falling. I called 911 and they took him to the doctor's hospital and that's a very good place. Yeah. And the care there was great. They have an orthopedic up there. They knew what they were talking about. physical therapy. Um,
starting the day after surgery, you need to stand up. He went to Are we good? Okay. Good afternoon. Welcome to the regularly scheduled meeting of the city of Coral Gables
Historic Preservation Board. We're residents of Coral Gables and are charged with the preservation and protection of historic or architecturally worthy buildings, structures, sites, neighborhoods, and artifacts which impart a distinctive historical heritage to our city. The board is comprised of nine members,
seven of whom are appointed by the commission, one by the city manager, and the ninth is selected by the board and confirmed by the commission. Five members of the board constitute a quorum and five affirmative votes are necessary for the adoption of any motion. I'd like to introduce the members here on the
board. To my left on the far right is Mr. Dana followed by Miss Ever, Miss Rolando, Mr. Silva. On my right, Miss Spain, and Miss Alvarez. Lobbyist registration and disclosure. Any person who acts as a
lobbyist pursuant to the city of Coral Gable's ordinance number 20 number 2006-11 must register with the city clerk prior to engaging in lobbying activities or presentations before city staff, boards, committees, and/or the city commission. A copy of the ordinance
is available in the office of the city clerk. Failure to register and provide proof of registration shall prohibit your ability to present to the historic preservation board on applications under consideration this afternoon. Lobbyist is defined as an individual,
corporation, partnership, or other legal entity employed or retained, whether paid or not, by a principle who seeks to encourage the approval, disapproval, adoption, repeal, passage, defeat, or modification of any ordinance,
resolution, action, or decision of any city commissioner. Any action, decision, recommendation of the city manager, any city board or committee including but not limited to quasi judicial advis quasi judicial advisory board, trust
authority or council or any action, decision or recommendation of city personnel during the time period of the entire decision-making process on the action decision or recommendation which foreseeably will be heard or reviewed by the city commission or a city board or
committee including but not limited to quasi judicial advisory board trust authority or council. Presentations made to this board are subject to the city's false claims ordinance chapter 39 of the city of Coral Gable city code. I now officially call the city of Coral
Gable's Historic Preservation Board meeting of May 14th, 2025 to to order. The time is 4:10 p.m. I've already introduced to you the members of our board and so I'd like to
and we also have with us our city staff, Miss Carrick and city attorney uh Miss Stephanie. Okay. I'd like to call for the approval of minutes for the meeting held on April
whatever the minutes date was. April 10th. Yes. The minutes of April 10th. Have a motion by Mr. Silva. Second, please. Second by Miss Apert. Okay. All those in favor? I. Motion passes unanimously. Notice regarding exparte
communications. Please be advised that this board is a quasi judicial board and the items on the agenda are quasi judicial in nature which requires board members to disclose all exparte communications. An exparte communication is defined as any contact,
communication, conversation, correspondence, memorandum, or other written or verbal communication that takes place outside a public hearing between a member of the public and a member of a quasi judicial board regarding matters to be heard by the quasi judicial board. If anyone has made
any contact with a board member when the issue comes before the board, the board member must state on the record the existence of the exparte communication, the party who originated the communication, and whether the communication will affect the board member's ability to impartially consider
the evidence to be presented regarding legal matters. Deferrals. Do we have any deferrals today? No, there are no deferrals today. Okay, we're going to swear in any persons in the audience who will be testifying or speaking on behalf or against something
today, please rise to be sworn in. Thank you. Okay, we're going to move on. Mr. Chair, I I do believe we have someone on Zoom if we could swear them in as well. Okay. Right hand to be sworn. Do you swear the testimony you're
about to give should be the truth, the whole truth, and nothing but the truth, the hope beyond? Thank you. Okay. No changes to the agenda. Okay. We're going to then open up with local historic designations. Okay. Local
historic designation um number 258940, case file LHD 2025-00003. Consideration of the local historic designation of the property at 826 Medina Avenue legally described as
lot 5 block 4 Coral Gables Granada section revised according to the plat thereof plat book 8 page 113 public records Miami date. Thank you. Uh it if you can please or CTV if you can please play the PowerPoint.
Oh, do you want Elizabeth? Miss Gwyn, if you could please um state your name and um introduction for the record. CGTV, can you 826 Medina Avenue is before you for consideration for designation as a local historic
landmark. The historic significance determination application was submitted by the owner at the request of the board of architects. The single family home was designed in December 1925 by architect Martin Hampton.
As per article 8, section 8-103 of the Coral Gable zoning code, criteria for designation of historic landmarks. A local historic landmark must have significant character, interest, or value as part of the historical, cultural, archaeological, aesthetic, or
architectural heritage of the city, state, or nation. For designation, a property must meet one of the criteria outlined in the code. 826 Medina Avenue is eligible as a local historic landmark based on three
criteria. Historical cultural significance criteria four, it exemplifies the historical, cultural, political, economic or social trends of the community and architectural significance. Criteria one, it portrays
the environment and of history characterized by one or more distinctive architectural style. And criteria two, it embodies those distinguishing characteristics of an architectural style or period or method of
construction. The property at 826 Medina Avenue is on a 50ft by 100 ft lot in the Granada section. On the property is a single family home and a detached garage with living quarters. Both were constructed in early 1926 and
they retain their original style and character to present date. Royal Gables was originally conceived as a suburb of Miami and attracted investors from across the nation during the South Florida real estate boom of the 1920s. Founder George Merrick drew from the
Garden City and city beautiful movements of the 19th and early 20th century to create his vision for a fully conceived Mediterranean inspired city. It is now considered one of the first modern playing communities in the United States. The city's developmental history
is divided into three major historical periods. During the initial developmental period, architectural design specifically combined elements commonly used in Spanish Morse and Italian architecture and is now known as the Mediterranean Revival
Style. The home at 826 Medina Avenue was designed by Martin Hampton, a member of Merik's design team. It espouses Merik's Mediterranean ideals and is an early example of what is now known as the Coral Gable's Cottage.
The 1921 map on the left shows the layout of Coral Gables when the lots first went on sale in November of 1921. Initial sales were the direct vicinity of Merrick's homestead in section A, circled here in red. Sales were very successful and the remainder
of the land was divided into sections B through I, as seen in the map on the right, and offered for sale through 1922. As sales took off, Merrick looked to expand his land holdings. Records indicate that he spended a tremendous
amount of time extending his holdings north to the Tamiami Trail in the area highlighted in purple. Note that he initially only held the lots on either side of Granada Boulevard, denoted as section F. By fall
1923, section F, which is highlighted here in green, was significantly expanded. Merrick renamed the area the Granada section and redirected hundreds of workers to lay street sidewalks and water manes. In the Granada section, Merrick
began to develop streetscapes following guarded city presets, which accommodated housing for various incomes. Unlike earlier sections, it was platted with large areas allocated for smaller, moderately priced homes. To showcase his vision, Mayor
commissioned architects H. George Fink, Martin Hampton, and Lewis Braum to design 58 Mediterranean inspired homes to demonstrate that though smaller, the moderately priced homes in Coral Gables would have the same quality construction
and aesthetic as the larger homes. Merrick stated that these 58 homes would quote embody new and radical departures from the usual type of small house designing with compactness, beauty, and comfort that will appeal to smaller
families. Each home will be a different finely detailed design. End quote. The one-story homes were the first of what later would be classified as the Coral Gable's Cottage. As intended, these homes provided a
model for and in sparked interest in building moderately priced homes. 826 Medina Avenue was one of the smaller homes that followed. Commissioned by real estate investor JM Shapiro, it was permitted in December of 1925 and under
construction by mid January 1926. This moderatelysized one-story home was designed by Martin Hampton, who as just mentioned was a member of Merrick's original design team who crafted the Mediterranean aesthetic in the city and was also one of the three architects
Merrick hired to design the first homes in this genre. Hampton designed the home at 826 Medina Avenue as a two-bedroom home with front screen porch and a rear screened entry and sleeping porches. The detached garage also provided a
maid's quarter. The original plans have not been located to date. Merrick chose to develop Coral Gables as a Mediterranean inspired city because he felt that this type of architecture harmonized best with the South Florida's climate and lifestyle.
The home includes many character-defining features of Mediterranean Revival style which include but are not limited to those shown here and are discussed in further de detail in the historic designation report. Of particular note are the
decorative columns supporting the arches on the front porch bay, the belelfrey inspired chimney, the combination of roof types with the pitch roofs clad and barrel tile, the textured stucco, the masonry swooped hood and coral entry
ensemble and the wing wall. The one-story house is built of masonry block units above a crawl space and is clad in texture stucco. Rectangular in plan, the living space is primarily under a flat roof with simple
parapits. The street facing pitched roofs are clad with barrel tile. The tile was originally a two-piece barrel tile. The current S tile was installed in 2020. The windows throughout the home are recessed with protruding
sills. On the side facades, the original decoratively arranged round vents above the windows remain extant. Building permits indicate that the original casement windows were changed to jealousies in 1958. Currently, the windows are
predominantly awning in type with a few single hungs at the rear of the home. The hermits for these later windows have not been located to date. The asymmetrical front facade has two bays, an entry bay under a salt box
gable roof and a shed roof bay that originally was the screened front porch. The front door is centered under the gable end of the salt box roof. Above the front door is a masonry swooped hood with a molded base set on scrolled
corbals. In the gable face above the hood is a circular vent with a smoothaced frame. At the northwest corner of the home is a wing wall that visually continues the asymmetry of the salt blocks roof and also aids in extending the street presence of the
cottage. As seen in the circa 1945 historic photo, the wing wall was a stepped configuration. It was altered at an unknown date. Rising near the juncture of the three roofs is a distinctive bell tower inspired chimney. The slender
rectangular chimney with the cutout openings and gable roof cap is reminiscent of a mission belfrey. Until recently, the cap was clad in barrel tile. The front porch bay has a series of round arched openings with three
facing the street and one on the east side facade. The street facing arches are supported by decorative columns and sit on a molded sill similar to the entry hood base. The original screen porch, as seen in the historic photo, was enclosed in
1958 with the installation of jealousy windows. The arched portions were partially infilled to accept the rectangular windows but retained the arched recess, hence keeping the fenistration pattern on the front facade.
On the east facade, as seen in the left photo, the rectangular portion of the opening has been infilled at an unknown date. However, the arched recess and the sill are extent, thus marking the opening. Except for the window type
change, the side facads retain their original configurations. The rear facade has a protruding bay that likely comprised of two screen porches, a back entry porch and a sleeping porch. Both were enclosed for living space at an unknown date. The
sleeping porch is last mentioned in a 951 sales ad. Hence, it's likely that it was enclosed in 1958 during the awning window campaign. The screened opening of the sleeping porch was reduced, but the change of the
stucco textures clearly elucidates the original opening. A detached garage accessory building is located at the southwest corner of the property. It contains a onecar garage space and living quarter space and a storage room addition.
The change in stucco indicates the size of the vehicular opening was reduced in height. The adjacent living quarters is likely original to the structure. In the early 1930s, rental ads described the garage as including a servants quarters. In the 1940s, it was
allocated as a rental unit for military personnel. It remains a living space today. At the southeast corner of the accessory building is a small storage addition that was permitted in 1988. In
conclusion, constructed in early 1926, the single family residence at 826 Medina Avenue exemplifies founder George Merik's vision for a Mediterranean inspired planned city. In late 1923, Merrick purposely platted the Granada
section following Garden City precepts of offering housing for different level incomes. He commissioned moderately affordable homes to showcase his intention that though smaller, these homes would also have the same high quality construction and features as other
structures. As intended, these initial homes led to building of modest residences in the Granada section as well as throughout the city. Many of these homes are now classified as a Coral Gable's cottage. 826 Medina Avenue was one of these
homes. The architect of 826 Medina Avenue was Martin Hampton, a member of Merrick's original design team. He aided in crafting the Mediterranean aesthetic in Coral Gables. Hampton was also one of the architects handpicked by Merrick to design the first of the cottages and he
played a significant role in development of this genre in the city. 826 Medina Avenue is representative of Hampton's Mediterranean Revival style and work in the cottage genre. The property at 826 Medina Avenue
retains its historic integrity and significantly contributes to the historic fabric of Coral Gables. It is part of a collection of quality residences built during the Land Boom era that contributes to the city's sense of place over time. Staff recommends approval of the local
historic designation of 826 Medina Avenue based on its historical, cultural, and architectural significance. Um, so this application came to us uh from the board of architects as a significance determination. We are in favor of the designation. I don't believe the owner
is on Zoom or here. Um, but we have been working with them to uh uh guide them through the process and they will probably be coming before you for a COA in the near future. I'm sorry. So, there's no objection by the owner. No, not that we're aware of.
Thank you. Okay. Is there anyone else in the audience that wishes to speak um in favor of this case this time? Anyone who wishes to speak in opposition? Okay. If not, we'll close the public hearing. Board members, any
discussion? I'm in favor of the designation. It's a great house. It has everything that a cottage uh has. has an extra living space that's legal in the back. Takes it all off. No, you can't get
mouth. That's very cool. I'm obviously in favor of the designation. What an improve and what an improvement. And what an improvement from the 1980 picture. I mean, really, somebody's really spent a lot of time on this one.
Yes. Love it. I love it. Yeah. Martin Hampton was a very significant architect in this community. I mean, designing things from um the u administration building and and finally hotel in Miami Springs that we
all know. Plus, he did the original city hall in um uh Miami Beach and a number of other buildings. Hampton did a very interesting building in downtown Miami for the um Realy Securities Corporation which was owned by Hugh Anderson and or
the Shorland Company which is owned by Hugh Anderson and um you'll all notice that Anderson Road here where you live um is in that honor. Okay. Any further discussion about this? I have a question for staff. Just a question. I think the house looks great and they did a nice
job. um the arch windows in the front. If they were ever to change those in the future, would we ask them to go to like a full arch? We think it would help significantly. Yeah. Because it sort of it cuts the arch in a weird place and it's such a beautiful long I think it's all that's missing is is those three front windows. If they could do that,
that'd be great. But it's a beautiful house. Yeah. Any further discussion? If not, I'd like to have a motion, please. I move that we approve the local historic designation of 826 Medina
Avenue legally described as lot 5 block 4 Coral Gables Granada section revised based on its historical, cultural and architectural significance. Thank you, Miss Bondo. A second, please. I'll second it, Miss Alvarez. Okay, we have a
we have a motion by that was Miss Spain. Miss Spain, are you throwing your voice to cover for Miss Albert? I am. I apologize. Okay. Motion by Miss Rolando. Second by Miss Spain. Please call the question.
Miss Alvarez. Yes. Mr. Durana. Yes. Mr. Garcia Pon. Yes. Miss E ever. Yes. Miss Rolando, yes. Miss Spain, yes. Mr. Silva, yes. And Mr. Maxwell, yes. Let
the record please show that Mr. Garcia Pon has joined us. Okay. Next file is 258941 case file LHD uh 20
2024-015 and COA SP 2025-1 0 for the consideration the local historic designation of the property at 2716 Cordova Street legally described as lot 12 and the east one half of lot 13
block 15 Coral Gable section According to the plat Plat book five, page 102, public records, Miami date county. The applicant is also requesting the issuance of an accelerated special certificate of appropriateness and design approval for additions and
alteration to the residence in site. A variance has been requested from section 2-101D4 C of the Coral Gables zoning code for minimum rear setback. So, we're only taking the designation at
this point. Two separate items, two separate votes and stuff. Mr. Chair, I'm sorry. I don't know if this is on. Can you hear me? Thank you. I just wanted to, if you don't mind, before Miss Carbell comes up, give you a little bit of the procedural posture of where
we are with this designation. It's coming to you in a little bit of a different format than it normally does. So, if you'll indulge me with just giving you a little bit of background. Of course. Um the city's historic preservation staff issued a um significance determination letter to the property owners um a few months ago at
this point um providing that it did not meet historic significance determination by staff. It was appealed by a third party not the property owner who is presenting today the designation um for your consideration. The standards are the same, the code provisions are the same
but it is not staff bringing forward the um application for designation. as a third party. So I just want to make sure that you all are aware that the standards are the same. It's the same criteria. U Miss Carbanell has prepared a report which is part of your packet which should address the same points that a staff report would be. So I just
wanted to make that clear. And as Miss Couts pointed out, the applicant has prepared an accelerated SOA. So should there be a determination made today as to the significance of the property, um we will then move to that item. But I just wanted to be clear that it will not
be um historic preservation staff um providing a designation report or information about the property. They are of course here to answer any questions as needed, but I just wanted to make that clear. Thank you, Miss Toothaker. Okay. Can we have the presentation? So, it's the uh it's the Miss Carbell is
the one presenting the Carbell. Would you like for your consideration? I I'm curious. There's there's a staff report that appears to have been prepared by the city staff. That's for the that's for the accelerated certificate of
appropriateness. So, okay. Um after after the designation or the determination was appealed and and they submitted a designation report, um the homeowner, the current homeowner, um it was sold uh decided to work within the parameters of being historic even though
it wasn't already. So we've prepared an accelerated COA in the anticipation or in the abundance of caution that if you designate the building, we will take the COA forward at the same meeting. And is it this report that was prepared for the
designation? Yes. Yes. Okay. Miss Carbonel, can you hear me? Okay. Um, the significance determination letter was included in in our agenda item and I was under the impression that now
uh that there needed to be a reason why it didn't meet the criteria. Is am I wrong on that? The backup materials are to be made available to requesters who want to know what material was considered in making that destination and I believe those materials were
presented um and provided as requested. Well, we don't have those materials in our in our file. I believe they're referenced in the um designation letter and I I would assume and I won't answer for Miss Carbonel that many of those same um materials were used in her
determination her staff staff report as well. Okay. It's her application. So, she provided what materials she thought were I understand, but I'm curious as to why staff thought that it did not meet the criteria. Uh, and if they had backup
material to support the letter that they wrote, I would I would like to see that. That's what I'm asking. Okay. So, noted. Would you like Do you need me to respond? Pardon me? You want me to respond? I would love that. Um, I did not write the determination. I was not
consulted on the determination. Um, but it was issued with whatever research uh the director had pulled. Um, which is what Miss Carbonel referenced when she pulled down to make her determination. So, it's available online. Um, all of the determinations are posted on our web
page. I saw that. And is the material also online? Yes, there's a link to there's a link to both the letter and the backup material that that was used. Thank you. But again, that was not presented as part of the application today. So, I would ask that you only consider the information provided today. I get it. Thank you. Thank you. Okay.
