,
sits
within
the
existing
footprint.
I
The
recommendation
before
you
this
evening
reads
based
on
the
analysis
and
findings
listed
in
a
staff
report.
Staff
recommends
the
historic
landmark:
Commission
approve
the
application,
PLN
HLC
2018,
zero,
zero,
six
one,
six,
construction,
construction
of
hotel
building,
major
additions,
the
Salt
Lake
Union,
Pacific
Railroad
station
and
demolition
and
non-contributing
structures
at
approximately
two
South
for
under
West
with
the
following
conditions:
one
that
approval
of
details
of
alterations,
the
Union
Pacific
station,
building
its
delegated
staff
to
the
approval
of
details
of
the
design
of
the
new
hotel
building
and
associated
landscaping
is
delegated
to
staff.
I
I
It
does
not
appear
at
the
hotel
plans
violate
the
terms
of
the
easement,
because
the
hotel
respects
public
walkway
also
keeps
the
depo
lobby
open
to
the
public.
It
would
be
helpful
to
make
sure
that
information
is
in
their
record
at
the
HRC
meeting
tonight
and
potentially
include
language
and
emotion,
requiring
that
the
site
plans
going
forward
to
continue
to
identify
the
location
of
the
easements
to
ensure
the
easements
are
respected,
I'm
open
to
any
saying
anything
else.
O
Just
as
long
as
the
building
is
respecting
those
easements,
then
and
not
encroaching
into
them,
and
it's
not
a
problem.
If
and
it's
it's
not
a
hundred
percent
clear
to
me
where
those
lines
may
be,
but
if
there
is
encroachment
of
the
easements,
then
those
will
have
to
be
renegotiated
with
the
city,
understood.
I
J
Carl,
if
we
can,
if
I,
can
kind
of
continue
on
the
easement
mm-hmm
excuse
me.
I
was
unaware
of
anything
about
that
before
the
email
that
we
received
today,
the
email
comments
from
Roger
borgnik,
it's
only
from
his
email
and
that's
all
I
understand
about
it
says
it
sounds
like
there's
the
two
parts
to
the
easement
that
he
talks
about
one
being
the
access
through
the
hall
and
then
as
he
calls
it
in
his
second
paragraph,
a
public
use
and
view
easement
for
the
plaza
area
west
of
the
depot
and
then
I.
J
O
So
Katy
Lewis
my
office
represents
the
RDA
and
she
was
looking
into
some
of
these
easement
issues.
I'm
not
entirely
familiar
with
the
history
of
this
I
did
take
a
brief
look
at
one
of
the
the
easements
that
was
pointed
out.
I
didn't
notice
anything
with
respect
to
a
view.
Easement,
that's
not
to
say
it's
not
in
there.
I
may
need
to
go
back
and
huddle
with
Katie
and
make
sure
that
that's
not
part
of
this
yeah
well.
A
G
With
staff,
okay,
I
just
have
really
significant
concerns
about
talking
about
this
easement.
In
this
context,
for
one
thing
and
far
as
aside
from
it
sounds
like
Kent,
none
of
us
have
seen
it
interpreting
an
easement
can
turn
on
a
single
word
correct,
and
it
has
it's
totally
outside
at
least
I
think
the
purview
of
our
design
standards
and
the
design
guidelines
I.
P
G
O
I
agree
with
that:
that's
the
kind
of
thing
that
should
be
enforced
or
dealt
with,
however,
at
the
building
permit
stage.
I
think
it's
presented
right
now
for
informational
purposes.
Just
so
that
you're
aware
of
it
and
perhaps
more
to
highlight
for
the
applicant
that
it
might
be
an
issue
that
they're
gonna
have
to
deal
with,
but.
A
I.
Disagree,
though,
because
if
it
addresses
view
in
the
easement,
that
would
seem
to
me
to
have
a
design
response.
If
they're,
you
know,
and
we
don't
know
how
the
easement
is
exactly
written
or
what
the
legal
parameters
are.
But
if
it
is
view
through
the
building
is
it
view
from
within
the
buildings
outside
the
building
that
clearly
falls
into
a
design
element
and,
in
my
opinion,.
G
I
think
I
don't
disagree
with
that,
but
I
think
the
way
I
would
envision
the
process
working
is
that,
were
this
design
determined
down
the
road
to
not
complete,
not
comply
with
the
easement
the
applicant?
We
need
to
address
that
and
come
back,
but
it's
I
really
can't
imagine
that
work
in
a
service,
judge
and
jury
here
on
how
the
easement
is
to
be
interpreted.
Okay,.
O
O
Q
A
J
I
I
can
address
that.
Yes,
the
easements
as
far
as
I'm,
aware
and
I
haven't
gone
through
them
from
a
legal
perspective,
but
the
easements
appear
to
include
the
access
through
to
the
Grand
Hall
from
the
west
side
of
the
building,
so
that
is
public
easement
space,
including
the
ground
hall
and
then
from
the
ground
Hall
through
to
the
courtyard
behind
and
then
through
the
courtyard
behind
to
the
gateway
Plaza
and
across
the
gateway
Plaza.
I
There
are
two
separate
easements
one
amendment
of
the
plaza
easement
from
much
later
on,
I
didn't
from
my
perspective,
I
didn't
see
any
reference
to
specific
view,
references
in
that
they
are
mainly
public
access,
easements
and
there's
a
there's,
a
no
bill
line
that
is
currently
defined
by
the
public
ways
around
the
building,
which
will
be
retained
with
this
proposal,
as
will
the
courtyard,
through
the
building
from
the
station
through
to
the
plaza
to
the
west,
I.
Think.
J
Have
another
one
go
ahead:
this
is
from
big
to
small
and
that
I'm
sure
the
applicant
will
talk
about
it.
But
I,
don't
think
I,
remember
seeing
in
your
presentation
there
was
some
discussion
is
on
page
62
of
their
document,
but
about
canopy
concept,
design
options
at
the
at
the
south
wing
and
there
were
three
options
that
they
presented
and
I.
Don't
remember
anything
in
your
staff
report
addressing
those
and
I
don't.
I
Know
yes,
I
did
not
address
those
and
in
fact
there
there
are
open
questions
in
relation
to
signage
as
well.
I
think
the
applicant
will
clarify,
but
I
think
the
applicants
intent
is
to
engage
the
Commission
for
the
Commission's
views
in
terms
of
what
future
forms
future
canopies
might
take,
and
also
future
signage
and
just
in
relation
to
the
signage
side
of
things.
Part
of
that
may
well
include
confirmation
of
the
public
access
easement
nature
of
the
spaces.
A
N
Good
evening,
mr.
chairman
and
commissioners,
thank
you
for
the
opportunity
to
present
our
project
to
you
tonight.
Carl
did
an
excellent
job
going
through
a
lot
of
the
material
I'd
like
to
introduce
our
team.
First
off.
My
name
is
Jeff
Mangan
I'm,
a
partner
with
the
Athens
group
or
a
hotel
development
company
working
with
vest
R
on
this
project,
and
we've
been
working
on
it
for
well
over
a
year
now.
So
what
you'll
see
tonight
is
the
result
of
quite
a
bit
of
effort.
N
Our
overall
objective
is
to
build
a
new
upscale
boutique
hotel
as
an
anchor
amenity
for
the
Gateway,
which
has
gone
through
some
challenging
times,
but
vest
R
is
in
the
process
of
revitalizing
the
center,
and
this
is
an
important
element
of
vest
ours
overall
plan
to
reposition
the
center.
There
are
some
excellent
examples
around
the
country
of
these
adaptive,
reuse
of
train-station
hotels
and
will
include
some
of
that
information
in
the
presentation
tonight,
but
we've.
What
really
has
as
excited
is
the
opportunity
to
do
something
unique
like
that.
N
That
could
be
a
great
addition
to
the
tourism
and
amenity
base
downtown
and
also
I
will
say
for
three
decades
now,
over
three
decades,
we've
worked
worked
with
HKS
on
projects
around
the
country
and
each
one
of
those
Hotel
properties
has
become
a
real
community
asset
and
gathering
place.
I
know
there
was
some
concern
about
that.
Somehow
this
was
not
going
to
be
a
gathering
place,
but
we
our.
P
N
Plan
here
is
to
revitalize
this
and
really
make
it
a
great
place
for
the
community
to
come
and
participate
in.
We
also
have
a
lot
of
information
about
those
easements
and
be
happy
to
address
some
of
the
comments
that
were
made
about
the
easements
earlier,
as
well
after
a
mere
finishes
so
Amir.
Please
present
the
project.
N
Well,
while
he's,
while
he's
doing
that,
let
me
just
address
the
comments
about
the
easements.
It
is
a
bit
confusing.
There
are
multiple
easements.
There
is
a
Depot
pedestrian
access,
easement
that
goes
through
the
building
and
incorporates
all
of
the
Grand
Hall,
and
then
it
becomes
narrower
as
it
goes
out
through
the
courtyard
and
heads
out
to
the
plaza
and
then
separately.
There
is
a
Plaza
easement
which
encompasses
the
gateway
Plaza
down
below
at
the
lower
level
on
both
sides
of
Rio
Grande,
and
that
that
public,
plaza
easement
also
has
a
view
easement.
R
Putting
sorry
about
the
delay,
as
Jeff
mentioned,
we
worked
on
this
project
for
over
a
year
now.
Carl
did
a
really
good
job
of
summarizing
it.
So
hopefully
we'll
really
focus
on
our
design,
intent
and
things
that
are
hard
to
see
in
the
amount
of
information
we
provided
today.
We
did
start
the
project
by
really
doing
some
research
on
the
building
to
better
understand
the
history
of
the
building,
its
evolution,
it's
symbolic
and
historic
significance.
We
found
a
wonderful
collection
of
images.
R
This
is
the
oldest
image
we
could
find
from
1907,
which
is
a
little
strange
because
all
the
records
indicated
the
building
was
built
between
1908
and
1909,
so
go
figure,
but
what
the
building
does
show.
You
can
see
that
this
is
a
concrete
frame
building,
which
was
pretty
impressive
for
a
building
that
was
built
100
years
ago.
It
was
also
built
on
piers,
which
is
very
advanced.
Here's
the
photograph
from
1909.
R
Shortly
before
its
completion,
you
can
see
the
materials
of
the
building,
the
building
was
constructed
of
regional
materials,
the
base
stone
came
actually
from
Wyoming
and
the
red
press,
brick
is
from
Salt
Lake
City.
You
can
also
see
the
original
slate
shingle
on
the
roof
that
later
down
the
road
was
replaced.
Here's
another
image,
probably
just
before
the
completion
of
the
building,
where
you
can
see
the
original
name
of
the
building,
Union
Station-
that
will
change
over
time
as
well.
R
Here's
one
of
the
few
photographs
that
we
found
of
actually
of
the
terminal
rear
side
of
the
building,
probably
shortly
before
the
completion
as
well
based
on
some
of
the
construction
workers
you've
seen.
But
it
becomes
pretty
apparent
that,
in
terms
of
the
architectural
articulation
there's
a
significant
difference
between
the
East
and
the
West
facade,
one
of
our
favorite
photographs
that
actually
has
become
kind
of
an
inspirational
image.
R
That's
been
driving
really
our
design
concept
is
the
Grand
Hall
itself
pretty
powerful
image,
and
even
though
it's
the
the
the
grand
halls
been
very
well
preserved
over
time,
there's
a
significant
difference
between
it
today
and
what
it
used
to
look
like
just
how
it
was
filled
with
light
and
energy.
