 Okay, I think we're gonna go ahead and start. We have two board members that are on their way, but we have a quorum, so we'll go ahead and get started. Karen, can you do roll call? Let the record reflect all board members are present, except members Debacher and vice chair Percer. And then I'm gonna read the board business it's from the ordinances. Just something we like to read in case some of you aren't familiar, although it was on the handout when you first came in. But I'm gonna go ahead and read that. The cultural heritage board shall consider the following matters, standards, guidelines, and criteria to the extent applicable in determining whether to grant or deny a permit. Whether the proposed change is consistent or incompatible with the architectural period of the building, whether the proposed change is compatible with any adjacent or nearby landmark structures or preservation district structures. Whether the colors, textures, materials, administrations, decorative features, and details proposed are consistent with the period and or are compatible with adjacent structures. That's a mouthful. Whether the proposed change destroys or adversely affects an important architectural feature or features, the secretary of interior standards for rehabilitation and guidelines for rehabilitating historic buildings, such other matters, criteria and standards, as may be adopted by the resolution of the cultural heritage board, ordinance 2668, adopted in 1988. Isn't it amended? It's probably an amendment in there. But anyway, hey Mark. All right, so I did wanna do, we're gonna just wait for public, actually we are gonna go ahead and do a public comment. So what I'm gonna do is ask for any person that wants to come forward in regards to anything that's not on the agenda today. If you have a comment, you can come forward, anything. Seeing no one, I'm gonna close public comment. So what I wanna start out with, and Kristinne, you might wanna sort of intro. Kristinne, we have a new board member. So we're gonna do a little introduction and some thank yous to those that have served their time. So Kristinne, you wanna go ahead and introduce Casey? Hi, yes, we have a new CHB member starting today, Casey Edmondson. He was appointed by council member Victoria Fleming, and he will be taking over Ann Galentine's position. Ann Galentine, who was appointed by former mayor, Chris Corsi, is no longer a member of the CHB, but we appreciate her contributions to the cultural heritage board and wish her well on any future endeavors. The other announcement is Karen Arance, our current cultural heritage board secretary will be transitioning to other duties and responsibilities, but Patty Pacheco-Gregg will take over as CHB secretary, and from today forward will coordinate any city communications to the cultural heritage board after today. Thank you, and I'm sure if any board members also wanna make any comments or anything, but I wanna thank Ann particularly. I think she was on the board for about three years. She did a great job. She was always up for it and contributed well and attended the meetings, and also whenever anything was going on outside, she was involved. So she was a great member to have on the board, so she will definitely be missed. Was there anybody else that wanna do? Please say hello to Casey. Welcome, Casey. Thanks very much. I am a Santa Rosa native and care a lot about the history of the city, and I'm excited to learn a lot more about it and play a very, very small part in contributing to the place making that makes Santa Rosa a distinct and wonderful place to live and really appreciate the warm welcome from everybody and Council Member Fleming for appointing me. Great, happy to have you. Thank you for being here. So I think we'll get right down to statement of abstentions and this is actually a question for Kristine. This is a concept review. There is an association with KCBA involved with I believe the first project, but it's my understanding since it's on a project before the city yet that it's okay for him to participate. Is that correct? No, actually it'd be better if he wasn't included as part of the first item where he has a conflict. But nothing that would be legally, it's just a recommendation by the city, correct? And he had already just so you know, it's not that he's wanting to participate, I just want a clarification because he had already advised that he would abstain. I just don't know if he needs to leave the room. Chair Shazer, members, thank you. I'm doing well. It's nice to see you all. It's been a while. Yes, you too as well. So staff can't advise, staff at the table can't advise on the legality of that. That would be a question for the city attorney's office or even perhaps the FPPC. It sounds like board member Edmondson sounds like you have some understanding that there will be a recusal in the future. So it would really be your discretion whether you do that. I think typically we would see a full recusal, whether it's at concept or at future meetings, but we'll leave it up to you. So I'll leave that to you, Casey. Thanks for. I'm sorry, Ed. I would take the recommendation. It sounds like the city is suggesting or not recommending necessarily, but suggesting that you might want to go ahead and start from the start, recuse. Sure, of course. And that's what I'm going to do. I have a client of my law firm who has a financial interest in the project applicant and I think it would be a conflict of interest for me to be here during any stage of the proceeding. So I'm going to abstain. Okay, sounds good. We'll hang around. We'll get you back. All right, we'll wait till he really leaves the building. So our first scheduled item is the 320 College Avenue, correct? Did you want to do a little presentation for us? And this is a concept review, both of our items on the agenda are concept reviews today. Yes, thank you, Chair Deschaiso. Christine, two minutes. Before Andrew gets started with this presentation, I just wanted to go over what a concept review is, 20-58.060 subsection C. It requires a concept review for projects in the H overlay or the historic overlay. And really the purpose of the review is for the cultural heritage board to identify the character defining elements of the historic district and adjacent neighborhood and provide comments and recommendations to staff and the applicant for how to design their formal project. But at this point, it's a concept item. It's still on the drawing board. It's very early on in the process and what staff and the applicant are looking for is guidance on how to mold and shape this project or a formal submittal. So unless there are questions, Andrew will start his presentation. Any questions from the board? Are you, do you want to get on your? The minutes, we didn't do the minutes. I asked Karen, Karen, can you, we're going to do that at the end. But I didn't see that, but I had the same