Miss Carbonel, would you please come forward? State your name and address. Thank you for coming today. If you can put the PowerPoint back up, please if there's going to be somebody presenting on Zoom on behalf of the um
the applicant, they need to be sworn in. They need to be appearing on camera and provide um provide that testimony and be sworn in. He's on. Is there somebody on Zoom um asking to speak?
Miss Carbonel, in the meantime, please state your name and address for the record. I lost a little thing. Okay. Um, good afternoon everyone. U most of you know me but my name is um Gelia
Martinez Carbonel and I am president of the historic preservation association of Coral Gables and um what I'm going to do is I'm going to give a little brief history about our organization sort of credential the organization then I will
read a letter from our histori uh architectural historian who is supporting this uh designation. and then um Dr. Gillis will jump in and then he will go through the report.
Okay. Our organization was established in 1991. Um we have uh really in the last um over three decades we have um had have built a solid past um but
also uh a very solid present and future. Our mission, we're actually living our mission right this minute, is to promote the importance of historic resources and
their preservation. The Historic Preservation Association of Coral Gables started out as a historic homeowners association of Coral Gables and routinely provided owners of local historic houses with a resource list to
provide assistance with the renovation of their historic home. In 2008, the group embarked on a new direction and embraced a new mission, prompting the name change, the
Historic Preservation Association of Coral Gables. In over three decades, HPACG has achieved outstanding success in historic preservation efforts. In carrying out its mission,
HPACG has effectively communicated the value of historic preservation to its membership and the larger community. Through its promotional activities, HPACG has exhibited leadership in issues
of importance to historic preservation and has established itself as one of the leaders in statewide preservation advocacy. The Historic Preservation Association of Coral Gables has taken an active role in partnering with the
city's historic preservation efforts. Members of our organization have been active in supporting applicants for special certificates of appropriateness variances from the zoning code the and the determination of
historic designation. Moreover, HPACG disseminates information of the local tax incentives available to owners of historic properties. Now, I'd like to read you a
quote from a former HPACG board member and the past architectural historian for the National Register of Historic Places. and he observes quote without
reservation it is a highly apparent that the historic preservation association of Coral Gables has demonstrated superlative achievement in the field of preservation and has espoused the national trust for historic
preservation's ideal to save America's historic places the focus of HPACG throughout its existence is indicative of its desire to protect properties that convey special sense of
time and place. Now I will read and I you have it on in your packet but it's uh from Dr. David McKini and he wrote a letter of support and I'd love to read it into the record
and this is regarding 267 2716 court of a street Coral Gables, Florida. And he says, "After reviewing the documentation of the residence at 2716 Cordova Street, it is clear that
the property possesses the integrity of location, design, setting, materials, and workmanship to establish its historic significance and warrant its designation in accordance with the city of Coral Gable's guidelines.
Although larger houses are frequently deemed iconic and attract the public's interest, smaller residences more often capture the character of the communities in which they are constructed and represent their
period. This is true of 2716 Cordova Street. The residence is also illustrative of architect William Shanklin Jr.'s melding of traditional and modern elements in his domestic
commissions. In addition, its original owner, CC Patterson, while not an outstanding figure in the history of the city or the region, typifies the individual that was driving the development of this building type in
Coral Gables and across South Florida during the 1930s. In short, the residence is a snapshot of 1930s residential design in the region. Shanklin's influence on South Florida is
significant especially in small house design with his residences in Coral Gables, Miami Beach, and Miami Shores being designated according to these localities historic preservation criteria. In 1935, Shanklin opened his
own firm in Coral Gables, and his commissions in the city ranged from single family houses to commercial structures. His designs for residences received national attention and as stated in the Miami Daily News April
1939 brought laurels to both city and architect thus establishing the image of Coral Gables in the public's mind beyond the region. His residence for William Doxy was featured
in the April 1939 issue of House Beautiful. The Cordova Street residence demonstrate how this how his modern treatment and home building harmonizes with the old Spanish
style characteristic of Coral Gables. So he ends I hope this brief statement is helpful in the designation process and of course you have his curriculum vet uh in your
packet. I now uh sort of I I will conclude my presentation and introduce uh Dr. Brett Gillis. Is he on? Is Mr. is sworn in. When he comes up, please do so.
Here we go. Okay. Um, so just a little obviously we all know Dr. Gillis. He is a former HPACG board member and he will present the
designation report for 27 16. Thank you. Mr. Gillis, please be sworn in. Raise your right hand. Do you swear or affirm the testimony you're about to give should be the truth
of the truth and nothing but the truth of [Music] hope. CGTV, if we could please get assistance in um being able to hear Mr. He's in the car. Is it on his Excuse us. For those of you that are a little bit older, you'll remember in the
television station it said standby. We're having technical difficulties. I do remember that. Miss Carbonel, if we're not able to have the presentation, are you able to take over for that? Yes, I have the presentation. We might want to do that in just a moment. Just in the interest
of time, we'll give it just a couple of more minutes if that's all right with you. Mr. Mr. Maxwell, you're more than welcome to take a few minute recess if you'd like while we get this set up or if if that's your preference or we can just wait as you prefer. We we have a a reasonably lengthy agenda and I understand that there's there people
that have time certain. So, uh if it's if it's all right with you, Miss Carbell, you know, I certainly could pitch in. We all know we all know Mr. Gillis's qualifications. He's eminently qualified.
just and we're very respectful of his opinion. We we can wait a few minutes or you can proceed if you'd like. Why don't you just go on? Would you please? Okay. So, I'll start and if if he can then jump in. Um the uh so uh let me let me I'll go
right page one uh through the legal description of the residence is lot 12 east half of lot 13 block 15 coral gable section A according to the plat
thereof as reported in plat Book five, page 102 of the public records of Miami Dade County, Florida. This is for 2716 Court of Street, Coral Gables, Florida. It's the little house that
could Would you please pull the microphone down just a little bit closer to you? Thank you. Can you hear me now? Yes, ma'am. Is it okay? The date of construction it is uh the original
permit number is 5650 uh and it was originally 1101 Sevilla Avenue. So again it was the address is there's a little change there. The date of construction 1938. The original architect William Shanklin Jr. The
original builder George E. Bachelor. It's a one-story single family residence. The architectural style is minimal traditional and the site characteristics. The property is located
on the northwest corner at the intersection of Cordova Street and Sevilla Avenue in the city of Coral Gables, one block from the historic Dodto Fountain and Venetian Pool in the iconic Builtmore neighborhood.
And this is a report for a signific for determination of significance. The single family residence at 2716 Cordova Street was designed by architect William Shanklin and constructed by builder George
Bachelor in the minimal traditional style. Permitted and built in 1938, it is amongst the very few homes constructed in the city in response to the ethos of the lean great depression
New Deal era. As construction in the Gables began to slowly uptick once again after the devastating Great Miami hurricane of 1926, stock market crash of
1929, great depression and resultant collapse of the great Florida land boom of the 1920s. The 1930s brought about a significant shift away from the elaborate and ornate Mediterranean style
of architecture that predominated during the prior decade in favor of sleeker, simpler architectural treatment to match the times. In doing so, Coral Gables began to follow national housing trends that
responded to the economics and culture of a new architectural era, resulting in the construction of minimal traditional homes. Acclaimed architectural historian Virginia Mallister
affirms the minimal traditional house was a wellstudied and thoughtful response to the most challenging conditions ever to affect home construction in the United States. End of quote. thoughtfully acknowledging the
city's quaint old Spanish and Mediterranean foundation while embracing modernistic tones and beauty and simplicity. The residence at 2716 Cordova was one of the first homes in
the city to explore this style and in doing so ushered in the spirit and sensibilities of a new era in the history of Coral Gables. It retains its historic integrity and serves as a
visible reminder of the history, cultural heritage and architecture of the city. To qualify for designation as a local historic landmark, the Coral Gable zoning code states that individual properties must have significant
character, interest or value as part of the historical, cultural, architectural, aesthetic, or architectural heritage of the city, state or nation. Furthermore, a property must meet at
least one criteria outlined in the code to be historically designated. 2716 Cordova meets three of the criteria. Historical cultural significance criterion
four exemplifies the historical, cultural, political, economic, or social trends of the community. And architectural significance criterion one portrays the environment in an era of history characterized by one or more
distinctive architectural styles. And criterion two embodies those distinguishing characteristics of an architectural style or period or method of construction. The clo the code
clearly states that if the property meets the criteria then the historic preservation board shall designate the property as a local historic landmark. Therefore, be it resolved that 2716
Cordova should be designated as a local historic landmark based on its historical, cultural, and architectural significance to the historic fabric and built environment of the city of Coral Gables. As part of the unique collection
of resources that captures the city's spirit in the era in which it was constructed, this residence portrays the city's history and sense of place over time and is a valuable nonrenewable
historic and environmental resource that should be preserved. Introduction Coral Gable's Register of Historic Places. Preserving the city story. The built environment reflects the beliefs, values, creative
expressions, and technical capacity at a place in time in history. Historic preservation conserves those structures and spaces that tell the story of the community's historic past. The local landmarks that comprom that
comprise the Coral Gable's register of historic places portray the city's story of progress, change, and preservation. They are valuable nonrenewable resources that embody our
collective heritage. The retention of these tangible touchston provides a sense of community, identity, evolution, ownership, and place. In other words, these historic resources provide
continuity and context and thus form the foundation of the city's identity. Coral Gables is a certified local government and as such must maintain a register of historic places and abide by
associated preservation standards. The city of Coral Gables participated in the certification process jointly administered by the National Park Service and the state historic preservation offices to become
recognized as a certified local government. In doing so, the community gains access to benefits of the program and agrees to follow required federal and state requirements. The city of Coral Gables
was certified in 1986 and was one of the first cities in Florida to become a CLG. As a CLG, the city is required to identify and protect those resources that contribute to the
story of the city over time. Okay. Furthermore, the city must abide by the federal regulations as put forth in the secretary in the secretary of the interior's standards. Now, you'll see the map where the uh can
you summarize a little bit on here? We've received the report that you in in the packet. Yes, Mr. Chair, if I can just chime in for a minute. We're still working with it. There's a an issue with the sound in this room, but separately. It looks like
Mr. Gillis's um signal is very weak and they're not receiving an audio from him, but they're they're continuing to work on it. So, if you hear someone jump in, we can just continue for the for the sake of time. I just don't I I don't want it to, you know, I don't want to rush through it
and I don't want it to affect the ultimate um obviously vote, but I will see what is significant. We have that right. You have it. That's what we read. Okay. Let me just go through
I do want to um point out that uh the architect William Shacklin has 14 of his works designated in Coral Gables. So he is really one of
the major architects really wanted to put that in there. By the way, the report was very good. Thank you. Thank you very much for putting that together for us. Well, it was um Dr. Gillis was very much a part
of it. Dr. Gillis is always does good work. He does. perhaps you give us the uh the summary of the um uh significance you know in relation to the code and then we can uh so I'm going to read the conclusion and then we'll be thank you
we'll be done Um, okay. So I'm just going to finish this by saying in 1921 founder George Merrick said Coral Gables is not a thing of the moment of
the year or even of the passing period but a wonderful monument to the achievement of worthwhile perseverance in the creation of beauty and the bringing true of dreams that
will as solidly endure and as beautifully and bountifully age as does the everlasting coral upon which this master development is founded.
2716 Cordova Street is part of this history, part of this culture, part of this architectural heritage. the tapestry of Coral Gables. And like the little engine that
could, this minimal traditional house is the little house that could. It hadn't been over the mountain and wasn't sure what it was capable of, but in its simplicity and compassion for its era,
it was successful and has stood the test of time, just like the little engine. So our recommendation is for approval of local historic landmark designation of the residence located at 2716 Cordova Street
in Cordo Gables based on its historical, cultural and architectural significance. Thank you. Thank you and thank you for bringing this to us. It's very important. Thank you. So thank you very much.
Has any member had any expporte communication or site visit to this? I will say that I have met the former owner who passed away. I've seen this house and lived close to it for a number of years, but that does not figure into any part of my decision making. Anybody
else? Okay. Thank you. Okay. Is there anyone in the audience to wish? Nope. In addition favor to this. Mr. Chair, if we could um take a moment of your time to try the Zoom again. We Mr. Gillis has jumped back in, but I
just want to make sure if possible he has a chance to speak if we can. I I know Mr. Gillis is, you know, his comments are important. Uh I believe that that we we've seen most of this already and Mr. Gillis prepared an excellent report uh that we've all we've all read in preparation of this. Uh I
know we have the time certain for some people. So in the interest of that, may we move forward. Okay. Um, this count, do you have anything? Okay. Uh, board discussion. Hearing none. Can I see hear a
motion for approval? There we go. well written. Thank you. Uh I think the report was very very well written and and the points that it addressed and and that uh Miss Carbonel's presentation addressed um I think really cut to the to the
matter uh in terms of of this house having these character defining features that to me are very obvious and very clear um that it does meet the criteria for designation. Um, the report lists in detail these character defining features. I'm not going to go through
them all, but but they're all original and and most of them are still there, right? The brick work around the arches, the masting of the house is intact. Uh, this mix of full arches and and flat arches. Um, really the only thing that has been changed is is the window style
and and the the roof material. Um, which are easily reversible things, right? Um so so to me um based on on the designation report and what I see in these images and and uh what has been
presented as evidence uh I am I I would be comfortable designating this. I think it clearly meets the criteria. I mean honestly there's no question in my mind that it meets the criteria. Um thank
you Alvarez. Did you have a question? Um, does the homeowner or anyone um in the homeowners group have anything they want to add to this or Okay. No, we can add during our presentation,
but we're in agreement. We like the house. We We want to work with the house. Thank you very much. Those houses are making great things for architects. So, I'm sorry. Can you state your name and address for the record? I'm sorry. Peter Kiligian MPKS Architects 1330
Northwest 84th Avenue. Thank you. Uh I lived for 10 years in a 1939 house. I like the fact that that we'd be preserving something that there very few of of built in that period. So, okay.
Any other member of the board? Miss Rolando. Um if the board is ready for a motion, I'm ready to make one. I'd like to have your motion, please, M. Rolando. Okay. Uh, I move to approve local historic designation for the property
located at 2716 Cordova Street uh based on its historical, cultural, and architectural significance. And the legal description of the property is lot 12 in the east
half of lot 13 block 15 crow gables section A um platbook 5 page 102 then we were D county not Miami date Yay. Oh may I have a second please? I'll
second it. Yes. Very good. We have a We have a motion by Miss Rolando, second by Miss Spain. Would you call the question, please? Miss Alvarez? Yes. Mr. Dana? Yes. Mr.
Garcia Pon? Yes. Miss Ever? Yes. Miss Ranto? Yes. Miss Spade? Yes. Mr. Silva? Yes. And Mr. Maxwell? Yes. Thank you very much. Motion passes. The house is designated. So I I have another question
and I apologize. process. So, this letter to the homeowner was written on September the 12th, but it wasn't posted on the website until October something [Music] October. And so, what happened in
between there? They they got the letter, they they gay, it's not, you know, it's not designated. They went about their time and then once it's posted, that's when the appeal is able to that's when the clock starts. Yes.