Obviously,
there's
no
any
people
in
this
building,
but
there's
a
lot
of
original
ceiling.
Stenciling
and
Carl
talked
about
the
atria
and
and
these
round
windows
that
actually
connect
it
to
the
second
level
that
have
been
lost
over
time.
R
We
are
in
extensively
studied
the
style,
architectural
style
as
well,
and
some
of
it's
obviously
the
mansard
roof
that
that
Carl
talked
about
with
the
dormer
windows.
You
can
see
how
that
pavilion
was
intentionally
differentiated
from
the
wings
of
the
building,
which
was
pretty
typical
for
that
style,
and
the
proportions
of
the
pavilion
are
exaggerated
in
comparison
to
the
rest
of
the
building.
R
We
mentioned
that
because
it's
something
that
we
actually
start
picking
up
on
in
our
design,
but
in
a
more
abstract
and
conceptual
way,
rather
than
trying
to
replicate
in
a
historic
building,
here's
some
additional
drawings
and
then,
as
we
mentioned,
that
the
building
evolved
over
time,
obviously
hundred-year-old
building.
So
we
kind
of
created
a
timeline
of
images,
a
few
of
them
that
we
could
find.
This
is
a
picture
after
the
building
was
completed
in
1912.
R
As
Kyle
mentioned,
the
building
continued
to
be
operational
as
a
Depot
until
about
in
the
80s,
and
then
he
was
replaced
by
Rio
Grande.
Just
three
blocks
to
the
south,
but
what's
worth
noting,
is
that
there
was
a
significant
remodel
in
the
semanas,
because
the
building
was
significantly
damaged
that
you
can
see
here,
replaced
the
original
slide,
shingle
roof
with
the
copper
standing,
seam
metal,
roof
and
then
obviously
the
latest.
The
remodel,
significant
remodel
happened
as
a
part
of
the
Gateway
development
in
the
90s.
I.
R
Think
Carol
covered
it
very
well,
but
we
understand
that
a
north
wing
of
the
building
is
used
as
a
nightclub
event.
Avenue,
the
retail
buildings
that
were
added
to
the
back
and
connected
physically
to
the
station
itself,
the
delicate
egress
stairs
they
were
added,
as
well
as
the
dormer
windows
at
the
top.
They
were
actually
not
original
to
the
building,
and
then
we
took
some
photographs
of
the.
This
is
at
the
bottom.
Photograph
shows
about
the
north
wing
looks
today.
R
You
can
see
that
they
actually
removed
a
large
portion
of
the
second
floor
to
create
a
nightclub
in
a
mezzanine
level.
The
photograph
at
the
top
is
actually
the
center
pavilion
and
the
second
level
they
used
to
be
a
big
bar
that
is
no
longer
used
by
the
depot,
and
then
the
north
wing
of
the
building
is
used
today
as
an
office
space.
It
was
completely
regarded
in
the
remodel
and
there's
very
little
historic
significance
to
the
interior
finishes
that
are
there
today
and
then.
R
Obviously
we
get
back
to
the
Grand
Hall,
which
is
kind
of
the
centerpiece
of
this
entire
project.
As
you
can
see
in
it,
it's
been
very
well
preserved.
Over
time
there
was
a
public
use,
man
that
we
already
discussed
to
a
great
extent
that
was
placed
as
a
part
of
the
Gateway
development
allowing
public
to
access
through
the
hall.
R
Unfortunately,
with
the
decline
of
retail
at
the
gateway,
the
space
has
become
abandoned
with
a
few
bypassers,
and
occasionally
it
can
be
rented
out
as
an
event
venue,
which
does
happen
occasionally,
but
not
very
often,
and
in
that
sense
the
space
itself.
It's
losing
its
its
importance
and
vitality.
R
Here's
some
photographs
of
the
details
that
are
still
very
well
preserved,
but
more
beyond
than
just
the
physical
building
itself.
We
came
across
a
variety
of
images
that
we
feel
are
really
important
for
us
to
share
because
they
are
really
driving
our
design
and
and
it's
it's,
it's
really
the.
Obviously
there
is
a
big
historic
significance
behind
the
railroad
drink
and
the
station
in
Salt,
Lake
City
becoming
a
transportation
center
and
economic
impact
and
all
of
that,
but
the
station
itself
actually
was
more
than
that.
R
It
was
a
very
dynamic
place
where
people
used
to
gather
and
kind
of
celebrate
the
idea
of
travel.
The
way
we
don't
use
it
anymore
and-
and
we
really
hope
to
revoke
some
of
this
as
much
as
we
can,
if
not
all-
of
it,
with
our
building
by
introducing
a
function
that
would
give
the
building
its
vitality
and
really
create
another
opportunity
for
people
that
come
to
visit,
Salt,
Lake
City,
see
the
station,
see
the
great
heritage
of
Salt
Lake
City
that
could
be
celebrated
with
them.
R
So
architecturally
speaking,
our
our
goal
is
really
to
reinvigorate
the
character
in
the
spirit
and
vitality
of
the
station
itself
and
the
Grand
Hall
in
particular.
We
have
no
desire
to
demolish
any
of
the
historic
elements.
As
you
can
see,
we've
done
a
great
amount
of
research
to
understand.
What's
truly
historic,
what
it's
not,
and
how
can
we
really
find
that
spirit
and
really
reinvigorate
the
original
character
of
the
space
itself?
R
We
looked
at
a
variety
of
presidents,
as
Jeff
alluded
to
there's,
probably
about
handful,
if
not
more,
of
former
station
buildings
that
have
been
converted
to
the
hotels.
One
of
them
is
the
Crawford
station
Crawford
Hotel
in
Denver,
which
actually
now
acts
again
as
a
translation
after
they
re-established
the
train
link
between
the
airport
in
downtown.
So
that's
a
major
difference,
but
one
thing
that
they've
done
really
well
is
the
way
they
activated
that
whole
space.
You
can
see
a
variety
of
retail,
commercial
and
food
and
beverage
outlets.
R
You
can
see
how
they
repurpose
the
former
terminal
ticket
office
to
a
terminal
bar.
They
preserved
a
lot
of
the
original
architecture.
What's
also
neat
about
this
project
is
because
of
its
local
in
downtown,
which
is
very
similar
to
ours.
This
is
not
just
a
place
where
you
see
people
that
travel
by
train
or
stay
at
the
hotel.
It's
actually
a
very
popular
place
where
local
people
hang
out
and
go
to
as
a
destination
which
is
very
much
what
we're
trying
to
achieve
with
our
project.
R
Another
project
that
perhaps
is
in
scale
and
and
level
of
intimacy
is
much
closer
to
ours
is
the
San
Luis
Hilton
Hotel,
and
this
is
another
example
of
a
former
station
which
you
can
see
they
used
as
a
lobby,
lounge
and
I.
Think
that
this
is
probably
a
much
closer
image
to
what
we're
trying
to
achieve.
R
If
you
can
imagine
kind
of
reopening
and
reconnecting
the
station
with
the
depot
to
the
left
and
the
new
restaurants
and
the
courtyard
in
force
south,
and
really
allowing
it
to
kind
of
become
a
public
space,
we're
not
trying
to
exclude
public
out
of
it
that
space
also
functions
as
a
event
venue.
So
it
has
that
flexibility,
but
we
also
liked
how
they're,
using
lighting
to
kind
of
different
set
different
modes
and
moods
for
the
building,
without
really
compromising
the
historic
integrity
of
the
building
itself.
R
And
this
is
something
that's
pretty
common
to
all
these
stations
that
we've
studied.
So
we're
going
to
talk
a
little
bit
about
our
intent
and
how
we
intend
to
reactivate
the
Grand,
Hall
and
and
there's
really
two
or
three
major
components
to
it.
One
is
how
we
program
the
spaces
around
it
right.
We
know
that
there
is
an
existing,
pretty
successful
event
venue
on
the
second
floor
in
the
north
wing,
there's
an
existing
retail
restaurant
that
is
currently
vacant
but
will
be
occupied
in
the
near
future.
R
Similarly,
that
you've
seen
in
those
photographs,
we
also
feel
that
it's
very
important
that
we
establish
connectivity
between
the
Grand,
Hall
and
the
rest
of
the
spaces
and
make
it
more
permeable
the
way
it
used
to
be
the
way
you've
seen
it
in
the
in
the
case
of
the
Denver
project,
and
we
just
wanted
to
share
one
quick
example
of
the
pictures
we
found
this
little
retail
stand
is
actually
I
can't
point
to
it.
But
if
you
look
to
the
left,
there
used
to
be
a
little
newsstand.
R
That
was
just
a
little
nuke
where
now
they
have
a
new
stair,
but
this
is
kind
of
what
we're
trying
to
do.
There
is
a
lot
of
opportunities
you
can
see
that
today,
even
though
we
think
of
the
station,
that's
very
well-preserved
than
it
is,
but
there's
a
lot
of
areas
that
have
been
walled
off
like
that
little
nook
that
we
talked
about
or
the
arched
windows
to
the
right.
R
They
used
to
connect
to
the
second
floor
so
and
then
a
lot
of
obviously
non-historic
doors
that
have
been
added
and
created
a
kind
of
a
vacuum.
Architecturally
speaking
that
people
love
to
reintroduce
and
the
reason
we're
getting
into
the
this
much
detail
is
this
is
the
extent
of
renovation
or
alteration
to
the
existing
building
that
we
intend.
Today
we
really
want
to
just
recreate
the
original
spirit
and
remove
some
of
the
non
historic
elements
that
have
been
added
since
in
terms
of
the
architectural
design.
R
I
think
that
again,
Carl
covered
this
very
quickly,
but
we'll
just
add
a
few
more
things.
This
is
the
aerial
photograph
of
the
station
and
the
retail
buildings
to
the
left.
Obviously,
the
station
is
located
along
the
South
Tampa
axis
and
right
across
the
street
from
track.
Stop
our
response.
Architecturally
speaking,
is
a
curvilinear
building
form
that
does
a
few
things
for
us
one.
It
separates
itself
from
the
station
as
much
as
it
can,
allowing
it
to
maintain
its
integrity
and
to
the
curvilinear
form,
really
responds
to
the
rest
of
the
Gateway.
R
While
Gateway
may
not
be
a
historic
district,
it's
a
very
eclectic
place
and-
and
it
does
deserve
some
of
the
attention
and
we're
trying
to
really
improve
both
here's
the
site
plan
that
Carl
has
already
presented
we'd
like
to
point
out
that
the
distance
between
the
new
building
and
the
existing
building
and
as
it's
closest
location,
is
seventeen
and
a
half
feet
and
its
widest
location.
Right
in
the
courtyard
it's
over
42
feet.
R
The
two
buildings
would
be
connected
with
a
single
storey,
building
that
we
call
a
connector
to
be
very
sensitive
and
we
would
reutilize
the
existing
openings
in
the
west
wall
so
that
we're
not
compromising
the
integrity.
Structural
integrity
of
the
building
Carl
has
walked
us
through
the
plans.
But
one
thing
we'd
like
to
point
out
that
the
Gateway
infrastructure
already
connects
us
to
an
existing
loading
dock
it
with
this
service
tunnel.
That's
already
there
there's
already
a
heating
and
cooling
district
heating
and
cooling
that
we
would
connect
to
there's
a
lot
of
infrastructure.
