I want to get one more. So, we have a quorum is five. We can call it with a quum, but I want to give it a couple of minutes. >> We have a busy agenda. Ladies and gentlemen, let's see. >> Ladies and gentlemen, we're going to start the meeting a few minutes later.
We're waiting for a couple of our board members. Uh we have a long agenda today. So if you would please >> if you're going if you're going to speak please make your your comments you know to the point
>> and because we have a long long agenda. So thank you very much for understanding. >> I don't need that. >> Hey Bonnie. Fine. Thank you. >> Hey you keep it. I've got it. I've got a couple of his books. >> I know a lot of these people here.
>> Okay. >> Michelle's not >> How you doing? >> She is having surgery. >> She had scheduled it when this meeting was to be last week. >> But what's the number? It's not on here. 248
>> Anna here. Okay. Okay. Here, Miss Miss Swift is here. Okay. We're going to go ahead and proceed. >> We're missing one, but I'm I think we can we have a quorum and so we can go ahead and proceed. >> Are we good, Miss Attorney?
>> What happened to >> All right, let's get with it. >> I read it. I read the I read it all, too. Good afternoon everybody. We're going to go ahead and start the meeting now. If uh we can have your attention, we'll go through the preliminaries and then we'll
begin uh we'll begin as soon as we we finish all the required uh readings. Um we're calling the meeting to order here. Um good afternoon. Welcome to the regularly scheduled meeting of the city of Coral Gables Historic Preservation Board. >> Mr. Maxwell, sorry. We just have to make
sure it's recording. >> I'm sorry. >> We're just making sure that the meeting is recording. One moment. >> Recording in progress. >> Okay, that's our queue. >> All right, once again, welcome
everybody. Good afternoon. Welcome to the regularly scheduled meeting of the city of Coral Gables historic preservation board. The people on this dis are 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 distinct historical carriage 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. Any person who acts as a lobbyist pursuant to the city of Coral Gable's ordinance 2006-11 must register with the city clerk prior to engaging in lobbying activities or presentations before city
staff, boards, committees, andor 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. A lobbyist
is defined as an individual, corporation, partnership, or other legal entity employed or retained, whether paid or not, by a principal 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 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 claim ordinance, chapter 39 of the city of Coral Gable's code. I now officially call the city of Coral Gable's Historic Preservation Board meeting of December
18th to order. And the time is, we'll call it 4:07 p.m. Uh, today we have on my right, Miss Alvarez, Miss Spain, Mr. Garcia Pons, Mr. Silva, a blank chair uh
with Ms. Miss D to be there, Miss Everett and Miss Swift. >> Oh, Miss Rolando. Where's Miss D? >> Miss Dana is not here. So, we're missing two members. Okay. Um it says I'm supposed to name any
distinguished persons in the audience, but all of you are. So, welcome. Um I'd like to move to the approval of the minutes, please. Do we have the minutes for uh the previous meeting in November? >> Can you please turn on the microphone, Mr. Garcia?
>> We do. I mentioned to staff there's a scribers error on discussion item number three which they're going to correct. So I move to pass the minutes with that correction. >> We have a motion. Do we have a second? >> Second. >> We have a second by Miss Everett. Motion by Mr. Garcia Ponds. Please call.
Voice vote. >> Oh, yes. >> Approve. >> Okay. Unanimous. Thank you. >> Okay. All right. Please be advised that this board is a quasi judicial board and the items on the agenda are quasi judicial in nature which require board
members to disclose all exparte communication. And exported 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 the 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 member must state on the record the existence of the exparte communication, the party who originated the communication and
whether communication will affect the board member's ability to impartially consider the evidence to be presented regarding the matter. Okay, we'll deal with that at each each one. Are there any deferrals on the agenda, Miss Barness? >> Good afternoon. Um yes, I do have two
requests of deferrals. Uh one is for uh case file LHD 2025011 and COA 202527 for 259 Indian Mound Trail. They would like a deferral for the February 12th hearing. And the second deferral is for
case file COA um 202523 for 2615 Alhhamra Circle. That one is a deferral for the January 15th hearing. Miss Bnes, can you do that again? Just which items. >> Thank you. At 259 Indian Mountain Trail,
>> great. Yes. >> Is a deferral for February 12th and uh 2615 Alhamra Circle. The second COA application is a deferral to January 15th. >> J. >> And that's that's those two just those
two. Okay, great. So, we have the two deferred items and all right, so the agenda has been amended. All right. If any persons in the audience will be testifying or speaking today, please rise to be sworn
in. In other words, if you'd like to speak before the board, please rise and and swear yourself in. Right. Mr. Chair, can we verify if there's anybody on Zoom who will be testifying so they can be sworn in now as well?
>> Do we have anybody testifying on Zoom? >> Please raise your hand or note a comment so you can appear on screen and be sworn in. Hello. Can you hear me? >> Yes, we can. Just one moment, please. >> Can you raise your right hand, please?
>> Thank you. Do you swear affirm the information you'll give today will be the truth, the whole truth, and nothing but the truth? >> Yes. >> Great. Thank you so much. >> Thank you. >> All right. It sounds like we have everybody sworn in at this time. All right. We're going to open the public
hearing. Um and we're going to start with case file um LDH 20225-013 consideration local historic designation of the building currently on the University of Miami main campus located
at at 1211 Dickinson Drive referred to as Eaton Residential College. Uh lengthy description on file is recorded in platbook 46 page 41 of Miami date county. Okay. uh board are there any exparte communications or undue
influences from attending this university? >> So for the as instructed the I'm going to disclose that I have much familiarity with the building. Haven't been a student there for a long time um and it will not um affect my decision-making in
any way. >> Thank you. >> I think I have to then disclose it also. I have three degrees from the University of Miami. The first degree was a five-year degree, bachelor of science and medical technology, and I lived next
door in Mahoney Pearson Hall for all of those five years, so I know Eden Hall very well, but it won't influence me. >> So, you you still you don't have a grudge against the >> No, I I I loved living in that dormatory and they're being demolished. This this
one's next door to it and I wasn't in it very often, but I have been in it and I know the campus well. will not it will not in any way affect >> and for the record those don't do not need to be disclosed if they're not exparte uh uh communications or actual
voting conflicts I'm glad that you've shared but um if you have a question about an actual voting conflict or an exparte communication I'm happy to discuss that off the deis >> any other board member have a have a potential change of heart >> Miss Alvarez no you're good
>> no >> okay thank you >> Mr. Maxwell, before we can begin um calling up the parties, I do have a brief um thing to introduce to you all about this item as it's coming in a bit of a unique way to you all whenever you're ready. >> Yes, >> that would be fine.
>> So, as you all know, we've had, I believe, two or three on two or three occasions in the recent history, we have had coming before you a request for designation not being presented by staff. On October 31st of this year, there was a historical significance determination letter issued by staff
with a finding of no significance for the property on D 1211 Dickinson Drive. That um letter in accordance with the city's zoning code was timely appealed and as such what is before you today is a request for designation by Miss Bolton
um for designation of the property located at 1211 Dickson Drive. Unlike normal designations, there is no staff report. There has been a report provided to you by Miss Bolton and um her team. Um Anna Paris is here if should you have any questions but um it's really the
presentation um of Miss Bolton and her team and her burden to prove to you the designation of the property not staff. So I just want to make that clear that staff is not planning a presentation. It will be Miss Bolton um as the applicant for designation.
>> Thank you very much. Miss Bolton, would you and u your team like to make a presentation? I know you brought several people with you. >> Um, good afternoon. My name is Bonnie Bolton. Uh, I live here in Coral Gables
and I wanted to start out um by thanking all of you for volunteering your time to serve on the board. I know it's a great deal of time and it's greatly appreciated. And I also want to remind you that serving on this board um comes
with a great deal of responsibility because it's up to all of you to preserve our history and uh so I'm going to start my presentation now. Um I'm here to designate Eaton Residential
College at the University of Miami Historic. It is located at 1211 Dickinson Drive here in Coral Gables on the southeastern shore of Lake Oyola. The building was
constructed in 1954 by Robert Murray Little. Bow House International Subtropical Modern is the architectural style of this property. Robert Little was an American Institute
of Architects fellow and he lived from 1903 to 1985. He was a very prominent Miami based architect known for his significant contributions to midcentury modern and
international style architecture in South Florida. He is associated with the quote less is more unquote ethos pioneered by bow house figures like niece vandereo.
Eaton Residential College is one of M's most iconic and significant modern campus buildings, not just because of its superior architectural qualities, but also for the way it shaped future
dormatory development on the campus. It is a bow house influenced Hshaped design with two wings and it is consistent with the design ethos of the master plan for the
University of Miami. It is the oldest residential hall on campus and um in 1954 it opened uh as an all female dormatory.
Um, Robert Murray um was also one of the pre preeminent figures in the design of uh the University of Miami campus. And I I'm really hoping you will designate uh Eaton Residential College historic so
we can preserve it. and um Jean Francois Leune is gonna give the presentation and Brett um Gillis will also be contributing. >> Thank you very much. >> Thank you Bonnie. Uh this is Mr. Chair
and member of the board. It's actually a pleasure to be uh for the first time in this uh commission. Yes. Yes. My name is Janu. I'm professor emeritus of the University of Miami school of architecture currently professor associate at the
University of Notredam in Indiana and Rome. I'm also representing here in terms of secretary the association DOMO US Florida. Uh the KOMO US Florida is actually well known to the city of
Corables because we actually received the notification last year that uh there was now a DOMO day on 27th of May 2024 at the occasion of a large conference that we organized a national conference
here on campus in Corables as well as partially in Miami in city of Miami as well. We have uh basically always been very involved uh in trying to help and protect historic building. We do not
officially and we do not often actually come into a commission chamber to ask for a uh designation. This is not officially our task. Do means documenting, co-conserving, more modern, more movement. Do it's an
association that regroups thousands of members now created a little bit more than 30 years ago in the Netherlands. In the US there are 36 chapters of DOMO Florida being
one of them which I helped found in 2009 and that has been thriving quite a well for this last almost 20 years. So um we were informed
uh quite quickly and in very limited amount of time by the possibility that the Eton residential college would be demolished. In fact we were supposed to appeal the non the non-desation of the
Pearson Maron colleges which run into uh the staff city staff a little bit earlier than the one that we are dealing with today. We were supposed to appeal that designation but for technical for technical reason that appeal was
introduced and eventually retrieved. If I'm not mistaken the Pearson residential colleges were declared uh not historic in the city of Colgables and can actually be demolished. Interestingly, less than two weeks after that decision
was taken by your staff, the city, the university presented the project for the reconstruction of the site of the Pearson Maron College, which is extremely fast track and to some extent for me who has been living in Miami Beach and has worked for nine years on
the planning board and the historic preservation board in Miami Beach, a surprise how quickly in less than a couple of two weeks such important buildings would eventually go through a too accelerated and too fast process. So we took the opportunity to uh appeal at
uh for the Eton residential college. So but basically what I'm going to do I'm going to run through uh the most important criteria for designation. uh then I will go to a summary statement
of significance of the case and I'm assuming uh that we have some expert who will uh eventually intervene after me rebutting probably many of my points and I'm assuming that I have the right to actually respond to the rebuttal right
it's I appreciate if that's uh the case and if that's legally the way to proceed okay so Um so I will start with essentially some of the criteria of historic cultural
significance and read uh in particular the uh number four that Ethan College exemplifies the historical, cultural, political, econom economic and social trends of the community. Eton residential college
received government backing as an HHFA housing and home finance agency project to provide the much neededed housing for students in respond to university rapid postwar growth before the GI Bill expired in 1956.
As the first of the large domeies, this building fostered a new way of living on campus. It made history as the first dotory for single women in campus that has already been mentioned. Eton residential hall evolved over time into
Ethon residential college. Another social trend in the approach to modern campus living the economic construction of the building. We know the building was built with relatively little means of construction and perhaps uh with some
defects but is that already has lasted almost 70 years. The economic construction was actually advocated by Robert Murray Little and I would say is is very relevant to the changing context of the campus and very relevant to the
fact that this building is the way it is in 2025. I will not discuss whether the building is associated in a way with a past or continuing institution which has contributed substantially to the life of the city that is actually noaron. I
believe residential college along with its immediate followers the Pson Maron complex represent the second gen generation of residential building on campus. It is indeed the oldest residence hall on campus and as such it
established the standard for the muchneeded housing for students in respond to the university rapid postwar growth. The University of Miami was an integral part of George Merrick's original vision for Carables and has been an increasingly vital and I would
say economic part of the city of Car Gables ever since becoming the largest institution in the city. Eton residential college was named after Julian S. Eaton an alumnest of the law school and early chairman of the board of trustees. I must say here that the
campus is unique in its history for its specific development over the 100 years. Technically as you know this is the 100 year the history of the university. We all know that it's not exactly right. Um but certainly it's
reaching definitely uh an important date. It has reached an important date and um it must be said that the process of transformation of this campus of which the resident Eton residential college is a part of is very fundamental. As we know this building
started literally as a Mediterranean project as a project that well we all know the very famous posters the whole world come to Miami to Carl Gables. Um it was a project that had a very very clear aesthetic, architectural and
stylistic direction that reflected the tenets of the early years of the city under the guise of its architects and of course uh George Merik and then it actually went to a radical change at the end of the of the second world war. That
change was absolutely radical. Not so much because suddenly added new buildings were added to an existing structure which is for example the case of many American campuses all around the country but in fact that the entire
image of the campus was transformed and a lot of that image came from the heart of the campus. We know that but also from the manner within which the students were to be housed. We even know that in the early version of Corable
there was even a small grid that would have probably house also faculty uh houses and apartments. All of that was eventually transformed to develop an image that was fundamentally a barhouse image, a response to very geometric,
very organized structures defining different axis of development. And those early uh structures were established by Robert Luid and Marion Munley. The 34 original uh collective
structures that of which now we have six left which are occupied. Thanks for the city for having also designated these buildings occupied by the school of architecture. So the M campus is unique in this in this history and I must say
um that it's probably not known but I wanted to uh mention that is that in 1955 Lorier made his only visit to the city of Miami. He he happened to have been in in poor gables and he met a lot of
architects of the city uh we whom he criticized for being working for the rich and not for the society but he certainly met Robert Marto we have this name in his famous uh books and um he
also requested we never we don't know whether that was actually provided to him but he requested the plan of university campus as well as another structure uh by Robert in the downtown Miami. It's actually a quite famous early parking garage in the downtown
area. So in terms of architectural significance of course um we believe that Ethan Hall portraits the environment in an era of history characterized by one or more distinctive architectural style. Obviously this is
continuing the argument dimension Eden Hall opens a second generation of residential housing on campus departing from the pavilion-like structures by Robert Lewit and Boris Manley and developing them as a full-fledged collective housing with higher density the city the the university needed more
housing and especially the insertion of important social and recreational spaces that did not exist in the first generation of housing. As such, Ethon right before Pearson and Mahoney accurately epitomized the changing
environment of the University of Miami campus in the postwar period characterized by its subtropical subtropical interpretation of international modern international style or barhouse. We there are no real barhouse building in the US. Everything
has been in fact an adaptation. We use the word bar house. We could have used international style but we thought to some extent the word bur house suggested more relation to the the value of the buildings than the international style.
The third generation of colleges the brutalist Stanford and w complex were as you know destroyed in the last year to be replaced by the centennial village. The potential reuse of those buildings was actually studied by university. the the school of
architecture was actually involved in the process of evaluating the the importance of those towers and eventually even making project with students demonstrating that it was possible to retrofit them but for all sorts of reason that you're well aware
uh those uh structures were eventually not conserved and replaced but what I wanted to point out as there was a process there was a process that was actually public that went even to the school of architecture which is right at
the heart of it and we always felt that uh as members of the faculty and member of the university we should actually be uh better informed than the other role embodies distinguishing characteristic of an architectural style
or period or method of construction. obviously is is very uh important for us. role embodies a distinguished characteristic of the international style combined with the elements of the stropical modernism developed in the
state and internationally after the second world war. For instance, under the guise of two important architect Maxwell Maxel Fry and Jane Drew who are very famous for a book called tropical architecture in the hot and humid climates and that defined a lot of the
principles that eventually the Eton College followed which I can summarize very quickly balanced asymmetry of efficient repetitive patterns, minimalism and scarcity of ornamentation, rectilinear form with rigorous geometric segmentation.
intersecting orthogonally. Industrial cost effective material large expanses of Florida Florida window glass steel concrete and brick light to plain surfaces finishes metal frames program of ribbon contain wall windows can
deliver a train bolus. This is absolutely fundamental uh for the importance of those building as well as projecting exterior staircases, flat roofs, open interior spaces and so on. Though Ethon College is a stuck concrete
building like many other preceding buildings on campus, it nevertheless stands in architectural contrast with the earlier campus housing space planning program of the preceding decade. Eton represents a departure from the veteran housing complexes designed by Manley and we Eton reinvents modern
housing for the postwar era. Manley's housing block where two to three stories in height restrained in design and organized as narrow blocks with clear structural module emphasizing individual apartment units. By contrast, Eton was the first of the larger dormitories to
be constructed on campus reflecting the need of the greater density during Pearson's presidency. By the way, Pson was one of the president of university and a shift toward community living arrangements as demonstrated Eton and in the following years the Pearson Maroni
played an important role in shaping the architectural identity of the university in a postwork context. The university 1948 master plan envision a campus defined by long narrow modernist blocks set against open landscapes a characteristic of barhouse planning
before and after 1945. I see that planning because perhaps more than architecture, it's the urbanism of the complex that reflects important ideas of the pre-war Bahas movement. So more than the dormatory building,
Ethon holds significance that it extends beyond its architectural form by embodying the growth of university and reflecting the cultural and social patterns of the period. Its placement on the shore of Lake Oola and its substantial scale helped anchor a
growing campus core visually and programmatically linked to the large modernist campus framework and of course creating important public spaces facing the lake. I will obviously not I think nobody will contest that Albert Robert
Little was one of the most acclaimed modernist in Florida history. He was well established after two decades of work in the Miami area but achieved his greatest fame specifically through his postwar work for the University of Miami. Mr. little designed the master plan for the campus in collaboration
with Robert Led and um Marion Manley is very often forgotten and then we have documents that show that uh the master plan or one the evolution of the master plan was actually signed by Robert Little's
works on campus can be recognized as important but he certainly we have to be realistic here we certainly cannot be compared to Walter Gorus exercises in private or Alva Alto at MIT
or other majors in the history of American architecture. It is obviously the case of Manon or Mayon Manley and Robert Lit housing pavilions. These two architects were not known nationally nor internationally. The pavilion were considered also as
evolution of bars in spite but they were directly influenced including having pilotes for for example their system of construction was fundamentally different and so even though manly and weed were not internationally known or pioneering
architects they were eventually recognized as important architects here by the city of Gables and I'm coming to the end particularly the elements of design detail materials of craftmanship ship of outstanding quality or which represent a significant innovation in
adaptation to the South Florida environment. That's obvious that Ethon residential college strong association to a type of subtropical postwar modernism marked by a clear emphasis on repetition efficiency and horizontal extension. A
series of building details gesture toward little design tendency toward Miami modern element to toward Miami modern elements and anchor the building within a more culturally and local and climate sensitive architectural vocabulary. It's very important to think
about Robert Robert Lowit and Marion Manley pavilions their flush facade the window flushed you know without any real protection against heat they were ventilated that's for sure but they were no protection in
contrast with the way little eventually designed the facade of the Eton residential college basically and the sort of egg crate but projecting those important elements that uh in many hours of the day and thanks to the vegetation that was also quite interestingly
combined with the construction eventually create a protection to the environment and eventually help maintain the temperature and the humidity at a reasonable place. Now it's clear that those buildings were not officially air
conditioned. So they were not officially cross ventilated. They have the central the central corridor, but the way the windows work, the way the windows were made to work with a Florida window quite large recessed from the facade with shadows
and so on is actually very important represent a fundamental element of the subtropical subtropical modern architecture which you can find all around the world including by the way in Lovier's work in
south of France and other parts of uh the world. Um yes so I think this is critical and I also want to say that as I mentioned weed and manly pavilions which are now housing the school of architecture uh
it's also very important to compare the careful approach to subtropical climate developed by little in contrast with the most recent buildings built by architectonica on the campus which are
in terms of planning quite interesting with this pedote and elevating the buildings on the ground but facad that are entirely flushed without any solar protection and can't even open a window >> and I think again it's fundamental to
understand that if we eventually get rid of the Eton residential college we will have actually lost two generations of buildings on campus and what we only type of buildings that we will be able to refer to are the Marion Manley and Robert wonderful little structures but
certainly not in general term a way for the future of the region. So um I think we can basically leave it there and I would like to uh go mostly to the
summary of historic historic significance and I want to say Eton residential college was designed for the University of Miami in 1954. master architect of a little one of the three architects responsible for designing the early
years of the nationally renown University of Miami modern campus as part of the unique collection of resources that capture the university spirit in in the era in which it was constructed. This building embodies the university and city's history and a
sense of place over time and as such is a valuable nonrenewable historic and environmental resource that should be preserved. I would for the teaching of architectural students. It must also be said that the designation process that you are
involved with is local. It's a local designation and as such the building must be analyzed and hopefully protected within the context of its value in gable and in the middle of one of the very
first modernist campuses in the US and not specifically national or international exam. This is unique in the US history for its specific development. As I mentioned earlier, Eon Hall
was was it a pioneering building? Was it a pioneering essay in subtopical modernism? We can discuss that. it deeply recessed windows it unique design it organization around two
courtyard it orientation make it an understanding example of subtropical modern the building doesn't need to be a final in essay to be recognized of historic value within the context of campus because if that were the criteria
we could demolish the entire city we have few buildings that actually would be recognized as pioneering I actually to some extent on college was on college was innovative in its design construction and adaptation to the local
climate. It is an excellent adaptation to the local climate in spite of the problem of air conditioning situation that had to be resolved not always correctly in the following decades. Its facad reflect the critical concern of
being protected as much as possible from the intensity of the sun. The deeply recessed facade and windows are characteristic of subtropical architecture as defined for instance as I mentioned by Maxwell try and drew in their pioneering book. Its
model of design reflects the boss by its rationalism but all response to other climatic. The University of Miami was an avenger building. It was not published very
much. It was a little bit in the 1940s. I mentioned local but I don't think it needs to be demonstrated that the building should be van or the country should be vanu to actually consider that it is
fundamentally important for the specific context of gable and arguably county in the following decades. Architect Robert Little was it was he a pionering architect? He certainly was a
master at the level of coral. We believe Robert was a pioneer particularly in his establishing a prototype for economical and modern residential housing. He built many structures on campus and
some of his work was recognized in the press. It is true that the building has aged quite a lot. 70 years it's a lot for modern buildings. Um it has been modified
but we don't believe that any of those changes has actually compromised it importance for the city of many historic building in the city and therefore have suffered compromising modification which were eventually corrected or resolved.