Wonderful. And when and when is it and when is it posted? So, it should be posted as soon as possible after it's issued. There are some technological challenges with posting all of the backup material. We're looking at that. All of that has to be um accessible and OCR and that can be a very difficult um
technical task for staff to accomplish. So, we're looking at ways to do that faster or perhaps not provide the backup material online and wait for a request for that material. But um the hosting of the material online does take a significant amount of time to get prepared to do. So I think that accounts
for the delay in time. But I understand the frustration of a property owner or the public in that delay of time. And and when is the property actually physically posted? Because aren't we posting the property on the significance determinations? Oh, we're not just
online. It's all done online. Yeah. Postings are only um for hearings like this one today. for the significance determination. I'm still All right. Well, it's he it'll it's a great house. So, and he's not a very good architect, so
I'm sure it'll be turned up. All right. Moving on. I'm going to change the uh order here just a moment here. And I'd like to hear I'd like to move uh case file COA SP 2025 uh-011 for uh 112 Oak Avenue here to be
the first item under our special certificate of of appropriateness. If you could pull that up, please. Mr. Chair, just for the record, we do still have the outstanding item of the SCOA for the property we just heard. I don't know if you wanted to complete this property first or if you wanted to move on to another one. Up to you. I just
want to make sure it's clear. I think we should we should I think we should continue with the property. I' I'd like to move on right now. We can come back to that. I I requested that oak be moved up um because Mr. Prime is here attending. Um but I I had meant for it to be after the
accelerated. We can come back to the COA afterwards if that's the will of the board. Yes. Is that okay with everybody? So, we're taking the agenda item on Oak. Well, you know, we have the two Yes, we're taking them out of order right now because we have people here that, you
know, are showing up. Okay, we can do that and then we'll come back to it. Okay, thank you. If you can put the PowerPoint presentation for uh 126 Oak Avenue up, please. Oh, yeah. I'm sorry. Um, okay. We have
the presentation now for 25-8943, case file COASB 2025-011, application for the issuance of a special certificate of appropriateness for the property at 112 Oak Avenue, a vacant parcel with the with the McFarland Homestead subdivision
historic district legally described as lot A, block 3A, McFarland Homestead, according to the plat plat book five, page 81, Miami date, Florida. application uh request design approval for infill construction of a new single family residence.
Thank you. Um while they're pulling up the PowerPoint presentation, so the district was designated, the U McFarland was designated in 1989. It was the uh boundaries of the designation have been amended a few times. Um in 1998, the
boundary was amended. Um I believe it was the third time to specifically include the structure uh at 126 Oak. It was a contributing residence um a resource at the time of designation. A one-story woodframe bungalow uh constructed around 1929. Uh it was
located on the property. I'll get there in a minute. Okay, hold on. Uh in 2009, the Historic Preservation Board approved a request to demolish the structure because it was uh beyond repair. It had been so severely
deteriorated um that the board agreed to the demolition. It's been a vacant parcel ever since. Um they are coming forward now um uh still remains in the original family uh proposing a new twostory residence. No
variances are required as part of the application. Um it did go to the board of architects a few times at the at the we're getting there. Um it went to the board of architects a few times with some additional comments that have all been incorporated into the set that you saw
and was ultimately approved. Um we do have some uh conditions at the end that we do recommend approval with those conditions incorporated into any motion being made. I know
Can you please skip ahead to 126 Oak? Okay. Okay. Here we go. Thank you. Going the wrong direction people. Just this was part of my presentations. Just so you can see the house uh as it was in 1998 at the time
of designation into the district and in 2003 uh six years later it was demolished. So I'm now going to turn this over carefully. Up to you. If you please state your name and address for the record. James Smith,
architect, 7855 Southwest 104th Street. Kindly pull this down and and she's taller than I am. Thank you. My name is Jim Smith. I'm an architect JAS group architects planners. Some of you I know I've seen you here before for
a long while. Um I'm at 7855 Southwest 104 Street, Sweet 200 in Miami. um this residence um that we've been working on with staff and with the board of architects
for two and a half years and we've um finally gotten our preliminary approval from the board of architects um earlier this year. Um, we've addressed, as is stated in the letter, our letter of intent in their packet. We've, um,
addressed the few little cosmetic concerns that the board had in in the earlier meetings. Um, we've worked with them also to provide some advanced details of how we're planning to put the building together um, and representing
the the lo our interpretation of the local vernacular at the time, working with the historic staff. So, it's it's been a it's been a good working relationship. I'll see if this one's the right direction. This is um a two-story
residence as um outlined and is illustrated. This is um the view from Oak Avenue. By the way, this this lot presented a particular challenge because um it's a substandard in size. it's only 4,500 square f feet instead of the
minimum 5,000. So everything got squeezed. And um one of our last efforts in respect with the um board of architects comments was the carport that our client doesn't drive, doesn't
own a car. We have a carport. Um but we're not asking for variance to make the carport go away. But one of the things we had to accommodate on the property was a carport. Um that's the way the code is. We um we pushed the carport back another additional six feet
from the front so that it wasn't so um obvious on the on the front elevation. Um again this is um closeup of the front view um working with um modern vernacular materials that um
lend itself to um long-term use hurricane resistance. Um the house by the way is is all concrete block um and will have applied siding. There's this is not a woodframe house. So um we did our best to do that. I
wanted to make sure that that was not there was some point of confusion about the construction, but that's this is a CVS home with applied siding. Again, a view from the from the southwest. Um, many of you are familiar with where
this is. This is east of US1, North Grand Avenue, west of Douglas Road. Um this is because the building is pushed back from the street and we minimize the rear yard. Um the original design considers a a private internal courtyard
um for the use of of the resident by the way which is a family member um going back almost 100 years. His um site plan showing the reduced carport and also the setback from the street.
The last board of architects comments that we got, we we narrowed up the front porch. We made the front porch footprint smaller. Um this is the this is the street view. Um which unfortunately is a two-dimensional view, but
um these are all of our lot. This is again this is the floor plan of the house. Um very modest home. It's only It's a threebedroom, two bath elevations and some building
sections. Um the owner's representatives are here with me this evening, but the the owner is um traveling or um resident sometimes in California. So, this is um something that he's very interested in. We hope you find this acceptable. Thank
you. Are there any questions with Mr. Smith? And if you're using Hardy board, we're using Hardy PL plank. The cement board on top of the block on block. Yeah, it's
really the only way to do it. And do you have any issues with the conditions that are in the report? Not at all. You know, we we actually um worked with staff and with the board of architects. So, some of those are are presently those are all of those are
accommodated. I just had a question for for staff. Um had me a little confused because you had both the original COA report and the new one in there. Um but figure it out. Um but you did include that original COA um
for the application for demolition. Um were there any conditions put in place at that time? Nothing. So they they were granted demolition requests with no no condition. Thank you. And I did want to note that uh Carl Prime is here. Um we'd ask that they
reach out to the homeowners association prior to uh present presentation to you all. So, I don't know if you'd like to speak. I believe so. Please, if that's okay. Absolutely. Good afternoon. Please state your name
and your address, sir. Carl Leon Prime, 141 Florida Avenue. Thank you. Okay. Um, distinguished members of this board, good afternoon. Um, in my capacity as president of the Lola B Walker
Homeowners Association of Carl Gables, Inc., I'd like to say that we support this project. You know, they have been engaged with us and have given us updates and we are always pleased when descendants of pioneers return to the
area. That's a good omen. And so we give you we welcome this resonance. Thank you, sir. It's so nice to see you. I haven't seen you for a while. It's so nice to see you here. Thank you. Brought out by the best.
Is there anyone else in the audience that would like to speak in favor of this application? Okay. If not, anyone opposed? We're going to we can close that then and we'll come back here to the board. Okay. board questions.
I love this house. So noted, Miss Rolando. And I love the land proposed landscaping, too. Yes. I'd like to get one of the great Myrtles. Yeah. I'll have to talk to my renderer.
Are there any questions? I wanted to make a suggestion in addition to the staff comments, which I agree with. um would be for the applicant to work with the city architect and the historic department on some of the detailing. The um the overall project is um very nice,
but it seems like the the surrounds on the windows and the column capitals and the kind of the relationship of the beam to the column capitals could be more traditional. I realize the there's an effort to be more abstract, but just um it seems like it's almost there.
Well, they they actually that was one of the things we worked on at the board of architects on our third trip to the board was and we provided um a detail sheet which is in included in the set that you have specifically about those items. So, I mean we're here for a
preliminary approval and we can certainly work with staff and the board for a final approval, but these these details have specifically been tweaked. Is that about the Hardy board covering the ends on the surrounds of the windows? Well, we have a detail there on
um on that particular sheet. Is it on your part of your presentation or No, it is. Okay, you can put the PowerPoint back up, please. Thank you. These are window surrounds the board,
right? And these are simplified surrounds on the windows on the upper left on the upper left of this drawing. That's um these are all as worked out with with the board of architects. I mean if you have a a
specific detail that um we could address that could be something that we could um work with the staff. Anna, are you thinking a narrower surround? So typically the column capital is is smaller. Um could you
speak a little louder? So typically the column capital is smaller and um and then the beam is offset from the column capital. Right now it's it's um basically overhangs from the column capital. Um
so more I don't know fine-tuning it and I and I understand that you've been through a few steps through the board of architects. So, I don't want to um complicate matters, but I think it's um they're just like little tweaks that would just make it look more authentic, which is we can work with staff on that.
That'd be great. Anybody else hearing? None. I'd like to call for a motion. again. You don't have to, Miss Rolando. No one is forcing you. I can ask Mr. Toronto to provide one. I can do it.
Let's go, Mr. Toronto. All right. um put forth a motion to approve with the conditions noted above design proposal for info construction of a new single family residence and site work on the property located at 126 Oak Avenue uh a vacant parcel within the McFarland
Homestead Historic District uh legally described as lot 8 block 3A. Um and we also approve the issuance of a special certificate of appropriateness with the conditions noted above. Do we need to read the conditions or it's fine? No, I just want to clarify if you'd like
Anna's suggestion to be a for a formal condition number seven six six. Okay, including that one if that's to work with staff for for staff to work with um the applicant for the columns and the beams.
Second. Okay. Second by Miss Rolando, would you please call the role? Miss Ever? Yes. Miss Spade? Yes, Miss Alvarez. Yes, Mr. Garcia Pon. Yes,
Mr. Duranna. Yes, Miss Ranto. Yes, Mr. Silva. Yes, and Mr. Maxwell. Yes, Mr. Smith. It's an excellent design. Thank you very much. Appreciate it. Congratulations presentation. All right, we're going to take the board back. We're going to go back to um the COA uh
portion of case file LDH 2024-015 and the COA SP 2025-1-0 for the con. Okay. And um the applicant is requesting the issuance of of an accelerated special certificate of appropriateness and design approval for additions and alterations to the
residence and site work of of 2716 Cordova Street legally described as lot 12 and the east half of lot 13 block 15 Coral Gable section A flat book 5 page 102 Miami date county record
variance has also been um uh requested from section 2-101D4 C of the Coral Gable's zoning code for the minimum rear setback. Thank you. if you can put the second uh
PowerPoint for the COA um SB25 010 please. Going back to the beginning of So, while they're getting it ready, the application request design approval for
two-story addition, alterations to the residence, construction of a two-story auxiliary structure and site work. Um, the variance has been requested from article 2 section 2-101D4C of the zoning code for the minimum rear setback of the new two-story edition on the west side of
the property. So, um, I'm going to let the applicant discuss the uh the design intent obviously um, but I would like to explain the variance being requested prior to. So the variance is to um allow the new addition of a rear set back of
approximately five feet versus 10 feet as required by code. So if you all look at the the survey of this property, you'll see that it's uh it's oriented in the long direction as opposed to the narrow end of the lot. And so as it's the address may be on Cordova, it was originally permitted on the the other
street. Um, so zoning looks at it as the front being on the other street, not on Cordova. So their rear is actually towards the interior of the lot, the side setback, what you would think of as a side. So, we are um
because of the orientation of the house and the way zoning is interpreting the the setbacks um we are okay with the 5T because that's the a minimum side setback requirement as any house facing the front on this lot would be. So, uh
we are okay with that and it's also maintaining the garage is maintaining the required 25 foot front setback along Sevilla and the 15 foot uh setback on on the interior side street. So they are kind of hedged in all over the place. So
we are okay with the um the variance. The um board of architects approved uh in March with no comments. We do have comments that we would like to incorporate into the approval. They're um fairly standard. The um applicant is aware of them and I will let him make
his presentation to you. This is not it. Here we go. If you would just definitely the little house that could challenge you. Please state your name again. And Peter
Kiligian, PPKS Architects, 1330 Northwest 84th Avenue, Miami, Florida. We're here to save the little house that could and we are very happy to. It's a beautiful house. Challenging.
Um I'm going to try to be brief because I think you've heard a lot of background on it. You know where it's at. It's two blocks south of Salvador Park. The neighborhood is a mixed, you know, bag of some new construction, some existing homes. Very nice scale. This is
a The top two is the one on the left is our next door neighbor and the one on the right is a neighbor across the street. So we're bounded by twotory homes. This are these are pictures of
the house. Um the house is uh the main facade which is on Cordova is pretty much intact but there were additions done to the rear. The init the original rear was not very impressive. It was basically back of house stuff, but on top of that, there's been additions and
not very good ones either. So, um you will see that we preserved complete front of the house with with uh something done to the garage and uh the rears were some of the alterations that we made. Hopefully, we feel and you feel that they were for the
best. Again, you've seen the historic picture of the house. very little bit microfilm information. This is from the one of the additions. Very challenging roof massing and structure. U by the way again the h
the house is cited um with a front on Cordova and we so we've had to you know kind of uh strategize on setbacks and that's why one of the variances is that we're asking for as you heard there's a lot of trees but a lot
of most of them are palms and just nothing really significant. the the larger trees that are basically on the corner we're keeping. And this is a quick comparison of the existing site and the proposed site. You can see that we're adding in two places. We're adding at the
southwest uh corner of the property and we're adding at the north part of the property. So the we're adding a garage and auxiliary structure detached from the home. So, we're not touching the historic part of the home on the southwest. And on the north, we're
touching at a very minimal area to the existing house. So, we've been able to pretty much stay away from the existing home and and sort of uh fulfill the the required program. Uh I could tell you stories how we got there, but I think
you've been here long enough. The roof is staying uh almost 100% intact. We're adding a flat roof area in one of the areas where there was an addition done and that's going to help kind of organize a little bit um
some of the conditions that are there. Now, as you saw, I don't know if you had a chance to look at the microphone, but that that addition of the flat roof is not even parapet. It's a you know, it's a very ad hoc kind of addition. Our zoning diagrams were good
there. The demolition is mainly interior and then, you know, openings in the in the west facade. This is the floor plan of the house and points. So, the scheme basically is, you know, a U-shaped courtyard and, you
know, surrounded by by the required program and really repurposing the the existing spaces in the house in a in a more modern, you know, uh, usable way. Then, we're keeping the the wall space. These these homes, I live in a 38 uh, home and they all have the same kind of,
uh, approach, right? They have like a wow space. You walk in, you know, exposed ceilings and then the rest is very modest. So, you know, this this has that. The living room is that kind of space with a fireplace. We're going to restore that. We're keeping, you know, the the raised floors in that space. Um,
and then, you know, in order to get a little bit of height in the rest of the house, we're dropping, you know, so that space will be elevated and the rest of the house will be dropped in in on the inside. So on the outside the look of the home will remain as it is and on the inside you'll be able to enjoy a little bit higher
ceilings and there I think this one shows the best you know how how separate from the from the existing home the auditions are you know basically they're almost you know two two separate pods away from the house.
Again we try to simplify the roofs of the additions. Uh the house has a telescoping roof, gable roof. Uh very unique. This is uh the facade from Cordova. As you can see, we're we're keeping all the openings as they are.
The only opening that's really the opening is not changing, but the the treatment of the opening is the garage. We turned that into a family room and put the garage on on Sevilla. And uh on an initial run, we were we were trying to um duplicate the the
windows that the original house has. We're going to work with staff uh cuz you know there are there only a couple of companies that do that and budget wise it's getting crazy. So you'll you'll see uh at the um at the end of
the presentation there's an alternate uh window um configuration that still works within the existing openings. Um, this is the west. This is the one that, like I said, there's the most uh
changes in the penistration. But as you can see, as you can see, the original on top. I mean, the fenistration is so ad hoc. It's not even it's not even a And then this is a Sevilla elevation with and without. There's a coral wall
there that we're we're going to maintain. We're doing a onecar garage. We're massing it, you know, we're stepping it, so we're kind of treating it in a very sensitive way. And this is the north elevation. And so we got through the board of
architects and then when we got to Cara, she said, "Wait, you can do better than that." So she we met after the after the board approval, we met and um she had some observations, which you know, it's always good to see to uh hear from
another architect. These are just uh some of the ren I think I think the since the elevations are flat, it looks imposing, but when you look at the rendering, you can see that the original house really shines and the and the additions are sort of a backdrop to to
the rest of the house. And so, if you'll allow me, I'd like to we we went back and did some more work and address some of the comments that uh historic had. And if it's okay with you, I'd like to introduce them. And if you're okay with them, then they can be part of the record. And if not, we can just, you
know, go with a BOA approval, however you like. And so, you know, the the crux of it is kind of reducing that uh volume at the stairs and separating the addition a little bit further. This is still the original. And so here you can see that
the addition in in the back at at the north is a couple of feet further away from the existing house. That's the the BOA approved plan where I think the separation in that little corner is probably about two feet. Here
it's about 3 feet. It's about a foot, but it makes a difference. That's the original. That's the new. And then I think there is where you can really see the difference that the the reducing the height of the stair.