R
That's
already
in
place
that
we
don't
have
to
worry
about
or
how
it's
going
to
interface.
With
with
a
new
station,
I'm
gonna
go
through
the
Israel
really
quickly
because
they
were
already
covered
I'd
like
to
point
out
that
we
would
actually
enclose
the
egress
stairs
for
the
station
within
our
building,
so
that
would
no
longer
be
visible.
The
only
thing
that
would
be
visible
would
be
these
delicate
bridge,
bridges.
R
Cult
already
talked
about
the
building
height
and
how
it
relates
to
the
historic
building.
But
one
thing
we'd
like
to
reinforce
is
this
relative
to
the
easement
and
public
access?
I,
think
that
this
building
section
or
perspective
really
shows
our
intent
of
how
we
intend
to
reinforce
the
connection
between
fort
west,
with
retail,
the
grantstation
kind
of
as
the
center
piece
of
the
entire
project
and
then
a
more
intimate
courtyard.
That
also
will
be
program
and
activated
and,
finally,
the
connection
to
the
plaza
itself.
R
The
building
to
the
north
of
us,
the
fidelity
building
is
hungry'
31
feet
tall,
so
in
terms
of
the
scale
itself
of
the
hotel,
while
we're
trying
to
keep
it
as
low
as
we
can.
While
satisfying
the
density
of
the
project,
it
is
very
compatible
with
the
rest
of
the
Gateway
office
buildings,
which
vary
somewhere
between
7
8
and,
in
this
case,
probably
10,
plus
stories.
R
Architectural
II,
this
was
a
challenging
project,
to
say
the
least.
On
one
hand,
you
have
a
historic
hundred
year.
We
start
building
that
a
lot
of
people
have
a
personal
connection
to
and
and
rightfully
so.
On
the
other
hand
we're
facing
a
very
eclectic,
more
recent
development
that
was
built
about
20
years
ago,
but
we
have
four
bullet
points
that
hopefully
will
summarize
our
intent.
R
One
was
that
always
to
be
sensitive
to
this
historic
building,
while
at
the
same
time
being
complimentary
to
the
Gateway
context
that
our
key
textual
articulation
would
be
restrained
and
focused
on
detail
and
simplicity,
so
that
we're
not
competing
with
a
historic
landmark
that
we
would
relate
to
the
historic
building
and
reinterpret
some
of
its
elements,
but
through
it
stylistically
clearly
distinguishable
contemporary
design,
we're
not
trying
to
recreate
a
hundred-year-old
design
for
those
of
you
that
practice
architecture.
You
know
that
that's
impossible.
R
We
don't
have
the
materials,
we
don't
have
the
crafts
mission
and
a
lot
of
times
when
you
try
to
do
that.
You
actually
disrespect
a
historic
building
and
last
but
not
least,
is
that
we
do
intends
to
include
historic
references
of
the
existing
building
and
it's
used
for
branding
signage
art
and
things
of
that
nature.
R
Looking
at
a
building
from
South
temple,
we'd
like
to
kind
of
just
emphasize
its
sub
ordinate
nature,
it's
a
very
subtle
design
that
just
creates
a
backdrop
for
the
historic
building
without
trying
to
complete
with
it.
We
also
broke
down
the
scale
of
the
black
backdrop
by
using
a
different
texture,
brick
by
reorienting
the
brick
and,
again
that's
playing
with
the
brickwork.
It's
another
way
we're
nodding
to
the
elaborate
brickwork,
that's
on
the
existing
building,
without
necessarily
trying
to
copy
it.
R
This
is
the
view
of
the
courtyard
which
some
of
you
that
visited
have
seen
today,
which
is
more
or
less
just
a
pass-through
space.
We're
really
trying
to
create
a
place
that
people
want
to
come
to
and
have
a
reason
to
stay
so
the
way
we
activated
in
program
this
space,
you
can
see
on
the
left
that
there
would
be
some
kind
of
a
coffee
or
retail
space
that
could
be
called
the
rail
York
rail
yard,
coffee
just
to
reference,
the
historic
use
of
the
building.
On
the
other
side,
we
have
meeting
room
spaces.
R
If
we
look
at
it
from
the
other
side,
you
start
to
get
an
understanding
of
how
we
clearly
defining
the
base
of
the
building
and
how
dynamic
that
basis.
In
a
way
it
becomes
a
series
of
revolving
storefronts.
It
is
differentiated
from
the
rest
of
the
building
in
proportions
in
design
in
detailing
in
materiality
against
something
that
the
historic
guidelines
call
for,
but
we're
also
kind
of
playing
off
some
of
the
original
historic
elements,
but
rather
than
copying
him
were.
R
If
you
look
at
at
the
column
in
a
cornice
detail,
they
just
kind
of
recessed
what
normally
would
be
a
very
ornate
either
base
or
Capitol
detail
in
our
case,
there's
just
an
absence
of
it.
It's
it's
expressed
in
a
more
abstract
and
much
more
contemporary
way,
and,
as
we
mentioned
in
the
beginning,
as
we
started,
organizing
the
West
facade,
you
can
see
that
there
is
a
center
pavilion,
which
obviously
is
very
different
from
the
center
pavilion,
but
it's
it's
distinguished
from
its
wings
in
its
proportions
materiality
and
things
of
that
nature.
R
So
another
way
to
kind
of
addressing
the
symmetrical
nature
of
the
historic
building,
but
a
much
more
contemporary
way
and
here's
the
West
facade
of
the
building,
one
of
the
things
we
like
to
point
out,
because
it
is
hard
to
capture
it
in
in
a
still
image.
It's
the
revolving
nature
of
all
these
bay
windows
as
they
go
from
east
to
west.
R
R
So
we
picked
a
warm
gray
color
that
not
only
relates
to
the
sandstone
of
the
building,
but
it's
also
very
neutral
and
acts
as
a
backdrop
for
the
historic
building,
while
relating
to
some
of
the
Gateway
buildings
that
were
constructed
at
a
later
time,
which
you
can
see
the
bottom
of
bottom
image
here
in
terms
of
the
lighting.
The
historic
building
is
poorly
lit.
R
Today,
with
the
exception
of
the
big
sign,
we
see
a
lot
of
a
lot
of
opportunities
to
improve
the
exterior
lighting,
not
only
on
the
East
facade
but
West
facade
as
well,
because
we're
going
to
have
guest
rooms
facing
the
west,
and
we
feel
that
it
will
be
nice
to
kind
of
celebrate,
celebrate
the
building
and
really
highlight
some
of
its
architectural
elements.
And
then
obviously,
we
talked
about
the
interiors
and
possibilities.
R
How
we
can
change
the
settings
in
the
Grand
Hall
for
different
functions,
without
really
compromising
its
historic
nature
cannot
be
designed
we're
not
going
to
talk
about
as
Carl
mentioned.
That's
really
something
where
we
would
like
your
input
on.
We
haven't
developed
a
design
enough,
but
we
wanted
to
know
what
your
opinions
is
and
where
the
boundaries
would
be.
Thank
you
for
listening
to
us
such
a
long
presentation.
D
Wall
on
the
ground
level,
though,
can
you
just
walk
that
seventeen
foot
open
and
you
just
walk
through
it,
or
are
you
putting
some
barrier
up
there
or
is
it
just
open
on
the
main
floor
on
the?
Is
it
just
when
you're
outside
between
the
two
buildings?
Can
you
just
walk
through
there?
I
couldn't
tell
from
the
plans
the.
R
D
D
So
other
question
is:
do
you
are
you
planning
on
making
any
changes
inside
the
Grand,
Hall
I'm
thinking
in
particular
the
floor?
Will
you
do
anything
to
that
floor?
You
obviously
the
murals
you'd
probably
leave,
but
you
what
changes
are
you're
going
to
make
is
part
of
converting
this
space
in
there
to
the
different
use.
What
are
you
gonna
do
to
the
Grand
Hall
physically.
N
So
I'll
take
a
stab
at
that.
An
American
can
add
to
my
comments.
Generally
speaking,
we
want
to
work
with
the
Grand
Hall
as
it
is
today,
including
the
materials
that
are
there
the
floor
materials.
There
are
some
areas
where
there's
been
some
settlement
in
the
hall.
I
could
see
it
wasn't
even
today
yeah,
so
there
will
definitely
need
to
be
some
remedial
work
to
deal
with
settlement
and
just
issues
of
that
are
related
to
that.
There's
cracking
in
the
walls.
Things
like
that,
so
there
will
definitely
need
to
be
some
restoration.
N
We
have
not
done
a
complete
interior
design,
yet
we
would
like
to
activate
the
hall
with
furnishings
and
turn
it
into
a
very
warm
inviting
space,
but
physically,
some
of
the
things
that
we
may
do
in
there
would
be
reopening
the
arches
in
the
upper
part,
the
crib
that
had
the
connection
to
the
the
bar
space.
That's
up
on
that
second
floor.
So
there
is
a
food
and
beverage
outlet
there.
N
We
may
open
up
some
of
those
things
and
create
some
of
the
kiosks
and
retail
experiences
that
used
to
be
part
of
the
station
historically,
but
generally
speaking,
we
want
to
essentially
furnish
the
hall
and
make
it
a
very
warm
inviting
space.
That'll
also
help
with
the
acoustical
challenges
in
there
right
now.
The
acoustics
and
the
space
are
very
difficult.
Will.
N
M
N
Could
be
some
area
rugs
added
as
we
do
an
interior
decor
execution
on
there
we'd
like
to
preserve
the
wainscot
all
of
the
historic
elements
that
are
there,
but
as
a
mere
pointed
out
in
his
presentation
over
time,
what
was
a
very
ornate
space
was
kind
of
downgraded.
A
bit.
Carl
also
mentioned
in
his
comments
that
what
used
to
be
skylights
that
had
a
lot
of
natural
light
coming
into
that
space
have
just
been
covered
up
with
plywood
and
painted
black,
and
so
there's
no
longer
that
natural
light
that
used
to
come
into
the
space.
J
E
One
of
the
things
that
came
to
mind
as
I
was
looking
at
your
renderings
was
the
possible
congestion
that
might
be
caused
with
the
entry.
So
when
the
call
car
spill
pull
in
to
the
hotel,
but
you
seem
to
have
explained
that
saying
that
you
are
looking
to
use
the
parking
spaces
that
are
currently
available
at
Gateway
and
also
that
you
notice
that
the
those
coming
into
the
hotel's
usually
use
uber,
taxis
of
whatnot
and
there's
also
tracks
nearby.
E
N
Good
question:
one
of
the
things
we
really
like
about
the
location
is
the
tracks:
the
transit
that's
there,
and
what
we've
noticed
over
the
last
twenty
years
is
just
a
tremendous
decrease
in
traffic
as
a
result
of
ride-sharing
and
public
transit
and
when
you're
in
an
urban
environment,
there
doesn't
seem
to
be
a
lot
of
traffic.
That
said,
we
do
have
the
auto
court.
E
My
other
question
was
regarding
I
know.
This
is
not
part
of
what
we
do,
but
security
and
I've
been
to
patenting
station
in
London
and
know,
there's
the
hotel
there
as
well.
We
stayed
in
and
they
had
keys.
So
are
you
planning
and
having
keys
for
the
guests
so
that
it
is
a
thoroughfare,
the
grantstation
section
of
it
you're
gonna
have
traffic
people
that
are
not
part
of
the
staying
at
the
hotel.
Is
there
security
in
terms
of
there's.