according to the acting building code. So um thank you very much for listening to these arguments. I would still like make to make a final statement which is not related to the building in itself but to the situation of the University
of Miami. University of Miami believe and very intensively advocate its role as a leader against climate change sustainability. University of
created an important center, the Institute for Resiliency Institute, which is supposed to lead the campus and lead the community into developing new forms of uh way of life and certainly as you all know destruction, reconstruction
is one of the process industrial process that is the most consuming of the resources of the earth and rejecting every element as in terms of climate change. So uh I wanted to say that
eventually for the university to embark at the 100 years of the history is a process to demolish an entire generation of buildings some of the buildings that were the most responsive to the climate and are capable of responding even today
is somewhat I would say hypothetical and certainly extremely controversial. Thank you very much. Thank you. Okay, we have Okay. Uh, Miss Bolton, do you have any other person? Is Mr. Gillis going to
speak? >> Is he here or is he going to speak on Zoom? >> Mr. Gillis, were you going to add anything? >> Please have the camera on. >> Yes. Do you see me? There we go.
>> Okay. Thank you. Yes. And I did have a few points now, but I if I could come back um after the presentation, I did have some additional comments related to the report, but it has not been presented yet. So, I could come back to that. I did want to thank Doamomo and
Miss Bolton for inspiring me on this. I It's been a joy collaborating with you all and to hopefully be able to save this building. I think to date the community has had a relatively collaborative approach with the university in terms of preserving their history and I'm disheartened to see that
it has kind of become this type of process. Um I can't really add much at this point to what Professor Lejun uh presented. Thank you for that presentation. I did just want to point out um to make sure that the board received the letter from Professor Leonard and from the Miami Design
Preservation League >> because those are very important. and I think they add a lot to this um application and also hear from professor Leonard about his experience um internationally and how this building reflects on our not only our local history but how it does have importance
beyond here um even though we are only seeking local designation it's it's important to see you know that has been recognized by some other people and um there are some images that were included I did want to present those um if if CGTV could please put those up they were
included in the application um if you could put them up one by one just so the I just wanted to make sure that the board had seen them and reviewed them. They're the other um buildings that have been designated in Coral Gables that were designed by Robert Little. >> So all the materials were included in the package. Um there were some images
of four properties um as part of the submitt um CGTV if you're able to put on the four images. It's in the folder. Oh, there we go. >> Okay. Yes, >> that's not the dorm report. So that would be 92. These are the properties in Coral Gables that are currently
designated that were designed by Robert Little. So this is 922 Castile. This is the small commercial building at 247 Malaga Avenue that was designated a few years ago. >> This is on the University of Miami campus campus, the Vulpi building at the
Frost School of Music at 5489 Santa Maro Drive. And this one was just designated recently, a few months ago, 3519 Toledo Street. Um, so I just wanted to point these out to give you an idea that we do have a quaint collection of property designed by Robert Little and Coral
Gables. But it really when you look at the images um on the designation report, this really is an outstanding and very prominent building that he designed not only to the university but also for the city of Coral Gables to consider as part of his collection of properties that he's designed. and it's really a gem,
something we should treasure and cherish. So, thanks again and I'll speak to you later. >> Thank you, Mr. Gillis. Miss Bolton, is there any other Do you have anything else that you would like to present at this time? >> Okay. All right. Do we have another
presentation? >> Yeah. Go ahead, sir. Please state your name for the record. >> Thank you, Mr. Chair, members of the board. Jeffrey Bass is my name. 1515 Sunset Drive is my address. >> Please speak closer to the microphone. Thank you. >> 1515 Sunset Drive is my address within
the city of Coral Gables. It's my great pleasure to represent the University of Miami today, the property owner, the owner of the building that is the subject of this hearing. And it is the owner who will be most
directly impacted by the decision that this board makes. So, let me begin where I will end and then we'll work backwards on how we're going to get there. We most politely ask that you deny the appeal
and correspondingly affirm the decision rendered by your independent and professional staff that eaten does not objectively satisfy the standard for designation contained within the city of Coral Gable's code. Our presentation
will demonstrate why the denial of the appeal is both necessary and justified under the controlling standard and based on the facts, many of which were omitted by the presentation. Before I get in, I want to emphasize we come in peace. Okay? We we come in
peace. We we admire the passion of the preservation community. We admire what they do and we are grateful for your service as well. Um, but the decision that you're making today, as your city attorney indicated,
is a bit unusual because unlike those buildings where the property owner comes and asks to be designated, this is a process seeking to designate our property involuntarily over our
objection in a way that fundamentally and palpably impacts our property rights. So it is different in terms of the posture and the alignment before you. We have an extensive team here today. I'd like to just take a few
moments for introductions. Some are here in chambers, some are on Zoom, but when when you listen to the credentials of the team that we've assembled for this, please understand how seriously we take this. But even more so, please understand how seriously we take preservation as a university. I stood
before this board to designate Vulby voluntarily. I did because it was the right thing to do. I stood before this board to designate the Mary and Manley buildings which are now, you know, housing the school of architecture. We did that because it was the right thing to do. And what I'm here to tell you
today, designating Eaton is not the right thing to do. And we're going to explain to you why. >> Would you please before you continue state the reasons why the university is objecting? Sure. We, as I said, we do not believe that
Eaton satisfies the standard for designation. We we we endorse the decision that was rendered by your staff that's so determined and we fundamentally disagree with the appellants arguments that it does. And so we're here to present sort of the
other side of the story as the as the property. and and Professor Hernandez, who I'm about to introduce, will walk you through the counterveiling assessment of the standards when examined through the facts that were
offered by my friend John Fran. So, I'm joined by George Hernandez today, professor of architecture at the University of Miami, a licensed Florida architect, a former former chairman and member of this board, director of the historic preservation certificate program at the University of
Miami, and a former trustee of the National Trust for Historic Preservation. His complete resume is filed for the record. We're also joined on Zoom by Dr. Lori Osman. Dr. Osman is the co-founder of History and Conservation Associates
LLC. She's a graduate of Brown University, earned a master's degree in architectural history from the School of Architecture at the University of Virginia, and a PhD in architectural history from the University of Virginia. She served as a deputy director of the Viscaya Museum and Gardens, during which
time she lived in Coral Gables. She served as a chief curator at the Henry Morrison Flaggler Museum in Palm Beach and curator and restoration project matter at the Kadazan in Sarasota. She served as the director of the Frank Lloyd Wright Pope Ley House for the
National Trust for Historic Preservation and was on the trust advisory committee for the Mis Vandereo Farnsworth House. She's the author of several books as well as numerous articles and pieces on Philip Johnson and the need to preserve the endangered modernist buildings from the Sarasota school. Her complete resume
was filed of record. We're further joined by Mr. Mark Rabinowitz, co-founder of historic history and conservation associates. Mark has decades of experience in the assessment and testing of major historic works both in the United States, Canada, Europe, and the Caribbean.
He has worked on structures such as George Washington's Mount Vernon, the Carnegie Library, the Atlanta Space Shuttle, the United States Supreme Court building, the Metropolitan Museum of Art, the Builtmore Estate, and extensive
work in Viscaya, just to name a few. But in Coral Gables, he worked on the restoration of the Venetian pool, the restoration of the Coral Gables Museum Building, the award-winning restoration of the Flaggler monument, and he conducted a series of studies on the street lights and original gateway
entrances to the city as part of the public art assessment. He is a graduate of the Rhode Island School of Design. His resume is in the record. And lastly, Deborah Mlan joins us by Zoom. She's an architectural historian with a masters of architectural history and a certificate in historic preservation
from UVA. She began her career as an architectural historian with the historic Tampa Hillsboro County Preservation Board and continues her career today. For over 20 years, she's practiced in private consulting for the National Register nominations and architectural survey. Um, and I'm also
joined by Robert Vale today from the University of Miami General Counsel's office and Ricardo Heran. So now with those introductions aside, some basic procedural points. Um, I'd like to make sure that all of the materials that we have submitted um are part of the record
um of this proceeding. Um we they've been timely submitted, they've been uploaded, but just want to make sure that that's clear. Um, want to make it very clear, DOMO is not an appellant. They are not a party. This appeal was filed by one person and only
one person. There was a reference to Duck Momo in the presentation. They are not a party. The time to file the appeal is long since passed. As I said, you have one appellant, Miss Bolton, before you. I want to emphasize that your professional staff in the exercise of
its independent judgment examined the building and correctly concluded that it does not satisfy the standard for designation. We are here because a person filed an appeal of that decision and as said before it is their burden to overturn it. So let me just take a
moment about this. The person who filed the appeal and challenged your staff's determination lives over three miles away from Eden.
Not a word in the appeal to demonstrate how the appellant is in any way agrieved by that decision as the word agrieved is defined. Mr. Chair, we don't um have objections like that in this time. If you want to
allow for rebuttal at a later time, you can. Time you can, but I would suggest that you allow Mr. Bass to complete his presentation. >> I'm sorry. I I believe I've tried to say that Mrs. Bolton couldn't object at this time. >> Thank you. >> Mr. Bass, you know, please we have a long agenda. Please move forward
quickly. I'm I'm going to move quickly, but this is an incredibly important uh they're all important, but this is incredibly important to the University of Miami and its future. I'm going as fast as I can. I had an extra shot of espresso before I started. If I go too fast where the court reporter tells me I'm going too fast, I will slow down,
but I will move it along so uh we can get the I I have learned that boards like this really don't like hearing from attorneys. I knew that going in, but so let me just do the housekeeping and then I'll turn it over to the architects and the historians. But I do need to preserve for the record that Ms. Bolton has not demonstrated
that this application, this appeal injures a property right protected by her in any way. And that's why we filed the motion to dismiss to preserve for the record that we believe Miss Bolton lacks standing as an agrieved party and
lacks standing to file an appeal. Um, I want to make some very basic substantive points. So basic that they're easily overlooked. The university possesses an acute need for the land occupied by
Eden. It needs to build a new modern suitable, comfortable housing stock on campus, befitting of a university of this caliber, which we are quite proud to say is now at long last an elite member of
the prestigious Association of American Universities, known as the AAOU. That is news. That is news we should all be happy about. But with that news comes a tremendous responsibility to be able to recruit and retain students on campus.
We are here because this appeal threatens in a very real way our ability to serve the university's mission and build more housing stock on campus so that we could house residents on campus. When we house residents on campus, everybody wins. For the better part of
15 years, I've been before this city representing the university as it has developed this extraordinary campus. And by shifting from a commuter school as it was to a campus-based school as it is, we've been man we've managed to
accomplish what seems to be the impossible. Adding buildings but reducing traffic at the same time. And the way that we were able to do that is by moving our students onto our campus so that they could live there. This appeal palpably affects how we use
our lands and how we use our students, but it doesn't affect in any real way the rights of Miss Bolton. She lives over three miles away. Eaton is located in the campus core. It is not observable
from any of the adjacent streets. It is an interior building of the university's campus. And I understand that there's great sentimentality attached to it. But that sentimentality does not prime the university's property right as
determined by your independent staff to be able to redevelop this building because it does not satisfy the standard for designation. And before I introduce this the rest of our team, I I need to make this point really really really from the bottom of
my heart. Our team is comprised of devout preservations. Okay, these are people who've committed their lives to the pursuit of preservation well over a hundred years collective experience. These are professionals who have practiced preservation within the highest traditions of excellence in this
country and in the world. For the discipline of preservation to retain its integrity, it must never be weaponized. It must always interpret an honest history. We do violence to the
discipline of historic preservation when it's misused or when it teaches a false narrative. We must never let that happen and we must deny this appeal to ensure that it does not happen. The evidence that we're going to present will show that Eaton does not satisfy the standard
within the code. The evidence will show that Eaton was neither pivotal nor revolutionary by any metric. The evidence will show that Eaton is not a Bow House building, and that's not even a close call. To invoke Bow House, to designate Eaton is to fly a false flag.
And we must not let that happen. Not in a proceeding like this where it's all about landing on the truth. Um before I move on and introduce Mr. Hernandez, I do want to say that the report contains a lot of information in
it that the report that the appellant has filed. Um but what it lacks is a logical factbased chain of underlying reasoning that takes those facts and connects them to the governing
criteria. What we are going to do standard by standard through Mr. Hernandez's testimony that of our team is show you that when you hold the standard up and you refract the facts through it, your staff reached the correct decision. We ask that you affirm
it. We ask that you deny the appeal and I'll ask George Hernandez to present. >> Thank you, Mr. Baz. Mr. Hernandez, we have already the the appellet has 30 minutes. You've already suspended 30 minutes. I want this to be
brief and to the point, please. >> Okay. Um, may I have the easel, please? >> Yes. So, um, in an effort to cover the brevity to make sure that we make the record straight, which we need to do legally. Um, I will try to compress as
much as possible. >> Um, so, uh, >> call you at 15 minutes. So, if you don't mind So there are a number of errors of facts in the report. >> I'm sorry, Mr. Maxwell. I I missed what you said. What was the um
>> have 15 minutes to do this. >> So I don't know that we established time limits ahead of time. If the if the board as a whole wants to allow for um that time, they should. I believe the applicant has a right to make their full presentation. I don't know that there were time limits established a ahead of
time. Mr. Maxwell, I understand the um desire to get things going and moving quickly and I think Mr. Bass has acknowledged that. But to the extent that we did not set time limits ahead of time, >> we haven't. I've simply asked Mr. Hernandez to keep it short and to try to do it at 15 minutes. I mean, that will mean >> I would like to hear the full
presentation. >> Yeah, we've seen information already. Thank you. Thank you. Um there are some errors of facts in the report that we'll cover. This is important for reasons you just heard in terms of how critical this is
for the university. Um I will just touch upon some of them and then a little later maybe dwell some more. Um because the the appealing report did not go point by point, we have to callull out
of a narrative summary some of these. So I'm just going to state them as facts that kind of guide our argument. First, this is not the first modern campus in Florida. Franklidd Wright did a modern campus in
Florida in the 1930s in Lakeland. That's the first modern campus in Florida. That's a very well-known fact. You can get brochures about that if you travel uh up and down the uh parkway in the middle of the state and go to the bathroom and get a brochure. That's not
obscure. That is not an obscure fact. Eight of the buildings were built were all of them were designed by Franklidd Wright. Eight of the buildings were built before he passed away and all of those eight were built before Eaton was
built. Okay. Eaton is compared to other local architects not really a master builder. Um the definition of a builder is a person who creates a kind of legacy either a school or followers or a school
of thought etc. Paul Rudolph is a master builder. His Sarasota school predates Eaton. Alfred Barn Parker is a master builder here from Miami.
Um, Morris Lapises is a master builder here from Miami and Igor Pavitzki is a master builder here from Miami. All of these individuals have had critical acclaim in journals and articles,
critical magazines and popular magazines. compared to um um compared to uh the architect of Eden that's not the case. The comparison is not the same. Okay.
Professor Ljun did in fact mention this notion of discarding great European architects. The fact of the matter is before Eaton was built and designed uh before Little worked at the University of Miami, there
were two of the people that founded the Bow House that came to the United States. Gropius who built the graduate student center in Harvard in the 40s and Marcel Buer who built the building
actually at Basser College Noise House. He then built IBM up the road as well. Okay. That Ario Candela did a project on and I was the draftsman for the project. Okay. Um the there is the the the way
that modernism is presented in the appeal seems to be very granular because as he stated which is true and I am a believer in the local this is a local designation. Now, since the 1966 preservation act, the fact of the matter
is that you can be a national landmark or you can be on the national register and have local significance. When we designated Candela's Marine Stadium, the state just allowed local significance, much to my dismay. So, local significance doesn't mean you
cancel the rest that was other than local. It can't. local significance goes to the level of national and those other masters of Florida I think are can be called master architects the case is not yet true maybe somebody needs to do some research and write a
book on little um there's a reference to the two generations lost um I just need to say that um when the Marian manly buildings were designated and I Donna I think you were the you
were the head of the board at time. I'm not sure. He was the head of the department. >> Quite possibly. >> Quite possibly. Um the people that were here in the hall arguing for them were Carrie Pennad. She had just finished her um her book on Marian Manley with
Katherine Lynn, Arvmore Parks, and myself. And that's the first set of buildings the University of Miami designated. It was important because it was a woman architect. It was important because it covered it was the largest um set of
buildings built under HUD because the university had the potential of folding and if it folded the meant that that project was designed to also be affordable housing, something that we're still in need of apparently. So it was supposed to be married student housing
and it was the first generation of that. That was the first modern building. Those were the first modern buildings in the University of Miami campus. For those who were in the hall, the methodology to save them, because if you remember, I've lived here very long,
they went across US1. They went east of US1. So, uh, the methodology to save them actually was that they were generally replicable and that we only had to save one of each archetype >> to clear land for the university's
growth and usage. >> And we made a plug for the fact that who would better care for them than a school of architecture. >> Okay. So, those are just a couple of the issues that I think I want to put up in terms of some of the irregularities I saw in the report. The most other
important one quite frankly is this notion of losing two generations of building. We have 12 Robert Little buildings on the campus. We have 12 of them. That's 10% of the campuses building. This is but one. And
I will get to the issue of uh climatic design and adapt and adaptability of of uh climate issues in Florida in just a second. Let me start going through the standards. You don't have a I'm going to flip. So, it's better if I have a hand mic.
I mean, my mouth is big enough. I can probably get picked up by the >> We can get one for you. Just one moment. >> Thank you. >> Well, this is an inversion of pay scale. Okay. So, the first the first of these. >> All right. >> CGTV, if somebody can please bring us a
portable microphone that um has battery charged, please. >> I can I can I can work from here. So, we move this along. So, the No, no, it's okay. I don't need to touch the paper. Thank you. So, the the first point is the cultural significance. Um and the
first one obviously is in association with a life or accomplishment of a major historic person that is not met in that sense. Um because none there's no association between Eden and Pearson's
life or uh or Pearson's accomplishments. It was uh it was named after him as kind of honorary gesture and a commemorative gesture. he'd recently passed, but there's no association with an important person, whether it's Mr. Eaton or any other important person in that building.