Sorry. Is that it? Sorry. Thank you. So, originally this is this is a volume even though it's not it's a it's uh lower than the rest of the addition. In
this one, you can see that that the the stair we you know we change the massing and so it acts as an intermediate step between the one story and the twotory even further and we're actually very happy with it. So,
The west didn't change much here. I think that you can see it way in the back. That was the original. Here you see the transition. It's a much more smoother and and much nicer. This volume is, you know,
reduced. And I think here's where where you can, you know, see that this is a little bit more abrupt than this. And this kind of follows the eye, the line of that, you know, that pitch. And there's a a much smaller mass back
here. So I think that's where we got with this house. It was a interesting trip here, but you know, we're glad to work with it. I think in the end we were able to accommodate the program and kind of
really preserve, you know, I would say 90% of the house. May I ask a question, please? Sure. Uh, have you considered uh restoring the original design of the shutters rather than the new design shutters that are Yeah, that's not a problem. We're we're okay with all the
conditions and and that's fine. Yeah, she'll work with staff on that. I mean, yeah. Yeah. No, that's that that's a minor detail. So, we have no problem. Just those little things that always make it. Thank you. Not a problem. Okay. Board questions.
Um I had a problem with um that north um edition, the larger one. I think you've addressed um some of my my concerns. It just seemed like it
was a lug at it. You'd done so many beautiful things. You even did a great garage. And then you had this clunker at the end and it it does seem more elegant now. Could you put it back up so we
could see it? Um, can you put the power? You're you're questioning the height and and sort of the scale of that. Yeah. Perhaps you you'd tell us what the floor to floor heights are floor to ceiling. Second. Can you put the PowerPoint back up,
please? Right now we have 10 foot first and second floor. So that's your reason. Yeah, it I guess I think nine would be better on the second, but um I don't know that that's um yeah, it it was it
was a challenge to get this to get, you know, the appropriate programing. So we ended up putting the primary bedroom on the second floor. Typically when we put the the secondary bedrooms on the second floor, nine foot is adequate. But it gets hard to, you know, to kind of put a
primary, you know, to have a nine foot ceiling on a primary bedroom in in a, you know, uh, present day home. But, you know, it's something we could look we could look at the the, you know, the floor, the intermediate, and work with it. Like to hear from the professional
architects, not the amateur one. CGTV, can you please put the PowerPoint back on the screen? Thank you. So, both of those have 10 foot ceilings. Is that what you're saying? I don't have a problem with it. I mean, particularly the bottom one,
right? And and we introduced the hip roof to kind of soften the the the masking as well, right? The house, you know, and and again, I think you guys are going to be seeing a lot of these houses coming here because there's uh there isn't just a few. There's quite a
bit of them in the gables and and I I live in one and I've worked now this is probably my third one and there is a healthy mix of in these houses of hip roofs and gables and uh so we were not shy about introducing a hip roof if it
helped uh kind of mitigate the the scale of the house. I think again the elevations they're tough because they're flat on but at the end of the day could you leave up the the front elevation the what the front elevation
the one that shows the comparison of the historic stuff uh comment um version with the one yeah sorry So, I think this is um I I think this is a a nice way to incorporate what I
understand to be Cara's comments about transitioning um in terms of pipes, you know, from the house to the addition. I was wondering on the on the part where um you get the full two story where you have the window gallery is that um is
that off center um need to be like that in plan or so that that edge is is a bearing at the at the stair landing and I we actually felt that that that you know the the that asymmetry was was uh you know it's kind of a quirk that you
find in these homes but um and also So the the the beam height here is lower than the beam height at the at the rest of the addition. So there's still there's still there's another another step there. You know
this is actually more complex construction than that. But I think I think it you know I I I think the stair is a place where you can you know work work with that. And um so Just out of curiosity, the original
square footage of the original house and what you're taking it to. I have to go to the No. Well, okay. It's I think I think we're we're below the we're below the maximum that we can do there. Yeah. But we are, you know, we're
taking advantage of what the lot has to offer. I mean, I think I don't know what the owner paid for that, but I I mean, he bought it before he bought it, we bought it back he bought it back in August, I think. So, it was when the market was still at its, you know, highest. So, I think there, you know,
the reality of these things is that, you know, they have to kind of work uh programmatically and, you know, but am I only seeing a onecar garage? We that is something that we that many times when we do these historic homes,
we encourage um that sacrifice because it's a sacrifice. But um there's a there's a lot of benefit to that. There's there's a 400 square foot F bonus that you get if you have a
detached garage, which we do. But it also, as you can tell, it's it's a it's a very it's a very authentic feature that you see in houses, you know, from that era. So, I think it's a good trade-off and I think the incentive that was put there by zoning is a good one.
And uh anytime I can get a client to buy in on that, it's not always every, you know, it's a good question. Most people want a two-car garage, but I think in this case, two things here. The the position of the existing garage is in an awkward place. It's only a 15t setback.
The driveway doesn't work and it bifurcates the house completely. Um, if we are going to change the position of the garage to Sevilla, then a two-car garage wouldn't work because then we would be one/ird over the the width of the facade, which is not
allowed by zoning. But I mean, to me, the mo that's the most successful part of the house is the garage with the Sevilla part. So, the most challenging part is the the twotory on the north. Again, it also houses the most program and you know, uh,
I like the door. The scale of the garage is is great. Love it. I mean, I think it's it's so perfect. But so what's interesting about the site plan here is going back to the the quirkyness of the lot, there's a 25 foot setback because this is this is a front facing where
other residences are on this street. So this has to line up with all of the other residential on the street. So he has a 25ft setback on on this side. So if you were to add it, there's no place to put a two-car garage. Yeah. Right. It would be proud of the house, which we don't want. It would be standing out on
the street and would probably require a variance. So in this case, the garage, I think, is one of the most successful parts of of this. No. And what's what you know, I think it's success. Well, what we feel is successful about the additions is that they create spaces between the additions and the house,
right? It's a series of courtyards. You have a courtyard between the garage and the house. you have a courtyard between the bedroom addition in the house and then there's the main. So we think it's a very functional way to to address modern program I guess you
could call it. So Mr. Griffy your puns you have a question. Yes. Um, can you go back to the elevation of the existing proposal and the new proposal in the front? Yes. So, I I really appreciate both the sort of staggered gable that
you originally had. I think it's it's very elegant in two dimensions. Three dimensions. I agree with Mr. Orlando was a little bit forward. Um, and I really appreciate it's bringing you the opportunity to push it back a little bit and change it. Um, I'm not sure if it's
quite as elegant. I think it's missing a little bit as the sort of simplicity and beauty of the upper elevation. I'm not sure if there's something that can be done, but one thing that I immediately can see is that sort of triple window now seems way out of proportion with the
existing house and the new house. And looking at the plan, I think it leads into the stairwell. It Yeah, it it it lights the stairwell basically. Um I I think it's it seems to be the same width as the living room
downstairs. Yes. Uh and the living room is a room that needs that kind of a window and stairs are not. Um, I I believe that you can light the stairs without
such an impact of that wallto- window ratio that's there. Um, and I I think of all the things I'm not I don't think it's as elegant as the one above, but it is better. Um, and I think one thing that could make it even
better is a better proportion of window to wall on that location. All I can say is we we tried it with two windows and it then the the the the proportion of glass to solid was too
much. I think that um creating another let me see creating another it's going to be challenging to create another cut on that gable because as you can see you know the stair is complicated enough as it is right before
we had um before it was a more it was a more uh natural um step if you want to call it. I mean, this looks like a simple change, but we really had to rework the the bathrooms, the you know, everything. This this mass
here, this mass here got got smaller, got pushed out a little bit. So, it's it's been like surgery, too. I'm sure it will. So, it's not, you know, it look it looks simple and and and as an architect, I'm sure you can appreciate it. Um the the mass on the the you know the
mass on that gable is a little wider than I would like but I think but in all honesty I mean it's it's something that's of that era that I've seen before and you know I was really in love with this corner window scenario which happens in those
houses as well and I we tried it here as well. We try to do a corner window and then come back and do something else there. It's Yeah, it was not uh it was not really working to be honest with you. So, I know I know what you're saying. Uh I the lighting of the stair
doesn't bother me because because that's that's something that you know in in reality the stair is lit from there. It's lit from where is it? From over here as well. It's lit from there. So the stair is a cornucopia
of of uh of uh openings which it's a fun space and uh and we worked out you know I didn't include it we worked this out in section you know it's a it's a series of two arches you know that frame that stair landing so you know your point is
well taken uh I can tell you that I've studied the the different options and you know I'm open to suggestions but I I can tell you that we you know we've worked with uh with with you know reducing somehow trying to reduce that mass without having the plan fall apart.
I mean there's a point where the plan just starts to become something that's not you know not even a not even a a workable thing. My comment is specifically window to wall ratio not not use or anything else. I think it's fine every other way. It would seem that
almost even a single window would be more appropriate. Or if it was a less horizontal and maybe the three pieces were had a sort of separation between the three that there that that I
could see. I think that's a that's a something. Yeah, I think that's and again we were grabbing on to this right here, a version of that which you picked up on. But I I like that suggestion of having masonry between between the between that between there. And as a
matter, you know, I wouldn't mind thickening up that wall and having having, you know, depth, which would make it cool. Excellent. Thank you. I think that's a that's an excellent observation, Mr. Silva. I I think you did an excellent job in working with this with this house and with a lot. Um
I I think this the newer uh solution in in response to Miss K's comment is very good. I appreciate how the house kind of cascades down and then you start to come up again, especially on that north facade. I think that that that tilting is is much much better.
Um, in in regards to Caesar's comment about the windows, um, I I I see your point, uh, Caesar, the the only thing I'd be concerned about is if you start splitting that up, then then you really start it's an asymmetrical mass now,
right? And yeah, so the what happens, how does that start to read? So, but I think Peter got it right. I think that's if you do depth Yeah. and you change it a little bit, that's going to be Yeah. I think I think I think that at the expense of of uh you know just co it's a
cost that the owner doesn't care about the cost anymore. We're we're going to uh he he just wants to get the house approved. He want he's he's dying to move in. I think his son's going to live in it when he's 30 um or 35. Um but at
the expense of uh yeah and we've done that in the past uh successfully and I think that's uh many times uh something that's miss nobody really thinks about that the depth of the walls in in some of these houses again I live in a 1938
house with 1 foot4 thick walls so there's a lot to be gained by that happens sort of down below the living room window anyway that stuff below is is actually actually they have like you know This arch here is two feet deep. That's nice. Yeah, this one's also, you
know, so that's already going on in the house. So, that's a really nice observation. I think that if we couple it with some depth and maybe, you know, that I I think that that pier doesn't have to be that thick. It can be something, you know, that's turned and so it's a maybe it's an 8 by12 going
this way. I think that's a beautiful observation. So, like I said, anytime you put it in front of 10 architect, 20 eyes more. It always works that way. Any other questions? We're thinking of taking it back to the board and see if there's anything else you can look at.
Approved this so that you could you don't have to come back. Mr. Sylvia, just I I did want to talk about the Eastman uh the I'm sorry, not the Eastman, the variance. The variance. Um I think it's pretty clear that this is a a very strange condition and that all the conditions in the zoning code for
granting that variance are met. Thank you very much. Thank you. That's uh it makes a big difference. It makes the I think it makes the the courtyard in the middle, you know, a usable courtyard. And Alvarez, do you have a question? Oh, I just had a question for the applicant.
Do you are you okay with the um the other staff comments? Um there's something about a front. I'm always okay with staff's comments. There were any We're here. We're here at this point on the bottom because of staff. No, in all honesty, you know, uh
we've always worked close with staff and you know, Cara always calls me out when I'm being lazy on something. So, she uh called me out on this time and I appreciate it. Never seriously. No. Yeah, we're we're fine with all the comments. Thank you, Miss Spain. Do you have any comments? Okay, Mr. Garcia, any
further comments? Mr. Silva, Miss Rolando, Miss Ever, Mr. Drono. All right. We ready for a motion? Yes, I'd like to Okay, M Mr. Garcia's making the motion. I make two motions. Um, a motion to approve the design proposal for
additions and alterations to the residence and site work on the property located at 2716A Street and approved with the conditions noted in the staff report the issuance of a special certificate of appropriateness with the additional
condition of working with staff regarding the or accepting the alternate elevations as presented today with a comment of the including the comment with that second floor window and what we talked about as far as depth is
concerned. Yeah. Anyway, don't worry about it. So, that is motion for the first I have a I have a question. I don't know if it's I'll go ahead and share. Okay. Second, you have a question. There was a
comment on the the door. Is it an ex is it the existing door? Okay. It is the front door is existing, right? Okay. Do we have one motion on the table? Did you want to and you've got a second? The second motion on the table. This could be a varies do separately. You want to
do them you want to do them separately? I'm happy to do them together. Separate. Let's do them separately. Okay. So, we have a motion on the table uh to approve the COA and um motion by Mr. Garcia, seconded by Mr. Rando. Please call the role.
Miss Alvarez, yes. Mr. Dana, yes. Miss Spain, yes. Miss Ever? Yes. Mr. Garcia Palms? Yes. Miss Rando? Yes. Mr. Silva? Yes. Mr. Maxwell? Yes. Next motion. Motion to approve variance to
allow the new addition to have a rear setback of approximately 5 feet versus the required minimum setback in a single family district of 10 ft. Okay, we have a motion. Have a second. Miss Ever, would you please call the role?
Miss Alvarez? Yes. Mr. Dana? Yes. Mr. Garcia Ponds? Yes. Miss Rando? Yes. Miss Spade? Yes. Miss Ever? Yes, Mr. Silva. Yes. And Mr. Maxwell. Yes. Thank you. Thank you very much, guys. Thank you.
And thank you for good design. Appreciate you working with us. Okay. Let's see. All right. We're going to continue to move on. We have um to our next case file, which is 258836, case file COSP
2025-7, and that is not a movie. an application for the issuance of a special certificate of appropriateness for the property at 3920 Durango Street, legally described as lot 6, block 46, Country Club section 3, uh, according to flatbook 10, page 52, public record,
state county, Florida. Application requests design approvals for additions and alterations to the residence and detached garage and site work. Uh, board, you'll remember that we've seen this previously and uh, for some of it. So, staff, thank you.
you can please put the PowerPoint up. Uh the property was uh constructed 1925. It is attributed to architect Beach George Fink. Um if you guys will remember, this was designated as a local historic landmark in August of 2024.
This is a location map of the property. There is a large vacant parcel uh right next door, but it is obviously a buildable lot, so it will not be a vacant lot forever. Um, the application does request design approval for a two-story addition to the rear of the residence and attached
garage and alterations to the residence. The two-story addition uh will extend over the existing one-story detached garage and site work is also proposed. Um, if you guys do remember in July of 2023, there was a fire on the second story of the house. It was declared not fit for habitation, has been vacant
since that time. The current owner did purchase the property after the fire and is uh is going to be doing the modifications to the property. This is the 1940s photo of the house. This is his presentation. So,
there were no variances uh requested in conjunction with the application. Um it went to the board of architects a couple of times and was approved um based on satisfying all of the board comments that have been incorporated into this set. Yeah, it's okay. Um, and there are conditions that staff
has. I'm going to be completely transparent. I did not write this report. This was done by Miss Bernes prior to her departure. It was supposed to be on the meeting last month. Um, but you know, I'll try to answer questions if you have any of staff. Thank you.