N
There's
always
concerns
about
securities
at
hotels
and
hoteliers
are
very
vigilant
when
it
comes
to
security.
Obviously,
the
access
to
the
guest
room
areas
are
secured
with
with
a
key
access.
We
do
envision
the
the
lobby
space
and
most
hotels
is
open,
pretty
much
around
the
clock,
with
with
hotel
security
monitoring
that
currently,
the
the
Grand
Hall
I
think
the
hours
that
it's
open
right
now
is
from
10:00
to
5:00,
I.
N
A
C
J
J
What
are
your
thoughts
about
the
three
options
that
are
presented?
Is
this
something
maybe
pulling
higher
back?
Is
this
something
that
you
want
input
tonight,
or
is
this
a
an
item
that
might
be
coming
back
through
staff
as
a
future
discussion
item?
Maybe
that's
a
higher
level
I'm,
not
sure
what
what's
your
pleasure.
R
Well,
there's
obviously
three
options:
we've
studied,
that
was
a
free-standing
canopy
that
would
be
completely
detached
from
the
building.
Another
idea
was
that
we
actually
create
a
canopy
that
matches
the
existing
canopy
in
the
center
on
both
sides
of
the
building.
Sorry
I'm
trying
to
find
that
one
and
then
the
third
one
would
be
kind
of
a
so.
This
is
the
idea
of
adding
another
canopy
over
the
secondary
entry.
R
We
intend
to
use
the
primary
entrance
to
the
building
as
the
main
Hotel
entry,
but
there
would
be
a
secondary
entrance
from
the
drop-off
we
just
talked
about,
so
another
option
was
to
create
another
canopy
that
matches
the
center
canopy
on
both
sides,
which
will
make
sense
because,
on
the
other
side,
you
have
the
depot
in
the
ticket
office.
That
could
also
benefit
from
some
shelter
and
then
the
last
one,
which
will
be
probably
least
intrusive,
would
be
adding
some
kind
of
an
awning,
like
you
see
in
these
photographs
all
over
Manhattan.
R
R
The
only
reason
we
even
consider
in
the
first
place
is
because
we
didn't
want
to
attach
anything
to
the
building,
but
it's
really
hard
to
build
something
that
it's
minimal,
regardless,
how
you
design
it
at
the
end
of
the
day.
There'll
be
always
columns
and
if
it's
glass,
glass
gets
dirty
and
eventually
the
tracks
from
the
exterior
of
the
building,
which
in
this
case,
we're
trying
to
avoid.
N
I
think
that
functionally
we're
merely
just
trying
to
deal
with
inclement
weather
and
protection
as
you're
coming
out
to
either
catch
your
taxicab
or
your
cars
being
product
I.
Think
that's
the
primary
functional
thing.
We
don't
really
it's
it's
kind
of
a
necessary
thing
that
we
have
to
have,
but
we
haven't
we're
really
seeking
your
feedback
tonight
relative
to
if
you
have
any
preference
or
direction
on
that.
M
R
J
R
Wings
of
the
building
exactly
and
as
we
mentioned,
there's
a
ticket
window
which
is
the
closest
one
on
the
north
wing.
The
closest
opening
at
the
ground
level
is
a
ticket
window
for
the
depot
and
you
can
see
the
door
right
next
to
it.
So
the
first
option
would
be
awning
similar
to
some
to
the
picture
that
we
showed.
You
can
kind
of
see
this
here
a
little
bit
better.
R
We
felt
that
these
are
probably
too
small
and
wouldn't
provide
enough
coverage,
so
we'd
be
probably
looking
into
a
little
longer
awning
like
the
one
we
showed.
The
second
option
would
be
adding
symmetrical
canopies
on
both
sides
that
would
match
the
design
of
the
existing
canopy
in
the
center.
So
there's
an
existing
canopy
here,
and
we
would
basically
replicate
that
on
both
sides
of
the
building
and
the
third
one
that
I
alluded
to
a
little
bit
ago
was
a
completely
the
touch
canopy
that
basically
does
not
touch
the
new
building
again.
R
J
To
freeze
I'll
think
of
how
to
phrase
it
as
a
question:
let's
see,
I
think
historically,
the
awning
approach
respected
somehow
addressing
and
respecting
the
existing
masonry
openings
and
interpreting
the
awnings
that
were
present
on
the
building
seems
like
the
most
viable
approach
may
be
compared
to
replicating
the
entry
canopy,
which
sort
of
dilutes
it
as
its
as
the
prominent
so
I
can't
I
can't
wear
to
this
a
question.
Sorry,
so
that's
helpful.
Thank
you.
Okay,.
A
A
B
Name
is
Cindy,
Cromer
and
I
came
in
work
clothes
tonight,
not
out
of
disrespect
for
the
Commission,
but
because
I
want
you
to
contemplate,
since
no
one
had
been
talking
about
these
easements
until
tonight.
What
someone
with
my
shabby
attire,
would
have
encountered
at
the
entrance
to
this
very
high-end.
Hotel
and
I
will
change
immediately
after
this
hearing
the
easements
date
from
1999
with
an
amendment
in
2005.
They
provide
for
the
preservation
of
the
main
waiting
room
of
the
depot
as
a
public
space.
They
also
address
programming,
there's
three
documents.
B
Where
does
the
Commission
fit
in
to
respond
to
Commissioner
sencence
comments?
You
have
authority
over
signage
and
I
assure
you
that
unless
there's
signage
indicating
that
there's
a
public
access,
easement,
no
one
will
know,
because
hardly
anyone
knew
until
a
short
while
ago,
so
I
think
that's
important.
I
also
think
it's
very
important
to
delineate
exactly
where
the
easements
are
in
the
documents
they
are
spelled
out
in
survey,
language
which
I
cannot
begin
to
interpret.
B
So
here's
where
we
were
a
short
while
ago,
there
was
no
indication
of
the
easements
in
any
of
the
materials
submitted
by
the
applicant.
None
I
looked
at
all
the
drawings,
the
RDA,
a
party
to
the
contracts
failed
to
respond
to
the
planning,
staffs
request
for
comments,
nothing
about
the
easements
showed
up
in
the
fact
sheet
or
the
staff
report,
and
there
was
no
reference
to
signage
in
the
applicants,
material
which
would
inform
the
public
about
access.
B
So
what
am
I
asking
you
to
do
the
same
thing
that
Carl
added
to
his
suggestions,
which
is
that
you
specify
that
at
least
in
some
of
the
documents
the
easements
be
mapped,
as
this
continues
through
the
process
and
then
also
I'd,
like
you
to
add
signage.
Regarding
the
easement
to
the
list
of
things,
you
will
revisit
in
the
future,
I'm
going
to
wait
to
hear
what
you
decide
and
then
I'll
go
get
out
of
these
shabby
clothes,
Thank.
F
Thank
you
for
this
opportunity.
I
have
well,
first
of
all,
I
want
to
say
that
I'm
in
support
of
the
project
I
would
like
to
see
this
hotel
built
at
the
gateway.
I
live
at
the
gateway.
I
live
in
the
condominiums,
so
this
is
very
important
to
me
and
and
that
it
also
brings
up
my
concerns,
and
that
is
the
view
of
the
the
hotel
from
the
west
side
and
not
having
any
view
of
the
depot
anymore,
that
this
hotel
really
cuts
off.
That
side
of
the
Gateway
and.
Q
Thank
you
and
Roger
borgnik
881
East,
2nd
Avenue
I've
worked
on
this
building
for
over
20
years
and
with
the
future
moves
coalition
and
the
Chamber
of
Commerce
transportation,
Management
Association.
We
worked
in
1998
to
make
it
our
truly
remarkable
world-class
intermodal
hub.
Well,
we
failed,
so
we
now
have
that
at
the
unscented
station
I
consider
it
the
greatest
urban
design
faux
pas.
This
city
has
done
that
I
know
of,
and
certainly
the
hardest
loss
in
my
career
as
an
architect
as
a
planner.
Q
We
worked
that
this
is
such
a
special
place
at
the
end
of
South
temple
with
a
grand
hall
that
is
rivaled
by
none
in
the
city,
save
the
capital,
but
you
know
those
government
buildings
are.
This:
was
a
public
place
for
all
and
the
conversion
of
that
space
to
a
luxury
hotel
lobby,
the
general
public
will
not
feel
welcome.
They
might
be
welcomed
and
of
course,
as
we
know,
we
need
security.
Q
Unfortunately,
in
too
many
of
our
buildings,
and
certainly
in
a
luxury
hotel
lobby
that
will
be
very
present
and
I've
had
I've
tried
to
go
into
the
Ritz
in
Paris.
I
didn't
make
it
very
far,
so
we
have
a
easement
in
perpetuity
for
not
just
access,
but
use
the
to
clarify
is
best
I
can
in
the
easement,
for
the
plaza.
There
is
discussion
about
the
view
easement
or
there's
a
title
called
view.
Easement
and
I
don't
have
not
yet
found
the
definition.
Q
I
was
in
those
negotiations
with
a
mayor
and
staff,
and
the
idea
was
that
this
was
an
iconic
building
that
should
be
able
to
oh,
we
get
there
and
then
light
rails.
Just
on
the
other
side,
it
still
was
a
transportation
issue,
I
think
to
diminish
those
commitments
signed
by
the
owner,
signed
by
Roger
Boyer
in
its
multiple
transfers.
Since
then,
I
think
it's
a
responsibility
of
this
committee
of
the
Planning
Commission
of
the
city
to
honor
those
and
make
them
right.
Q
We
know
that
signage
is
important,
but
I
think
there
are
also
architectural
invitations
with
lighting
with
materials
with
invitational
space.
That
says
the
public's
welcome
here.
I
know
many
won't
because
it's
just
an
incompatible
use
as
a
general
public
place
and
a
luxury
hotel
lobby
I,
don't
know
how
you're
gonna
resolve
it.
It
seems
very
important
that
the
people
of
the
city,
the
general
public,
rich
and
poor
alike,
have
a
right
to
experience
that
hall
in
its
historic
and
wide
use.
Thank
you,
Thank
You,
Roger.
N
Thank
you
in
no
particular
order.
We
talked
earlier
about
the
easements,
but
I
want
to
just
state
from
day
one
when
we
got
involved
here.
We
we
know
and
exactly
what
the
easements
are.
There
is
a
public
easement
there
and
always
will
be
it's
not
our
intention
to
change
that
at
all.
We
really
want
to
embrace
that
and
continue
to
see
this
being
a
very
active
place
so
and
I
do
believe
in
our
materials
the
easements
are
shown
they're
referenced
in
the
site
plan.
N
We
have
the
documents
showing
exactly
where
they
are
so
we're
very
much
aware
of
where
the
easements
are
located
and
don't
intend
to
change
the
fact
that
there
will
be
public
access
to
the
building
I'll.
Let
a
mirror
address
the
comment
about
the
roof
form
in
views
from
the
West.
We
acknowledge
that
building
a
new
8
storey
tower
on
the
backside
of
the
building
is
going
to
impact
the
views
from
the
West.
N
It's
our
understanding
that
the
showcase
protected
view
in
the
city's
plan
is
really
the
view
down
south
temple
to
the
front
of
the
building
and,
and
that
certainly
will
always
be
the
front
door
of
the
hotel.
But
we
do
acknowledge
that
if
there's
going
to
be
a
hotel
there,
that's
viable,
there
will
be
a
building
on
the
backside.