So, it doesn't meet that standard. Um, is it the site of a significant historic event, community, city, state, and national? That is not met. Were there historic events happening around town when eaten were designed? Yes. But
the return the wave of returning GIS was not uniquely particular to South Florida. This was happening all over the nation. Eaton had no causal issue. There's no association between the design and that phenomena. And by the way, in these two points, we
agree with the the appellance report. Does the association in a significant way um uh talk about a major event whether that's cultural, economic, military or political? Again, that's not met. Those forces and changes that were
going on were going on anyway. The thing that you keep seeing in these standards is significant distinctive. If it's a generic event, for example, the return of the GIS or the end of World War II, unless there is some very
close coupling, then that's not associative in a significant way. That's in fact, there's a bulletin to this effect. That's in fact how you uh point out exceptionality. when buildings become exceptional or historic within the 50-year mark
like Central High for example in Little Rock which did because it got designated within the 50-year mark from integration seg breakup segregation does it simplify historical cultural economic and social trends of the
community? This is important because everything in a a ranch the ubiquitous ranch house can do this can exemplify historical, cultural, economic or social trends in the community, right? A
building is a backdrop to life. And if there isn't a more causal and straight link between an event in the community and a building, then this doesn't apply, right? You cannot have every br every ranch house designated in
the in the city. Okay. So it it does it's not causal to the design. Nothing in the design triggers that. In fact, we talked professor Jun talked about what it triggers and we'll do that. Is it associated in a significant way
with a past or continuous institution that has contributed substantially to the city? Well, obviously it's hard to argue that University of Miami, that Eaton is not the University of Miami, both the institution and the city are 100 years, both the same founders, and
they're inextricably linked. It's the same issue again. There's nothing in the design proper that is has agency or talks about that link. They're they're just temporally associated. There's an overlap. There's a temporal overlap.
Okay. If anything, quite frankly, the move towards modernism on campus predates the general culture of the city, which even to this date, I think holds its Mediterranean origins in the highest of aesthetics esteem. So, it was
in that sense it was contrary. to the general culture, the general prevailing culture of the city. So it doesn't meet it. Not satisfied. Yes. Not satisfied. Let me go to architectural significance. Does it does it portray the environment
in an area of history categorized by one or two architectural styles? Uh it it doesn't. If you think about the architectural styles of the campus, we all know that the campus was designed but in a Mediterranean revival style by
George Merrick Fink and paste and many others not just little but even Darmmo and so on were involved. The issues of the bow house were antithetical to the design of the campus. In fact,
they were at odds with one another. U John Nton would not allow the teaching of history at the bow house. So we have a c a bow house that's really like an action and the abs absolute counter reaction and the and the campus itself is not a
monoculture of building nor is it a monoculture of planning. It just happened organically. The point that's interesting is that Clarence Stein who is a proponent of planning uh is quoted as having uh influ um um endorsed this notion of zoning
rather than planning because planning involves design and buildings during Merrick's time and certainly previous were used to shape spaces. So landscapes and buildings shape campuses throughout the United States. Zoning was more connected to functional zoning which we
now don't agree with. and Little's work is kind of teeter tottering between those two but there is no again there's no tight connection it's very difficult it's not like the University of Virginia for example right where there's a very clear design uh and most people try to
either material through materials or contextuality or scale fit it okay so it doesn't apply it doesn't it's not satis ing um embodies distinctive characteristics of a style or period of construction or a
method. So it does embody a a method of construction which is the most ubiquitous method of construction around. Right. Oh, thank you. Hello. Is this on? Yeah, I'll get on this side. um
because of the great lime deposits of course everything is other than the pioneer structure everything's built of cast concrete or concrete block right so it doesn't it doesn't do that um the argument for the argument that is put up in the appellants report is basically
and we heard it I didn't count how many times the word bow house was said but it too is not local um and the issue is the bow house is not a style. It doesn't pretend to be a style. It was a philosophy of designing and it was a
school of thought. It was brought forth by a manifesto by Gropius, the same Gropius that then came here and designed uh the Harvard dorm, graduate dorm, right? There is no uh established formal trait in that manifesto. It doesn't say
unlike Corbuzzier's five points of architecture, it doesn't say ribbon windows and pillow tea and the free plan. It doesn't say that. What it says it it was a belief in in architecture and the architecture had to be integrated with the fine arts of
painting and sculpture and it had to exhibit essentially uh uh extraordinary craftsmanship. That's basically what it says. Okay. It doesn't go into a formal analysis of what elements fit in that
ideology because it was a reaction to World War I and the reason Hitler went and hit the school is that it was left-leaning. Right. Right. So that that was political but it's not a formalist doctrine as you
saw in the buildings that are being designated today or are being asked to be designated. uh little worked in a prepundonderance of styles. He was turned at trained at the T-square in Philadelphia. He is an eclectic architect. It was his in his DNA to be
very fil and formally oriented. So when he got to the University of Miami and he worked a long period of time in other styles. He did espanol way on the beach. By the time he got to the University of Miami, you know, the modus operendi primarily due to Marian Manley was in
the modern idiom. So it was easy for him to do that and there was facility to do that. But it is not related to the ideology of the bow house and the generations between that and this are many. It does not meet the requirement.
Yes. All right. I want to go point by point because we have to talk to all of them by by the way the law is written. So um is it an an outstanding work of a prominent builder designer? We covered this earlier
by judging by his cohorts he was not prominent. He was a very capable designer. He was not a prominent designer. um are elements of design, details, materials or craftsmanship of outstanding quality that represent sorry
about the flip significant individual or adaptation to the southern environment to the South Florida environment. This I'm going to need to dwell on this for a second. Okay, Eaton is not designed for environmental sensitivity.
It is not. I'm not going to draw. Let me describe it to you. It's shaped like a letter H in plan and the two legs of the H are slightly skewed. That form
is rotated 45 degrees. So the long legs of Eaton where the rooms primarily are are facing northeast and southwest. Um environmental design in architecture, sustainable environmental design through
sighting, through landscaping, through configurations of spaces, through heights of buildings, through details and other elements. Modify the climate to make it comfortable for human inhabitation. This was very popular. I know I was in school
at the tail end of this. Okay. Architecture without architects, for example, was an important book to that fact. So Eden is rotated. Half of the rooms face the worst possible exposure, southwestern exposure, and half of the
rooms face a better exposure, northeastern exposure. The most ideal exposure is southeast. That's where the prevailing winds are and have always been thanks to the Gulf Stream. The smallest surface area of the building
faces southeast. The radiant heat. We've already talked about the double- loaded corridor. So, you cannot have a breeze coming through the building. The Marian Manley buildings haven't been discussed climatically, but they're point loaded. So, everybody gets breezes through and
everybody gets light through. That's a climatically responsive designed building. This building is not. Furthermore, because the building is rotated and half the rooms get the worst exposure, there would or there would
need to be if it truly is an example, an adaptation to South Florida environment or an indiv or or an innovation. The Bree Sole could not have the same extension on the southwest as it does on
the northeast. The sun angles are different. The radiant exposure is different. There's no difference. It's a stylistic formal cue that the building is responsive to the climate. Climatic
adaptation is not stylistic or qualitative. It is quantitative. You can measure the hours of sun on 50% of those rooms. You can measure the heat. It does not meet that standard. I was going to draw there, but I didn't
need to. And maybe there too. I'll be done soon. And the last category is aesthetic significance. Was it is the is the site part uh of a and
related to a subdivision or a park or an environmental feature or other distinctive area developed or preserved according to a plan based on an historic cultural architectural motif. This is
not met. As I said earlier, the plan that would have a significant cultural motif was the bow house plan by Merrick. The plan based on zoning isn't about that. Okay. Doesn't have
distinctive facial spatial um sort of recognition or identity. Okay. It worked actually that the buildings were corbusian or were placed as freestanding objects in a landscape or as it was in the 70s freestanding
objects on asphalted parking lots between them because Boose is the one that replanted the campus. Boosezie and Tadfoot. Um is the prominence of is this prominence of spatial location contrast of sighting scale age easily
identifiable visual feature? It's not. It's not. We've already heard this is in the middle core of the campus and in this case that protects the neighboring homeowners. I believe that's the last one. Let me
see. Yes, it is. Um, there is an issue of archaeology, but there's no there's no likeliness of archaeology here. Um so just in summary um I think that there are some errors of
facts that are significant and serious. I do not believe that I do I do I believe that every one of these uh requirements these criterion have been met. I ask that you consider that uh uh
eaten not not be designated do not accept the repellent report. Thank the appellent report. Thank you very much. >> Thank you. >> Okay. Does that conclude your presentation, Mr. Bass? >> Thank you very much. Okay. Um, excuse
me. Is there anyone in the audience that would like to speak for or against this application at this time? Please come forward. >> Mr. >> Oh, wait a minute. Oh, that's right. We've got Mr. Gillis to come back. >> I think there was a request for rebuttal. >> Yeah, that's right. I'm sorry. We need
Mr. Gillis can come back. Okay. Would you like to bring him up and we can do that? And then Miss Bolton, you you had a question. While we're getting Mr. Gillis up, would you like to come and give your rebuttal, please? >> Yes. I really >> Excuse me. I really resented the fact
that I have that um Mr. I'm telling your name. >> Mr. Bass said that I had no standing in this. As many of you know, I was uh came into Coral Gables as a newborn baby. Spent most of my life here, have been to
the University of Ma Miami campus since I was a child. Um so I just really object to that. And I also want to um bring to your attention the fact that Eaton was the first residential hall for
women >> at a time when very few women receive college degrees and that that dormatory was a place to make them feel welcome, to make their parents feel comfortable
sending them there, that it was a safe place. And um yes, I I really think that Eaton should be designated historic and um Mr. Lun is going to continue on in Brett Gillis with some more arguments.
Thank you so much. >> Okay, Mr. Lun, >> very short because I don't you you guys must deliberate. Uh two important things. First of all, the uh reference to the staff um the
appeal to the staff decision. I don't know exactly how the city of Cor gables is working and I don't have all the details but I found it I mean I would like to say that the fact for example that the Pearson
Maron College were declared nonhistoric without even going in front of this board is putting really into question the importance of historic preservation in the city. I mean eventually a building
as large as that complex should have been presented. We would have presented it if we had had two days more. The reason that Bonnie eventually was obliged to actually introduce this appeal is that as a docomo an
international an international association with dozens of members 39 chapters declared by the the mayor of Coral Gables as an important moment when they came on campus. We have no way to appeal because we do not live in
Corables. Thus the importance and the wonderful offer but eventually we actually had to pay for the the appeal. We did as Okamo because this is not something that the private citizen should have to do. That's a very important element that I wanted to
emphasize. Professor Hernandez, my colleague Hernandez is kind of sad to be on different sides because we are both extremely involved in historic preservation. I was been I has been historically preservation involved in the 1980s in the late 70s in the 19s 80s
in Brussels where I was part of the commission of the citizen commission reviewing historic prevision issue at the moment where in Europe still in Europe a lot of preservation was actually denied. I'm a PhD. I'm PhD or you know my uh my production. I gave you
the CV as well. I have absolutely all the credential to actually evaluate what this building is uh is about. Third point, we've made a reference, Professor Hernandez has made a lot of reference to the sort of exceptionality to the fact
that the buildings by Robert Little were not published or at least not this one. Well, I can say something very important to Horge. The Marine Stadium of which you have been one of the major asset in trying to restore the building and it's still not
there. The Marine Stadium was never written about in the press. I actually was the first one to actually write an essay about the marine stadium in an important book published by professor Schulman and also to so there is no
record of the of the uh marine stadium in the in the press and it was still declared well >> yes but that is a a guide book but literally understanding the importance of it what I want to say is that If we were to look for exceptionality in all
the process of preservation, there would be very little preservation in a city like Miami, Corables and Miami Beach. We are in the place we are. We're not in New York here. We're not in New York. We're not in Rome. We're not in Paris. It's a very very different context. And I think the city of Corel should be
proud to have that variety of architecture on its soil. In fact, eclectic architect for me is a huge quality. I think the quality of Robert Little like the quality of many other architects in Miami has been the capacity of working beautifully in
different style and I would say Ro you're one of them as well you have been able to do that in in your case uh I think um so pretty much well yes then the last point is about the university
obviously it's clear that a process of appealing a decision by the university to hopefully get rid of this college is pro is creating a problem at the university. That's exactly why we're doing it. University is no no anything
special than anybody else. Any process of historic preservation may also have an impact on the uh on the uh the institution in this case or the honor in another case. And we are of course
worried perhaps by this art. But I think the university could also take this case to actually show that they can do something which is to actually restore and transform this building which is unique on campus to transform into an example that the university is taking
seriously the concept of preservation and seriously the concept of being a model for sustainable design and sustainable activity on campus. >> Thank you very much for >> Thank you Mr. Lun Mr. Gillis wanted to
come back. Do we have Mr. Gillis on the on the screen? >> Yes. Can you hear me? >> Yes, we do. Mr. Gillis. >> Thank you. Yes. So, I'm here in my head. I'm hearing that old R&B song, Can We Talk. So, as a former board
member, can we talk? Let me talk. I think that we've been very reasonable with this application. Pearson and Mahoney, we know that they're toast. They're being demolished next year. The other towers have been demolished. Let's be very clear, make no mistake. If you allow this building to be demolished,
this will be the last of that generation of building. This was the first of the large dormitories that was built on campus and it led the way, paved the way for the other ones. It was, as Miss Bolton mentioned, the first one that was able to house single female that attended university. So,
when we look at the criteria, remember, it only needs to meet one of the criteria. So even if they uh take out you know one criteria or two of them it's still you have to be able to show that all of them have not been met. We've clearly demonstrated that they
have uh the I believe the university's team has tried to twist some of the criteria. They're listed on pages 16 and 17 of the designation report. For instance, with the um architectural significance criterion about the um it
is an outstanding work of a prominent designer or builder. It doesn't need to necessarily be a master architect. We do believe that um Robert Little was a master architect going back to his time in the 30s of synthesizing the style now called Mediterranean transitional, which you've designated buildings of that
recently. That's largely attributed to him. His work in Coral Gables helped pave the way for the few modern buildings that we have. So when we look at it from a local standpoint, whether you want to call him prominent or a master, I think either would be fine, but the code does not mention master. It
mentions prominent. So we've clearly met that criterion as well as the other ones. Um, we need to save the tangible touchston that show the sense of place over time. And as a certified local government, we review that, you know, as as former
board members, current board members, as part of the public's trust with this historic preservation board that you're going to save the sense of place over time for Coral Gable, so that future generations, 20, 50, 100 years from now, can get a view of what was happening throughout the city at different periods
of time. So the the university's team has identified no other buildings that would tell this story. As you know, in Coral Gables, there are not many other modern buildings of this significance. So that's something that needs to be considered very carefully here. Um in the paper that they submitted also there
are some mentions about the alterations. These alterations are largely for you know public safety purposes, ADA purposes, security. They are not irreversible. They do not irreversibly impact the character defining features of the style. when the
architectural style was listed as bow house that was in reference to the fact that it's inspired by that that this is an international style building that does have some of those features. You can see the picture of the bow house school in the designation report. I don't think anybody
um any competent person looking at that would say that this the international style does not stem off of the bow house. that documentation and history is well known and that basically by calling it bow house inspired it's similar to the Mediterranean buildings where some
of them are much more Italian than they are Spanish some are much more leaning moorish than they are but lumped together we use the word Mediterranean style so you know some people might say old Spanish or this one leans Italian but in the end they're ultimately called Mediterranean style so you can't get
caught up on some of the the monikers that are given to different architectural styles. These things change over time. I remember, you know, for many as a kid, I heard the sty old Spanish. Everybody used that term. Now we recognize, of course, it's Mediterranean because of the different
aspects that went into the development of that style. Um, finally, I, you know, just did want to point out, um, one of the most important points again, just that I think that the preservation community has been very reasonable. This would be
the last opportunity to save one of the large dormitories on campus. So, I would ask for your favorable consideration and thank you again for your service to the city. >> Thank you, Mr. Gillis. >> Okay. All right. Do we have anybody else in the presentation? If not, we'll open
it up to um the audience to speak. if you would like to speak for this project or against it, you know, please come up to the please come up to the podium. And um >> I do want to recognize because we did um I think as briefly mentioned, but we did
receive public comment in advance of the meeting. Um so I do want to recognize a letter of support for the designation was submitted by historic preservation association of Coral Gables and uh by the Miami Design Preservation League. >> Thank you. No one in the audience wishes
to speak. All right. Then we're going to close the public hearing. We're going to take it back to the board here. Okay. Mr. >> Mr. Chair, if you don't mind, if we could just verify that there's nobody on Zoom waiting to speak as well. >> I'm sorry. >> We just want to verify that there's nobody on Zoom who wants to speak.
>> Last chance for a public comment. If not, Mr. Chair, the public comment remains closed. I just >> Nobody >> There's nobody on Zoom. >> Thank you. >> Thank you, Mr. Silva. Sure. Um, just before we begin deliberations, I' I've got two questions. Um, one I guess both for staff really. Um, number one,
regarding we we had a letter on standing, right? Um, and I assume that I didn't see I didn't see a response to that, but I assume that if we are hearing this, it was determined in some way that the appellent had standing. From my reading of the zoning code, and
I do want to clarify this, right? uh section 8107 paragraph G allows for any citizen to appeal right standing is not addressed and neither is distance or anything. I just want to confirm >> 8107G is the the standard that's applied
to this process and it does say citizen and citizen is defined in the zoning code as a resident of the city of Coral Gables. And the sec my second question was I know that there there exists a kind of a comprehensive agreement between the city
and the university right and that speaks to development square footage and kind of zones in general. Um I don't believe that it addresses in any way um historic significance or preservation. Is is that correct? I'll defer to Miss Paris on that, but I'm not aware that it
addresses specific buildings and their um designation or not. >> I am not fully versed on the designation process that is submitted within a developmental agreement. I know there has been in the past agreements on designating certain buildings on the
property and that has changed over time as the development agreement comes back to commission for different um updates. But right now there's nothing specific. They go through the same process for demolitions that you see in that section of code. individual buildings come and and there's nothing general in that agreement about preservation.
>> You might want, >> you know, I don't think there's anything in the agreement that I remember uh specifically about historic preservation, but I do think that the univer I could be totally wrong on this. I do think that the university did
commission uh historic preservation consultants to look at the campus and that document exists. >> I I could I could be wrong, but I'm is positive that happens. It' be if that's the case, it'd be interesting to see what it says about eaten hall.
>> Mr. Silva has m >> Mr. Silva, to the extent your question is about process, as Miss Pas pointed out, this is the process through which the University of Miami goes. There's not a separate process in the development agreement. >> Okay. Board members,
>> I just want to ask if any of the >> Please speak into that >> if any of the presenters brought photos or I mean I skimmed through all the um attachments as part of the presentation but I don't I don't see a substantial amount of photos that would help explain
what some of the items are being talked about. >> Miss Bolton, please don't speak from the audience. If the chair recognizes you, please come forward to the thing. But if with the chair's recognition to speak Bolton, you can answer the question. >> Yes, there are pictures in the
application. There are photos. Okay, I'll look again. >> About a dozen photos that came from the University of Miami archives, >> but no current photos. >> Chair, I have a question for staff as
well, >> Mr. Garcia. >> So, I have two questions. I had four, but Alex asked two of them. Um there was a during the presentation by Mr. Bass there was some conversation about
hardship andor acute need of the university. I know that we get a lot of these types of statements but just want to confirm that in this particular case there was no hardship um as part of this application or anything to do with what
we understand as hardship. >> No. So the economic hardship process is um would be applied for through a certificate of appropriateness. Today before you is the designation um submitt request for >> just for clarity. Um and then one more question for Miss Pettanas is there was
some um discussion in the first presentation about local designation as something that is different than national designation and may have different criteria. >> The process is different. Yes. So the process is different, but would we would
you say that the underlying requirements of designation are similar? >> Yes. So the the zoning code that we have today is based off the National Park Service. So that we're using the same criteria that would be used as a certified local government and recognized by the state historic preservation office. >> Thank you.