Good afternoon. Please state your name and your address for the record, please. Good evening, board. My name is Good evening board. My name is Hamemed Rodriguez, architect office at 275 Minorca Avenue. Thank you. Well, this house is interesting. Um, it's a small
lot. The owner bought it thinking that uh she could demolish it and do a modern house. That was her taste. So, I said, "I don't think so. So, let's get Anna over here and take a look at this property and find out a little bit more
about it. And it if you see the inside, you'd understand why she thought she could just demolish it. It it's rough and you'll see these pictures. And Anna said, "Oh, absolutely. No, this is wonderful." And so, so I told her, "Listen, there there's great benefits to
working with this, and I think we can make this a really special home." And um so she got excited about it. As a matter of fact, I I wish I would have put a cute name on it because I realize that that's that's kind of a nice thing to do. But she's referring to it as the pink fink because she's she's a real fan
now. So, she could not be here. She's an anesthesiologist and she's always working. Uh I barely remember what she looks like. But uh anyway, this house is is a was a great challenge and the challenge by the um by staff was keep
the addition behind the existing twotory volume which was a welcome challenge. So let's see if I get this right. Okay, survey. Okay, so this is the uh see if
we get this right. Pointer. Okay, good. uh house next to it. Let me see. This one is south of it. That's the house. Uh right now it's that's an earlier picture. And this is a neighboring house, but actually right to this side,
the north side is the empty lot. And these are the houses across the street. So there's a mixture of one and twotory houses and and um and twotory houses that are set back. You don't have the blue tarps on the roof in their picture, right? This is a slightly earlier
picture, but that one's coming. Let's see. Okay, so here we go. Uh, this is this is well the historic picture here. Nice. That picture was the only thing we really had to go by. Um, so we really looked in leaned into that
picture to try to pick up everything that was missing from the house. This is the interior of the house now because there's a hole on the top. The fire happened right back here just behind the chimney. And so there's a hole there and
you could see the damage um that uh that that there's a tarp there. Now these are uh just some materials boards of uh we shared this with the board of architects. We could go back to
that. Okay. This is the existing plan. So here the uh this was original because we did see a a type of uh I'm not sure the technical name for it but it was a type of card that had diagrams of the house and that we could find much like the earlier presentation that there was
a type of maids or u guest house type uh I'm not sure what if it was if it was a um but there was a living quarter here and this uh was probably a onecar garage and then there is this little stoop back here that's in really bad shape. There's
it's acting as a utility room. And this is the u the house of course uh which you're used to the uh living room concept, dining room, kitchen. Not sure what was going on here, but it almost felt like this was a back porch, but it
just couldn't be because it it needed room for the kitchen. These two bedrooms here, this was a type of uh lai. You go up the stair and it was the primary bedroom. And so the fire must have started somewhere around here. And and
that's the uh that's the end of that. Um forward. So the property is a little over 5,000 square ft. The existing home is approximately 1,700 square ft. The
new home is the maximum F which is uh 254 just a hair over. and we matched matched that exactly because she her program was to uh add another bedroom.
So the this is u what we came up with. So as you can see here the front this is a rendering but the front is exactly like what the house would have been like. And what we did was as you could see on the side this would be the north side. Everything is restored in the
front. We're bringing back the screen door. We're keeping the front door because we don't think that it's damaged beyond use. Um, and then here you could see that we're transitioning the second floor back here. And then we are extending over and occupying what was
the detached structure. So, we're modifying the detached structure to to work with the house. And uh, and we'll get into that a little bit. You could see on the on the south side um we are utilizing the backyard sort of as a courtyard concept. We are doing some
deep foundations for these columns so that we could really bring the pool and integrate with the house. And then we picked up the idea for these rod iron balconies from little elements that exist such as this here, this planter
box in the front that uh was was visible from the earlier pictures. Here we have these little pop outs that are necessary for interior movements that we need uh needed. One being a tub and the other one being a little stoop to match the
other side. And we'll see that in the floor plan. So here you can see it a little bit larger. And the uh the back here, this was a secondary bedroom and it had a window. So what we did was a we added a a little elevated pad there and
some French doors. Here you could see a larger uh closeup of the back as if you were standing on that stoop looking down. So it has a lot of uh little areas of wonderment and nooks and crannies. Even back here, uh this is the uh
outdoor kitchen. And um and then as you go around, there is a shower for the pool. There's access back into the one-story space that used to be the garage. And uh and then there is a stair that takes you up into what would be
this area up here, which is a little sund deck off of what you'll see is the master bedroom. So, we had a lot of fun with this. So the the one on Oh, here we go. It's a little sluggish. Trying to go back. Not sure what I'm supposed to
point at. Okay. to go back. Try that. No, I'm trying to I'm actually trying to Oh, that's the one to go back. Okay. So, it's gonna start going back.
Okay, got it. Thank you. Sorry about that. Never mind. It's almost there. I think it it just got ahead of itself. Sorry about that. Here we go. So, you can see the one on the left is the existing conditions and it has an an
enormous driveway uh and it has a very nice looking uh specimen tree in the rightway. Uh so of course that's that's a major feature. You could see that we're really minimizing the amount of driveway so that uh of course we need the uh we need
the space for the septic. Uh and that was the first thing we did before we got too involved just to make sure it fits and it and it does that that engineering is done. But that was a uh is something that's going to bring back the the front of this house with the amount of green space that it it once
had. All that trouble to explain. All right. So here you can see that um we are keeping the uh the living room as a living room. Dining room we're uh opening this up a little bit more. Definitely opening the kitchen. Doing a
lot of work here in the kitchen and then removing the utility area to create French doors with these steps that go down to occupy the area of the outdoor kitchen. Over here we're still using this as a bedroom. We're reconfiguring
the the bathroom a bit more uh get a little bit more space out of it. Keeping this room here now it's going to be mostly like a a den or a separate type of room. We removed the closet so that we can uh gain the space there. This
will remain as a a type of lai or or or sun room. And it seemed like it was always it was always covered in screens. Hard to tell. It might have been screens. uh more likely with screens with a framing that look like the windows. This
floor is slightly depressed and it's a tile. Um so we're keeping that. And then this stair as it goes up, which is the same stair configuration, has a little arch right over here. We're keeping all of that. And then over here, what used to be a garage, uh she wants as a multi-
purpose, uh for exercise equipment and some and laundry. So, we did a powder room here that could be used as a cabana bath and uh there's an outdoor shower here and then the stairs that'll take you up to the uh to the second floor area here. This is the exterior
space and um I'll start from the back and go forward. Uh master closet uh primary room. Here is the uh the primary bathroom. Double sinks here, tub, and these these nooks that we came up with
with the uh with the uh planters, planter boxes that you can see on the renderings. Another closet just to kind of make up for this other closet. And then two two bedrooms with a shared Jack and Jill.
Very efficient. Thank you. So here you could see the uh top is the existing condition and the bottom is the proposed. So on this one here in the right it's uh you could see that the similarities are exact. We are just
adding the pieces that are gone such as the top of the chimney, the metal work at the uh front of the house and the center second floor. We're putting in the proper windows and we're adding the screen doors. And uh we have a note that we are going to restore that front door.
So we're just going to um probably just do shutters. You know, that's the only way to protect it. Over here, this is the rear of the house. And this this shows a little bit of it, which is going from this window to these French doors
for that bedroom. And uh here you're seeing the back of the addition. So this is the the terrace upstairs. The back. This is the closet back here. M closet. This is an opening to a covered space before going to the terrace. And this is a u an opening here that looks straight
through the summer kitchen. Okay. So, this next one here, you can see the uh original house here and then the the proposed elevation. We're going through the trouble of setting this wall back 4 in and going with a smoother stucco to really respect
the profile of the original house. And again, changing all the windows, adding the features that are missing and um and creating this sense of entry into into this courtyard experience. And again um the uh this is a side elevation of the
upstairs terrace and downstairs area behind the the summer kitchen. This is the other elevation as you can see here. Again, proper windows uh beyond you'll see our
our proposal and u with these rod iron balconies. They will be functional u but they will not be an extended slab. they will be made to suit and placed. As a matter of fact, we have a detail here. That was one of the uh comments we
received, I think, from the board of architect. We we really wanted to detail it and so we further detailed it to make sure that they understood what it looked like. Moving on. And here's uh this section was really for us to study what's going on.
And uh we are leaving we're leaving the first floor intact uh because of the fireplace and because of other issues and and the height. We we can play with the height in the center area. It's it's not a a terrible ceiling height to work
with. And um let's see. So, we're getting we're getting 9 ft in in certain areas and then we're creating uh coffers around for running certain flex ducts for the air conditioning. And um then on the on the roof of the back edition, we are going
to we're we're working with concrete on that area just because it's got ins and outs and we we could waterproof that terrace area a lot a lot better that way. And I think that might be the last image.
That's it. Thank you. Yeah. I don't know if I can go between the new and the and the existing. I can go back primarily on the on the north. on the north side, the side that that faces
that empty lot, that is the area where the addition, the new addition on the second floor moves towards the back. So, we did a relief. We're we're playing with rebuilding that original parapit that was a parapit to become a a beam
that allow us to set the block back on the new addition so that we can keep a ghost of what the original profile of the house was. And that's the only area where we really need to do that because everything else is really offset from the rest of the house. So that happens,
you marked it on the elevation vertically, but does that happen horizontally? It does. Yeah, it it rides it insets from the original wall of the of the mass of the uh Yeah. of the original primary bedroom and then it rides 4 in from that parapit that was
there before. Oh, okay. Okay. I understand. you know, you're doing enough restoration on this house that you should apply for the advorum tax relief, which um has to start part one before
construction. Uh you just file it with uh the preservation office, but I think it'd be worthwhile for you. It's It's very easy to do in this the city portion of it. I think it's kind of hellish the county portion. I think they may have changed
that, but look into it because it may be No, no, no. That's that's part of the plan and and I'm glad you're telling me about when it starts because Yeah, you need to make sure you get the paperwork in before you you put it shovel to the ground. Um Okay. But and the county is
amazingly organized. After 10 years, uh they'll put back the that cost that you that you put in, but it's the cost you put in 10 years before. So, it still works out. That's great. Wonderful.
I know this property very well. and also a very good friend lived in the oversized property next door. Is there any plan for that? I mean, what how large is the It looks like it's three times wider than ours. Maybe four.
Exactly. Exactly. Ours is a 50 foot wide lot. I know. So So that's a significantly large site. Yeah. I don't know. Ahmed, you're you're showing here on the crosssections that you're going to replace the interior the original
interior flooring with concrete. We think so. Why are you doing that? Well, because of the type of flooring she wants on it. It's going to be rather heavy. It's a stone flooring and uh we don't know the condition. I mean, I I
guess if the condition is terrible, we could replace it with wood if if a crawl space is the uh is um where this question is leading, but um we were going to indent the places where vents were to keep the memory of the vents,
but we really wanted a solid floor. I have an older home that I live in and uh maybe the sub flooring wasn't designed as sturdy as some other homes and the squeaking sound is nice but the bouncing is not great. So, uh it's probably
experiences I had on from my own home and this one here is very well it's damaged. So, if it were to be done as a crawl space, it would all have to be new wood. Yeah. You have to put in new bridging and everything. Um, any further questions? No, just
comment wise, I think it's a it's a great design. It's tough on a 5,000 foot lot. I think you were able to get a lot of uh, you know, key features that that people want nowadays while still keeping, you know, the historic portion of the house. So, and convincing a
modernist. Yeah. And uh, and I like I like the covered terrace with the columns kind of like entering the pool. I like that a lot. So, I think that's pretty cool. Thank you. It's a lovely design. Miss Count, um does staff have any issues with the
uh does staff have any issues with the filling in the flooring and and changing the you know that part of the structure? Not that I'm aware of. Okay. I did want to ask though when you go to permitting to include uh the front
elevations of the accessory structure as as you're proposing them like the doors what they are going to be that's that's not shown in here only the existing is right I know it's part of the new there's no back like section showing that no when the CDs are you'll see the
CDs everything's shown yeah ladies and gentlemen any further questions you know presentation if not we'll We'll call that to an end and u you know we'll open it up to the public for any comments. Public any comments or against hearing? None. We'll
close the public hearing and come back to the board. Okay. Alvarez, are we ready for a motion? Miss Alvarez, I'm ready for your motion. Um, I'll make a motion to approve with the conditions um outlined by stop 1
through 7 for the design proposal addition and alterations to the residence and site work at 3920 Durango Street. Um, do I need to continue? Thank you. Second, Miss Rando. Okay, we have a we have a
motion by Miss Alvarez. We have a second by Mr. Londo and Mr. Garcia Pon has a question. Oh, okay. And approve the SEOA. Okay. So, amend amend the motion to to add that to approve the COA. All right.
Thank you. Are we good? Yes. Accept that. Whoever seconded, we have it all. Yeah. Very good. Would you call the role, please? Mr. Duranna. Yes, Mr. Garcia Pon. Yes, Miss Spain. Yes, Miss Ever. Yes,
Miss Alvarez. Yes, Miss Rando. Yes, Mr. Silva. Yes. And Mr. Maxwell. Yes. Mr. Rodriguez, thank you for your presentation and thank you for using the green windows. You know, window colors are really, really important. They are. And I hope you take a very careful look
at the at the coloration of the house. Perhaps you'll even do some paint analysis. You know, we have several versions of the pink as tests on the CDs and uh and we're trying to get samples of the windows before we, you know,
decide on it. We want a kind of very faded type of green. Yeah. Well, good good luck on that. You'll have to find it in the caulking and stuff. I found one on an Augustus Geer building from 1916, but it took a lot. Now, you know, usually there's another color involved, too. So, sills and things are different. Uh, so there's usually at least three
colors in addition to the roof tile and and then the roof venting. And um, so I encourage you to really get colorful because this place was much more colorful before the 30s. I have a lot of good friends that are very good in the historic uh, field that I'll consult with. Well, there there's some good
paint analysis people and I'm happy to refer them to you up in Virginia and other places that are well known. Thank you. If you need those kinds of things. Absolutely. So, thank you very much and thank you for an excellent design. Thank you. I just wanted to say I'm so glad you're taking those windows back to the casement windows. Oh, wouldn't do it any
other way. Yeah, I mean, yeah, exactly. Thank you. Thank you, board. What's the window manufacturer? Just curious the window manufacturer. I'm looking at uh at Marvin's got a coastal product. I'm looking at that one, but um I'm going to look for some other ones to put as
alternates, but it won't be Mr. Glass. Okay. So, don't worry because I've been really looking at these windows and so I'm looking for something with finesse. Well, I'm sorry we had to move back over here so you don't just have to go across the street anymore. But thank you for your presentation. I'd
like to move on, please. We have the next um file which is 258944, case file COA SP25 2025-015, application for the issuance of a special certificate appropriateness for the property at 6710 Lune Road. a
contributing resource within the Dutch South African Village Historic District. Legally described as lot 4, Bach 267, Coral Gable, section Riviera section part 11, uh, platbook 28, page 23, public records, Dade County. The
application request after the fact design approval for installation of impact resistant windows and doors. staff. So this location map, it is on the point of land uh at the intersection of Ljun Road and San Vicenti Street. The
property was designated as a contributing structure within the South African Village Historic District in 1987. Um the architect Marian Sims White. This was designed in 1925. So this is their
presentation. So we are here because this is an after the fact application. Um they have sub this they have submitted for a permit um and most of the design elements of the windows and configuration types have been worked
out. It's the the issue is the tint and the reflectivity of the installed windows that are highly visible from u they're on the rear and the sides but because of the orientation of the slot they're highly visible. The other concern is that the frontfacing lune
facing windows have not been changed and so accepting this this level of re reflectivity on the other windows will then set a precedent for the remainder of the windows that are on the front facade. Um so that's why they are here.
Uh William Arthur, many of you know me from WHA. My architectural firm is located at 2920 Pon Boulevard. For the members who are light on their feet, I am downstairs from the old Arthur Murray Dan Studio.
Oh yes, ma'am. So, if it's okay with the chair, I'd like to pass out a handout and it's uh basically a continuation of what you'll see on the screen. I have 12 copies. Thank you, Mr. Arthur. Just for the
record, this is duplicative of information previously submitted. Thank you. Was this new information? Uh, this is new information. Um, so as Cara had explained, this is an after the fact permit. Uh, we're not here to make any exterior alterations to the home. Uh, we
dare not because this was designed by Miriam Sims wife. Is everyone familiar with Marian Sims? Yes. Yes. So, um, not only is this a prominent, uh, building, many of you pass by it probably every day, headed down to Cocoa Plum Circle,
but as you probably know, Marian Sims Weiss also designed Mara Lago and 700 other very important commissions. Um, therefore, we are custodians of this home. We're not looking to make any alterations. We are looking to replace
the leaky windows. Um, now I understand members of the board or an architect would never replace windows without a permit, but that's not always clear to a lay person. Mr. Palace, who's joined us here tonight, he's the owner. He did not understand permits were required. We are
now going through that process. Um, we had been privileged with four rounds of review with uh Cara and we are here to thank her for putting us on the agenda so quickly because it is an after the fact permit and he is acrewing daily fines. Now I wanted to talk about the
previous windows. And if you look at this page of the handout, you'll see there was originally bars there which were not original. Obviously, those have been removed by Mr. Palace. The new windows, in my opinion, are a dramatic improvement of what was there before.