R
In
that
another
thing,
I'd
like
to
bring
obviously
easement
has
been
a
hot
topic
tonight
and,
as
Jeff
mentioned,
we
had
never
were
not
that
foolish
to
think
that
we
can
just
slide
under
the
radar.
We
actually
proactively
brought
up
these
easements
in
our
very
first
meeting
with
the
Planning
Commission,
because
we
wanted
to
be
proactive
about
and
understand.
Who
is
it
that
we
need
to
interact
with
and
better
understand?
R
What
is
easements
are
either
need
to
get
modified,
how
they
would
get
modified
in
terms
of
the
actual
building
footprint,
things
of
that
nature
and
understanding
it's
something
that
really
lies
with
the
RDA,
but
we
haven't
really
made
enough
progress
to
know
who
we
need
to
speak
with
in
how
to
resolve
all
of
these
issues.
But
it's
been
something
that
we
were
aware
of
from
day
one.
As
far
as
the
roof
issue
is
concerned,
I
can
appreciate
the
comment
of
the
architecture.
R
Part
big
part
of
the
reason
why
the
roof
is
flat
is
because
we're
trying
to
keep
the
height
of
the
building
down
and
if
we
add
another
slanted
here,
proof
shed
roof
or
mentioned
roof.
Obviously,
that
would
only
increase
the
height
of
our
building,
which
would
make
it
very
more
visible
from
South
temple.
We
tried
really
hard
to
keep
the
density
of
program
of
the
building
below
the
main
surgery.
R
So
when
you
look
at
it
from
South
temple
that
it
would
not
be
taller
than
the
central
pavilion
of
the
existing
building
at
the
end
of
the
day,
we
we
fully
understand
that
our
building,
as
as
Jeff
mentioned,
will
conceal
the
best
view
of
the
historic
building
and
we
don't
take
that
lightly.
But
we
think
that,
just
like
the
architecture,
there's
there's
a
balance
to
this
design
approach
and
the
project
in
general.
Right
now
we
have
a
vacant
building
that
it's
not
visit
about
anybody.
There
is
no
community
gatherings
there.
R
There
is
no
people
coming
to
look
at
it,
whether
they're,
rich
or
poor.
We
have
a
building,
that's
losing
its
significance
in
the
community
because
it's
simply
abandoned
and
the
vitality
of
this
is
existing.
Building
really
depends
on
the
vitality
of
the
new
building
and
how
successful
the
new
building
is
going
to
be
and
we're
trying
to
strike
a
very
balanced
approach
where
we
revitalize
the
Grand
Hall
and
make
it
a
public
space
and
make
it
as
accessible
as
simple
to
everybody.
The
new
hospitality
trend
is
really
not.
R
You
know
the
hotels
used
to
be
kind
of
like
casino
self-enclosed
and
they
like
to
keep
their
people
in
the
hotel
and
in
their
restaurants,
and
the
public
wasn't
very
welcomed,
but
that
has
changed
over
the
last
five
to
ten
years.
What
we
see
across
the
country
we
do
a
lot
of
hotels
is
that
people
really
want
to
experience
the
city
and
the
hotels
are
really
integrated
into
the
urban
fabric
and
vice
versa.
Some
of
the
best
gathering
spaces
for
young
people
for
young
professionals,
I,
actually
hotels
these
days
and
that's
very
much.
A
A
M
Right
can
tweet
some
sound
bites.
I
think
this
is
a
superb
solution.
I
really
do
when
I
first
saw
it.
I
was
impressed
by
the
Crescent
forum,
which
is,
as
we
all
know,
a
classic
urban
planning
strategy
and
the
way
the
Crescent
embraces
its
focal
point,
which
is
the
terminated
Vista
of
South
Temple
Street
at
the
Union
Pacific
Depot
I.
Really
it's
in
my
opinion,
absolutely
superb,
and
do
that
there
are
other
aspects
that
I
like
as
well.
E
I
too
liked
the
design
I
think
it's
beautiful
and
I
do
like
the
fact
that
you
are
opening
up
the
space
that
has
essentially
not
been
used
for
a
while,
but
I
also
hear
what
the
public
is
saying
and
they
exclude
feeling
excluded
from
this
beautiful
place
and
I
would
hope
that
we
could
consider
the
public
some
requests
for
signage
and
just
make
sure
staff
is
aware
of
that,
and
it's
incorporated
somehow
so
that
the
public
can
also
feel
welcomed
there.
Well.
D
Urge
you
just
endorse
what
David
said:
I
I,
like
it
I
guess,
I'd
like
to
respond
a
little
bit
to
some
of
the
comments,
the
the
concerns.
Rather,
that
I've
read
and
heard
it's
always
hard
when,
when
developers
and
I've
spent
40
years
representing
developers,
but
it's
hard
when
they
when
they
build
something
new
because
somebody's
impacted
by
it
but
the
the
and
promise
you
the
first
thing
anyone
would
do
before
they
spend
this
kind
of
money
would
have
their
attorney.
D
Make
sure
that
they're
building
something
in
conformity
with
these
easements
number
one
and
number
two
to
Paul's
point:
we're
not
that's
just
not
before
us.
That's
up
to
Paul
down
there
and
the
city
staff
to
make
sure
that
things
are
complied
with.
But
that's
not
our
job
and
ours
is
to
look
at
a
new
construction
and
historic
building
and
district
and
I
think
they've
done
a
nice
job
of
planning,
something
they'll
be
a
real
nice
amenity.
So
I
don't
have
any
concerns
to
voice
about
it.
G
G
Accessible
to
around
a
wide
range
of
people
and
interests
from
anything
from
coffee
to
a
drink
after
work
to
a
nice
dinner
similar
to
what
I
think
is
being
proposed
here
there,
the
the
hotel
was
similarly
large
and
behind
the
historic
structure.
I
will
say
that
this
building
that's
proposed
today,
I
think
the
architecture
is
really
Michelle.
Ders
above
that
example,
now
is
a
quite
nice
building,
but
I
think
the
West
facade
of
this
is
going
to
become
an
iconic
part
of
Salt
Lake
I've,
never
seen
that
sawtooth
to
brick,
design
and
I.
J
I
would
second
I
think
most
of
what's
been
said:
I
have
had
some
concerns
going
into
it
and
I
think
the
more
we
look
into
the
details
of
it.
I
think
it's
been
successfully
realized
fairly,
quite
appropriate
and
responsive
to
the
historic
building.
Really
my
only
questions
and
really
for
the
Commission
I
think
is
commissioners
is
the
number
of
and
how
they
are
addressed.
That
kind
of
the
number
of
additional
restoration
adaptive,
reuse
augmentations.
However,
we
wanted
to
find
it
to
the
building.
We
have
things
like
the
the
entrance.
J
Canopies
signage
I
think
what
was
presented
seems
in
the
package
is
kind
of
calm
and
respectful
to
the
building
canopies,
the
hall
restoration
elements
which
all
sound
positive
but
the
Devils
in
the
details.
You
know
what,
how
do
things
need
to
go?
Sometimes
all
sounds
very
positively
when
I'm
really
supportive
of
it
I'm
just
kind
of
curious
commissioners.
What
we
want
to
see
back
and
I'll
stick
with
just
the
canopies
and
maybe
the
the
entries
to
this
building.
J
You
know
they'll
probably
be
new
entry
systems
that
will
be
needed
in
dilapidated
openings
or
whatever
it
might
be.
Are
those
things
that
we
would
want
to
have
come
back
here?
The
canopies
in
particular,
maybe
I
mean
as
a
rather
large
element
on
it
building
front.
So
I
don't
know
what
and
could
they
come
back
as
a
now
a
question
maybe
for
Michaela
first?
Could
they
cut
back
as
a
work
session?
M
D
J
Not
sure
I
want
to
break
them
out
necessarily
I'm.
Just
saying
that
there
are
elements
that
the
canopies
the
entrance
canopies
are
are
legitimate
if
they,
if
they
went
with
a
full
wing
length,
freestanding
canopy,
that's
that's
a
substantial
decision
and
impact
of
the
building
they
don't
want
to.
It
doesn't
sound
like
I
think
they
want
to
be
much
more
sensitive
than
that.
But
my
concern
is
that
that's
progressing
and
its
staff
and
it,
but
it's
I'm,
just.
A
C
J
Well,
Carl's
pulling
that
up,
maybe
I'll
just
distract
us
for
a
second
I
think
the
easements
obviously
inform
the
design
and
so
I
think
that's
where,
where
it
can
be
applicable
here
tonight,
I
hope
I'll,
just
express
it.
I
think
one
more
time
for
all
of
us
is
that
I
hope
that
they
are
clearly
investigated
by
the
people,
the
right
people
that
investigate
that
sort
of
thing
and
that
the
applicant
is
also
responsive
to
what
the
what
they
actually
spell
out
and
make
it
accessible.
Building
to
this
to
the
city.
Well,.
A
As
Carl's
looking
for
that
I
doubt
I'll
start
by
saying
overall
I
really
think
it's
a
superb
design
and
proposal
I
think
yet
you
know,
David
David
has
said
it.
I
said
it
first
and
the
other
other
commissioners
have
also
said
that
the
only
aspect
that
I'd
like
to
have
us
take
a
look
at
is
the
the
approach
from
the
West.
Is
he
rise
up
from
the
fountain
down.
A
You
go,
he
rise
up
from
the
Gateway
fountains
and
approach
the
building.
As
you
look
at
at
the
building
from
the
West.
The
scale
of
the
portal
into
the
courtyard
seems
a
little
small
I
know.
As
we
were
told
on
site,
that's
actually
some
19
feet
high
in
there
I
believe
and
the
width
of
it
looks
like
it's
a
full
Bay
with
a
half-pay
on
each
side.
This
image,
perhaps,
is
part
of
the
issue,
but
it
looks
like
just
just
a
small
opening.
It's
not
a
welcoming
portal,
it
doesn't
say
gateway
to
me.
A
A
Make
me
want
to
go
in
there
if
I'm,
not
a
hotel.
Yes
make
me
want
to
move
through
that
space.
I
I
know
as
you
step
back
and
see
the
whole
West
facade
of
the
building.
You've
got
the
the
vertical
shaft
of
the
differing
materials
that
that
point
down
to
that.
But
someone
passing
through
on
foot
is
really
going
to
be
looking
at
at
the
the
shadow
at
the
darkness
in
there
just
just
some
sense
of
wanting
to
be
attracted
to
that
space.
What
I'm
not
getting
at
least
from
this
rendering.
J
Canton
I'll,
just
if
I
can
chime
in
on
that
I
think
if,
in
fact,
there's
there
is
some
Westview
easement
language
out
there
that's
has
some
application.
I
think
this
is
sort
of
starts
to
address
that
as
opening
this
up
to
some
amount
of
the
view
that
the
realization,
this
is
quite
an
interesting
architectural
solution
at
the
same
time
challenging
as
you've
pointed
out
about
how
to
draw
from
here
to
there
and
how
to
connect
from
here
to
the
historic.
A
O
In
the
motion,
I
took
a
look
at
the
easement
during
the
meeting,
and
it's
not
as
specific
as
it
could
be
is
what
it
might
have
been
represented
and
there's
nothing
specific
as
to
a
west
view.
It's
a
basically
it's
a
view
easement
across
the
plaza
easement,
which
is
interesting
on
weird
language,
but
I.
Think.
J
O
A
A
C
J
R
R
The
bridge
idea,
or
maybe
even
looking
into
how
we
can
deal
with
columns,
maybe
there's
options
to
look
at
the
spacing
of
the
columns.