>> And um I was told that there are photos within um the appellence materials of the of the existing condition of the buildings. I found them. >> Thank you. >> Oh, the property owner. Apologize. >> I I have a I have um
just a statement and then a couple of questions. U Mr. Bass, you seem to be concerned that that as a property owner, this was coming uh against your will. Um that's not a taking. Uh that happens in
historic preservation all the time. Uh, and so I really take exception to you making an issue about that. That's just my comment. Um, and also for George Hernandez, the Frank
Wright buildings in uh in Florida, I've never been there. Every time I went to to try to get a grant from the state of Florida for the city of Coral Gables, they always got the money. Um, but what style of architecture are those buildings? I know they're modern, but
are they the international style? Because Frankart Wright would not have done that. >> They're not. They're not, but they are modern. In other words, there were comments that this is the first modern campus, >> but I think this was the first uh campus that had the international style of architecture.
>> No, I is first. >> No, I believe that this predates IIT as far as the design goes. >> And also, it was published in a national magazine. This the University of Miami. It wasn't an architectural magazine. It was something like National Geographic
or Life or something like that. The archives at the University of Miami have it. And that predates uh the the at least the construction of the IIT buildings in Chicago, I believe. >> Right. >> And did they did they say that?
>> In other words, it was a popular magazine. So it was a popular Yeah. Yeah. Yeah. Okay. Okay. >> Yeah. But I don't think that I don't think the Franklidd Wright buildings uh are part of this conversation only because although they said that there was some the modern buildings, they're
not this style of architecture. >> I'm sorry, Mr. Chair. If I could just remind you all that we don't take statements from the audience. The chair the public hearing has been closed. We're welcome to acknowledge people, but we shouldn't have any outbursts from the audience. It's hard for the transcript
and um it's needs to come through the chair >> and and uh let me just get back to my >> if you allow me. There was an article. >> I'm sorry. I'm sorry, sir. You have to wait to be acknowledged by the chair. The public hearing has been closed.
Please wait to be acknledged. >> I'm sorry. You have to sit down. >> All right. I'm I'm having trouble getting past B2. architectural significance embodies those distinguishing characteristics of
an architectural style or period of method of construction because I do believe Eden Hall is an international style of architecture. Uh not not pure bow house but I believe it is on the international style. Um I I tend to
agree with Mr. Hernandez on a lot of his points he was making on on the other criteria, but you only need one. Um, and also um C1 where it says by being part or related
to a subdivision, park in environmental feature, other distinguishing area should be development or preserved according to a plan based on historical, cultural, architectural motif. There's no doubt that that Eaton Hall preserves
the original grid uh of the University of Miami of that original plan. I believe that is is on the I could well in my opinion uh the the plan that developed maybe not the original one by Merrick but the plan that eventually
developed in the University of Miami I think that is a um a piece of that grid. So, um, more B2, but C1 has an issue for me also. >> All right. Thank you, Miss Spain. Mr. Garcia, then we'll over here to this
side of the board. >> Miss Spain is leading into one of my questions. I do have a question for the appellant, if I may ask. So, there was as part of the designation report. There's the 1948 plan. Um, and I'm looking at it now. if
anybody wants to see it there. Um, I can see the Marian Manley buildings. Um, and where the Eaten Hall residential college is is per my understanding of the plan, it is not located on this planet.
>> Wait, >> let me This a question for the appellant. If you can come up and let me know if I'm correct and or if there's any question. I think that's a actually a good question and it's probably a mistake in ours. There are two important master plan in the archive of the
university more or less the same year 4648. One is the one that you mentioned with all the manly building. The other one actually uh is eliminates the manly building and shows residential colleges that are more akin to the Eton project.
In fact, it's probably eaten. But but strangely enough, that master plan does not include the manly uh that were already built that were already built. So there's a little bit of confusion. What is not a confusion is that little
was part of the team in the master plan which has not always been acknowledged. And I wanted to say that architecture in 1948 published an essay on the campus of the University of Miami. So that was a very early may have been the reason why the busi
eventually ended up and I guess if he went to Cor Gables it's probably because Robert Little brought him here. Thank you. >> Thank you Mr. Lucia. >> Um so the just for for my fellow board members on page nine of the report if you could take a look at the plan again
it's it it to my eye does not include residential college. I don't know if there was a different one, but since we're looking at the information as provided by >> at this particular meeting, this is the one I'm going to go by. Um, I did have
I appreciated both presentations. It reminded me of the old days. So, thank you. Um, the one of the things I learned u on this day as many years ago was the the word significance
um which as reminded is at the top of all of these criteria and um I find that the Eaton Hall is to use somebody else's word the sentimentality that I have for
that building and the fact that I like it very very much um and does portray a lot of elements of really good design um I'm at the point of trying to decide whether it is a significant work either
either by the architect or of that style. Um, and that's just to share with my board members. >> Thank you. Mr. Silva, would you like to go again and then we'll just go down all the way to this? >> Sure. I I actually agree with with Caesar. Um, I I am struggling with this.
Um, I think you both made excellent presentations. Um my my act my hangup is actually criteria C1 which is the concept of the University of Miami as as a district right and and
sort of my my question I'll look closer um leading into this was is there a comprehensive historical plan for the for the university because I think if there is not one then then I think that's something that that maybe city
and the university could come together and really look at I I understand that there are other little buildings on on campus that have been preserved and has it have been designated um as well as other buildings in general, right? Um but but I think that the city could benefit in general from from having kind
of cohesive plan so they're not we're not getting these buildings peacemeal and we're not making these decisions in a vacuum. We're looking at it holistically as as something that makes sense. Right? because I do think that that criteria C1 is is really the one that's most applicable in this case to
me. Um, but I'm I'm still kind of struggling with with one way or the other. >> Thank you, Mr. Londo. I'm interested in knowing the um department's
rationale and the re there there's a statement that after research you've uh and consideration you've reached the conclusion it's um not um it can the
building can be demolished and I Um and but there doesn't seem to be any um discussion of how you reach that conclusion. Uh so
um I I'd like um to know how you got there. >> I could walk you a little bit through the process and then and just state that we don't prepare a does not meet designation report. I know which is um >> uh but I'll walk you through the process
so that you could understand just the overall. So when a letter for historic significance is submitted to staff um the the requirements for submitt are a letter of intent, photos of the property of all sides of the property. Um we ask if that property owner has any or the
applicant has any materials that would help staff make a consideration. Um we do a property survey and um and then staff receives that application and we pull all the permit history that we can any history that we do. So working with
actually takes three of us to work on these applications. Um so we have Elizabeth Gin who pulls research the same way she would for historic significance and a report. Um it's reviewed by me and then letters are then prepared and kind of materials submitted um with EIS to kind of get everything
out. Um, again, when we do that research, uh, we look at the same criteria that's listed in the code to see whether or not it meets those criteria. And, and again, like Mr. Gillis mentioned, it just has to meet one of them. And I think what you all are speaking of today and Mr. Silva and
Mr. Chia Pon's touched on is how this is a significant or a distinguishing example of this type of architecture and how it meets those criteria as that, you know, in at that level. and um I found that it did not meet that criteria with the research that we had available. And
so that then that letter is then posted online with the research materials that we had we used to make that determination and um there's a 10-day appeal process. So within that appeal process, we received a letter of intent to appeal by Miss Bolton and then they're provided a time frame to submit
a report and then provided a time frame so that we could then schedule it um before you all to then review the materials. And again like Miss um Throck Morton mentioned it is on the you know the appellant's uh responsibility to make that determination. >> And
can you identify why you thought it uh the building did not reach meet the criteria >> like I don't have a report that I have like that I can sit down and go through for you. A lot of the discussion that came up about the style of the building,
the details on the building. We understand that um that the architect is somebody that has worked in Coral Gables and City of Miami for a very long time, but just because there's an architect that's familiar, we don't designate every single one of their buildings. Um we do know he worked in an eclectic eclectic style, we have multiple of
those styles designated within our already our register. Um, again, we're kind of in this weird place that we're looking at the building as an individual case because the process here was not to look at it within the campus or the designation of a campus or a designation
of a of a district of a campus. So, all of those things were kind of came came through my mind as we're going through the process, but I don't have like a specific like how Mr. um um Fernandez went through one by one to provide you today.
>> Okay. And the I I think What what's um kind of significant for me is the city has been such a huge excuse me, the university has been such a huge advocate
for certain of its buildings that we had no problem at all designating. and they and the city brought them to us and was a the consumate advocate for
preserving those buildings. So, I'm like, okay, we have um an institution that's been very tied to this city >> and very much an advocate of preserving
its um its core build. And yet we also have um the city coming to us and saying um this one is not and and so I'm uh I'm
trying to reconcile those two different approaches. Yeah. And I think we all have enormous respect for the architecture department um at this at the university because are
so renowned and they've been such um work so closely with the city during the year. So um if they're not advocating for preservation, I pay on a particular
building, I pay attention to that. So I'm I'm uh I'm trying to um reconcile and You know, I will say uh this building
does not compel my devotion. I don't have the sentimentality um uh for it that some folks may have. So, I want to say that's not clearly my decision making.
>> Thank you, Miss Rondo. Miss Ever, >> I'm not sure. Does this work? >> Yeah, you're on. >> Good. Um, I understand the sentimental feeling that it was the first storm and it was the first storm for women in
1954. I want to know how many other dorms between 1954 and have been torn down. I mean, I'm sure that you've been replacing dormitories. Uh, has this ever been an issue? Has it
become before the historic board before? Any of the dorm >> any of the dor you've been asked a question please come up. Yes. Sorry. It's just waiting to be acknowledged by the board. >> Miss Ebert if you could be specific as to who you're asking a question to >> for the record. Thank you. >> Through the chair.
>> Yes. Oh through the chair. >> So most recently the towers hect tower and I can't remember the name of the other one were Yeah. And were were demolished and I don't know if do are you familiar with the core of the campus? Mhm.
>> So they were they were um much later than this period. In fact, I don't think they really um would be considered international style at all. Um they were the wallto- window ratio vastly preferred walls.
Um there were all sorts of student humor about feeling like they were imprisoned in there. >> Um and I don't think anybody came out with a big outcry against that request for designation. The other one in terms
of dorms taken down. I referred to in the presentation the Marian Manley the remaining Marian Manley buildings because as you might or might not remember they used to go all the way across US1. I it was unbelievable. There is a picture to that effect in in the
report. So the problem is that they were rep not the problem the situation is they were replicable and there were five archetypes and we had lost one to time. So there were four remaining archetypes that were completely replicable and
that's it was kind of rubber stamp. It was a time of stress and an architecture of expediency had to prevail otherwise it could not possibly have accommodated everybody that was coming. Right? And so because architecture had one of each. It
was kind of a Noah's arc argument and we also had uh rotation. So Marian Manley's actually rotated away from the city grid and Miller road got blocked in the Merrick plan. Miller and the grid of the
city prevailed and modern planning was antithetical to traditional planning. So the roads got blocked, the buildings and their grid was rotated and then all the new buildings were placed floating on this kind of sea of space. Um so but we
we I was one of the three people that came here and believe me there were a lot of conversations back at the U before we came up of one voice. Um but we were very happy that that was the first building. They were designed by a woman first woman registered in Miami
Date County and I think they're formidable buildings. I love teaching in them and they're a point loi load system so you get light from both sides and breezes from both sides. So they really do work if they would just let us open the windows. We're on a cool loop
cooling loop system that's computerized but the students sometimes open the windows anyway. you know, being being the mother of three children and uh I looked at many colleges um through those years and now
I have grandchildren and uh living in in college dormitories and I know how important it is to remain current and um you know really in in the in the way
that that the children live now. Um, I remember one dorm at Emory that wasn't air conditioned and dropping off a daughter there in August. You know, it was it was pretty awful. Um, so I'm very torn on this, too. I
>> Thank you. >> You know, I Yeah, I >> miss Swift. >> I I have one question, I guess, for you, sir. Okay. Who do you have the question for? Miss Swift. >> Oh, sorry. >> Who's the question director?
>> Mr. Fernandez. Okay. Yeah. The you had mentioned there's 12 other Robert Little buildings on campus. Can you just I'm just curious what those are and >> haven't I have not memorized all of them yet. Um some are um there's an issue of
of um attribution with some of them. Um some are solely by him, some are by him with Marian Manley and some are unclear. But um the Fer building is one of them. The Merik building is one of them
because even though Merrick was started during the foundational period uh you know we all know the history the storm and the crash and the war stopped everything and little then was asked to complete it. Um, so that's a very
interesting one. And then there are number there's a there's one that is designated in the school of music and there's another one in the school of music. So they're peppered around but we have 12 of them. Yes. >> Are any of them designated? >> Two. >> Okay. Thank you. That's all I have.
>> Is that true? Is that one or two? One. One in the school of music. >> That's the Vulpy one. >> The Vulpy one. Yeah. >> Through the chair. I I believe that uh the law school was also designed by >> It is but that's That's the one that Yes. But it's it's interesting cuz you
know in the 40s and 50s the records weren't really great but it's it's hard to know who was the greater voice on that one. Okay. >> Yeah. Thank you Miss Swift. Anything else? Okay. >> This is an interesting Miss Bolton.
Would you like to make a a rebuttal of some kind? >> Just want to say that Mr. Leer response to your question about the list of architects in the report uh in our report you can find the list of all the buildings and also the fact that he was
nominated as a fellow he was actually given the fellow of American Institute of Architect in 1960. >> Thank you. >> Okay, we're going to contemplate this and close this back to the board here. Um you know this is a
very interesting process here that we're going through. Um, the university's demolished about 90% of the Manley buildings. There's a few left. Uh, Miss Manley, there is no Mediterranean design at all on the university campus. None.
None. That goes back to the founding. Zero. The campus plan has been changed many times. It's, you know, the vast majority of all the buildings are just like, uh, most all the other post-war campuses in the United States. They're an international style or they're a
regional style. And this particular building is built by or was designed by a very well-known local architect. The significance statement I believe has been overstated by a number of the people that have spoken today. What is significant? What is
significant in this particular role is what is significant to Coral Gables. What is significant to South Florida and the Miami region? That is a significance. This is not about national significance and it's not about comparing anything to a Franklidd Wright
College. It's not. This particular building is 71 years old. It meets the criteria of our code. Okay? It is architecturally distinctive and it and I can show you just like many of the other architects like myself out here. I can
show you Corbuzzian buildings and other international buildings that are considered world heritage and they look very much like this, you know, particularly if you begin to look at like the stair set and how the building is set up and how the the the ribbon
windows are. So, it's it's interesting. You know, Marian Manley designed lots of buildings and um you know, the architectural style of the UNM is not what Manley envisioned
or anybody else. The architectural style of the university was shaped by Mr. Little and Miss Manley after the war and that's what it is. So, you know, that that's where we are. I mean, the university, you know, has its right to object to this, but the community also
has a right to seek its protection of its heritage in many many different ways. There are many Robert Little buildings as as have been pointed out. We designated one very recently over the objections of the property owner. So, you know, simply that by designating
something does not mean it can't be demolished. It does not mean it can't be changed and it does not mean that, you know, it doesn't have significance, you know, outside the United. So with that, I think I'd like to hear anything else that anybody has or we can
call for a motion. >> Do you have one question for >> Garcia >> for staff um probably the city attorney the phrasing of a motion is going to be to approve, deny, appeal >> to designate or not designate. It is an appeal, but what is before you today is
the designation of the building. So it would be a motion to approve or deny the designation of the building. And as always, I would ask you to be specific under which criteria you are designating or if you're not designating, you don't need to be as specific. >> Thank you,
>> Miss Alvarez. >> I'd like to ask a question which perhaps is um some may consider not relevant or on target, but um given the campus and um Alexvarez, is it to anybody in particular the question to us?
>> Ask No, I'm gonna ask Professor Um, Alex mentioned, you know, what does the master plan of the campus look like and and you know, the kind of the growth of the campus given the size of the campus and we see other uh housing
projects going up were there other sites considered um like I just I'm trying to get to the root of kind of obviously this building um has some significance because if not not everyone we wouldn't
be here, right? There's kind of it's >> Are you asking the question to Mr. Fernandez? >> Yes, sir. >> Okay, Mr. Fernandez, you're welcome to >> to answer briefly. >> I compressed my presentation a little bit and left out the following information. We talked to the head of
housing. Um, and I'm working from memory, not from notes. There are no graduate students living on campus. Um they're about 4,000 beds short. It's almost like a redo of the returning GIS.
It's really drastic. Um there are places of course we want to put the students where we've been placing them around the lake and away from the academic quad for noise and other reasons. So yes, is a do do I know the future plan? No, I don't.
Um and but that plan is vetted at the city in fact yearly. Right. And Miss Alvarez, that's not what's before you today. Just to be clear, the the future plan of the site, I'm not sure what it is, but um that's not what's before you today. Just the building, the
designation of the building itself. >> Are there any other questions? Are there any other conversations from the ward? If not, I'd like to entertain a motion, please. Mr. Silva, Mr. I'm going to leave room for somebody
else to make a motion because um my motion is going to be in the negative. So my motion is to deny um the application as historic as historically designated. Do I need reasons to deny it? Because other than
>> to the extent you want to refer to the substantial competent evidence upon which you're making your decision, I would appreciate that for a motion >> and that would be part of the substantial competent evidence as presented today and in the reports provided by both the appellent and the
university. >> Second. >> We have a motion by Mr. Garcia and a second by Miss Rolando. Please call the role. >> Wait, say that again. >> Motion to deny. >> Deny the designation. >> Yeah. Miss Alvarez.
>> No. >> Miss Shield. >> Yes. >> Mr. Silva. >> Yes. >> Miss B. So, if I vote yes to this, it
means I'm denying the application for designation. >> Correct. >> No. >> Miss Ed? >> Yes. >> M. Rando. >> Yes. >> Mr. Garcia.
>> And Mr. Maxwell? >> No. >> Motion passes 53. >> All right. Thank you very much. We're going to take an adjournment now for five minutes. We've been hearing for two hours. I don't know how you Okay, ladies and gentlemen, we're gonna
We have our quorum is returned. We're going to uh res return back to our agenda, please. Okay, we're now at uh let me get my glasses on so I can read it. We're at case file LDH2512,
consideration of the local historic designation of the property at 513 Navara Avenue, legally described as lot 16, block 15, Coral Gable section B. According to the plat according to platbook 5, page 111, Miami Dade County
staff, your presentation, please. I believe we have um Elizabeth on on Zoom to uh introduce the item and give her presentation. >> This is not an international style building. >> I don't know if we have audio playing from the presentation. There should be
um associated audio interest or value as part of the historical, cultural, archaeological, aesthetic or architectural. >> Can we have the volume up please? State or nation for designation. A property must meet one of the criteria outlined
in the code. 513 Navari Avenue is eligible as a local historic landmark based on three criteria. Historic cultural significance criteria four. It exemplifies the local, cultural, political, economic, or social
trends of the community. Architectural significance. Criteria one, it portrays the environment and era 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. Coral Gable section B 513 Navari Avenue is a 50 foot by 113 foot interior lot between Siggoia and Hernando streets. The property contains a single family
residence and a detached garage. There have been no additions to the home. Gables was originally conceived as a Miami suburb and attracted investors from across the nation during the South Florida real estate boom of the 1920s. Founder George Mayer grew from the
Garden City and City Beautiful movements of the 19th and early 20th century to create his vision for a fully conceived and Mediterranean inspired city. Pearl Gables is recognized as one of the first modern plant communities in the United States. Pearl Gable's developmental history is
divided into three major historical periods. Built in 1924, 513 Navari Avenue is amongst the earliest homes in the city and it exemplifies the building typology upon which Coral Gables was founded. Nationally acclaimed landscape architect
Craig Button drew the first comprehensive maps of Coral Gables in 1921 and22, one of which is on the left of this slide. On November 26th, 1921, Merrick opened Coral Gables up for sales, auctioning off 300 lots in
section A. Booedied by this success, on December 27th, 1921, he held his second auction, offering section B for sale, and selling 400 lots. Section B is bounded on three sides by the grand thorough affairs of Granada
Boulevard to the west, Lun to the east, and Coral Way to the south, and included an array of Merrick's plan features. Larger lots like Alhamra Circle, a wide boulevard with lush center median and the greenway drives circling the
proposed golf course. Section B was plotted with 50 foot lots that could be bought separately or bundled together offering both affordable and higherend options. Merrick drove for Coral Gables to be a socially mixed garden city community
where people of various socio economic levels live side by side in quality homes. residents. Some of the same construction in detail to harmonize with the larger homes were built throughout the city and they are an important piece of Coral
Gable's early history. On April 1922, Americ Circle across Ljun Road as a main business district in section B. The median of a Humber Circle became a bridal path. In August
1922, as part of Merrick's great developmental plan, the plazas along Coraway like Baloa Plaza were completed and three additional plazas in section B, Granada Plaza, Alazar Plaza, and Castile Plaza were underway. In early
1923, the much anticipated Coral Gables Golf Course and Country Club opened. The clubhouse was the community's first public building and became the hub of social activities. All of these amenities and its proximity to the new business district were touted repeatedly in early marketing and
defined this area of the city. As a result, section B developed steadily in the 1920s and in comparison to other section it became a well-developed single family home area. With the exceptions of the residences along Alhamumber circle and the greenways, the homes in section B were
predominantly one-story and moderately priced. A driving force in the steady development of section B was the real estate contractor Nicholas J. Murphy. Booied by initial sales, Merrick poured the profits into additional land
acquisitions. Lot sales continued at a rapid pace and Merrick workforce grew exponentially. However, it soon became clear that there was a shortage of workforce housing. Up to this point, all building was done by Merrick's companies.