Um, not only were they in disrepair, but they were not the original. Um, the proposed windows I think are more in tune with the historic look of the house because historically the inside casings were painted dark and the
application is for dark bronze frames. I also wanted to show you a photo on this page of the handout that shows you how photographs affect the reflectivity of the glass. I had taken the photograph on the right personally and the clear low E windows are much more transparent during
most of the times of the day especially when they're taken in shade. There's two items that um I disagree with in the staff report. The first is to say that it is inconsistent with the Secretary of the Interior standards to specify low E. Um that's
just false. If you look at page 106 of the secretary's recommendations in this column, it clearly says low E with the lowest tent possible. We're not even applying for an attempt. We're applying for clear. Um the other item in the
staff report states that it has not been reviewed by the board of architects. It actually has and it was approved twice. um on March 31st and April 3rd by Miss Anderson. Yes. So it was an approval at staff
level, not full board. Um I suppose it was Miss Anderson or Juan who decided that the low E was appropriate and that it could be approved at staff level. Um on the following pages here, can you go back over that again? the the person that staffed the board of architects
approved the plans or Yes. on March 31st and April 3rd. Why wasn't that the uh city architect? I mean, I don't I'm just asking. Yes, these these applications are routinely approved at staff level without going to
full board and without going to one. And so that that's a a permit that you applied after you were cited by code code enforcement. Yes. And then it was routed to the historic department that uh um got you here. Yes, Miss B. Okay.
Yes. This came in as a building permit application about 12 months ago. Uh we got involved after the uh application was commenced. Uh and then we had four rounds of reviews since we've been involved. Um, so it came in as a building permit
application and then it was deferred to this board uh maybe about a month ago or so. Um, so we were grateful that we were able to appear so quickly and it's part of the reason why I have a physical handout today. I have another question. Can I ask the city attorney why are we
getting this at this last date? Is this appropriate for us to uh receive this? I'm not aware um why it was just provided today. That's why I was asking if it was previously provided. This is not an appeal, so it's it's you can consider it if there's additional changes, but I I would um want staff to
have the benefit of the time to review this to the extent that this information changes suggestion on the COA on the appropriateness of the of the COA. So, um I would defer to staff if they think they need more time to review this if whatever this information is
changes the recommendation or not. Thank you. Um the three following pages are other COA applications from 2019 with the identical glass that was also approved at this level. Um it is again low E clear non-tinted
windows. Um so there's three of those pages. I wanted to give you a reference of the building code and why do we specify low E? um because these are the the energy values we are required to obtain to get building permits and to
achieve these values low E clear in my opinion is the best way to do it. We don't recommend tents especially for historic properties. There are historic properties in Coral Gables that have tents. This will not be one of them. Um the next page is actually a
little bit of case law and I'm not going to get into that because I'm not going to pretend an attorney. I'm an attorney. not but Mr. Palace is he had showed me this case law where municipalities are beginning to recognize more the need to comply with energy code
requirements. We did get three letters of support. I have some enlarged copies if you'd like to examine them. Uh they are on this since we just got them this morning. They don't appear in the digital presentation. And then the last few pages is excerpts from the building permit application
themselves identifying which windows are being replaced and which are not. Now some of the windows have already been approved under the uh code enforcement board. This is the second phase of windows. There are some windows that are not part of this application that we are
happy to add to the application as a condition of approval. And on this image here from the PowerPoint you can see it's those darker windows. Those are the existing ones. Those are not the new ones. The new ones is the ones you see on the upper right that are more
clear in my opinion more in conformance with the original design intent of the house. And they are single hung. We didn't change the casement. The original was single single hung and that's what we stuck to. Any questions? Is that your presentation? Yes, sir. All
right. Well, thank you very much. board question. This house is uh right down the street from where I live. I live on San Vicente and I will tell you I I um I've met the
family and I I know how hard they have worked with this house over the years. Um there was lots to be done. So anyways, I take my hat off to them. Sorry this issue has come up. Thank you,
M. Alvarez. How many windows have already been um switched out? So, there's probably about uh what would you say, George? Maybe about half a dozen that were part of the original approval.
Yeah, maybe about a dozen under this permit. and you're probably left with maybe half a dozen of the very dark ones that we are open to add to this application. The reason why they're not on the application is because the instruction received from the code enforcement board, but this board has
the purview to add that as a condition to the approval. So, just another question on which ones have been installed now. Right. So, I'm looking at the your handout uh your sheet D01. So, it's from what I can see it's the
windows in red. Correct. So, we're we're talking the windows that have been replaced to date with without a permit, right? That's what this permit is covering or am I reading this correctly? Is only the red ones at the rear of the property on the ground floor. Correct. And on the second floor, it's kind of
that enclosed patio, the rear and the sides. Yes, sir. Not the front elevation. Yeah, those were already approved under a previous application. So this applica so the ones on the Forgive me for I just want to make
sure I'm clear. The the ones on the the ones that you just said are approved on a previous application. Those are it's confusing and we can take our time on this. The ones that were replaced on the front that were matching were
approved at the building department level. They never came to code enforcement. They never came to But you were never given a permit. Uh the frames were painted. They're not they weren't replaced. Is that correct?
They're the awning windows that have been painted. Yeah. So they're not So So they're they're they're older windows. They're not George Palace, the property owner. Yeah, the entire front is just painted. Um they're old awning windows. They leak. They're ter, you know, it's
Lun Rose, so you hear the rattles. Yeah, that was Thank you. Um, and also if you note from this picture that's up, the one here in the lower left, the not only is are they the the original the not the
original, but the ones that came with the house are much darker and reflective, the ones that are installed, the the newer ones are clearer. It has only the low E. They're not tinted. But not only that, the the
the pattern of the grids um are more authentic than the the ones that the existing windows. In other words, you can see there it's 4 by3 on top and these are like 3x3. So all all of the newer windows are more authentic. And if
you can go back to the the um the original um what do you call that? The um single historic historic picture historic photo wherever that may be but you you' see that
the that's that's the style that's that's actually the Dutch South African style which is uh this is this house uh is modeled after uh group Estansia which is in which is a winery in South Africa has a house very
very similar oh there it is and I also I'm sorry. It's okay. I just wanted to say that the letters of support are all the people in the block from the u from the u the community, the South South African community. Thank
you. So, the windows in the front are the awning windows that were just painted black. So, that was part of the painting permit. Sorry. The windows on the front were just painted. They're not they were not replaced with new impact units. Only the ones that are in red on
this application are part of this application that are that are seeking to be legalized. The ones in the front we're not looking at, right? Because that Okay. But but I want to change them all. I want to get rid of the old ones, put
in the uh newer ones that are lighter and more authentic. And and what about the mutton pattern on the ones that we're looking at? Is is that um back to the original? Now they are. Yes. The there are some
that are going to need to be changed um based on the permit drawings, but we've already corrected all of the permit drawing that we've gotten to the point where we could approve up to regarding the style and configuration, not the reflectivity is appropriate. Right. So
So we're really just looking at the reflectivity. Okay. That makes it easier for me because I'm so confused. Really even reflectivity. It's just the the energy saving portion of it makes gives it like a little greenish tint. Oh, I know
exactly what you're talking about. I'm sorry. I know exactly what you're talking about. Right. There's no It's clear glass. It just has that feature, right? Yeah. We have a long-standing policy of asking for only
clear glass, no lowe, no reflectivity. I would you be fine with that? I mean, you can have curtains, you can have all kinds of other things. I mean, and it's hurricane glass, so it's going to give you a lot more protection anyway, but replacing the windows that he's
already got, right? Well, it's not. But you're saying that low ei glass would not be permitted. We have a tradition that we do not I mean, if you look at our our applications when they come here and people are replacing windows, we have a
set of criteria that we usually use. Okay. No reflectivity, no lowe, you know, just, you know, clear glass. Well, because that that's the more historic. They didn't have low E. They didn't, you know, they had clear glass.
I know. I was didn't have that. But I mean, it's it's something that it's like um I'm trying to think of an analogy, but I mean, uh I think I think that the code has to come into kind of um I mean, it's not like I'm putting a chain link
fence or aluminum carport or something. It's something that's uh energy efficient and and uh I don't I'm not sure the the city can can say no to that or can they? Yeah. I mean to speak to that point technically yeah the the there's an exemption in in the Florida
building code existing buildings that that has an exemption for historic buildings. So that that is codewise that is definitely allowed. Um and also there are other ways of compliance with the energy code should you wish to comply with it in a historic building. Right?
You can have insulated windows. Um you can have argon gas windows. I mean, they're more costly, but there are other ways of meeting that energy uh prescriptive energy requirement other than the tint and and the and the coating. I know one of my neighbors um
in the village um installed windows u within the last I would say two or three years and they're low and they were permitted. We understand. I mean, there's a lot of things that that that get permitted that that if they came to
the board, they wouldn't get approved. Um, you know, because it slipped by. You know, a lot of a lot of some of the historic houses in previous years have s tile roofs, and we all mandate that that it be true barrel tile. I have a question. Is that your window over there? Sure. Would you like to bring it
and showed it to people? Sure. You took the time to bring it. It's a little heavy. It takes two people. We'll bring it over. Sorry. It's a little heavy. and and while while we're getting that window in place. So, Cara, one of
understanding where we're at now, um and understanding that that one of your concerns was that that is going to establish a precedent. Yeah. For the remaining windows, especially the front windows, which arguably are more important, right? Um the applicant has sort of said that
he wants to replace the front windows as well, right? um putting it out there that maybe maybe we can we require as part of the approval of this this is I guess a question for Stephanie can we require as
an let's say the board is of a mind to accept this installation as installed requiring revision to the mountains could we require that the applicant install replace the front windows with the correct glass the
correct mountains and and so on as part of this so that so that at least that that concern of of establishing a president is mitigated generally if that it's if that's work that they are planning to do and are willing to accept that as a condition of this approval they could I don't know
that you can mandate them to replace windows that they are not coming forward and asking to replace at this point in time if that makes sense but on the other hand if they did want to replace those windows at a later date it would require a certificate of appropriateness or working with staff. So, we do want to
replace all the doors and windows. This board does have the purview to add that to as a condition. We want that condition. The only reason why we're not um putting it on this application is due to the instruction given to us by the code enforcement board. So, we're happy
to accept that condition. We want that condition. What was the instruction from the code enforcement board? Um only include the windows that were identified by code enforcement. They're trying to deal with the violation, right? Yes. So, code enforcement is dealing with the violation. If you are proactively also
asking for a certificate of appropriateness for those front windows to be swapped, I think that's something that this board could approve. And absolutely, windows that are not subject to a code enforcement board um order or ticket are are not in the purview of the code enforcement board at this point of time. Yeah, we happily accept that
condition and and I'm not I'm not I'm not speaking for the board and I'm not saying that is going to be accepted. I was just asking could we mandate that as a report? You could direct staff to yes approve that and I believe it would be more about proactively issuing a certificate of appropriateness for those windows including those in the
certificate rather than mandating them to change those windows. Is that I want I would want to see the mutton pattern and all you know so maybe it's just a direction of staff to work with them to make them we accept that condition. I would be cautious about approving
something that you have not seen. Sure. What we're really here for today is the use of the LO E and the president of this board is that they have approved the identical clear LO E in the past. Um it's it's not exactly that all of these
applications have been disapproved. Where where was that that this board approved it? Because I started working here in 199. That is not in your question, right? and I retired in 2019 and I don't think I
approved any of that administratively nor did the board. What has happened over the years is that we used to mandate clear glass and then clear glass to one manufacturer became something else. So then we would say no tint, no reflectivity and then now with low E
that becomes something else. So clear is not actually clear anymore but there is a clear glass. So what we now ask is no tint, no reflectivity, no lowe. And to Alex's point, we are able to work with the building department to remove that
that condition that you meet an energy criteria that a historic house will never meet. So we have gone to clear glass in in instances where where it's been. But this is clear. Yeah, we I got it.
And I'm not that the body has the authority to deny energy saving, you know, measure. You know, I have there's a case with
that happened in Key West, which is part of our Can you please speak into the microphone? I'm sorry. There was a case that happened in Key West where, you know, there they have their historic district as well and uh mostly uh Chin Ruth
and a homeowner painted it white because there was this white paint that was reflective and heat saving. He had all the uh the specks on it and the code uh enforce code enforcement. Uh I'm curious
about the one in that district that you said has this similar one that's done within the past few years. Um, we should look up the permit and see whether it was even reviewed by the historic department because, you know, there's uh
new systems that are put in all the time, computer systems, and very often it's a glitch and it doesn't get to the historic department and a and a permit is issued. I mean, that's a bad glitch, but you just don't know how that would have happened.
We have a list of the COA properties. Please speak into the microphone. We have a list of COA properties that have been to this board and we can give that list to staff to cross-examine them. You're welcome to do that, but I'm going to I'm going to also going to
direct your your opin your your attention back to the staff report. Okay? I want you to look at that and I want you to think about it because right now it's on it it's a recommendation to deny. So, I think that, you know, if if
you're interested in doing what it is you're saying you want to do, you know, we're replacing all the windows, I think, you know, I think you should consider, you know, what, you know, what those ramifications are going to be. You know, we can continue to come back and talk about that. We can argue about all
kinds of things, but you know, what is it that you want? Do you want to move forward or we can continue to argue? So, I think that that's really a a decent point to consider at this time. I've got a question. Who Who's the window subcontractor?
Um, American Impact. American Impact. Yeah. And what what was their like did they give you any guidance or what did they say as far as No, I specified clear clear glass and they said clear this is clear glass but it's low and you know
it's acceptable and they haven't taken any any responsibility or anything or Well, I don't know what I don't know what they can do. I mean, you know, you haven't purchased the windows already, have you? I'm sorry. You haven't purchased the windows already installed. They're installed. But not all of them, but the ones in the front and things
have not been. No, there's just two or this one and another one. The think music is on. Jeopardy. final jeopardy. I think part of the issue and and this would be like a separate hearing that
the city doesn't have a standard. Being an architect, I'm a technician of sorts and if there was a limitation on reflectivity that was adopted by this board, people would be happy to abide by it. But as an architect, without that standard, it's hard for me to instruct
clients. Mr. palace who unfortunately has already made these installations in future projects without that standard that we don't have it it becomes an arbitrary requirement it's not but you know historic department and ask them
and to get a permit and it goes through so many drawing review like so many things but but you're also saying that I get it but but you're also saying that you know they didn't go to historic or slip through the cracks And many many of
these properties have it just surprises me that there would be uh windows in that district that have that tent on it. Yeah. I would be shocked that that they went through the historic department. So you acknowledge that they do. I'm just
saying maybe that happened. I don't know. I honestly don't know. I have no way of knowing. But uh staff should look into it because it shouldn't happen again if that's the case. Miss Rolando, I mean I I have this is like a
self-inflicted wound behaving without the permit if you had applied for the permit this would not have happened. I Okay, you had to No, but she's saying that probably it could have. You know,
that's the other highly unlikely One more time, please. I'm sorry. Okay. And let's just, as they say in Texas, put the skunk on the table. Um, this this is an a really important
property, highly visible. So, that's what I'm struggling with is you have windows that look as if they're highly appropriate for a 1980s
house instead of this magnificent structure that's a major major addition to Corus plus part of the village. So, I'm I'm
struggling how um I get what you're saying about Loi and um some of this is um kind of an awakening for me to understand that low
E has properties that um we need to address. What I have a bigger problem with is the tint and the highly reflective because it it looks like
stuff you'd see on a skyscraper. So I you know I um I want to get rid of that. That's the point. Okay. So you know I think I probably have a little
[Music] more flexibility on the low stuff. I have a big problem with the highly reflective and I'd like to deal
with the uh planned windows on the front facade. So, I I don't have an answer, but I've um
uh I'm I'm struggling. Yeah. But it it sounds like you're suggesting that to remove all those ugly reflective very dark reflective windows which are not even the correct pattern of the Dutch South African with and if you look in
that upper corner with the correct pann pattern and and look you could see through it and there was that other picture you could see into the house. I mean it's not like when when you say it's tinted I I I I don't like that. I don't think that's it's it's clear
glass. It just has this very kind of green. Yeah. Whatever. Whatever is, you know, I it is a Let me tell you, it it's a large property. It's a large house. Uh you know, I I am the caretaker of this property for Coral Gables. I'm not
putting an aluminum carport or, you know, I'm I miss I think people throw themselves in front of the bulldozer. No, thank you. I I'm going to comment here if I may. You're asking for forgiveness on something that has been
done, okay? We're looking for a way. We're trying to tell you that if you want forgiveness, you know, listen to us. Yes. Okay. So, if you'd like the forgiveness, okay, rather than a denial today, listen to what's being said, okay? We don't want we we traditionally
do not do low E. So, if you'd like the windows, okay, and you'd like it approved, we can probably put together a motion that would allow you to do that and let you get past your code enforcement issue. Okay? Otherwise, this individual is going to vote against you. Okay? And I think several of the other
people here and you're not going to have a quorum. So, let's let's focus on that. What Miss Rando was saying, if I followed her, was that um you know that yes, get rid of these skyscraper type
windows that are reflective um and put in the the the you know, if you want to call it lesser of two evils. Call it clear glass. I'm sorry. Call it clear glass. It is clear glass. Call it clear glass. But Michael, are you saying the low E
actually has a green tint to it? Okay. because of the and that the glass actually has to be slightly tinted and the way the glass is made and you know Mr. Silva and you know knows better than I do but it it comes up with a color okay and there were no colors in
original glass it was pretty clear so I you know I'm I'm sorry to tell you that but that's that's the case and that's why we insist on this so if you want to match what what was going on in the original which I think you're trying to do with the wind with the windows and the mutton style and everything like
that, we're all for you. Okay? You know, like I said, you want to get past the code issue, listen to us and and let's see what we can do to to compromise. Well, they wanted to restore all
the front. I know they're already in, but I I think I think they're in the I think we're all kind of confused. Yeah. Just real quick, the low E is you see in the upper right corner, right? That's installed that they they put that in. That's impact. The ones on the left here
that are reflective and the dark and the dark black one there that he's pointing at. No, to the left. That are existing on the house that that he that they obviously want to eventually replace. But which one's which one is the code violation for? For the existing windows
or for the new windows? For the the new ones. The new ones. the ones that are clear. Yeah, we're trying to remove the reflective. And just to clarify, the bottom left photo where it says photo taken by city staff on the left side, which are those existing existing, not the new low E window. No, correct. Those
those are the ones we're trying to remove. The property is very long on the Yeah, but hold on. But because they're going to get confused is I think because it's kind of confusing because we're talking about low and reflective. So, the house already has some reflective windows on it that are existing. I guess
everyone's agreeing with that. We're good. Yeah. That I want to remove. Yes. Correct. But but that's not what the violations for. The violations for the windows that are basically on the upstairs and a little bit in the back or the back of the house that are low E. They're He's saying along the back.