I,
think
that's
something
we'd
like
to
review
I,
think
getting
rid
of
the
guest
rooms
would
be
probably
challenging
in
terms
of
the
end
result
yeah,
but
that's
something
that
we
could
definitely
review
work
with
staff
to
come
up
with
a
solution
that
perhaps
is
appropriate
for
the
building
and
addresses.
N
Our
concern
yeah,
it
was
just
a
question-
I-
have
is
the
idea
of
a
bridge,
so
if
you
so
I'm
clear
on,
what's
being
one
of
the
challenges
we
have
is
the
elevator
core
and
the
ACT
vertical
access
to
the
tower
is
on
the
south
side
of
that,
so
you
would
have
you
essentially
be
coming
up
you're
on
the
second
level
you're
coming
through
is
the
the
idea
that
you
would
then
have
a
bridge.
You
would
open
that
up.
You'd
lose
rooms,
you'd
have
a
bridge.
N
A
N
A
N
Certainly
be
willing
to
look
at
that,
it's
hard
to
just
react
to
an
idea
like
that,
like
this
we'd
be
happy
to
look
at
it
as
part
of
our
detailed
design
as
we
move
forward,
I
guess,
I
think
the
recommendation
is
that
there's
a
lot
of
details,
they're
going
to
have
to
get
worked
out
down
the
road
with
the
staff,
and
we
would
certainly
be
willing
to
look
at
that
in
the
context
of
all
of
the
details
that
are
gonna
have
to
get
getting
looked
at.
Okay,.
M
I
got
a
motion
cooked
up
here
so
based
on
the
analysis
of
findings
listed
in
this
staff
report.
Testimony
and
the
proposal
presented
today,
I
move
that
the
Commission
approved
the
application
pln
HLC
2018
number
six,
one:
six,
construction
of
a
hotel
building,
a
major
addition
to
Salt
Lake,
Union,
Pacific
railroad
station
and
the
demolition
of
non-contributing
structures
at
approximate
approximate
ly,
a
number
two
South
fourth
West
with
the
following
conditions:
I'm
going
to
state
four
conditions
here.
M
The
first
is
that
approval
of
details
of
alterations
other
than
those
mentioned
in
condition
four
to
the
Union
Pacific
station
building,
be
delegated
a
staff
to
that
approval
of
the
details
of
the
design
of
the
new
hotel
and
associated
landscaping
is
delegated
to
staff.
With
exception
of
number
four
three
that
all
issues
related
to
the
public
use
easements
be
addressed
by
staff
and
vetted
by
the
Planning
Commission
number
for
that
final
canopy
designs,
exterior
signage,
west
entry
and
details
of
the
Great
Hall
restoration
be
submitted
for
approval.
Separate
from
this
motion.
O
G
M
O
A
A
J
M
I
I
J
And
I
would
think
I
would
think
that
many
of
our
standards
apply
to
interior
restorations.
This
is
an
odd
situation,
because
many
of
the
standards
talk
about
retention
of
significant
features
and
the
appropriate
treatments.
There's
no
design
guidelines.
The
city
has
ever
developed
for
an
interior,
so
I
think
that's
not
possibly,
but
I
think
the
basic
standards
would
would
provide.
Some
guidance
would
provide
reasonable
guidance,
their
own
I'd.
M
O
J
D
So
I
I
agree
with
what
you
said:
Paul
about
how
this
has
been
handled
and
what
it
is,
but
I'd
I'd
still
probably
leave
it
in
there
since
we're
gonna.
Look
at
these
other
things
just
just
because
we
can
I
mean
we
are
going
to
approve
this
project
in
concept,
but
we've
got
a
few
details.
We
want
to
make
sure
that
we
pass
on
so.
A
C
G
A
E
C
M
Last
time
as
written
by
staff,
adding
a
third
condition
that
all
issues
related
to
public
use
easements
be
addressed
to
staff
in
a
fourth
condition
that
final
canopy
designs,
exterior
signage,
west
entries
and
details
of
the
Great
Hall
restoration
be
submitted
for
approval.
Separate
from
this
motion
very.
A
C
A
Motion
passes
unanimously
and
the
appeal
of
historic,
landmark
decision.
Anyone
aggrieved
by
the
historic
landmark
Commission's
decision
may
object
to
the
decision
by
filing
a
written
appeal
with
the
appeals
hearing
officer
within
10
calendar
days
following
the
date
on
which
a
record
of
decision
is
issued.
The
applicant
may
object
to
the
decision
of
the
historic
landmark
Commission
by
filing
a
written
appeal
with
the
appeals
hearing
officer
or
the
mayor
within
30
calendar
days
following
the
date
on
which
a
record
of
decision
is
issued.
Mr.
O
A
O
M
A
A
K
There
you
go.
This
is
a
petition
for
a
mine
alteration
and
special
exception
for
two
already
constructed
advocated
attic
additions
on
historic
home
located
on
10th
17th
east
1st
Avenue
D
additions
consists
of
a
dormer
on
the
side
and
a
rooftop
edition
on
the
rear
of
this
contributing
home.
A
little
background
on
this
project.
K
Going
into
the
project,
the
purpose
of
these
additions
was
to
provide
Headroom
in
the
Attic
to
create
usable
space.
The
two
attic
additions
are
rectangular
in
massing,
as
you
can
see
in
red
and
yellow
over
there
and
while
are
located
adjacent
to
an
existing
shed-dormer
in
an
existing
chimney.
The
new
dormer
has
a
shed
roof
situated
below
the
reach
of
the
roof
of
the
existing
home,
with
a
pitch
similar
to
the
slope
of
the
roof
of
the
existing
dormer.
K
K
The
new
Anthony,
because
the
new
and
the
existing
dormer
were
cladded
with
natural
wood,
shingles
on
all
sides
and
the
rooftop
addition
was
clouded
with
a
combination
of
painted
white
pine,
siding
and
natural
wood,
shingles
and
rough
saw
shape
flat
panels.
The
project
also
includes
installation
of
two
new
windows
on
the
attic
conditions
and
one
window
replacement
on
the
existing
dormer.
Only
windows
were
made
are
made
of
composite
material.
K
The
single-family
home
is
contributing
to
the
character
and
integrity
of
the
avenues.
Local
historic
district,
the
home
is
a
two-story
Victorian,
eclectic
queen
and
constructed
in
1892,
and
he
has
a
defining
central
block
with
a
projecting
wing
massing
in
the
front
and
a
roof
farm
characterized
by
hip
roof
and
lower
cross
gables.
K
K
K
This
second
photograph
shows
the
eats
the
east
side
of
the
home,
as
you
see
it
from
the
street,
and
you
can
see
both
editions
and
the
existing
dormer
in
the
and
the
third
photograph
shows
the
rear
of
the
home
with
a
rooftop
addition
in
the
staff
report,
you'll
find
six
key
issues.
The
first
one
is
related
to
the
mass
and
scale
of
the
alterations
and
it's
related
to
design.
K
Guideline
eight
point:
four
14
in
which
I
found
that
the
rectangular
massing
of
both
Attic
additions
is
incompatible
with
the
triangular
shape
of
the
front,
Gables
and
hip
roof
of
the
historic
home.
The
new
Dorma
is
bigger
and
more
imposing
than
the
existing
Dorman
dormer,
and
it
is
readily
visible
from
the
public
way.
The
rear,
rooftop
addition
is
taller
and
bulkier
than
the
2
dormers,
affecting
the
perceived
height
and
scale
of
the
historic.
K
The
new
attic
additions
have
roof
forms
that
are
uncharacteristic
of
the
style
of
this
historic
home.
The
third
issue
is
the
exterior
materials
and
style
of
the
windows
related
to
design
guidelines.
Eight
point
eight
and
eight
point
10
found
that
the
different
pattern
of
the
shingles
draws
attention
to
the
new
dormer,
which
is
strongly
discouraged
in
attic
additions
in
the
dormer
windows,
present
issues
related
to
size
and
proportions
in
relation
to
the
existing
windows.
K
The
fourth
issue
is
the
visual
impact
of
these
additions,
which
is
directly
related
to
the
basic
principles
of
new
additions,
because
structure
constructed
attic
additions
due
to
its
mass
height
and
roof
forms
have
changed
how
the
home
is
perceived
from
the
street.
Both
additions
are
not
considered
visually
compatible
with
the
original
building
interfering
with
the
original
roofline
of
the
home
and
compromising
the
homes
historical
significance.
K
The
issue
number
five
is
the
effect
that
these
additions
have
on
a
character
of
the
building
in
the
historic
district,
also
related
to
the
basic
principles
of
new
additions,
the
roof
form
and
the
height
are
considered
primary
character,
finding
elements
of
historic
home
and
the
design
of
the
additions,
the
Attic
additions
are
not
sensitive
to
those
element.
The
historic
structure
could
lose
its
contributory
status,
which
would
represent
a
loss
to
the
subject
property.
This
section
of
first
Avenue,
in
which
this
home
is
located
in
the
historic
district
at
large
issue.
A
S
S
At
that
time,
I
have
been
renovating
the
home
and
have
taken
out
multiple
permits
through
the
Historical
Society
to
do
and
have
what
I
have
now,
except
for
the
Attic
I
added
an
addition
to
the
back
of
the
foundation
kitchen
area,
a
garage
and
that
dual
dub,
the
deck
porch
that
you
see
at
the
front
was
also
part
of
the
renovation
that
time
I
bought
the
property.
It
was
dilapidated
and
in
bad
shape
and
needed
a
lot
of
attention.
I.
S
S
S
So
I
was
trying
to
get
people
involved
to
help
me
with
the
ARCIC,
the
architect,
as
well
as
the
construction
of
this.
Unfortunately,
for
me
there
was
nobody
that
was
willing
to
take
my
project.
I
was
having
architectural
design
issues
as
far
as
getting
somebody
employed
on
that
and
I
things
kept
moving
forward
and
it
was
August
and
I
was
in
a
situation
to
where
I
in
every
corner
of
my
roof
I
was
having
leaking
and
structural
issues.
S
So
I'm
I
leave
work
for
months
at
a
time
and
I
could
not
bear
the
thought
of
leaving
another
leaking
year
of
winter.
Knowing
that
the
process
would
take
three
to
four
months,
just
for
approval
I'm
in
the
middle
of
February.
Maybe
when
I
can
start
this
design
I
decided
to
go
ahead
and
finish
my
roof,
but
in
the
meantime,
go
ahead
and
put
the
dormer,
so
I
could
have
better
access
and
the
area
that
I
needed
to
expand
that
area.
S
S
What
it
is
now
I've
done
everything
up
to
this
point
within
the
guidelines
of
the
historical
in
Planning
Committee.
This
just
caught
me
off
guard
to
where
I
couldn't
deal
with
the
fact
leaving
town
and
leaving
my
roof
and
the
disarray
that
it
was
in.
Knowing
that
I
was
gonna,
maybe
have
a
roof
that
collapses.
It
was
collapsing
in
certain
areas.
Literally
I
I
took
hydraulics
to
actually
do
what
I
needed
to
do.
Simu
back
up
in
certain
areas
and
then
support
it
over
the
years
because
it
was
in
that
much
of
a
disarray.
S
So
basically,
that's
where
I'm
at
with
this
project,
I'm
hearing
apologizing
for
what
I've
done
to
this
point
there
again
I
think
aesthetically.