Now, Merrick was faced with a choice. Slow the pace of development or find additional avenues to provide both workforce and new resident housing. In late 1923, Nicholas Murphy, a prominent building contractor and real
estate broker from Massachusetts, approached Merrick with a proposal to purchase lots and build homes using his own resources. Murphy brought to the table over a decade of experience in both building and selling real estate in Boston's prominent suburb.
Murphy agreed to build several dozen homes in Coral Gables with the majority affordable to working families. Murphy was to supply the manpower and materials independent of Mer Coral Gable's construction company. However, to ensure the aesthetic consistency, the
architect had to be a member of Merrick's design team. Also, as was common Merrick's later deals. Merrick purchased the lots up front, but Merrick did not transfer the deed until the construction was complete and approved. Murphy purchased 20 lots and immediately
began construction. The first homes were completed in April of 1924. Murphy continued to purchase additional lots and built homes, mostly in section B, and designed by architect H. George F. Murphy's progress was well documented
by local newspapers and were featured in full jazz by Merrick's team. By summer 1924, Murphy, evidently pleased with the deal's progress and promise, decided to permanently rec
relocate his family to Coral Gables. He built 513 Novari Avenue for them. Constructed in the heart of section B, which he was quickly developing, it is in the same vein as his other modestsized homes. It remained in the Murphy family until 1941.
This historic photo provides street view documentation of the asbuilt home. The drawings on record appear to be preliminary as they lack a title block and do not accurately reflect the built home. It is likely that as the owner builder the plans were proforma and
Murphy made adjustments during construction. The drawings are not signed, but given that most of Murphy's projects were designed by Think and that the permit drawings are consistent with Think's drafting styles as seen in other permits, the home is attributed to Think.
513 Navari Avenue is designed in the Mission Revival style. The 1920s, the style was used sparsely and seemingly only for modest homes, perhaps offering a distinct look for them. The mission revival style was first
developed in the 19th century and drew inspiration from the Spanish colonial mission heritage in the southwest. It is characterized by silhouetted shapes that mimic old Spanish missions with stuckle facads punctuated by recessed windows and door openings,
arches without moldings and sparse ornamentation. The most distinctive feature of the mission revival style are their curved or shaped parapits and features evoking bell towers and bell gables. Roofs are commonly flat or low pitch with clay tiles.
In the 19th century, the style never became popular outside the southwest. However, in the early 20th century, variants of the style were built in new suburbs throughout the country, of which Coral Gables was one. Merrick's initial building campaign relied heavily on
Spanish precedents and the mission revival style fit his vision. Listed here and discussed in the designation report are some of the character defining features of the exterior of the home. The mission revival style seeks to evoke
Spanish colonial mission heritage of the southwest. It was characterized by silhouetted shapes that mimic Spanish missions and stuckle facads mimicking adobe textures that were punctuated by deep windows and door openings and sparse orientation.
Thick walls, distinctive curved parapit of berries, arched openings and the use of bar tile are character defining features. Although a simple version, the home at 513 Navari Avenue celebrates this style. The home was designed with two bedrooms,
a covered entry porch, a back porch, as well as a rear sleeping porch. There have been no additions to the home. Primary alterations to the home consist of enclosing porches, window type changes, and removing some of the decorative features.
The one-story home is built of masonry block above a crawl space and is clad with adobe inspired textured stucker. A slightly protruding articulated base runs along all facads of the home. Rectangular in plan, the living space is
under a flat roof with simple mission style parapits. In addition to the hallmark curved mission parapit on the front facade, the flat parapit along the entry porch and around the home step down at the center to accommodate a row of cap and pan barrel tile accents. The removal of the
barrel tile was recent. In typical Mission Revival style, the window openings are deep without framing and have protruding sills. The original windows were single hung in type with highprofile muttons in the upper sashes. They were changed to awnings in 1962
and the current configuration of horizontal rollers, single hung and picture windows were installed in 2011 and in 2014. Centered above most of the original fenestration openings are round barrel tile beds decoratively arranged at a
triangle. They were not original to the house but were installed in the 1940s. In the original design, there were cypress veas protruding on all facads. Historically, veas were wooden beams that carried the weight of the roof to
the loadbearing exterior walls and were very common on traditional adobe architecture in the American Southwest. The decorative eagles were removed in 1980. Their locations can still be discerned in the stuckle by patching. The exotic facade is dominated by two
character defining features of mission revival style. The curved parapit and the arched openings. The facade has two bays, western living bay and slightly receding original front entry bay. subtle wing walls at the corners of the
facade gently kick and flare out, hearkening back to the buttressing at the corners of adobe structure. The large distinctive parapit is the strong identifier of the mission revival style. The parapit is meant to invoke the facads of Spanish colonial missions.
The colonial parapits often contain belfreeze. In the mission revival style, niches such as the one on this home hearken back to the original belf. The metal work in front of the niche is a recent addition and detracts from this feature.
Like the round vents, it was a common Mediterranean revival style feature found on neighboring 1920s homes, but is not appropriate for the mission revival style. Under the niche, the large window opening has a rough cut stone lentil arranged in a jack arch fashion.
The eastern bay was originally a covered entry porch. The corner porch has a large flared arched opening on each side. The porch was screened in the 1940s. The permanent enclosing the front porch or living space has not been located
today. However, it is clear from photographs it occurred in 2015 2016. The porch still retains its original tile floor. Rising near the southwest corner of the west facade is projecting chimney. It is
shoulder along its south side. The shoulder is also reflected above in the transition feature between the chimney stack and the parapit. The chimney is a hallmark feature of the home. Blanky inner small windows as seen here. The facade retains its original fenestration
pattern. Likewise, the east facade also retains its fenistration pattern. At the south end is the arched entry porch opening. The rear bay of this facade was originally a screen sleeping porch. Both original openings on the east and west
facade of the sleeping porch were reduced when windows were introduced. However, the original protruding sills were retained and they mark the opening's initial size. A feature of note on this facade is the distinctive pop out bay. This center bay
has a slightly rounded top and appears to flare out towards the ground in a typical reminiscent of adobe architectural forms. The effect is created by wing walls as seen in the bottom photo. As documented by the 1924 floor plan, we
were originally comprised of a screen sleeping porch and a screen back porch. Both porches were enclosed, although their functions changed. The original exterior facades were retained. The protruding bay of the sleeping porch was converted to a Florida room. It remained
unairconditioned space until 2004. Back porch was enclosed as a laundry room at unknown date and it remains the back entry to the house. At the northwest corner of the lot stands the original singlecar garage structure. Historic photos or
documentation of the structure have not been located to date, but it is clearly seen in the 1938 aerial photos. Built under a flat roof with parapits is clad in stucco whose texture matches the adobe texture of the contemporaneous
home. The parapit on the front facade is curved in the mission revival style and echoes the flared front porch arches of the home, hence visually tying the house and the garage together. The front vehicular opening is enclosed by carriage doors.
Sliding glass doors were added to the east facade at an unknown date. In conclusion, 513 Navari Avenue exemplifies a Spanish inspired building archetype upon which Coral Gables was founded and it is also
significant as one of a handful examples of the adaptation of the mission revival style architecture in George Merrick's plan community. Constructed in 1924 is one of the earliest homes in the city and it exemplifies Merrick's vision of a modest
home in his socially mixed Garden City community. The home was built by Nicholas J. Murphy for his family. Murphy was the first outside contractor in Coral Gables. Horrink is the attributed architect.
Think, a member of MER's original design team, was largely responsible for implementing Merrick's vision for smaller homes, now known as the Coral Gables Cottage. Hence, the property at 513 Navari Avenue is part of a collection of quality buildings that serves as a visible
reminder of the history and the cultural heritage of the city. It retains its architectural integrity and significantly contributes to the historic fabric of the city of Coral Gables. Staff recommends approval of the local historic designation of a property at
513 Nari Avenue based on its historical, cultural, and architectural significance. Any other staff present? Can we turn this down? Thank you. Okay, we have um anybody from the
audience who would like to um speak on this? Is there any other staff? Okay, great. Anyone in the audience here to speak on this uh on behalf of this? >> Mr. Maxwell, we do have the presenter. if you don't mind if we just bring her on for one moment just so she can verify
that this presentation was based on the substantial competent evidence presented in the staff report. >> Thank you. >> Miss Gwyn, if you don't mind, um if you can please unmute Miss Gwyn so she can Thank you. >> Yes, we can hear you. Thank you.
>> Happy everyone. Elizabeth Guan, historic preservation coordinator for the city. And the previous presentation was a brief summary of the historic designation report prepared by staff. Thank you. >> Thank you.
All right. Is there anyone here on on behalf of this application that would wish to speak to it? >> Property owner is here, but I mentioned to them that they didn't need to speak. you want to say? Um, and I just want to recognize that we did receive a letter in advance to support the designation by
the Historic Preservation Association of Gables. >> All right. Thank you. Okay. Are there any questions for the staff or the applicant by the board? Hearing none. Okay. Is there anyone here that wishes to
speak for or against this before we close the public hearing? Okay. Anyone online? Hearing none, the public hearing is closed. We'll come back to the board now, please. Okay. Board, questions of any kind,
Miss Rolando. >> I move uh that we approve uh local historic designation for this property based upon the report submitted by staff. >> I second. >> We have a We have a motion by Miss
Rolando and a second by Miss Ever. Okay. Okay. All right. Please call the RO. >> Yes. >> Yes. >> Mr. Garcia P. >> Yes.
>> Miss Spain. >> Miss Rolando. >> Yes. Miss Ever. >> Yes. >> Mr. Maxwell. >> Yes. Motion passes unanimously. Thank you very much. We now have a new designated property. All right, we're going to go move on to
the special certificates of appropriateness. We have case file COA SP 2025-025, an application for the issuance of special certificate of appropriateness for the Granada Golf Course located at uh 2001 Granada Boulevard.
>> Mr. Chair, I believe we skipped an item. >> Oh, I'm sorry. Did I? >> Oh, my apologies. My apologies. >> My apologies to the community recreation department. I'm sorry.
Wanted to skip the line over here, but uh >> it's a long evening. All right. I apologize. We'll get to you just next. Forgive me. All right. Uh we have case file LDH 2025-010
and COA SP 2025-026. Consideration local historic designation of the property at 826 Ortega Avenue legally described as lot 5 in the west 25 ft of lot 6 block 7 Coral Gables Granada section revised uh platbook 81
page 113 Miami Dade County Florida applicant is requesting the issuance of an accelerated special certificate of appropriateness and design approval for additions and alterations to the residence and site work variances have been requested from article 2 section
2-10 101 D 4 and five of the Coral Gable zoning code for the front and side setback. Article 13 section 13-303 of the Coral Gable zoning code for enlarging a non-conforming structure and article 2 section 2-101D
6A of the Coral Gable zoning code for the minimum separation between the primary residence and the pool and gazebo. Okay. Do we have a presentation? Yes. 826 Ortega Avenue is before you for consideration for designation as a local
historic landmark. The historic significance determination application was submitted by the owner. The single family home was designed in 1926 by architect H. George F. 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 in the code. 826 Ortega 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. Architectural significance. Criteria one, it portrays the environment and era 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 800 block of Ortega Avenue is a treelined road between Pizaro and Coutis Street in the Coral Gables Granada
section. It is comprised of one-story and moderately sized two-story homes ranging in date from the 1920s to the present day. Built in 1926, the single family residence at 826 Artega Avenue was one of the first homes built in the area.
The property is a 75 ft by 100 foot interior lot with a single family home and a detached garage. Coral 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 moved from the Garden City and city beautiful movements of the 19th and the early 20th century to create his vision for a fully conceived Mediterranean inspired city which 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 found in Spanish and Italian architecture. It is
now considered the Mediterranean revival style. The home at 826 Ortega Avenue was designed by H. George F, a member of Merrick's design team in the Mediterranean Revival style. Frink is credited with heavily influencing the Mediterranean aesthetic
in the city. The 1921 map on the left shows the layout of Coral Gables when lots first went on sale in November of 1921. Initial sales were in 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 as seen on the map on the right and offered for sale throughout 1922. As sales took off, Maragookup expanded his land holdings. Records indicate he expended a tremendous amount of effort
in extending his holdings north to the Tamiami Trail in the area highlighted here in purple. Note that he initially only held the lots on either side of Granada Boulevard as denoted in 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 streets, sidewalks, and water man. In the Granada section, Merrick began to develop streetscapes following Garden
City precepts which accommodated housings for a variety of incomes. To demonstrate his vision, Merrick personally commissioned close to 100 homes. Horfink was one of the architects he commissioned. In 1926,
Christopher Columbus Barklay hired architect H. Norfink to design 826 Ortega Avenue. Barlay, a Virginia builder, was involved in financing and construction of several apartment buildings in Miami at this time and was recorded as the owner and
builder of this home. Permit 2416 was filed on September 11th. On September 18th, the catastrophic hurricane hit Miami area. It's worth noting that 826 Ortega Avenue was completed by December as one of the few
new homes that still broke ground and continued to completion at this time. 826 Ortega Avenue follows the precedent sent by Merrick's team. Designed in the Mediterranean Revival style, the home and detached twocar garage are representative of the properties built
throughout Coral Gables in the mid 1920s. Think designed the two-story home with three bedrooms, an elegant entry porch, a rear screen back porch, a second story open air terrace, and a porpa share. The
Barklays occupied the home until 1931 when they returned to Virginia. During their ownership, their daughter Lillian ran a primary school and tutoring center out of the home. Merrick chose to develop Coral Gables as a Mediterranean inspired city because he
felt this type of architecture harmonized of the South Florida's climate and lifestyle. A26 Ortega Avenue has many character-defining features of the Mediterranean Revival style which include but are not limited to those shown here and discussed in the designation report.
Of particular note are the porcized arches and wing walls, the combination of roof types with pitched roofs clad and barrel tile, the textured stuckco and the Juliet balcony. The two-story home is built of masonry block units above a crawl space and is
clad in textured stucco. Rectangular and planned. The living space is primarily under a series of pitched roofs. The tile was originally a two-piece barrel tile. The current S tile was installed in 2024. The windows throughout the home are
recessed with protruding sills. Building permits indicate that the original casement windows were changed to jealousies in 1958. In 2003, hurricane impact singlehung windows were installed and in 2014 some windows were returned to the original
casement style. In 1945, the property changed hands and the new owners hired architect William Shanklin to design two additions and to change the front porch. The permit drawings for these have not been located to date.
It should be noted that these 1945 alterations occurred early in the history of the home and may be considered historic fabric. The first addition was to the rear of the home. As shown here, it was a one-story L-shaped edition that spanned
the back facade. With this addition, the screen back porch was enclosed. The second edition enclosed the seconds story open terrace located over the front entry porch. Under a shed roof, the new sun room had a bank of
continuous windows on both facades. These windows do not have protruding sills like the original 1920s window openings. The lack of sills and the distinctly different window proportions and placement clearly defines it as an addition.
From historic photos, it is clear that the front porch was also altered during this campaign. The columns were removed and the arched opening squared off. Additionally, the width of the porch was reduced and it was screened in. The
outline of the western end arch is discernible in the extent of the porch and the front entry have undergone several subsequent iterations towards its current central entry configuration. The front facade comprises three bays.
The twotory eastern bay originally read as a squat tower under a hipped roof. On the second story, a pair of French doors lead out onto a Juliet metal balcony. The 1945 historic photo provides documentary view of the
original wooden balcony with the spindle railings. It was replaced in 1958 with the metal one. Also at this time, the first story window below the balcony originally held two of single casement was changed to a
more modern configuration. The adjacent twotory center bay is slightly shorter in height than the tower bay. It is under a shred front-facing roof with carved raptor tails under its extended eaves.
Three original decorative medallions between the first and second story were removed at unknown date post 1963. Disturbances in the Stuckco mark their placement. The second story of this bay is the 1945
edition that enclosed the original outdoor terrace. The front door is now at the center of the home. The front soup is covered by a simple shed roof supported by decorative metal railings. The third bay is the port share is under
side facing shed roof at the northwest and the southwest corners matching full height wing walls gently flare out. There are four flat arched openings on this feature. Rounding out the upper corners of the arches is a scroll
feature as seen here as shown here. Apart from the 1945 editions, the side facads remain primarily intact. They retain the variety of roof lines, projecting and receding bays, and fenistration opening arrangement typical of the Mediterranean
revival style of Coral Gable's homes of the 1920s. The tapered semi-engaged chamber stack with its covered cap and rectangular pot on the east side is a hallmark feature of the home. It is flanked by a pair of
arched windows on the first story. These are highly visible street view features. On the second story of the east facade, two small windows were reduced in height. On the first story, two pairs of French door openings to the sideyard were added.
These alterations do not detract from the overall integrity of this Mediterranean revival style home. At the rear of the home is the onestory L-shaped 1945 edition with the second story of the original 1926 home in the
background. Both levels are under hip roofs. In this 1945 edition, the windows have projecting sills and they are similar in proportion to the original home. The addition is clad in textured stucco like
the adjacent 1926 home. Hence, it is the form and the placement of this portion of the home that lends itself to recognition as a later addition. At the southwest corner of the property is the detached twocar garage. The
one-story auxiliary structure is clad in textured stucco similar to the 1926 home. It's under a flat roof with parapits. The parapit on the north street facing facade decoratively rise at it center. Its placement and styling
are typical of the garages accompanying homes built in the 1920s coral gables. In conclusion, constructed by owner builder Christopher Columbus Barklay, the single family residence at 826 Ortega Avenue was permitted during Coral
Gable's first developmental period. Hence, it is one of the earliest homes in the city. Designed by architect H. George Frink in early 1926. It exemplifies founder George Merrick's vision for a Mediterranean inspired planned city.
Frink, a member of Merrick's early design team, was a prominent architect in the city for decades. Merrick and his team felt that Mediterranean inspired architecture harmonized best with the South Florida's climate and lifestyle. The think is largely responsible for the
evolution of the Mediterranean Bible style in Coral Gables during the city's first developmental period. Nearly a century later, the home at 826 Ortega Avenue stands as a testament both think and Merrick's contributions to the
early development of Coral Gables. The property at 26 Ortega 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 Lambo era
that contributes to the city's sense of place and time. Staff recommends the approval of the local historic designation of the 826 Ortega Avenue based on its historical, cultural, and architectural significance.
Thank you. And we do have Miss Gwyn if you um need to ask for any questions. Obviously, this was like previously based on the staff report. >> Anything else on the from the staff? >> Okay, good. All right. Is there any is
there anybody on Zoom that we need to talk to? >> Okay, >> Mr. Maxwell, just for the record, is this is a designation and then a certificate of appropriateness for taking the designation first. >> Right. Okay.
We have questions of staff here by board. Mr. Kurt. >> Um, so there was a couple of statements of the questions I have are the changes from the original building.
Um, so this is a question for city staff. There was a statement that the front porch, which was originally the the triarch arched entry and the second floor sleeping porch enclosure,
does not um affect the significance of this house. And I find that hard to justify. like some thoughts as to why
those things aren't significant. >> Um, it was our estimation that they were done prior to uh the 1940s. So, there were very early alterations. Um, and if you guys remember the property um 446
Navare had a very early alteration all site to a pink building that built out a second story over the entry as well. So, there was precedent for it as well. And the entry porch, >> the entry porch alterations occurred prior to uh also 1940 that the triple
arches were removed by the 1940s and then that campaign sort of they continued altering that already altered area. >> So the for us um are we to look back at the 1920s or the 1940s? What version of this house are we designating?