Yeah. Like and wrap around. Yes. So, they're low E. He's claiming they're clear, but they're clear. Low E which low E has a green tint to it. These are what we want. Um and I just want to Mr. Chair if I can I just want to sort of focus the scope of
what is before you today because I know we're talking about other windows etc. I think what you were looking for today is the after effect approval of those second floor if we went back to that second floor window and those nine or 10 locations that were noted in red and the
COA application. So while you may be having discussions about uh replacement of other windows and the uh characteristics of those existing windows, what is before you today is only a COA for those um unpermitted windows that were just installed. So
what I was while I understand that the applicant may want to discuss future plans, I just I think it may be helpful to focus on the nine or 10 windows that are at hand today. um and that any other future windows would need to come back for either approval with staff or a an SOA as as as appropriate. Okay. So, do
you have one more question because we're going to close this down and come just be careful. Car, excuse me. Uh Carl, the uh the ones that are this the windows that are the subject of the code
violation. Um are they the proper configuration? They're all low E clear but not but they have this tint associated with the
lowe spe especially as installed. They are not all correct because the permit reflected what was installed and went through a few revisions. So there will be some windows that were installed that need to be changed to match the original
configuration which is the the muttons. Yes. Take the muttons off and put the one of them casement windows. They're going to have to change one of them. So they can they'll but need to replace like one or two to make them match the proper configuration. So the the
remediation entails replacing the muttons. Well, two part. It depends because if you go off of staff, staff doesn't want the low E. So, it's it's rip out the windows and put new windows clear. The second part
of it is if you if we were to decide to say, let's let them keep the low E. They still have to reconfigure some of the buttons. Okay, gentlemen. I think we're done with you guys. Okay, so we're just going to stick here with the board. We're going to close this portion of the meeting. Okay. And I mean, there's two back to the board. There's two options.
It's either let them keep the lowe and make the new ones that they're going to change clear or have them m Miss Toothaker said that that it's really only about you know the existing windows that we put in without a permit not does not have anything to do with any new
window whatsoever. Correct. But but but there is no application before you today for any windows on the front. But but I wanted to mention that I mean and I heard it all as I sat through all these other hearings that they you approve
things with conditions and the condition could be that I uh change all those front windows which are ugly and rattly and all that. That's what that's what I'm let us deal with the issue at hand and then we can we can see about doing that as well. that that that was what I
proposed and then the whole house would be uniform, beautiful and you know it's really difficult to disappoint people as you know you know but we all try to do the best that we can for our overall community and and I hope that you'll you'll whatever decision we make
I hope that you'll you'll keep that in the spirit of everything and it may not be in your favor it may be in your favor but you know this board is charged with you know trying to preserve as as we can with individuals, you know, the historic
integrity of the buildings, okay? And you got a 100-y old building and that's what we're trying to make sure, you know, you're trying to update it. We're trying to help you, okay? You've you got a permit violation. You didn't put things you you didn't take out a permit.
So, we're here to deal with that. You're asking us to forgive you for something that you did illegally, okay? That you violated, you know, the code. So, you know, like I said, let's let's see what we can come up with here. So, thank you. We'll you know, you're welcome to stay.
We're going to pass this back to the board for now for a discussion so that we can move forward on it. Thank you. Thank you. Okay, board Mr. Kirsty. So, this is a question for staff, not the owner. Oh, okay.
Thank you. Please, please feel free to sit down, sir. We'll call you back. I'm sorry. So, the windows in question today, do they have the appropriate mutton pattern or they do not? Okay, so there's there's two parts to this. The windows that are installed,
um, most of them have the correct mutton pattern. There are two or three on a side elevation and I think one of the doors on the rear as installed will need to be replaced because there are one is a casement one some there's something
with the door that's wrong too. So for the most part yes could you identify the ones that need to be replaced regardless I think that they are the ones that are bubbled on these drawings that he handed out if I am not mistaken. Just just to
be clear, when you say replaced, are you saying that they don't they don't meet staff's standards for the for the buttons or the actual buttons only? Okay. So, we're not taking out the whole window. We're just talking about the buttons. Okay. Well, don't know how the windows Well, yeah, correct.
Correct. Assuming So, if you could tell us what sheet you're looking at. So, if you go to the last two pages of this handout on the bottom right, AA1.2 A1.2.
What? Which page? A1.2. It's the second to last page in the booklet. There are a couple of the doors that you see in it's kind of hard to see, but they're they're bubbled on the on the bottom. Okay. The French doors. And then
on the next page, which doesn't have a number for some reason. And the window on the right also that's bubbled. No, that's ex that was existing to remain. So, it's just it's the doors. And so, then on the side that we go to the last page in the booklet has no
number. It's the north elevation. The two upper windows were drawn uh where they were as case as casement windows, which I believe that's what was installed. Were they? I'm looking at the submitted. Yes. on the on
the on north elevation you said on here these two they they were initially submitted as casements that were but they're I don't know if that's what got installed I can't see them so we made them change them to single hung
to match the rest of them as appropriate so my guess is that they were sing casements okay so that's north window that's the north facade sheet A13 the two second upper And not the double window, just the two correct single windows. Correct. And that's north
facing. That's it. And those do not those are inappropriate. Currently inappropriate color. Correct. Okay. So we have a so we have a violation for Loey and then we have a couple windows and a couple of
doors that the mutton pattern mullion pattern is not correct. It's not consistent. Okay. And Mr. Garcia, just to clarify, the violation was for work without a permit, not necessarily Loey. Thank you very much. Work without a permit. So now we're here for the LOI and in these four cases, the two doors
and windows patterns as well. Correct. But those those four as part of his permitting process, the revisions, we worked it out so that the current permit, the only issue that we have now is the tint and reflectivity of this. It will be replaced. Yes. So those windows
are going to be replaced correctly. Yes. Got it. Mr. Sto. No, I just I just want to Oh, I'm sorry. Replace the mutton. So, just those four those two doors with two windows. They're going to be correct in form. And then the only So, they have
to be replaced, right? Not just those four, those two doors and those two windows replaced no matter what. And they're going to get replaced properly as far as the mutton pattern is concerned. Now the issue still maintains with whether it's going to be killier or
low that's separate. Okay. So we have four openings that are being changed to be to meet staff's recommendation which is great. And then we're here have all the other installed windows are the low. So I just wanted I wasn't clear. So thank you. And I have to say I mean
that's a that's regardless if the permit or not that's a huge applause because he could have gone way sideways with those windows and installed something totally different. So, no, no, no question. I'll pause. No, no, you you clarified
what I was ask and sort of. So, then we have the Loey versus non-Loey is where we are now with the with the installed windows that are to remain. Um, and they are not the front facade. The front
facade is east facing. The windows that were replaced were north, south, and west facing. Um, and we know in South Florida heat and which walls are hotter than other
walls. North is not as hard as south. East is not as hot as west. Um, so I would like to say that out loud so that we can think about the what I believe are now two things to consider. One is the code violation at hand and then the
request by the applicant to potentially think about the north the east elevation which um for the city attorney is if we choose to do two things do they have to be separate motions or they need to be rolled into
one? It depends on what those two things are. If if one of the motions is regarding the code violations and the other motion is the windows that have not been changed, I I would ask you to limit your motions to the application before you
today, which is only those 10 windows. There have been no drawings. There has been no notice to the world for the east windows. Understood. Okay. Can be direction to staff. there can be direction to staff to work with an applicant of course, but I would not
want to to the extent that uh a later window would require an SOA and I don't know I I will defer to Cara on that. I wouldn't want this board to um make a decision before an application comes before it that may come before it. Yep.
Yeah, that makes sense. I just I know Mr. Silva had a good point earlier and I just wasn't sure how to handle. Yeah. and and just, you know, to the extent you think about the notice and the posting and the the staff having the opportunity to view actual shop drawings, etc., I wouldn't want to limit
staff's ability to review that by this board approving something. Thank you. I have another question. You have discussions with us? Um, of we
we of the windows and doors other than the four that are being replaced, is the mutton configuration on those remaining proper? I'm sorry, I missed the beginning of that question, but I believe I answered
that already. Yes. Okay. Other than the four apertures or uh windows and doors that are being replaced in their entirety, are the is the mutton
configuration on the remaining doors and windows correct? Yes. The newly installed correct are the ones that are subject to the code violation? Yes. Say to them what I just asked you. Yes.
So, and to your point about the motions, if you all, as Alex suggested, are leaning towards, you know, leaving them as is and then approving clear glass, approving clear glass on the lune facing side. It would become, as Stephanie was
saying, not part of your motion, but the next application that comes in for the windows on the front would either come in as clear and staff would approve them at a staff level and you would never see them or they come in as low and I say you're going to the board and then you
all can make that direction at that time. So to clarify that question, Mr. Sto. Thank you. Because I do I know we're supposed to limit discussion to what's before us but in the staff report was brought up that there is a concern
that this would cause a precedent for this particular house I just want to be clear that whatever we decide this is a standalone thing and it is not a precedent right what whatever we choose to decide every case is supposed to be decided on its own merit every
application is on its own merit including an application for new windows that are not before us today that's right I hope hope everybody's understanding and I think that's helpful and keeping them separate. Further discussion.
Do we need dinner? I see some really low energy. Not low e. Okay. A motion. One more question. What's What's the total number of windows that we're
talking about that in this code violation? I mean, how many Well, somebody uh Yeah. Do we know? I mean, okay. Okay. Does staff know? I mean, this is the anchor house.
He's showing it as 13. Huh? He's showing it as 13. 13. Out of how many total in the house? Are there 22 windows to be re that were installed by in violation of the code? Is that the number?
Yeah, there's about 13 on the front even. That's what the plans reflect. Yeah, I said there's 17 existing that are that are to be changed at a later date. No, no. How many were installed? 13, you know, not in compliance with
with without a permit, without the that's that's the issue. So, it's 20. It's 20. I mean, Mr. Silva is counting up. I'm counting 19. If you and if you count the corner windows as two, it's it's 20. Yeah. Without a permit. It's sort of
academic, right? I didn't do the math. I like the opinion of the um design professionals on this board. Um, would it look
weird to have low E clear for some of the windows and clear non lowey for those that may get replaced in the future?
I think it would. the the I think it would I think it would and if there was an if there was a condition I was looking to see if maybe some of the windows were interior facing if you had a courtyard or a backyard but this is so prominent and the second floor windows you know don't are not on the front but
they are very visible um could could visible because of the they're visibleituation of the house. And it's it's basically 270,
right? Miss, I'd like to hear from you. Particularly the second floor windows are visible. I'm sorry. Particularly the second floor uh windows are visible whatever street you're on, whether it's Ljun or that back street. I can't think of what it
is. Um Oh, Sam, that's where you are. Of course. Um I have a hard I myself will not approve the green tint on the LOI. I I can't vote in favor of that particularly on
this house. Again, if it was a courtyard situation, I I could do that, but not on the situation where you can it's visible from the street and it will be visible from the street and possibly have then actual clear windows on other facads. I
I think it's very odd. and it's not something I'm comfortable with on this important home. And kudos for you for buying it. And I know that it's a labor of love,
but you know, I think you'd be happier if they all matched and they were clear. I I do I guess the question that Javier asked I just think a subcontractor that works in the gables on historic home I imagine they would
have to have encountered historic homes. Um it goes through so many steps. There's a shop drawing review. There's a review of a cost estimate. There's a field visits. I mean there been so many steps where someone would have um give the owner a heads up and say this has to
go through the city. I'm just you know shocked by that. I'm I'm so surprised that a window contractor wouldn't understand that you have to pull a permit in Coral Gables for anything, but certainly windows. So,
shame on them. Have any questions down here over to the left? Anybody? Okay, let's think about a motion here. I'm going to read you what the staff has said in their recommendation. Staff conclusion. The work proposed in
this application detracts from the integrity of the historic building and is inconsistent with the secretary of the interior standards for rehabilitation. And I will add the what we have applied here as the historic board as well. Staff has consistently
conditioned window and door approvals with the condition that glass be clear. No tint, no reflectivity, no low heat. The windows and doors installed on the property are both tinted and reflective. The effect detracts from the historic
site and district. It is also important to note that the windows and doors installed with a permit occur in the rear and sides of the home. The windows visible from the front uh road are still awning type, although they were painted to match the windows. Although the installed windows and doors on the rear
and sides of the home are highly visible due to the triangular nature of the site at the intersection of the two streets. Additionally, approval of the installed units will set a precedent for the windows on the front facade when they are replaced in the future. Therefore, Historical Resources Department
recommends the following. A motion to deny the after the fact design approval for the installation of impact windows and doors on the property located at 6710 Lune Road and gives the legal description. So,
M the report says they're reflective. Is that accurate? They're not mirrored. Like it's like the ones on the, you know, the bottom of the ones that are there now are more sort of a mirrored tint. So reflect reflectivity
to me is the green reflection that's coming up. Okay. I'm looking at the flag. Yeah, that flag I'm looking at in that window. So, you know, it's reflective. Now, whether or not it's if there was a room behind it, uh um it may not be, but it's
Well, glass is reflective. You know, if you're walking by a storefront, you see your reflection, but is it mirror like the Well, does it does the glass have other than natural reflective qualities?
That's really the question at hand. Is it natural glass or is it been enhanced? Okay. I mean, you're welcome to come. It's here. So, if you want to walk around it, be my guest. Let me ask the board something, right? Is this is this are we looking at this
as an all or nothing proposition or are we considering Yeah. Let's look at I mean if it's an all or nothing it's a deny. Yeah. I know it's not in the staff report. No, I'm just thinking maybe the second floor is required because that's sort of visible
around and maybe the back facade can stay. I don't know. Right. Like there's also an issue with you know you know forgiveness of you know shall we call it illegal activity. Okay. And which I think is really the primary issue here. Okay, you know, the
applicant or someone on his behalf has acted in a manner inconsistent, you know, with the code. Okay, and so there's a code violation. So, do you forgive the code violation? Okay. And then say, well, whatever you do in the future is is okay, you know, as long as
you follow this. In other words, well, I'll give you partial or say, no, you really need to correct what what it is that you did that was in violation of the code. Okay. So, there's that and and that to me and
it's not a criteria to be considered but I I understand that it is a fact of the case of how it came before you today but you know you should be looking at the criteria and the code for the certificate of appropriateness um and and how they got to you today is not necessarily one of those criteria though
I understand that factually it is how it came to you today. So I I hope that everybody in the audience understands that. Okay. So, you know, we're not the parole board. Welcome to Welcome to our pickle because
hang on. Okay, I'm going to Hang on just a second. Careful. Council, we're going to getting ready to make a motion. Council,
Mr. Garcia. Okay, I'm going to make listening to um the board. Um I'm going to make a motion for discussion. It will be a motion to approve the after the fact design approval for the
installation of impact resistant windows and doors on the west elevation on the property located at 6710 Lun Road and approve the
special the issuance of an SEOA for those windows. All the other windows uh may not be low E must be clear non-LOE with the proper monkey and
million patterns to be worked out with steps. And the reason for the motion was based on the conversation that we had is if this were facing a courtyard, if this were facing something else, if this were if this were if this were the plans. Um,
with the exception of the I think it's the dining room window, all of the windows would be facing south only and not have two different windows in them. So that the front the dining room kitchen would be
the only one that would have the ability to have two different a clear window and then a low E window in the back. And that will be at the um that will be up to the applicant to accept or not accept as far as if they want to
do if they want to keep the low E window in the back. Um my suggestion would be my motion is for only the low E facing west. All others must be clear non and you're saying even on the second floor west
all the entire western I understand motion for discussion and for seconds okay I don't know if there's a second or not but I will clarify clarification um when you say west uh
caesar there are some so on the second floor the second floor it kind of juts out and there is a western on on the study there is a a western facade and a and a north fac those two corner windows both all
four those all four would would remain what's the name of that room the study the study including the study including the study and the study and other western facing windows okay not these two right so Mr. Garcia Ponzi, I
understand your motion to be approving um the the mutton the mutton pattern that staff is okay with on all of the windows covered by the COA, which is we believe 13 or so. And then approving the use of a low E window for those uh four
westward facing windows on the second floor and what and I I'm happy to be corrected. One, two, three, four, five, six windows and two doors on the western portion of the first floor.