If
you
really
look
at
what
I've
done,
I've
tried
to
keep
with
the
theme
of
the
area
and
I
do
know
that
there
are
standards
and
things
that
we
all
adhere
to.
As
far
as
the
planning
committee,
but
I,
also
in
witnessing
what
my
neighborhood
has
there
isn't
a
single
home.
That's
a
cookie
cookie
cutter
home
they're,
all
designed
they're
all
laid
out
different.
They
all
have
different
dormers
different
porches.
S
It's
the
avenues,
that's
what
it
is.
That
being
said,
I
don't
know
what
else
I
can
put
into
this
presentation.
I
can
be
honest
with
you
being
here
for
the
length
of
time.
I
I
waited
to
be
here
today.
It's
got
me
to
the
point
where
I'm
barely
able
to
talk
to
you,
folks,
I'm,
worn
out
and
literally
worn
out,
but
that's
why
I'm
mad
I,
my
house
is
still
a
mess
because
it's
not
finished
and
I
need
to
get
this
figured
out
to
where
we
can
get
it
palatable
done
and
move
on.
S
A
G
Thank
you,
I'm
Joseph,
Bell
I
live
at
1024
East,
1st
Avenue,
which
is
actually
directly
across
from
the
applicants
home,
we're
in
full
view
of
the
home.
I
can't
really
speak
to
the
course
of
events
that
brought
us
here
today
was
far
as
the
compliance
or
things,
but
I
did
want
to
state
that
as
a
homeowner
on
the
in
the
area
that
we
have
no
issues
and
are
in
support
of
the
addition
as
it
stands
as
far
as
the
visual
impact
goes.
G
If
we
were
here
under
normal
circumstances
and
having
a
hearing
about
the
proposed
design
or
that
we
would
have
no
opposition
to
that,
we
support
the
design
and
we
don't
think
that
the
visual
impact
has
any
negative
impact
to
the
to
the
neighborhood.
There's
a
lot
of
eclectic
additions
that
have
been
done
in
years
past
that
didn't
have
the
scrutiny
of
a
historic,
landmark,
Commission
I
believe,
and
this
one
is
far
better
than
a
lot
of
the
ones
I've
seen
in
the
avenues,
so
I
have
no
opposition.
Thank
you.
Thank.
C
I'm
Amanda
or
my
live
at
10:07,
First
Avenue,
so
two
houses
down
I
feel
like
any
addition
that
is
done.
Well,
like
they
have
done.
Value
is
good
for
our
neighborhood.
My
house
needs
a
lot
of
work
that
I
can't
afford
to
do,
and
so
I
know
that
I
really
appreciate
people
being
able
to
put
the
work
into
their
homes
and
spend
the
time
and
money
too,
and
so
for
me
that
the
look
of
their
home
I
its
adds
to
our
neighborhood
I
anyway,
so
I'm
for
it.
That's
all
thank.
P
Hi,
my
name
is
Charles
Stormont
I
live
at
10:29,
he's
First
Avenue
smoother
than
the
pepto-bismol
pink
house
immediately
to
the
east
of
the
home
at
issue
and
I
came
to
speak
and
let
you
know
that
I
fully
almost
completely
agree
with
the
staff
report
and
would
request
denial
of
the
application.
I
think
that
miss
Lima
has
highlighted
the
six
key
issues
very
poignant.
Leon
pages,
six
to
eight
of
the
staff
report.
I
noted
that
mr.
leaf
also
noted
in
his
correspondence
with
mr.
P
Webb
that
he
expected
staff
to
recommended
denial,
I
think
the
non-compliance
with
the
requirements
of
the
historic
design
guideline
guidelines
is
fairly
apparent.
There
are
a
couple
of
things:
I
wanted
to
note
in
the
staff
report,
where
I
have
slight
additions,
disagreements
or
Corrections.
Miss
Lima
noted
that
the
lot
is
36
feet
wide.
It's
actually
34
feet
wide
I
have
a
printout
from
the
County
Assessor's
Office,
showing
the
legal
description.
P
P
The
with
respect
to
the
requirements
set
forth
in
the
code
for
minor
alterations,
I
would
respectfully
disagree
with
miss
Lima
on
item
six.
The
pre-existing
east
dormer
has
not
been
repaired,
but
instead
replaced
with
an
entirely
new
and
larger
structure
and
does
not
match
the
materials
being
replaced
in
design,
composition,
texture
or
other
visual
guidelines.
P
The
shingles
don't
match
the
window
has
been
completely
replaced
with
a
new
modern
window,
not
a
wood
framed
window
like
every
window
in
my
home,
and
it's
also
completely
blocked
out
by
the
additions
on
either
side
of
it.
It
actually
joins
one
of
those
additions.
I
brought
a
photo
from
the
upstairs
of
my
home.
That
I
hope
highlights
some
of
those
issues
for
you
and
I'll
share
this
with
you
visually
here
may
I
have
a
few
extra
minutes.
A
P
Kind
of
if
I
can
walk
through
them,
I'm
not
that
organized
I'm,
sorry,
but
the
if
you
compare
it
to
this
street
view
from
2011
and
the
staff
report
on
page
11,
you
can
see
how
significantly
different
it
is
item
5
of
the
minor
alteration
requirements.
The
craftsmanship
of
the
historic
home
I
would
ask
you
just
to
take
a
close-up
view
of
this
and
look
at
how
it
was
constructed.
Look
at
the
pattern
of
the
nails
they're,
not
even
in
a
straight
line.
P
This
is
not
representative
of
the
type
of
craftsmanship
you
see
throughout
the
historic
avenues.
I
would
ask
you
to
please
consider
that
I
note
that
miss
Lina
has
highlighted
the
lack
of
cohesiveness
with
the
neighborhood
and
the
effects
on
the
immediate
area.
I
couldn't
agree
with
her
more
on
those
issues
with
respect
to
the
special
exception
requirements.
I
wanted
to
speak
very
quickly
if
I
could
to
the
impairment
of
property
value,
the
undue
adverse
impact
on
the
area
and
the
compatibility
with
surrounding
development.
P
C
C
P
P
This
highlights
the
changes
to
the
dormer,
and
this
photo
shows
the
profound
impact
to
our
privacy
in
our
backyard.
The
loss
of
you,
the
loss
of
visibility,
the
loss
of
privacy
are
all
profound
impacts
on
the
market,
value
of
my
home
and
I
believe
those
criteria
are
set
forth
very
clearly
within
the
Historic
Landmark
Commission's
guidelines
and
I
would
ask
you
to
please
consider
those
a
thank
you
very
much.
P
O
P
O
Thank
you,
I
live
on
1029,
second
Avenue
and
I've
had
a
lot
of
dealings
with
the
Historical
Society
and
the
landmark
committee
and
they've
all
been
very
positive.
Thank
you,
as
his
whole
process
has
been
going
on
with
my
friends
through
the
block,
exactly
through
the
block
from
where
I
live.
I
know
that
this
roof
that
Dennis
has
restored,
even
though
it
had
to
be
done
at
the
moment,
was
in
dire
need
of
repair
because
it
was
about
to
collapse.
O
Dennis
worked
outside
of
the
state,
and
so
a
lot
of
the
work
and
a
lot
of
the
permits
were
not
attained
when
they
should
have
been.
I
also
know
that
the
gentleman
who
just
spoke
before
has
a
tremendous
hatred
for
the
neighbors
I.
Don't
know
why,
and
there
was
quite
a
ruckus
when
people
came
on
his
property
with
a
ladder
and
instead
of
being
the
attorney
that
he
is,
he
was
not.
O
He
was
atrocious,
and
so
the
addition
that
is
there
now
I
am
totally
in
favor
of
it
may
need
some
changes
if
you
folks
feel
that
it
needs
to
be,
but
it
is
a
very
good
addition.
In
fact,
in
the
avenues,
there
are
quite
a
few
atrocities
that
have
been
committed
and
nobody
has
ever
taken
any
action
to
correct
it
or
to
improve
it,
and
so
I'd
say
be
a
little
merciful
with
my
good
friends
on
the
avenues,
especially
with
Dennis
and
that's
all
I
have
to
say.
Thank
you.
Q
very
much.
A
A
S
A
S
Let
them
know
that
I
was
going
to
be
doing.
The
renovate
are
the
roof
that
day
that
I
started
to
remove
and
within
a
very
short
period
of
time
once
they
spent
the
contractors
started
doing
their
job.
It
did
become
a
big
fiasco
to
the
point
where
there
was
almost
a
physical
altercation
on
the
property
over
it
and
so
I'm,
just
letting
you
know
I
did
let
them
know
that
I
was
going
to
be
doing
this
roof,
as
well
as
my
neighbor
on
the
other
side
and
I.
S
A
D
Robert
so
I'm
I'm,
right
where
Paul
is
and
I
feel
bad
about
this,
because
just
listening
in
to
the
public
comment,
I'd
love
to
vote
with
these
good
neighbors
and
all
like
each
other
and
are
supportive
of
each
other
for
the
most
part,
and
and
as
two
comments
that
that
we're
opposed
to
that
I.
Don't
think
most
of
those
comments
were
relevant
to
the
issue.
What's
relevant
here
is
that
there
was
a
there's,
a
there's
laws
that
need
to
be
followed
in
the
historic
district
and
they
weren't
followed.
D
As
the
staff
outlined
I've
I've
raised
my
family
about
two
blocks
from
this
house.
I've
lived
there
for
20
years,
a
very
I've
renovated
two
houses
and
the
avenues
and
I
got
to
tell
you
and
I'm
a
real
estate
attorney
and
I
was
pretty
frustrated
with
a
lot
of
the
requirements
that
we
had.
They
cost
a
lot
of
money
to
comply
with,
but
we
can't.
We
can't
allow
this
to
stand
because
then
we
undermined
the
whole
system.
D
You
know
yeah
all
mine,
everybody
wanted
to
get
around
some
of
these
rules
sometimes
and
some
tried
to
and
some
got
away
with
it
in
the
middle
of
the
night.
But
but
we've
got
a
you
know
for
the
integrity
of
the
whole
system
and
the
whole
Avenues
area
and
historic
districts.
We've
got
a
we've
got
it.
You
know.
If
we're
gonna
keep
them
historic.
E
I
E
A
E
D
A
The
vote
is
five
in
favor,
none
opposing
the
motion
passes.
The
application
is
denied
yes,
appeal
of
historic,
landmark
decision.
Anyone
aggrieved
by
the
historic
landmark
Commission's
decision
may
object
to
the
decision
by
filing
a
written
appeal
with
the
appeals
hearing
officer
within
10
calendar
days,
following
on
the
date
on
which
a
record
of
decision
is
issued,
the
applicant
may
objected
to
the
decision
of
the
historic
landmark
Commission
by
filing
a
written
appeal
with
the
appeals
hearing
officer
or
the
mayor
within
30
calendar
days
following
the
date
on
which
a
record
of
decision
is
issued.
F
Good
evening
this
is
I'm
here
to
basically
just
facilitate
a
review
of
a
National
Register
nomination
for
the
proposed
boulevard.
Gardens
national
historic
district
I
will
make
a
disclaimer
planning
staff,
I'm.
Sure
you're
aware,
did
not
prepare
this
nomination.
The
gentleman
who
did
prepare
it
is
out
of
town.
We
have
a
representative
here,
I
believe
who's
going
to
answer
and
any
follow-up
questions
you
might
have
as
the
certified
local
government.