>> Well, you're in version the house as it is today. If you think there is significant integrity in the house, which we believe it still retains enough of its integrity to be designated as a think designed home, then yes. >> Okay. Thank you. >> Other board members questions,
discussion, >> everybody's tired. >> You need to go back to your dorm. >> I just do want to note that we to receive a letter of support for the designation um by the Historic Preservation Association of Coral Gables that was distributed in advance of the
meeting. >> Right. Thank you. All right. Is there anyone that would wish to speak uh on behalf or against this designation? And we're only talking about the historic designation, not the modification. Okay. Is there anyone on Zoom or online?
All right. Hearing none, we're going to close the board. I mean close the public hearing and come back to the board. Mr. controversy of funds. >> So my discussion for my fellow board members is per my previous comment with regards to the original home which we
have photographs and the drawings of um and how significantly different the house is today. Um I understand that we're looking and this particular part of the presentation is only with regard to the local designation of the
property. Um I I think it's been significantly altered. Um, and I know that we often designate buildings uh as they are with um sometimes the
hope on my part that uh at some future time those things that can be were done can be undone um to go back to the quote unquote original or an original state. Um and I have concerns about this one.
>> Okay, Mr. you finish. Miss Alvarez, do you have a question? >> I agree with Caesar. It's hard to it's hard to evaluate the the new transformation of the of the front since it's not um relating to the original
design or even the subsequent changes. >> I had the same question. Um, you know, when I was a preservation officer, one time we designated a home, uh,
requesting them to change it back. They agreed >> and they didn't. So, it it was a can of worms. So, no, I just I have that memory in my brain. Um,
I it's really I I get that it was early, but it's such an alteration. >> Anything in specific to this particular application? >> Well, the the columns, the triparti, the
three columns there that are are gone. I mean, it was very fairly symmetrical threepart design on the architect's part, which is lost. You know, pretty basic to the original
design. >> Thank you. >> I'm going to go down to Miss Swift and start with her and come back. >> So, we're only now speaking about the uh designation. We're not talking about the for the alterations because that is that will only come to you if the property is
designated as an accelerated COA. So that decision needs to be made first otherwise it's not necessary to come before you today or is it in the district it's in a district or no yeah so it only it will it will only come up if this um first motion is to designate the property
>> right I mean that is the distinguishing feature and that is also what is being replaced so um I really don't have any questions and I just agree with the other comments made >> all right thank you ever
Um, it's not the current owner's fault that this house has been so altered through the years. And um, I, you know, it is it it does meet the
criteria because it was designed by it's a think house. And u, it's it's I find it just a shame that it's been so altered through the years. Um, It bears little resemblance to the
original design, you know, with the arches and the I mean, the only thing that's left is is the it's the port of the share and the little balcony. Um, it's too bad, but
>> right. Well, thank you, Miss Rondo. >> I don't have anything to add. I've I think they've um taken a perfectly, you know, 50 70 years ago, taken a perfectly lovely house and modernized
it. Uh it's um it had such a great rhythm and it's a it's it's still got a good floor plan.
It's in a lovely And it's just kind of sad that it in a way it's kind of like putting lipstick on the pig. Um so I you know I
I agree with Marlin that it it's meets the criteria. U but it it could be so much better. >> Thank you Mr. Silvin. Thank >> Could you use the microphone? I'm so sorry. I'm having trouble hearing. Thank
you. >> Am I on You go. If we designate the home, I think it opens the door to sometime in the future that could be restored, right? Um instead of losing it in its entirety and I still think it retains enough of its original character um to designate today. And in addition
to that, um there is an argument to be made as was made by staff that these alterations were were, you know, pre-1940, which is, you know, pretty original too, right? >> Um >> so I'll leave it there. Can can I just make an observation? So
the even though this uh report notes that the applicant submitted a historic significance determination, they did come to us for designation. So the applicant is in favor of this and actually does want it to be designated method by which they got there was through a significance determination. So
they are they are wanting this. Um and we were of the same opinion that there was enough fabric left. We would rather have this on the register than lose it entirely in the future. >> Does this one say that it came to us as
a significance determination? >> So, um, thank you board. The comments that I made were specifically for that conversation. Um uh looking forward to this particular again only the designation of this house and this is really for the property
owner is the modifications can be reversed right and that would happen at the next step. Um I agree with the board members that it is a significant building by a
significant architect and it does exemplify um many interesting architectural characteristics. Um so I again I would be probably in favor of designating um but notwithstanding my previous comments of the importance of the elements that
were um >> replaced. So, I'm happy to make a motion unless somebody has a further discussion or >> Is there further discussion? >> Are you ready for a motion? >> So, on this item, I'd like to make a motion to approve the local historic
designation of the property 826 Ortega Avenue um based on its historical, cultural, and architectural significance as evidenced in the city's uh staff report. >> I have a motion by Mr. Garcia Ponds.
Second by Miss Ever. Would you call the role, please? >> Miss Alvarez? >> Yes. >> Miss Shield? >> Yes. >> Mr. Silva? >> Yes. >> Miss Rando?
>> Yes. >> Miss Bane? >> Yes. >> Mr. Maxwell? >> Oh, I'm sorry. Sorry, I thought you said Mr. Garcia. >> Yes, I'm in favor.
>> Miss Ever. >> Yes. >> Thank you. >> And me. >> The mover. >> Oh, Mr. Garcia Pond. >> Yes. >> Zero. >> All right. Motion passes on the
designation. Okay. >> Are we going to have a presentation on the um COA? Yeah, there's a whole report >> if if the applicant has the certificate of appropriateness to present. I think we've already read the title into the record.
>> Thank you. If you can put the PowerPoint presentation up, please. >> So, the application does request design approval for a new covered entry, addition, alterations to the residence and site work, including a swimming pool, deck, and screen wall. Um, there have been four variances that have been
requested as part of the application. I can discuss those now or I can discuss those later. I'm happy to do either. Um the board of architects did review this um application on May 15th. There are some comments that were written in um in red. Uh you can see it's part of the
application that were addressed. Um I would like to note that we did remove the gazebo from the scope of work uh because there were no elevation drawings provided for it and as part of your application and I think that a variance uh request for something that you all are considering should be seen in
context with the historic house. So it will come back to you uh when it's been designed and proposed. So those the variances do not apply to the gazebo in this case only to the pool and deck. So, I'm going to turn it over to the applicant, let them run through their PowerPoint, and then if you have
questions about the variances, I'm happy to discuss. >> Okay. Very good. Have you both been sworn in? >> Sorry. Can you point us to where the BOE comments are? I didn't in the application. >> Sorry. On um on the report on page um there's no page number. How bizarre.
One, two, three. Page five. >> Page five. Okay. Right. Can you go back to Ortega? There should be a certificate of appropriateness to the main PowerPoint. There should be uh in the master
PowerPoint, not the voice over. Thank you. There should be a second It's loading. >> CGTV. As the fire sign The theater used to note, welcome to the miracle of modern electron electronic
technology already in progress. >> I can discuss the variances if you guys want while they're while we're waiting. >> Yes. Can you point those out? >> Sure. It' be easier once you've seen it, but um we can discuss. >> You can open the the site plan. H
>> we can open the second. >> Okay. You go to the second. >> Go ahead. Put that up on your uh your screens if you would folks. So we can you know save a little time hopefully. >> So there the first two variances. Um one has to do with granting a variance to allow the new enlarged front covered entry to extend into the required 25
foot front setback versus a required 25 foot setback. So um and also the sec the next one is granted variance um to allow a new enlarged front entry on an existing non-conforming structure. So the house as it stands and it has stood
since the 1920s is already legally non-conforming. There's only a 15oot setback in the front of the house. So anything they do on the front of the property encroaches into a setback. It's already encroaching. The the entry that exists now currently encroaches. So there's
precedent. So, we felt that because of the sighting of the of the house on the lot that that was uh those both of those were appropriate to grant those two variances. Um the next one has to do with the brand of variance to allow the edge of the front I'm sorry of the pool
deck uh pool water edge uh to have a side set back of 3'6 in versus the required minimum side setback shall be 9'5 in. The 9'5 inches is required to satisfy the overall total side setbacks of 15 feet because the carport is so far
over on the other side. Um they would need they would need um 9 ft five on the east side. Um which would then obliterate any any future use of that sideyard. And the septic tank for the
property is based in the rear yard. So there is no opportunity to put anything in a rear yard. Uh so we do recommend that variance as well. Same for the other one. The closest edge of the gazebo and pool bond pool edge a minimum separation from the distance uh to the house of 3 ft versus required 5t. Same
thing. Everything is shifted and compressed on the side of the property. So we are in favor of that as well. >> Cara, could you please clarify the front setback um the enlarged front covered entry um variance request? There's not a um distance.
>> Well, no, it's because the that Second variance is because um you're you're according to zoning you're encroach you're you're um um enlarging a nonconformity. You're exacerbating a problem by by putting a covered entry even though one already exists there and
the property is legally non-conforming. So it's an existing condition. Thank you. Good evening. >> Good evening. >> State your name for the record. >> Dron Garcia. >> Representing. We have the architect here. >> Oh,
>> I'm sorry, Mr. Garcia. Can you please be sworn in by the court reporter? >> I was. >> Oh, you were. Oh, sorry. I must have missed that. Thank you. >> So, uh, we have the architect here who's also the owner's father. Um, Roberto, he's here with us. Uh, and I'm just going to go through the slides that we presented or that we prepared for the
presentation and some. So, here we have some renderings of the property, the location map, an overview of the property, which you guys have already seen, which discusses the non-conforming structures, which Cara has discussed,
some current photographs of the property that you've seen as well. This is the site plan that was proposed or is being proposed uh which shows the pool the front the gazebo which obviously is not part of this currently because we're
working on actual the design of the gazebo which we would present to you guys in the future. For now the this is the pool the front the wall that has to be in place to screen the pool because of being visible from the street. So that's why the wall has
to be there as well. Here's some sections and details of the front that's being replaced. The current one, as you guys know, is not very, you know, not nice for the property or so. This is the one that was proposed, which we met, we went to the board of
architects meeting. The board of architects kind of gave us their guidance and this is what they've approved and what they're happy with. Uh, this is basically going through some of the conditions. the staff.
I can keep up if you guys want to read, but I'm sure you then here are the plans. I wanted to provide those to you. This is what we prepared. Basically everything you've kind of seen, but a little bit more layout of the property,
more sections on the side of the front of the property, some elevation views. the wall. This is the on the side of the portico shape that we are there's currently a door there that's being replaced. This
is inside uh to where the previous sleeping porch was. Some more the front of it. The green area map was you know the green required for zoning. That's basically the presentation.
>> Short and sweet. >> It's the best way to do it. >> Thank you. >> You want the architect to speak? >> Okay. >> You have any questions? Of course, you can come up and can also if you have any questions regarding the actual design
and the intent, we can help talk about that as well. >> Okay. Board, do you have questions for the and the owners. >> I do have one. You mentioned um the that you are familiar with the staff conditions. Do you agree with all of them or do you have any comments based
on any of the staff conditions, the 11 of them excluding number 11? >> You mind if I bring them up one more time? Absolutely. >> CGTV. There you go. We can read them out.
>> That would work as well. >> Shall I read them? >> I don't know. >> There we go. >> It's a staff report. >> This is the The moving clear stuckle.
>> This would be in the Remove the stuckle band around the board of architects and the gates. We work the staff to get that approved. Okay. Yes, we understand. >> Thank you.
>> I have a question. So, the drawings of the that front that new front porch um did that go back to the board of architects? >> So, the initial proposed uh front porch was a little different and we met with a few of the board members on a small panel and and they gave us those
suggestions. We prepared the suggestions. They reviewed and approved the uh the design, the current design, >> the one that's in the current set. >> Yes, ma'am. >> Any other questions? >> I I have a problem with the wording of
the variance for the front um entry >> because uh the wording says grant a variance to allow the new and large front covered entry to extend into the required 25 foot front setback. Well, how much they
build to the sidewalk? >> Miss Pain, I just brought that up to staff and I think uh the request is or as demonstrated in the site plan. Perhaps we can get the exact number in the site plan as indicated today, but I agree that >> there's no there's no number in the site plan. >> Yeah, it needs to be dimensioned.
>> Yeah. So, that needs to be I think that needs to be clarified in any motion made about that variance. >> Well, fine. But what do the neighbors think? This has been this has been noticed to the neighbors. Well, I think uh Miss B is dimensioned on sheet A3. >> Oh, but the I'm not I'm talking about
the notice that's that's sent out to thousand feet or whatever it is now to the neighbors. >> They just they don't have any idea of how much this is going to extend into the setback. Do they or am I wrong? >> You're correct. Um the only person who
contacted us is the neighbor who lives directly behind. We wanted to see their plans to see if it affected them at all. Well, then no one else cares. >> Even so, I don't think it's proper. >> They're just so that I'm clear, they're they're asking for a five foot
extension from the face of the house, right? So, >> encroaching into the setback by 5t >> by 15t, I guess, right? >> Well, so by Yeah, the setback is 25. So, it's encroaching 15t, which is which is more or less what's there now. But
>> yeah, >> right. when it still approaches as well. >> Yeah, because we have to grant the variance for Yes. >> the full amount. >> Yes, sir. >> And A3 shows >> So A3 shows those dimensions that that
we were asking. >> Miss Bane, I would note that it was noticed this way, which could be read as a maximum of 25 ft. I don't know if the staff has received any um comments. Yeah. So >> yes, >> or if there's anybody here, >> they can do basically as far as the
neighbors know anything. >> The plans were uploaded as part of the agenda for the public. >> I'm just saying it's not something I would have written. >> I think that you're right that there should have been a very defined number there, but at least >> if it's an approximate one, >> right? And so
whatever you approve today with the clarification of that dimension on A3 will be less than whatever was noticed. So your the condition will be better than what was noticed if that makes any sense. >> Right? So that's why um Stephanie was
saying um Morren was saying it's to clarify the dimension so that it's clear. >> That's one concern. Are there any other questions? Is that >> Yeah, Donna. >> Well, that's that was a concern that may or may not have been answered. Um uh but
we now just designated uh this building with the the existing entrance as being part of the significance of the building. And now they're requesting that it be altered. Not go back to what
it was originally, but just be altered. So, I don't know how you all feel about that. question. >> I really don't mean to be difficult. I'm just asking. >> I mean, they have an opportunity to restore the the building and they're choosing not to.
>> But we're we I don't know that we can require it to go back to what it was. We designated it as significant with that other entry. >> But we can approve the certificate of recordness or not. >> Right. >> Right. >> Is that >> that's the question. >> So, can I give you my my on that if you
want it or don't. >> So the the configuration as it was built now with the um with the covered entry and the side steps and the B planner was was constructed in 1963. So the alteration of the of the front porch
continued up until 1963 at least. So what they're proposing is far better than what's there now >> stylistically. >> I know. So, they're not making it worse, per se. They're actually making it
better. >> That's what I was >> Thank you for not making it. >> We're trying. The owner wants to >> Thank you. >> Am I reading these plans correctly or not? It looks as if on A3
that the this extends the porch will extend seven feet into the setback. Steps the steps go out to seven feet. Steps are allowed to approach into the
setback. So the the landing is 5 ft. >> Okay. >> It's not 15 ft. Okay. >> Do you have anything? I'm just curious if there was ever any thought of going back to the the three
arches. >> If you can please speak into the microphone. >> State your your name for the record as well. Thank you. >> Virginia Vic, the homeowner. That's what I originally wanted to go back to like the three arches and maybe enclosed them with impact glass so that it kind of came back to the integrity,
but that was not possible. Why? I forgot why. >> Guys, you need to speak into the record and and put your name. >> My name is Roberto. >> I am Virginia's father. I am an architect. I am
responsible for the design of what you see there. And uh going back to the arches which was the first original solution, it will disturb the whole layout of the
entrance to the house >> interior because on the left is the living room. The original way with the three archers there was no entrance as it is now. They
enclosed the area in the 1940s. So the way it is proposed is double door instead of a single door which is what they did in 1940s. And they removed originally the three
arches. So they got one window in the living room, one single door and one window what it was the big foyer. We keep the foyer. We got a double door. The design is now better because if you look at the
elevation, the upper windows line up center line with the lower doors. So still it's the same roof tile, same style, two columns
with the suggestions of the lady of the colors on the bottom, the colors on the top and then the steps all around. So there will be a more residential approach than the little type of side
entrance that it was originally in the house. I think this design makes the the uh entry look much richer, much residential than the
little porch with a little railing and the little side. So like you have to walk around and walk around. But >> I I think you're I think they're asking a different question than you're answering. I think they were asking why the three arches with an with an enclosed space and the porch
>> the arches were enclo where >> No, no. I I So originally that was a porch, an entry porch and you entered to the side. >> But when it was enclosed, their question was did you ever consider bringing back the three arches on the front facade and still enclosing the porch? that would
have been extremely hard to do with a full desire of a house. >> Yeah. So, so if if I may um just because I have experience in this exact same situation, right? So once those arches are gone, right, there's a beam and and that whole second floor is resting on
the beam and and when I try to do the same thing to raise to those three arches, the only way to do that is to chop out that whole wall from ground floor to second floor and store the roof. So you're about some major major >> destruction structural. >> Yeah. So
>> structure of the we circled around and around and that's the only way to do it. There's no way to shore that second floor. You can shore the floor but you can't shore the wall. Right. So once you do that it it becomes the only way to do that is to chop out that whole wall. You can shore the floor and you can shore the roof
>> but but that whole wall has to be blown out. And I don't know that that um I mean >> it could be done. It could be done. It could be done. >> It could be done with maybe, >> you know, >> it's a different scope.
>> Okay. Any other questions here? Is that Did that answer your question? >> Did that answer Did that answer the question? >> Yes, it answers my question. >> Thank you. >> Do we have any other questions concern? >> Miss B, anything else?
>> I did have one and I the Do we know that that beam that was above the the arches are gone? I mean, I don't know where that >> that was done in the 1940s. That beam was there and then they added some kind of a structural element once they
removed the arch because there was you know when there were arches there were pipe columns. So those five columns were removed. But to remove those, the beam would have cracked. >> So they have to reinforce or redo the
beam. They did it with a single door. So now what we're doing is enlarging the opening from three to six. No arches because there will be no space. And we move them. The arches have nothing to do
designwise. The way I did it is that the entry doors now line up with the upper windows. So now the whole thing becomes a design element
to me more pleasant that what it was when the arches were there because the arches were here a little opening kind of a terrace on the second floor. That's the original way. Then they enclosed the second floor.
Eventually they removed the arches. So they did like a puzzle took out of here, put there, came there. What I try to do is more an integral type of a design that will blend all the elements
all together. >> Thank you. >> Thank you. With the second floor edition, it really makes it difficult to do that. I mean, now you've got to literally come in and rebuild the wall as as Mr. Silva said. All right. Is there any other comments and discussion here from the board to the applicants or
to the or to the to the staff? Okay. >> Thank you. >> Is there anybody on Zoom that wishes to speak to this or anybody else that would wish to speak to this in the audience?
Against Hearing none, we're going to close the public hearing and bring it back. Okay. Has everybody had a conversation? I'm ready for a motion. >> I have one more comment if I may. >> Yes, sir. >> So, the um >> Thank you very much.
>> What's what's difficult for for what I'm finding difficulty with is that the 1920s is gone and that we're living with the 1940s version of the house which has the squared off porch and the extension and the second floor. Um,
which means that the proposed modifications to the house are aligning with the existing conditions which is the 40's version of the house which is the enclosure of the porch. um uh which is just s is is
going further away from the original intent of the house which were my comments in the original with the designation report was was it too far gone. Um my hope was that these things were not irreversible which I am understanding
now that they are irreversible unless there is significant demolition and change to the house. Um I appreciate the solution the architect came up with
using those as the criteria of the 1940s house and the way that that was constructed. I agree that the proposed solution is better than the existing conditions. I lament that it is nowhere near as good as the original. Um so
those are my comments >> board. Anybody else? Miss Ever. >> No, just just agree. Yeah. Too bad. >> Yeah, we are where we are. >> We are where we are. >> Anybody else on the board? All right. We've closed the public hearing. There's
no further questions. Is there any Any further comment from the audience or on Zoom? Hearing none. Okay, let's uh have a vote. Do we have a motion? >> Do we need to discuss the variances? >> You can you can do that.