I I believe that's the correct number, but we can we can clarify that. Western facing windows inclusive of all the windows in the stud. Okay. And doors and doors. And doors. Okay. And um any other windows
whose mutton are approved by the COA must be clear non low E. That is my motion. Second. Okay, we have a motion by Mr. Garcia. We have a second by Miss Rolando. And do we
have any further discussion to the board? Hearing none. Let's call the motion. Miss Alvarez. No. Mr. Durant? Yes.
Miss Spade, no. Miss Ever, no. Mr. Garcia Pants. Yes. M. Rando. Yes.
Mr. Silva. Yes. And Mr. Maxwell. Reluctantly. Yes. So, you have it. Motion passes. 53. Motion passes. Don't do this again.
You got off lightly. We we've got other I don't want to I don't want to bring up the other windows at all at this time. I think staff has expressed that if there are uh other low E windows on this property, they will be coming back to you. Yeah. Don't want to bring that up at this time. This motion
is done. We have another item on the agenda. I hope you've heard us. Yeah, okay. This is not President and I'm telling you, we have let you off of this thing and there's not and you can argue Loi all you want, but it's never it's not coming
back. Thank you. Get a permit next time. Thank you. Okay, ladies and gentlemen, we have one final item here on the agenda. It is 20 minutes to 8. Let's make sure that let's
see if we can get in and out of here pretty quickly. Um, this is item 258945, case file co 2025-016, an application for the issuance of a special certificate appropriateness for the property at 516
Avenue contributing resource within the French country village. legally lots six, seven, and eight, block 125, Coral Gables Riviera, section 10. Uh, platbook 31, page one, Miami date. Uh, application request design approval for
a copper chimney cap. Uh, the board will recall that we've seen this, uh, application previously and ask them to come back with a revised design for approval on this specific item, the copper chimney cap. Correct. When this was approved, uh, when you all approved
the slave roof in October of, uh, 2024, this proposal was shown on their plans, but was not included in the application as an ask. Um, so it was excluded from review at that time. So they are back to ask for a copper
chimney chap, whatever I just said, chimney cap. Um, and again, staff recommends denial. that we have visual proof that there was nothing on the chimney cap at the time of its construction. It's adding a conjectural feature and we are not in favor of the
application. So, with that being said, I will turn it over to the applicant whose PowerPoint is loaded. I haven't I haven't sworn in. No, I Frederick Bates uh owner of 516 Caligula AB. Thanks for having me back.
I tried to share my screen. I don't know. Oh, is that me? We have a PowerPoint presentation that was previously submitted, but I don't Otherwise, you're not sharing your screen if it's PowerPoint. Can I share? I just I wanted to um to I
wanted to show you what I'm trying to do, but I also wanted if you're if you're up for it, I wanted to show you the progress. CGTV, if you could please make and I'm not sure what your name is on the Zoom. It's Frederick Bates. If you could please make Mr. ates um a co-host so he can share his presentation and help us
um that the screen Okay. So, thank you. Thank you again. Sorry for the delay. Um I think most of you here when I when I did the original application for the slate roof and I know some of the things were a little bit contentious and there were some some
um some advice from the board that we accepted and and we moved forward. And I'm I'm proud to say that we're sort of well underway probably a month away from actually finishing this roof. Um, it started in January and, uh, it's going about six months. So, it's a little bit
of a labor of love. Um, but I'm going to just focus on on this and then if you'd like, I just take you back to the project and show you a few pictures in case you're interested in in seeing the progress. So, on the original chimney, it's kind of like a cone, typical cone.
Um, please forgive this picture of something I found on the internet. What I really want to do is just simply wrap that cone in 20 oz copper. No, you know, ugly sort of hat on top of it. Nothing. It's the exact same structure, just
wrapped in copper. And even the bricks um will still be visible. So just a tiny little ledge. So on the base of the the top of the chimney, it's kind of concaved. Keeps cracking. Keep having lots of issues. We have a huge oak tree over it. So there's kind of two reasons
why I want to do this. one, we've been in the house since 2019 and, you know, getting the people up there to continually fix this and fix the cracks and fix all the seeds that are getting in there and repaint. It's kind of a dangerous job and we don't want to be doing this all the time. So, we just
think it makes sense and it will last at least a hundred years if it's 20 oz copper like the rest of what we're trying to do with the roof. And then the second is just more romantic. We have a lot of copper um that's gone up onto this roof in the project. So, um, as the roof patinas and as a lot of the, you
know, the copper patina, we just wanted to have it match the rest of the style of the roof. And, you know, over over the years, hopefully that's going to really patina nicely. So, this picture is is a little bit more than what I want to do. Exactly what I want to do is just take that exact same cone, just wrap it
in copper. We have a craftsman that's um been doing copper for 40 years. He's actually a refugee from Ukraine. He's in doing old world churches and stuff like that. on Eastern Europe and he's I'll show you some of the work that he's done, but he's just going to wrap that and hopefully protect it. So, that's
kind of the project. You can see a little bit of progress on the left side of the top roof there um with the the slate uh and the the fish scale cut. But, basically to walk you back through the project um real quick, what I was proposing to do, and that was already
approved, was basically taking the Ludichi kind of ceramic terracotta tiles and bring it back to slate. The contentious thing I think was um having fish scale cut slate. There was some color discussions. We ended up just doing monocolor. Um so I think a lot of
you remember from from that time we we had a good discussion but I had brought the original you know book from 1924 from one of the architects in the French country village kind of modeled it a bit after you know what you see from from the book which was you know that that fish scale cut. We just had this
romantic vision of the house from the south of France and kind of wanted to try to bring this to the house and do it you know better than maybe the original was done and thank you all for that you know that approved it. We also we had proposed bringing in um you know a slate
master from Pennsylvania to do this project. We couldn't find a lot of you know great slate workers here in South Florida or in Florida at all. So, so we ended up bringing in a team, a specialized team, um, from Pennsylvania. Um, the team was, you know, basically
the founder of the team was the person that wrote the slate roof bible, three editions, this thick. I mean, it's kind of for slate nerds, but or for craftsmen that are learning the the trade. So, we actually did get that team to relocate from Pennsylvania from January, and
they're still here, uh, still working on the house. Um, we had all the slate actually sourced from quaries in the north of Spain that would have been the same quaries that would have provided slate to the south of France. So, nobody's going to really know that when they look at the roof, but from us from
a romantic point of view, it was just sort of we wanted to be authentic. So, we had, you know, just tons and tons of slate hand cut in quaries in in Spain to this fish scale. So, that, you know, it took a little bit longer than we thought. thought we were two months late on the
slate coming in from Spain to to the United States. So, uh you know, but it arrived and it's underway. Um you know, we also had proposed doing a lot of copper on the roof. So, um double locking seam copper on non-historical parts of the roof and
removing some dormers and also putting copper on the pool house. Um, these were just some of the original concept pictures of what we were kind of shooting for in terms of the the fish scale cut and some of the original discussions on the on the colors, but we
ended up just going with the the regular sort of darker gray black color. We had shown some precedent from the neighborhood. We had shown some pictures of what this slate company was doing in terms of copper and and the double blocking seams. um some diagrams of the house that we
had originally shown. The gold parts was where we were going to put the copper and then you know some of the other copper detailing in different parts of the house. We also had proposed doing some pretty you know interesting patterns in terms of the pool house with individually bent sort of copper
diamonds all around the pool house. Um, so I think a lot of you remember some of these things, but you know, at the time we had put this in, but it wasn't a part of, as Scar said, it wasn't a part of the original, but all we wanted to do is just put a copper wrap around around that cone. So that's why I'm here today,
but I I figured maybe it would be interesting for you all to kind of see some of the progress. So these are actual real updated pictures of some parts of the house. So this is sort of the tower where we have the elevator shaft and some other things. So we um
you know we did do you know all that that slate on the the top there you can see the the copper detailing which is on the sort of the you know the hips they're all stepped up. We did this for two reasons. One for basically design and the second because it's incredibly you know sturdy. So if we have a
hurricane all these things are really wrapped into the slate and just you know it's really secured into the roof. So it protects you know any of the slate getting pulled off by a hurricane. You can see that in other parts of the house. And forgive me for some of the pictures. This isn't all really all done. So, you just, you know, you can
get a get a feel for it. This was um the pool house that we were talking about doing uh some of the diamonds sort of cut um copper. Um closer up. Um this this guy did just a fantastic job. I don't know. It's it's a maybe not
everybody agrees, but he did every single one of these diamonds hand by hand, piece by piece, and uh just kind of did it on the fly. There was no design. It was all sort of an artistic job. And um I think it came out pretty pretty good.
Um if you were to be looking from that tower at the house, I know it's kind of far away and this is still underway with all the scaffolding there, but you can kind of see some of the slate coming together. You can't really see the fish scale cut in in these, but you can see a mix between, you know, the copper on the
modern structure on the left side of the house and then where the slate is is really the original historic part of the house from the back the back view. And then some aerial shots. This is actually not the historical part of the house. This is the garage. So, this was an addition 20 some odd years ago. Um, one
of the controversial things we talked about was half of it being slate, half of it being the copper. And so, this is actually how how it turned out. So, it's already sort of patining, you know, getting patinaed. It's turning brown pretty quick. Um, but you can see that, you know, we we did, you know, fully
execute that mix between copper and slate. And I think it came out pretty good, but, you know, you can see see some of the the close-ups. So, the detailing of the the fish scale was was pretty pretty nice. Um, we do we are going to come back and ask for a color
change on, you know, all the garage doors and all the shutters. We're going to try to go to a really light green Frenchy kind of style. But, you know, we'll deal with that when we get there. Um, but I just wanted to give everybody sort of a feel of what we were trying to pull off. I know it was theory before, but you know, this is some of the
reality in terms of where it sits today. And, um, this is the left side of the original sort of historical structure. It's not quite done yet. We're still working on all this, but just give you a feel for the craftsmanship. And so the
people that were, you know, really trying to wrap this thing in copper, I mean, they're they're experts in what they do. This this guy from the Ukraine has been doing it for 40 years. He's been doing it in the old world. And I just want him to put that that touch on that crown of the house. So that's all
I'm really asking for. And I'm I'm hope hoping it's not as um contentious as the last session because I'm not asking for forgiveness. I'm asking for permission. Um so that's it. Thank you. Y
Okay, ladies and gentlemen, the issue is solely about the copper cap if I'm not mistaken, Miss Cal. Is that correct? Right. Okay. Um so, we're good. Thank you. Um we'll close this portion of the meeting. Anyone else in the audience
wish to speak for or against this item? Hearing none. We'll close that. Come back to the board. Board discussion. Hearing none, I believe. So, it's is there concrete or clay?
What did you say? It's either concrete or clay. The the the existing chimney. Is that the question? Was what what the cylinder is appears to be concrete. Okay. I mean, Mr. I I don't find it offensive. I mean,
there's already copper details on the roof. There's this is just one small piece. I think you could always remove it later. You know, it protects it'll actually protect the the concrete, but I understand staff's point, you know, why they don't want it, but I I think I think he might have even
put it up there and nobody would have noticed. So, error would have trust. Yeah, maybe. But, you know, most of us driving by would have been, you know, not noticed it. So, I don't know. It's a small small item, but it's a I'm not It's a small item. You're right.
Comments, Miss Ever. This block of Calgia, I mean, really has very little traffic on it anyway. I mean, you know, yeah, it's my neighborhood, too. Um, he's worked so
hard like Yeah. Anyways, it's beautiful. Yeah, we're we're in love with Yeah, the romanticism of it and this makes no economic sense what we're doing whatsoever. But it is a beautiful hundredy year anniversary present. It's turning 100 next year. And so we had a
problem with the roof and we said, you know, how do you like the paint? And we ran into the storm and tried to do it bigger, better, and more beautiful than ever and something that's going to last over a hundred years. Mr. Rondo, um, I did not like the
example that I thought it was a little fruit. Um, but it's French. Uh, but I don't have an issue with um wrapping and especially if it's can be
removed and I like copper a lot and there's a lot of copper in my house. So, go by the standard. Mr. Sto, I feel like we've already made an exception for the roof. Uh, so Let's
What's one more trim piece on it? The roof is not what was there originally. The copper trimming was not necessarily what was there. So, I think adding You disappointed me once. Just do it again. I mean, honestly, okay, Miss
Alvarez, anything. I don't want to disagree with Cara, but I agree with Alex. I think it's one more I don't think we should do it. I think I think that we I I listen I love what you're doing on this house. I mean I
love the fish tail and but you know it wasn't it wasn't original to the home and I I think we should draw a line at this but I'm obviously in the minority. You're going to get it and it'll be beautiful. You voted yes.
No comment. My comment is it's copper. It's going to turn colors. It's not going to look like what you put up. It's going to turn green or it's going to turn brown, whatever the patina is. So, it's not going to match what was there. I understand what you've done. And
um I think that you should fix the concrete. Okay. I'd like to further discussion. If not, we're going to close this and uh we're going to call for a motion. I'm not making a motion because happy for you to do that. I'll
move it. I'll move that we approve the applicant's application to install the a simple copper cap on the and that it doesn't turn green or brown or whatever that it stays. Is this just on the cap? Just for the cap the cone.
Just the cylinder. It's not the whole No, it's just a little cone. No, it's the cylinder at the top. Oh. cover the whole cap top. It's just up there. This it has to cover the whole top of of that chimney because otherwise it would leak. Okay. And what he's trying to do
is to to cover that so that there's no future leak that we call it. So he's trying to future proof himself. Okay. People are going to think this is original. Can Mr. Silva, will you accept a modest
proposal that the shop drawings for this um rack be approved or run uh be approved by staff? It has to be revision their permit. So I'm sorry. It has to be a revision to their permit. So it will
come to us. Okay. Main are you going to make the motion or Mr. So, we have a motion and he made it. Second. We don't have a second yet. Second. Okay. Second by M. A question. Okay. Call a question.
I thought Miss Alvarez had a question. Okay. Miss Alvarez. Okay. Mr. Garcia Pants. Yes. Miss Rolando. Yes. Miss Spain. I'm going to say no because I know you
have this Miss Ever. Yes. You're standing on principal. Yes. Mr. Dana. Yes. Mr. Silva. Yes. And Mr. Maxwell? No.
Passes. Um, what do we got here? 62. Okay. Well, good luck on it. And don't let it turn green. I hope it turns green. That's the plan. That's the whole point. Cool if it turns rain. Okay, ladies and gentlemen, we're here a long
time. It's 5 minutes to 8 and I'm sure everyone is hungry. Is there any old business that anyone would like to bring, Miss Cal? Um, no. I just asked Stephanie, we'll send you guys an an updated email or an email update on the live local um act that's going through right now. So, you'll get an update on
where that stands or the other legislative item we discussed last time. hasn't ended um smoothly up in Tallahassee. So, we're continuing to monitor the final budgets and and actions, but uh we will continue to update you on those items. Thank you.
Any further discussion? M Are we going to be meeting here from now on? Yes. Okay. And you'll issue us new parking passes? We can talk to the clerk's office about that and um separately what I have you I have to run in a minute but um those of you whose appointed uh
commissioners may have changed um just so you know you will continue to serve um until you're reappointed or it should only be one of you but I I bring that up. Yeah. Thank you. So we'll
continue to release so so we'll be notified by the next meeting or before or there. commissioner. All right. You'll not you guys will remember that Mr. Aaron Half hung around for another year or two years. So, you just never know about these things. Okay. Is there any new
business that anyone like to bring? Hearing none. No new business. Any city commission items, discussion items? Call for adjournment? Moved. Seconded. Second. Done. Thank you all very much.
Happy birthday. I know. Oh, I know. Walking on the sidewalk.