F
So
getting
to
the
district.
The
boulevard
Gardens,
a
historic
district
would
include
a
single
subdivision
that
is
approximately
three
acres,
an
area
and
located
in
the
ballpark
neighborhood.
As
you
can
see
here,
it's
bounded
by
quail
Avenue
to
the
north
west,
temple
to
the
West
Main
Street
to
the
east
and
there's
a
private
alleyway
that
runs
directly
to
the
south
of
the
subdivision.
F
There
includes
23
single-family
homes,
which
were
constructed
between
1929
and
1931,
which
are
organized
around
a
central
green
space.
You
can
see
that
kind
of
bisecting
the
development
here's
a
photo
of
present-day
photo
of
that
central
green
space.
So
you
can
see
all
the
homes
front
on
to
this
area
and
there
are
two
parallel
sidewalks
that
run
the
entire
length
of
the
development.
F
So
again,
the
development
contains
23
single-family
homes
with
Tudor
Revival,
and/or,
arts
and
crafts
elements.
The
nomination
notes
the
homes
are
all
uniquely
designed,
but
are
unified
through
common
styling
and
massing.
The
use
of
brick
white
trim,
peaked,
Gables,
hipsters,
front
porches,
Wood
million
windows
and
some
do
contain
diamond
pane,
leaded
glass
windows.
F
This
slide
shows
34
Boulevard
Gardens,
which
is
just
an
example.
I
pulled
out
to
show
that
none
of
these
homes
have
received
any
significant
additions
on
to
them,
but
some
minor
alterations
are
common.
You'll
see.
This
is
a
good
example.
They
all
started
with
kind
of
the
Tudor
style
features
in
the
gable
peeks
and
a
lot
of
them
have
this
horizontal
might
be
vinyl
or
metal
siding.
Now
this
one,
the
front
porch
looks
the
same,
but
you
can
see
from
between
35
and
85
those
front.
F
Tripartite
windows
were
turned
into
two
large
picture
windows,
so
this
is
just
an
example
of
minor
alterations
that
are
common
in
the
area,
but
nothing
significant.
No
significant
structural
additions
have
been
made
in
the
other
homes
and
the
nomination
claims
that
the
district
is
eligible
for
nomination,
because
it
meets
criteria
C
and
is
significant
in
areas
of
landscape
architecture
in
architecture.
F
It
also
represents
the
work
of
a
notable
Utah
architect,
slack
winburn.
He
has
multiple
other
properties
in
the
city
that
are
already
on
the
National
Register.
It
also
reflects
key
trends
that
were
going
in
US
history,
such
as
the
Better
Homes
movement,
an
auto
driven
suburbanization
that
allowed
homeownership
to
become
a
key
component
of
the
American
Dream
so
to
wrap
it
up.
Staff
concurs
with
the
findings
included
in
the
nomination
and
we're
recommending
that
the
landmark
Commission
provides
a
positive
recommendation
to
the
State
Historic
Preservation
Office
and
the
National
Park
Service.
A
G
G
When
I
became
chair
the
we
had
an
objective
to
improve
the
neighborhood,
it
was
had
the
potential
for
to
be
a
very
cool
little
pocket
neighborhood,
but
the
neighborhood
had
suffered
from
a
lot
of
out
migration
and
development
and
that
sort
of
thing
I
used
to
describe
it
as
a
neighborhood.
That
was
easy
to
not
notice,
because
it's
very
long
and
thin
and
you
could
drive
through
it
and
not
even
notice
it.
G
Most
of
the
single-family
homes
in
the
area
were
actually
the
zoning
had
been
changed,
RMF,
35
and
45,
and
which
we
discovered
and
initiated
a
master
plan
amendment
and
actually
had
the
bulk
of
the
neighborhood
rezone
back
to
our
5000
or
single-family
homes,
which
is
why
I'm
saying
it
was
essentially
zoned
out
of
existence.
It
was
a
hundred
and
ninety-one
homes
which
was,
and
the
largest
down
zone
in
Salt,
Lake
City's
history
by
a
factor
of
ten.
G
Another
thing
that
we
decided
to
do
was
you
know
this
is
one
of
the
oldest
neighborhoods
in
the
city
in
many
of
the
homes,
if
you
could
like
beam
them
up
in
the
avenues,
people
would
say
what
a
wonderful
little
Avenues
house
that
was
and
I
actually
served
on
this
illustrious
Commission
that
you're
on
from
2009
to
2013,
so
I
know
the
value
of
a
historic
preservation,
and
so
this
Boulevard
Gardens
is
one
of
the
most
complete
courtyard
garden
developments
left
in
the
state
of
Utah.
That's
essentially
unaltered.
G
G
G
You
know,
other
things
that
we're
doing
in
the
neighborhood.
We
did
a
lane
realignment
on
17th
South.
You
know
the
CIP
grant
provide
a
little
commercial
node
for
the
neighborhoods,
so
I
think
it's
we've
been
very
successful
at
improving
the
neighborhood,
and
this
is
this
designation
is
one
aspect
of
them.
We
hope
actually
to
do
an
expanded.
G
G
It
was
very
opportune
that
he
was
because
normally
to
do,
reconnaissance
level
survey
requires
funding,
which
community
councils
generally
don't
have,
with
a
few
exceptions
like
The
Avenues,
and
so
he
did
a
very
thorough
reconnaissance
of
the
area
which
are
the
recipient
of
the
staff
report.
So
that's
all
I
can
think
about
pants
of
any
questions.
Taking
great
thank.
A
B
Hi
I
guess
I'm
the
only
one
here,
that's
against
being
on
the
National
Historic
Registry
I
am
honestly
wondering
why
we
were
here
that
to
begin
with,
because
I
thought
this
would
have
ended
at
the
national
historic
board.
Meeting
on
Thursday
October
25th
at
1:00
p.m.
can
you
tell
me:
is
this
normal
as
it's
normal
to
come
here
after
the
national
historic
order?
I'll.
B
Against
it
then
been
mentally,
we
do
not
want
to
be
on
the
Historic
Registry.
We
don't
want
to
have
it's
our
house.
We
don't
want
to
have
to
go
for
what
the
previous
homeowner
just
had
to
go
through
of
going
through
councils
and
committees
to
see.
If
we
can
remodel
our
house
or
put
a
roof
or
a
thing
on
top
of
our
house
or
get
a
garage,
we
don't
want
to
go
through
any
government
planning
things
to
go
through
now.
M
B
B
A
C
Thanks
for
the
time
amigo
Gonzalez
I
live
on,
81
West,
Boulevard
gardens
have
lived
there
for
about
three
years,
discovered
his
charming
little
neighborhood
that
everyone
loves
and
I
think
it
has
all
the
qualities
to
be
preserved
to
be
on
the
register.
I
support
the
decision
if
it
was
for
work,
I
think
we
live
in
a
wonderful
place
where
work
almost
forced
to
interact
with
your
neighbors,
which
is
something
that
you
don't
have
a
lot
anymore.
So
I
think
that
it's
something
worth
preserving
something
I
mean
you.
You
just
have
to
deal
with
your
neighbors.
C
A
A
Jake
Strickland
in
support
Joe
Nelson
in
support
Geoffrey
Curry.
Is
it
in
support,
Deborah,
Wofford
and
support
and
Jillian
Olmstead,
very
good?
That
was
easy.
Is
there
anyone
else
that
would
wish
to
come
forward
and
speak
okay?
In
that
case,
we
can
yes,
please
come
forward
and
state
your
name
speak
into
the
microphone
for
us.
Please.
My.
J
A
J
This
I
might
be
I'll,
say
uniquely
qualified
at
least
I've
had
the
experience
so
in
previous
careers.
I
managed
the
National
Register
program
from
this
Utah
State
Preservation
Office
and
then
for
a
number
of
years
managed
the
renovation
tax
credit
program,
and
so
let
me
just
address
those
really
briefly
try
to
address
some
of
your
concerns
and
try
to
clarify
the
National
Register
nomination
is
a
state
/
federal
process.
It
is
independent
of
City
operation,
the
city
this
body
is
contacted
because
Salt
Lake
City
is
what
is
known
as
a
certified
local
government.
J
J
As
Paul
said
this,
the
federal
designation,
the
National
Register
designation,
does
not
mean
that
you
return
to
this
committee.
That's
only
if
the
bowl
of
our
gardens
were
to
follow
a
separate
process
and
become
a
city,
historic
district.
That's
the
important
thing
now
National
Register
listing
does
not
come
with
constraints.
J
It's
that
you're
still
able
to
modify
and
stand,
sell
your
house
and
do
what
you
wish
to
do.
What
it
does
come
with
is
an
incredible
incentive
program
that
allows
residential
properties
to
be
renovated
to
certain
preservation
standards,
which
is
what
we've
been
discussing
here
this
evening.
What
we
use
in
our
committee
and
renovations
I
believe
some
of
the
numbers.
Sometimes
it's
been
a
few
years.
$10,000
worth
of
renovation
work
over
a
three-year
period
that
meets
this.
Those
standards
can
qualify
for
a
20%
state
income
tax
credit.
J
J
There
are
modest
things
on
these
buildings
that
that
could
use
renovation
work,
the
tax
credits,
those
tax
credits
are
available
for
exterior,
as
well
as
interior
work,
I'll
state
that
I
just
I
own,
a
historic
home
in
central
Utah
and
I
just
put
a
new
furnace
in
that's,
going
to
qualify
for
the
tax
credits,
which
is
sort
of
a
pretty
sweet
deal
for
owning
a
historic
home.
Anyways
I
hope
that
helps
I'd
be
happy
to
talk
to
you.
After
about
it,
a
little
bit
more
if
you'd
like
but
I've,
said
my
spiel
okay.
M
M
In
other
states
that
may
be
different.
If
you
live
in
nantucket
town,
you
can't
paint
your
front
door
without
approval,
we're
very
different
here
I.
This
did
go
to
state
history.
Last
week,
I
was
there
and
it
was
approved
by
the
board
of
state
history.
So
this
our
recommendation
will
be
forwarded
to
the
shippo
on.
If
it's
positive,
this
will
continue
on
its
March
towards
National
Register.
Nomination.
I
would
like
to
bring
up
a
couple
things
that
came
up
at
state
history,
which
are
quite
interesting,
one
is
was
a
legal
thing,
a
couple
legal
things.
M
M
He
had
a
variety
of
styles:
he
designed
the
Unitarian
Church
in
the
colonial
Neal
colonial
style
and
the
Northwest
pipeline
building
the
old
Public
Safety
Building
in
the
modernist
style,
very
prolific,
man
very,
and
he
chose
to
design
this
and
what
we
call
today,
the
new
urbanist
style,
which
we
see
out
a
daybreak,
but
any
great
this
one
under
construction.
Just
as
the
market
crashed
in
1929
and
I
like
many
projects,
it
ended
up
on
bank
receivership
and
they
sold
off
the
properties.
M
The
properties
are
on
fee,
simple
and
I'm,
going
to
mention
that,
because
of
that,
it's
relative
to
the
central
space,
so
it
can
visualize
looking
down
the
central
space
that
each
property
line
goes
right
down
the
middle
of
that
grassy
Boulevard,
and
that's
why
each
area
looks
just
slightly
different.
Some
people
have
installed
sprinklers
out
there.
People
handle
it
differently,
but
overall
has
that
beautiful
park-like.
Look
that
is,
has
created
this
absolute
gem
in
our
city.