>> If you wish. >> I mean, I would just say that that that if we're proceeding with this, then it makes sense to grant the variances. I think that the criteria in the zoning code for granting the variances are met, right? Irregardless of the front and and
all that. Um I think that because of that existing encroachment on the front, >> there's very little that can be done, right? Because of the location of that that triggers the septic tank to the rear, that triggers the pool to the side, and the pull to the side triggers the the setback. So So I'm okay with
with the variances. >> Um Mr. Silva, Mr. Max, I would just ask that whoever makes the motion if you all could please clarify especially for that front um setback whether it's as demonstrated in the plans with a not to exceed number. Um you know I know there's no dimensions in that A3 plan
but to the extent you can be specific um I think that would be helpful in granting the variance as you know that gets um recorded here at the city. So we need to be as specific as we can be um today with that dimension >> or a not to exceed number if that's easier.
Well, since I'm the chair, I can't make a motion. So, I need one of these from from one of you. >> Okay. >> I'll move to to approve um the design as presented with staff conditions. Um
to approve the design proposal with with staff conditions and um and issue a special certificate of appropriateness as noted above. Right. Um, and I will include the variances in this motion. >> I think that's appropriate if there's a lot of variances. So, if you want to
incorporate um all the variances, I'm happy to read them if you'd like, but I would like a um some clarification on that front setback. >> So, I will the the first variance I will I will incorporate as written, which is a variance to allow the pool deck and full water edge to have a side setback
of 3 foot6 in etc. Um the second variance I will incorporate um with with with a change. Right. So the motion would be to allow variance to allow the new and large front covered entry to extend
to extend 15t into the required 25 ft. Right. So what that means is we're allowing a 5-ft extension from the face of the house. >> I thought it was seven feet or >> sorry. May is just that you reference the plans
and have it confirmed by staff. >> Right. >> But that is the intent to allow a five foot extension from the face of the building as per plans. >> So I understand that to be a motion to extend a further 5t from the existing home into the setback as confirmed by um staff and demonstrated in the plans
presented today. >> Correct. >> Is that five feet from the from the front of the building? >> Yes. So So that is >> not the front of the existing porch. from the front of the building >> in the front facade of the building. But what I don't know is if a roof overhang
is allowed to if that includes if that's considered an >> I believe that zoning allows for a roof overhang. >> That's what I thought too, but I wasn't sure. So, >> and he's referencing the plans. >> Yeah. >> Um and then the I'll incorporate the
the um >> the pool water edge variance as well. Yes, that was already approved, was there? >> Um, no. You mentioned the first one, which is the side step set back of the pool deck. The third one is the minimum separation from the residence of 3 ft for the pool water edge.
>> Is that incorporated as well? >> I'll incorporate that as well. And then there's another a motion to Yeah, that's the >> article 13. >> Yeah, the article 13, which is a SE to allow a new enlarged front covered entry onto the existing non-conforming structure. Right. So,
>> are we clear? Yes, I I I'm happy to give you the the Cliff's notes version. I don't know if that exists anymore, Cliff Notes, but um to approve the design proposal and approve the issuance of a special certificate of appropriateness incorporating all of the staff conditions noted today as agreed to by the property owner and approve the
variances for the side of the pool deck setback side setback of 3'6 3' 6 in. the front setback to allow for further five foot extension from the front of the building as demonstrated in the plans today and approved by staff to approve a variance of article 13 to allow for the
ex uh enlargement of the existing non-conforming structure front covered entry and to approve the variance for the pool water edge separation from the residence of 3 feet versus the five feet as required. >> Okay. So, is the motion clear to everyone? Okay. The motion was m made by
Mr. Silva and I need a second. Second. >> I have a second by Miss Ever. Would you please call the RO? >> Miss Spain? >> Yes. >> Miss Rando? >> Yes. >> Mr. Garcia Pon? >> Yes.
>> Miss Shield? >> Yes. >> Miss Alvarez? >> Yes. >> Mr. Silva? >> Yes. >> Miss Everett? >> Yes. >> And Mr. Maxwell? Yes. Motion passes. N
80, I'm sorry. Thank you very much, ladies and gentlemen. >> Okay, we're moving on to the next item we have. Let's see. >> I think this is going to be the last one. I'm hoping. Yeah, I think so. >> Do we need a break for a couple of
minutes or do we just press on? >> Press on. >> Okay, here we go. >> We have two more. I'm sorry. Um, all right. Case file COA SP2025-025,
an application for the issuance of a special certificate of appropriateness for the Granada Golf Course located at 2001 Granada Boulevard, a contributing resource within the Country Club of Coral Gables Historic District. >> Uh, lengthy description. >> Mr. Maxwell, I'm sorry to interrupt. I
think in out of courtesy to our residents who who are here, if you don't mind, we'd like to hear the other special certificate of appropriateness first and keep staff for last. At the risk of getting uh community recreation mad at me again, I I think that would be appropriate if that's all right with you. >> Yeah, I'm happy to do that. Which one?
>> Thank you. >> Granada Boulevard. Yeah. Okay. Well, okay. Take that back. >> Apologies. Thank you very much. >> Okay. Let's go to this one then. Okay. Case file COA SP2025-024 application for the issuance of a
special certificate of appropriateness for the property at 4200 Granada Boulevard local historic landmark a lengthy descript legally described as lots 10 and 11 block 99 Coral Gable's country club section 5 plat book 23 page
55 Miami Florida okay we're gonna get to you in just a second Yes, good evening. Um, CGTV, if you could have the presentation, please. So, as mentioned, this application is requesting a design approval for the construction of a new carport. The
carport will be constructed at the east end of a two-story edition approved by historic preservation board under COA SP 2017 uh 025 and connects the original one-story to connect to the original one-story garage structure. The application presented a request design
approval for the new carport. The original design intent of the home was uh to have the primary facade uh face the water. The addition occurs at the secondary facade on a portion of the home that has already been altered with an addition and is minimally visible from the street.
>> Um staff is recommending approval uh with the two conditions listed uh which I've spoken with the applicant and um they're okay with working on with staff. Uh CGTV, could we please have the presentation? Sorry, I didn't even look up.
>> Thank you. >> Uh, we're going to be going to 4200. Sorry, you're not you're not looking at this one yet. >> So, this is the property in the 1940s photo. And then I'll let you >> Good afternoon. I'm sorry about the cold
weather that we're going through. Uh my name is Raymond Pacheco. Um I was selected the architect for this um project. Uh we came uh few months ago to the board
of architect and they approved it unanimously. Nothing uh that they rejected. the we we really respect what Mr. Pace did there for the Ver House in 1925.
I think he did a wonderful job and and it was my my pleasure to help my client to do this project. We're trying to match uh the same roof
and actually not we want to have a bar tire roof with a gray cement to make it more authentic to the original house and they're willing to eventually change the entire roof.
I I saw the recommendation that the board is giving me. I don't have any problem. It's more the connection to the existing house to the existing guest house and I think it's really a more
improvement and we don't have any problem in following their recommendation. Uh I have been here a few times before with historical houses. My two daughters are also architects and
they love to do historical also. So what I would like is that you see that this is an improvement versus what they have now. There is a tremendous improvement because
there you can see you can see. So, this is an improvement to what they are using now, which is a tent. And and the the other thing that I think is very good is that they they wanted to be
right next to the house. The twocar garage are really across for the age to go across that paving area is very dangerous. So that is that is basically why they're doing
this. So it's actually an improvement of what they are right now. you see it is I'm following um the architecture somehow um to
to divert the the rain to the other side and away from the big wall that they have right now. So that's basically what I'm trying to do. I'm open to any criticism. I'm open to what you like to
uh tell me I'm very open for your recommendations. So, thank you for for understanding what we do. Thank you very much. >> Thank you, Ramon.
>> Any other any questions for the architect? Ladies and gentlemen, >> did you say you were going to have the color of the tile be different than the existing? >> The same the same bar same bar.
I usually when I do Mediterranean I do like the mix >> blend. Uh this is something that right now they have >> the same. >> Yeah, we want we would love to they're
going to reoof the the entire house eventually. I would like to do the barrel with a gray cement and I like if it is a mix I like it better. And I have to say, you don't age. >> You do not age. You look exactly the
same. Why? I've got the >> whole I'm going to be 84. >> Oh my gosh. >> But uh >> amazing. >> I'm really with my family. My family is my legacy. My two daughters and now my two granddaughters are coming to join me. They also starting they finishing
next year in architecture also. So it's the entire family. >> Oh my gosh. Got a whole whole clan. >> Entire family. Well, it's very nice to see you. >> We're very proud of of them. >> I just had a question for staff. So the comment um on I guess work with staff on
the pedestrian interest was that um to look at the roof the pitch and >> it's like the connector piece that touches the onestory building the that is kind of has like this little decorative swoop feature. I think that it could be further simplified so it
doesn't become like a highly decorative element. It should just kind of be more muted and disappear. >> And then the roof also like >> there was no comment >> coming to the new >> Could we put the drawings back up please? Maybe
>> sorry Anna if you're wasn't sure which >> I may heard twice at the house and >> it seems like the has a vertical. >> Oh, sorry. Sorry. >> No, the carport has a vertical, you
know, um wall, right? It's of a certain height and then the existing shed roof. Um I guess it's the guest house is coming. It seems like there's a water potential water issue there. You show a small here. I guess this is what you're talking about. >> That's what I'm talking about.
>> I'm planning to have a little I'm planning to have a copper g to go to the I'm planning to have there a copper g to end on the opposite side with some kind of a chain or something to have the water from the co have the water down
from the copper garden. I don't I hate down spout. >> Okay. So, what he's sorry what he's mentioning is adding a copper gutter to the actual pitch of the roof. So, you're not um shedding onto the roof of the one-story building. So, I don't know why the laser thing is not working.
>> So, there would be a gutter right >> here. If you see the mouse on the screen, >> yeah, it'll be it'll be visible >> and then it'll be >> the backp that totally resolves though. the way that the roofs come together. Maybe it's just
>> Are you talking about Anna as it touches the main house or No, I think I think it's this one that you're talking about. You've got >> diagonal plane coming through a valley there. >> This valley right >> right there. >> Right. >> Okay. Yeah. Yeah. If I think if you look
at at a a 1.1 I think what Anna is saying is I think that cricket has to be bigger. The cricket is all it is. >> Okay. The >> Yeah. So I did have a comment specifically Hong about what the city is asking. Can you put the Can you go back to the
elevation you just had up that rendering? Because I think one go back to the facade the front. >> Oh, that's me. >> You want the drawing? >> The rendering is better. The title rendering. >> Maybe I was in the other direction.
>> That one. Wait. >> Wait. There's bigger ones on this side. I think >> that one's mine. So, I think what might be interesting is the double flourish. You have the the bar and the swoop and then you have the bar. If you just united them so it's just one and it it
goes up and over. So, it's not a bar, a swoop, a line, and a line. >> Is if you unify it all. Also, by just sort of dropping dropping the the flourish down so that it's one continuous line, it'll be less intrusive. It'll just seem like a
connection and that way you can still hide the valley gutter in the back and it's one less bump. But just bring it down into >> just drop it so that it lines up. So that from the main from the a budding house >> it comes straight across and then it
curves up and then cut >> just one >> one move >> one continuous >> right one continuous. >> Yeah, that's what I had drawn. >> So it's just >> So it's just doing one sweep. >> I think that might simplify it and still keep it. >> Yeah.
>> Thank you. Since there would be a a different stuckco texture, are those two planes slightly offset? >> Well, so that that twotory um portion on the left is already a new that's the new
addition that was proposed in 2017. >> So it would match that stuckco texture. >> Oh, it would match, >> right? Because that's already a new addition. So it doesn't need to change from the original. >> It's already different from the original. Anybody
else? >> Rolando. >> Yeah, I've owned two uh Phineas Paste houses and both of them had carports. >> And they were great, >> very convenient, and both had garages,
but >> the car ports got used. I just want to say that this looks beautiful. >> Thank you. >> And a big improvement over an awning. So really finishes out the front of the
side. >> Beautiful. Swift. Anything? Okay. >> All right. Any other member of the board have a question? We pretty well gone through it. Okay. Mr. PCO, you're good with the comments made by Mr. Garcia
Ponds. on that. Okay. It's a one. It's a lovely design. Thank you. >> Thank you very much. >> I always enjoy your work. Have for many years. Uh okay. We we uh have any comments from the public? Anyone wish to speak for against this?
Do we have anybody online? If not, the public hearing is closed and I'd like to have a motion, please. >> I'll make a motion. >> Thank you. >> Do it. Um, I would move to approve the issuance of the special certificate appropriateness with the conditions
noted in the staff report. >> Okay, we have a motion >> and with the >> and with the modification >> the issuance of the special certificate of appropriateness, I'm sorry, the design proposal and the issuance. Correct. >> Correct. >> Thank you. >> And that's one of the comments is to
work on that entryway is the second comment. I would recommend that you s perhaps say that you would incorporate Mr. Garcia's comments on the >> and incorporate Mr. Garcia's comments on the second request of staff to work uh
to simplify the pedestrian entry connector. >> Thank you. Is that sufficient? >> Correct. >> Very good. Okay. Well, we've got a >> Okay, we have a second. >> Second the motion. >> Okay. We have motion by Miss Swift and a
second by Mr. Garcia. Would you please call the role? >> Miss Ever? >> Yes. >> Miss Spain? >> Yes. >> Miss Rolando? >> Yes. >> Mr. Silva? >> Yes. >> Miss Alvarez?
>> Yes. >> Miss Shield? >> Yes. >> Mr. Garcia Palms? >> Yes. >> Mr. Maxwell. >> Absolutely. >> Thank you. >> All right. Thank you. Thank you. Pleasure to be with you, >> Mr. Ronnie, thank you very much for
bringing this to us and as always, thank you for all your contributions. Okay, we're going to go back to let's see where are we? Where did we leave off here? We've got one more. We've got the golf course. >> All right, let's tee the golf course up,
please. >> I apologize for the delay. >> Thank you, Roma. >> Bye. Okay, >> Mr. Maxwell, I know you already read the title, but if you don't mind, I'm going to just read it again very briefly, so for the record, it's clear. >> I'm happy for you to do that.
>> Thank you. It's case file COA SP2025025, an application for the issuance of a special certificate of appropriateness for the Granada Golf Course located at 2001 Granada Boulevard, a contributing resource within the country club of Coral Gable's Historic District with a lengthy legal description is on file with the city and the application
requests design approval for the construction of a new golf course rain shelter. >> Uh, good. >> We're good at that. And I will just for the record have a very quick staff rec uh um summary. Uh the proposed shelters
have been an ongoing project for the city for a number of years as the city um as previous wood shelters were failing and falling into disrepair. In February 2025, the city commission directed staff to revisit the shelters and organize a community meeting. Through this process, it was determined that the new shelters would mirror the
existing shelter design while providing um accessibility. The proposal includes two prototypes. The standard prototype design replicated the original footprint and appearance and the golf cart accessible prototype is slightly larger to allow for golf golf cart access. The shelters represent new construction
within the country club of Coral Gable's Historic District and should be evaluated in their impact of the district as a whole. The shelters do not negatively impact the historic integrity of the district and staff is recommending approval. Very good. >> And if we could have the presentation, sorry,
>> you said it all. We can just Yeah. quotable. For the record, Fred Cusero, the community recreation director for the city of Coral Gables. Thanks for having us. >> So, um, we're going to give you a a a conceptual design presentation, which is part of what we gave to, um, the
community when we, uh, spoke with them. It was a very, um, boisterous group, very active group. And luckily for us, this time around, they were very happy with what we presented. We'll go into how we got to where we are. Uh, so this is a satellite view of the golf course.
Um, hopefully everyone knows. Um, a lot of people walk by it. A lot of people golf on it. Last year over 67,000 rounds if anybody wants to know. So it's a very busy course. Uh, quick history on the course. As I'm sure you all know, it's one of the oldest 9-hole courses and it's the oldest 9-hole operating course
in Florida. Um, it was constructed in 1922 by William Langford. And of course in Greens the renovation opened in 2014 but we actually started renovations in 2013. This is what we're here to replace and
as you can see this is why uh these are existing conditions. Um we have been at this for quite a while and we are looking to replace these throughout the golf course. Um the existing conditions um it's a non-contributing structure. Uh
it's exceeded its life. Um the existing square feet that we have there is 99 square ft. Overall dimensions are 11 by1 11. Um and when we first went to the community it was thought that we needed to provide
ADA compliant shelters for all of them which made the shelters much bigger altered design and what the this board um was presented was something that was not in line with what the existing conditions are.
We started in 2018 with this. We went through two designers. We went through administrative reviews. >> Yeah. >> I hadn't retired. I was still here when you guys were working on this. >> Oh, well, she worked with me on these designs because she was my reporting
supervisor at one point. >> Um and um we we did look at that original design. Had the Granada Pro Shop in mind. Um there was a motion. it came to this board. It was approved. Um, an important motion that was also made by this board that's important to
remember is to look at having one of the shelters preserved in in its current existing state. Um, so that's important. Um, and we've followed through with that here. Um, in February 2021, we had a community meeting that was held that was
at hel held at the um the CMR room in the police station. Um and uh the community response was not positive. In fact, um it uh >> as only Coral Gable's residents can do, >> if any of you if any of you were there,
um you know, I I had a few arrows in my back, but it's okay. We got through it. Um and what the consensus was that we wanted to uh move away from the shelters at the time being, concentrate on the other two projects. We had just finished the, you know, course a few years back,
but we needed to do the pro shop. we needed to do the diner space which is now Birdie Beastro. So we had our hands full with that. So the consensus was finish all that and then we'll get back to it. So we completed that recently and in February of 2025 an agenda item was
brought before the the the commission. Um it was sponsored by Mayor Lago and uh the commission directed us to revisit the shelters, look at a way look at a better solution and also to expedite and get a community meeting out. They wanted me to get it out before the summer. We
did. Um, what we found out is the ADA portion, if we did one on each side of the course, we could limit having nine shelters of that scope, just have two. >> So, that's what we're going to present now. >> Okay. >> So, here's our site location map. Um,
the shelters are for the most part going to go in the same spot that they are now with the exception of the two ADA ones that are going to be moved slightly. And you'll see the on the slide the the movement. This is what the design will be. Um it's
slightly bigger because you do need a slightly bigger um entrance. >> It goes from 99 ft to 120 ft. So it's not that big. It goes from 1111 to 12 x 12. Um and it's the the posts instead of
being uh um 4x4 they'll be 6x6 a little bigger. And the the roof rafter parts will be instead of 2x two, I think they're 3x 3x3. So, um, not a big change. Um,
you can see the floor plan. It's the same design. It does have instead of being wrapped all the way around with the rails, it has two openings. So, you can't get a a golf cart in there, but you can get a wheelchair in there. So, we do still have some ADA access there.
um it'll be the same shape, the same uh plan and um for the ceiling and the elevation you're only going up to 10 and that's all the way up to the point. So the clearance is about 76 and then when you add the the the pitch roof
you get up to 10. >> So it's a little taller than what they are now. >> It's a little taller. It was like nine. Not very not much taller. And the materials that we're looking at is an old growth cypress timber. Um, our designers have looked at it. It looks
like it's readily available from the manufacturer. So, we can get that. Um, so that's what we're hoping to do and stay with that wood design, which the previous design didn't have any of that. Now, for the golf cart access, we had to go a little bigger. Um, at the
communing, I presented two different options with two different shapes. um one was an oval and one was this one. Um and it was decided by the the community um unanimously is to stick with this design which keeps the same hexagon type
look. Um it's a little bigger. You're looking at uh it's about 300 square feet so it's it's almost triple the size. Um, but it keeps the hexagonal look and it's the same
roof plan and the elevation does go up not that much more. It goes up to about 116 118. Um, so it's a little bigger, but it does provide for the golf cart to go through. And instead of doing nine of
those, we'll only do two. So, here are the locations. Um, one stays where it is. the second uh shelter which is right by the second T that stays where it is um and it'll be placed in the same spot.
The third shelter which is um right before the third T will stay in the same spot. Now the fourth shelter which is at the end of the three green leading up to the fourth T um that is where we're going to put the first ADA. So, that'll
be the ADA shelter that will be on the east side of the course and it'll be east southeast on the course near the walkway. Um, and as you can see, we're just going to move it a few feet away to give it so we don't have all the landscaping and everything in the way so
we can have a little more space. And then we'll look at the construction of cart path to get to there. >> As you can see, that's what it'll look at. And that's the that's the cart path access. >> You're paving the floor, right? >> We're what?
>> You're paving the floor. >> Yes. >> The fifth location of the shelter will be the same place which is just west of Granada at the beginning of the fifth hole. The same thing with the one on the sixth
hole as you get to the T- box. >> The seventh hole uh is uh the small hole right there on the west side of the course. It'll be in the same spot. Now number eight, which is the the the shelter that
is before the AT is the one that's in the best shape. So, that's the one that we're looking to um you know, keep in its state that that we're going to uh renovate and then we're going to make it um we're going to do some sort of uh
signage and um a way to preserve it and to be for its purpose of what we've done. And then the right before the ninth T that will be the second ADA
shelter that will have the accessibility for the golf cart and that's over that'll be the the west side and it's on the the northwest side and uh there'll be a little bit of movement because it's bigger and the space that we have there is kind of boxed in through some
landscaping and we need to open it up a little bit and we'll just have some new asphalt that will take it all the way to the base and it will have the landscaping. on as well. >> And And what what am I looking at inside
the the ADA ones? What are those two on either side? Is that I don't know, water fountains or something. What is that? >> No, no, that's just um >> just the accessibility >> accessibility access that people can get through there. >> That's a wheelchair sign. It's like the little
>> Oh, the little Yeah, I get it. I get it. >> It's just that so you can if you in a wheelchair, you still have the space there. You don't have the bench. >> I got it. I got it. I got it. So the proposal is to rebuild for like as I showed you for six of the existing shelters. We're going to add the two
large ones um on either side of the course to meet those ADA requirements and have a cart be able to go through. We had originally looked at and we presented the community if we could to have chilled drinking fountains um based on funding. So at this moment it doesn't
look like we're going to be able to do that. um not only based on funding and just some of the water supplies not not going well there. And I will tell you I had a few people in the community after the meeting say stop messing around with the water fountains. The water that you put in the coolers around the golf course right now is super cold and super good.
>> So I said all right. So we're going to be able to do that. So we're excited about that. Um we're going to re we're going to reconstruct or renovate shelter 8 in its original form. And then of course we're going to do landscape improvements around all the shelters. And then we're going to do the car path
extension for the for the ones that you need the the new locations. So that's all I have and I'll answer any questions if needed. >> Well, thank you very presentation. We appreciate that. The last couple of presentations we've gotten from the city
haven't been quite this clear about road and >> we do a lot of them in parks. >> Friends the best. >> Uh the existing shelter that you're You said reconstruct. Are you sprucing
it up? Are you re is it damage where you have to replace portions of it? Can you give us a little bit of >> Well, we're we're actually in the process with the architect now. We actually had some discussions as to if we can save it. If not, we're going to
have to use the same size wood, the same look um to make it look just like it looks now. Um there we're hoping that we can save the integrity of it, but um and that's the one that's in the best shape, but right now that's that's the discussion that we're having with the architect. That's why I put a
reconstruct because we might have just to rebuild it under the same size and scope. >> And the uh what were the materials or what are the materials in the existing structures versus I I've liked the uh cyprress. I've I have that in my house
and it it weathers beautifully. I'm not sure what kind of wood it is. Um I you know it was uh I don't think we were able to find >> still wood. >> It might have been public works wood from the 1950s. Um I I don't I don't know. I I we we couldn't ascertain that.
I don't think the architects were able to ascertain that were No, they weren't. They weren't. So >> uh Fred, thank you for listening. I attended I attended both those meetings >> and um
>> yeah I have some questions. The originals were built in what year do you think that those that are >> there there was no um I think and I don't know if you have that we don't have an exact date we just have a an area
>> in the 40s >> like the city pulled a permit. >> Right. Right, right, right. I also remember that first meeting those the the new shelters were very contemporary looking and people went nuts, but they were also extremely expensive.
>> That is correct. >> I mean, they were like 70,000 a piece or something. Something crazy. >> Yeah, it was more than that. And and it was because of the >> It was because of the size. Remember, we're only doing two of those big ones, whereas there we were doing all of them
that big. So that that jacks up the budget quite a bit. >> So do we have any idea of cost on on on the majority of them? >> Um we're still waiting on an estimate, but we think we're going to be able to to get it done. >> And and when?
>> Well, you guys have to approve it and we have to keep moving. >> When they finish, >> that meeting that I attended was in the early summer, wasn't it? >> It was in Yeah, it was right in early summer. So we um we have already we're starting with the We just need to the necessary approvals, but we we have
already started. Um I do have um our director of capital improvements. I don't know if he can give us a quick update on where we are on the process or the architect is also here from Gurudy Matuti. >> Okay. Um so we are receiving the 60%
So, we're receiving plans >> names Oliveros. I'm sorry. >> Thank you. >> Assistant director public work for Cap Improvements. So, we're receiving the 100% plans today before the night's over. Um, so I expect to go out to bid early
next year. Uh, we should be able to start probably March the construction. U I need to coordinate with parks on which um shelters we're going to do first, second, and third because we're not going to be able to do all at once because people are playing and all that.
So we that is strategize which ones we're going to do. >> We'll figure it out and and and when. But we're, you know, hopefully we're going to have um probably half done before summer and the other after summer. >> That's the plan. >> You're going to build them all on site.
>> You're going to build them on site? >> Yes. You're not going to prefab them and bring them over? >> No, I mean the pieces are going to be prefab and they're going to assemble in on the field. >> Thank you. Question down here. Miss Alvarez, not a thing. M you've already
got there, Mr. >> So I do have one question um for the director. I I remember the last time we were you were here with the other shelters. I'm pretty sure I was the person who made the motion that requested that consider
um saving one of the existing ones if possible. And I'm pretty sure I used the word if possible. >> Yeah. >> Um now that the design has drastically changed from the original, I no longer think it's as important to
keep the older one. And that is just my opinion. I'm just stating it on the record for my board members because it was super important with the last design, but in this particular case >> because it was so radically different. >> I would correct, >> you know, I'm pretty sure and we can
have staff check that I use the word if, not a condition of >> sure >> my I just want to let my fellow board members know and if a motion is to be made um that I would be happy to withdraw that portion of my original
motion. Well, yeah, but what about the public? >> I'm just saying, >> did the public um enthusiastically embrace that idea of saving one of them because otherwise we're >> um I I think I think as as stated, I
think the enthusiasm was um brought because of the prior design. >> Okay. So then they'd be okay if you just >> I mean did everything. >> We we we'll still go through the exercise and see if we can do it. Um fine with us. I agree with them. Everything's so closely
>> and if it's an if if it becomes a much bigger job with the architect, then we can always revisit it. >> Okay. Yeah. But do keep one. >> Yeah, we'll try. >> So So the condition set was this is a se this is a new COA application before you. The condition that was listed
within that approval does not apply here. So unless it's made in your new motion today. >> Got it. Okay. Thank you. Okay. Any questions? Uh, anybody wish to speak from the audience about this in support
or again? Anybody on Zoom? Hearing none, the meeting that public uh hearing is closed on that. Okay, board. Um, what's your pleasure? I need a motion. >> We still have more business after this.
>> I'm happy to make a motion. >> We have a motion for Mr. Garcia. Um so just for staff the as written it says that there are six new rain shelters. That is that correct? Is the number correct >> for city staff? What's how many
shelters? >> Eight. >> It's I think it separates it between six standard and two um >> the two prototypes. It splits it up. >> Sorry. Hold on. It's the eight.
>> Yeah, it's the six. Does that include the the one that you're reconstructing? >> So, it's a total of nine new structures. One, two, and six. >> Yeah. Okay. So, a motion to approve the design proposal for the construction of
nine um new rain shelters on the Granada golf course um located at 2001 Granado Boulevard and approve the issuance of a special certificate of appropriates with the conditions noted in the staff report.
>> I'll second it. >> We have a motion to second. >> I I have a question. I'm sorry. Please to >> but I think the report had Eight new one one. >> Right. So my mot Okay, gotcha.
>> But the motion's not specific either. >> My motion is nine new rain shelters. >> So Mr. Garcia's just clarifying that there is no requirement to reconstruct one of the to uh retain one of the existing. >> Understood. >> Not for my motion.
>> Not for my second. >> Okay, we have a motion in a second. The motion leaves out restoration of anything. Do I have a second? >> It does not require it is my understanding. >> She seconded already. >> Oh.
Okay. >> My only concern is there. I don't I'm not wedded to restoring it one way or another, but I do think it was sold to the community.
>> Well, that's my that was my question to him. >> Yeah. >> But apparently they were more sold on the new design than they were the restoration of the existing one. >> But let's just say not required to restore one. >> I >> Right. >> Yeah.
>> If there's a friendly amendment, I'm happy to hear it. And >> yeah. >> Yeah. I um I was present um at the meeting. I really don't recall that there was a uh I like I like the idea of of keeping it
open, you know, and marking it somehow. >> We're in a motion question right now. So, are we I guess I would ask or to consider that the amendment be or
that the motion be amended to the um replacement of eight of the um rain shelters, two of which would accommodate uh or be ADA compliant.
the ninth be restored if it's economically uh feasible. >> How about restored or rebuild? >> Okay. Restored or rebuilt? Um to the original
design >> with a little plaque. Although, let me just let me just say I'm not so enthusiastic of of replicating. To me, if you can't do
if you can't fix what's there, go ahead and make it the um seventh new one. >> And now, does that make sense? >> It it it does. And as the mover, um I
don't accept it as stated. I um I understand. >> I didn't expect you to, Caesar. I would expect some additional qualification. So do proceed. >> I think we um >> the the two the the eight with the two
ADA or the larger ones and then this the remaining one to your original statement is if it could be restored then yes. If it has to be rebuilt then no. >> It's my motion.
your motion, but you're you're parsing rebuild because restor >> because it's my motion. >> But when you say when you say restore, uh it's using the existing or materials,
not a wholesale replacement. >> That I accept if that is your friendly amendment. I accept that. >> Okay. >> Okay. Good. Miss Miss Bane, do you second the motion as amended?
>> I accept the >> happy to restate it if needed, >> please. So, as I understand it, it's an approval for a design of proposal and a certificate of appropriateness, a special certificate of appropriateness for the construction of six new range shelters on the Granada Golf Course, two
additional ADA shelters, and that one of the existing shelters shall be restored, and if it's unable to be restored, it is allowed to proceed with the design proposal as proposed today. >> Yes. >> For a total of nine shelters. >> For a total of nine shelters. >> Okay. Okay. We're good. We have a motion
and a second on the amendment. Please call questions. >> Miss Alvarez, >> yes. >> Miss Shield, >> yes. >> Mr. Silva, >> yes. >> Miss Rando, >> yes.
>> Miss Eert, >> yes. >> Mr. Garcia Pon, >> yes. >> Miss Spain, >> yes. >> And Mr. Maxwell, >> yes. Motion passes. Okay, ladies and gentlemen, we have a couple of other business items here to
get to before we're finished. Okay, do we have any old business? I know some of us are old on this dis and anyway. Okay, new business. >> Hearing none, >> we have
>> meeting dates. >> You want to go through these >> and party date? >> Yes. >> Well, we're going to do the meeting dates first. Okay. Does everybody have a copy of the meeting dates? Okay. Within your packet. >> Okay. >> All right. Are these good?
>> We want to make any changes which would be incredibly difficult because we're going to be moving over to the city building. >> So, at the I believe the first few meetings are still going to be at city hall. >> Still going to be here. Okay. >> All right. All
right. So, thank we could not be accommodated on Wednesday as as was requested. Okay. Great. Okay. And we're not we're not going into any of these meetings where the city is closed. So, we're in good shape. Okay.
Next items. We have um any city commission items. >> Um the appeal for 1258 OBS was heard at the last commission meeting. Um, and the city at uh commission voted to overrule the HPB's decision.
>> Did they give a reason? >> There was a discussion about substantial competent evidence for the decision made by this board. >> I'm sorry. There was what? >> There was a determination that there was um not substantial significant competent evidence for the decision made by this board. But I I would have to go
back to the transcript to see the exact >> They didn't make a specific motion. >> You all know that based on that none of us are competent. So we didn't give confident evidence. So that's very disappointing. >> I mean that's the 3 0.
>> Yeah. >> Who's appointed by the mayor? Which one of you is appointed by the mayor? >> Mr. N. >> Is it Michelle? Okay. And who's appointed by uh Miss Anderson? You are. Okay. And Miss Swift, you're
from Mr. Lara. Okay. I would hope that all of you will talk to your commissioners before these items come up. You're their you're their commission. >> No, you know what? We have lots of cocktail parts. >> Yeah, Mr. Waxwell once this board speaks the only person who should be um
speaking as a member of this board. Obviously you are still a human being and a resident of the city but um we ask that uh once this board acts on a quasi judicial matter that's appealed to the city commission that this board speak um with one voice to the city commission. And as always those are exparte
communications um that we um always encourage our commissioners to avoid as they're hearing an item on appeal. So >> it's it's a wonderful policy. Thank you. Okay. Anything else, ladies and gentlemen? >> I I would like to ask staff when people
are submitting their designs or architectural plans that you request them to put on the same sheet before and after. >> Yes. >> Because it makes it so much easier and they don't seem to understand that. So, if you get one and it has the existing
and proposed on two different sheets, um, send it back. >> Send it back. >> Okay. Okay, we have one last item. >> Um, it's certainly appropriate for the chair to set time limits. What is um difficult is if you do it mid-presentation. So, what we have done
before is issued procedural orders or made very clear what the sort of the rules of the game are ahead of time. So if this board wants to establish 15, 20, 30 minute um time limits, I think that would be you know within reason and depending on what the project is
appropriate. Uh the problem is if we limit it during a presentation where people haven't been informed ahead of time. If you'll note when appeals go to the city commission um the mayor as chair issues a procedural order giving an order of operations which we have in our code but setting those time limits
ahead of time so that the expectation is clear. Those are also on an appellet um in an appellet posture. So the record below already exists here where we're establishing um record >> the record. I I think I would be wary in
being too extreme in limiting, but I do understand of course that it's you know 8:30 a night now and we only went through five items today. So of course understand that. Um, I think if this board wants to set as a matter of course a general um, recommendation or a general policy or procedure that
presentations shall not exceed a certain amount of time, I think we can certainly work together on adopting some of those procedures and we'll just have to um, adapt them as needed to what comes before us. >> I I totally >> completely right.
Yeah, >> but honestly the issue is staff if we decide on something staff can tell them in advance, listen, you're only going to get 20 minutes and that's all you have and then it's easy to to cut off because particularly on an appeal, you don't want them to go to a city commission and
say, look, I had other stuff >> but the board wouldn't let me, you know, present Let's do this. Okay. We have a workshop coming up, right? >> No, we had our workshop last month. >> Oh, that one that I had to miss. >> You were You were there? >> I was there. Yeah. Okay. Well,
>> it was at the building next door. >> So, Mr. Max or through the chair, I know that it's it could be taken on a case by case basis and the chair can prior to the items that we anticipate being a little bit more lengthy ask ask how long it's
going to be and then set a time. Um >> or we can or we can move them on the agenda. If the pro they say that we need an 45 minutes. >> I would like all the controversial large things like like what we just went through with this and I know it's >> we don't know what's going to be controversial. I can guess but then
>> I mean I didn't think >> I don't think that's appropriate either either. Um Mr. Maxwell I would suggest that you know you and I can have a discussion separately about the chair as the chair how we can um manage the timing of the meeting. I would suggest that giving notice of a time limit at the start of a meeting is maybe not
sufficient notice for someone who's um gearing up their presentation. So it would likely need to be something that they're aware of prior to coming to the >> Okay, let's do this. Just a second. Would you change this please >> so that we can put a time limit in here?
>> Okay. >> I think we're saying that we need all we do when we start the meeting we can say we no >> so Mr. Maxel, I don't know that that's sufficient um notice to an applicant about what their time limit will be. Like when you go to to court, you get a
15 minute a 15 minute special set hearing, right? You know, it's 15 minutes when you get that hearing. So, um if we're going to establish time limits for COAs, you get 20 minutes, you know, and and we have to be even between staff and an applicant. So, that's another thing I want to be clear and and
staff will have to give us some guidance on the appropriate amount of time for that. If we're going to be um prescriptive in the amount of time we want to give, it should be something clearly established in a policy that's available to any applicant prior to even filing their application so that they
know what the boundaries are. They're not surprised when they show up and hear the reading for the first time. >> Okay, Miss Rolando. >> Yeah, I I just put on the >> having reasonable time limits would establish
diff some discipline um and conciseness in the presentation, but when you give these and I'm not sure they did it today, but typically you would rehearse some to make sure that you hit your time
limits. Uh and so but as um Stephanie said, it's critical that the applicant and the opponent uh know this upfront so that they can prepare >> but staff can write that right on the
application on the COA application but you know your presentation will be limited to whatever. So I'm happy to I think maybe it would be helpful and in the interest of time um before our next meeting I will look at um similar quasi judicial boards how they establish those
um our code I believe uh allows each board to establish some policies and procedures for their own boards. So it may be helpful to be something that we adopt separately and is made available to the public. But I think if you don't mind, I'm happy to return in January or I may not be here, someone in our office
to return and um present that information to you all on um sort of best practices as it were. >> Yeah. Yeah. That's policy. I mean, everybody >> everybody coming and quickly they'll learn that they have 30 minutes for
>> with Robert as we said >> and and even you know for even some of the staff presentations and things if we can limit those a little bit more you know you know we all the same thing, you know, multiple times. And I know it >> and the same, right? And I think for like for some of those things again, you're creating the evidence to go
before something. >> So in case it goes to court, you you can't just say, "Oh, you've heard this before. >> We're talking about the start of the city and include the presentation." >> But in the case of like an owner initiated designation, maybe those can be
>> looked at. Well, maybe the presentation can um be shortened, but the the staff >> it would also help the presentation by the staff member had a little more expression
>> and was you know not we Elizabeth doesn't need to be a dramatic actor but it would be a little more enthusiasm perhaps. >> I don't know. She has a PhD in historic preservation, works for the National
Trust. >> The reports are good with her. >> Reports are fabulous. A little more enthusiasm in the presentation wouldn't hurt. >> Okay. So, we've got we we have lots of comments. Uh our our attorney is going
to give us some advice on time of which we can move to adopt next uh meeting. And and why don't we do this? I mean, think of anything that we that you would you think that would make us better and and how we can and we'll have a discussion on that. Um, and I'm going to
ask Miss Peris to contact me before we we put the agenda before the agenda is finalized so that we can discuss this so we can begin to move a few things around. So, you know, we don't perhaps have something really large at the beginning. We can keep it toward the end. And I
feel that it it's imperative that the smaller people who put together stuff that's pretty simple should all come quickly and first and we should notify you know something that let let's say the you know the city hall you know when we come back that we know we're going to
spend a lot of time on it I think we should say this items like this will be at the end so you don't have to show up right away we can swear you in later on so you don't have to waste your time but come later you know >> and we all do we do have an order of business which you all do a wonderful
job following. So, thank you for that. But, um, we'll be sure to provide that information as well as we go through. Um, you'll notice we have generally a brief introduction. Applicant, you know, we have an order of business and we'll make sure you all are aware of that as well. You follow it already, but to make sure that it's clear as part of any
policies or procedures that you adopt are consistent with that code provision >> because part of the other thing I think we're going to change is at 6:30 we're going to get sandwiches. >> Well, I I'm happy to um I'll I'll keep bringing candy if needed. We have one more item and Miss Ever has this item.
>> Um, yeah. Party. Uh, everybody, absolutely everyone. >> Careful. You're you're being televised. >> What? >> We We might be able to talk about this once the meeting is >> Can I have a meeting to adjourn? >> Sunday night the 11th. >> Meeting to adjourn. >> Yeah. First
>> Sunday night the 11th. >> Well, wait. We don't need Right. It's not part of the meeting order. So, it's just >> Oh, adjourn. Okay. Now, can we talk? >> Yes. >> Thank you very much. If we could end this recording. Thank you. >> Everyone come to my house.