question. Thanks, John. Okay, all yours. Good afternoon, Chair DeChayzo, members of the Cultural Heritage Board. This afternoon's first concept review is for the Avenue 320 project and that is located at 320 College Avenue in the city of Santa Rosa. This project will require formal applications for major design review. Preliminary design review will be conducted by a joint Design Review Board Cultural Heritage Board and that's because it is a project exceeding 5,000 square feet in a historic combining district. Avenue 320 is the adaptive use of an existing 19,200 square foot office building into a 20-unit multifamily apartment building. Additionally, they propose construction of a new 16,890 square foot 20-unit multifamily apartment building that would be to the rear of the existing building on the lot, but fronting Lincoln Street. Also, a major landmark alteration permit will be required for a building height in excess of 35 feet and two stories within the historic combining district. The proposed building height of the new structure fronting Lincoln Street is approximately 45 feet, six inches. I would like to note here that while typically major design review is comprised of both preliminary and final design review components, preliminary design review will be conducted by the Joint Cultural Heritage and Design Review Boards pursuant to the resilient city measures that were approved earlier this year. Final design review will be delegated to staff and that is the case for any major final design review component. So again, the project is located on College Avenue just off of Highway 101. We can see here that the subject parcel fronts both College Avenue and Lincoln Streets. At present, the College Avenue portion of the parcel is developed with the Lincoln Street portion currently providing surface parking for the office structure. It is general plan land use designation as retail and business services and the zoning is downtown commercial, maximum height, five stories and it is in the historic combining district. We can see here that it does sit at the edge of the St. Rose Preservation District and then here's some existing conditions images. To the left we have an aerial view of the subject parcel showing the existing building and surface parking and then the images to the right are street level views, one of the existing structure and then one of the Lincoln Street frontage. It's the Lincoln Street frontage where the new construction is proposed. Joining me today is Randy Figurito and he is the project architect and he'll be leading you through the rest of the presentation including site analysis, site and floor plans as well as project elevations. Good afternoon, I'm Randy Figurito, Tierney Figurito Architects. So this project, what's trying to be accomplished here is we're sort of on the edge of both the historic district and on the edge of the downtown and the higher density that the city's trying to develop in the downtown. So there's the conceptual site plans on the left which is the north end of the site is the footprint of the existing three-story commercial building and this corner of the district is really kind of a transitional area as you sort of noticed on the map of the district. We sort of, this site, half of it sort of sticks into the district and the other half of the site, the northern end of the site sort of poaches out on its own along the commercial strip that's on College Avenue. It's all zoned commercially. So what our intent was was to take the office building along College Avenue which is currently fairly vacant, underutilized. It's an older office building that really hasn't been fixed up in many, many years, I think mainly for financial reasons because the office market is fairly saturated. And my clients intend to gut the interior, use the lower level which is currently parking as parking for the residential project, take the upper two floors and construct 21-bedroom apartments. And there are a few studios mixed in also. The southerly portion of the site fronts onto Lincoln Street which is sort of the northwest corner of the residential historic district which has some single and two-story homes. None of them are believer historic contributors. They're all sort of newer and if they're not newer than not of any particular style that adds to the district. And the back portion of the site is currently just a parking lot for the office building. Using the city's new parking standards and reduced parking numbers, we designed it so that we were able to between the ground level parking under the office building in the front and the surface parking in the back provide enough parking to still leave room to add a building in the back because what we're trying to do is meet some of the goals of the city's general plan, adaptive reuse, higher density housing in the downtown area that's close to transit, provide housing of different types that we're looking to create smaller apartment units that are more affordable in today's economic environment. So the building that's going into the southeast corner of the site is a four-story building with some tuck under parking on the lower level. First floor has a couple, it's got three apartment units and then there are 17 additional units on the upper three floors. The building steps back along Lincoln Street so the portion on Lincoln Street is a two-story. If we hop back to the office building, this is what the office building currently looks like with the north elevation and the upper left corner being what fronts on to College Avenue. And we're looking at, actually I think those are the, I think we've got the existing elevations shown twice on here, which isn't good. I mean, if you want, I actually, I don't know what you have in your package. You actually have this image in your package or do you have the, for the new elevations? Okay, so it's just a PowerPoint that's, okay, okay. So anyway, so we're getting the interior, we're not doing a ton of work on the exterior. We've actually, if you're looking at what's in your packet, we're sort of taking those horizontal bands that are in the front and reworking them, doing some horizontal siding elements on it, kind of creating a recessed rectangles with the windows punched into it. And then this is the building in the back where the parking lot currently is. So you can see some of the elements that are being put into the front building, put into the rear building with the deep set windows, the horizontal siding. The back building is a mix of a horizontal siding in Stucco. The south elevation is the elevation that faces Lincoln Street. And since a lot of the street is one in two story, what I tried to do on that was instead of trying to mimic a single story home, was to try to capture some of the elements of Art Deco or Art Moderne architecture from the 30s that would be kind of in keeping with the period in the neighborhood, doing some of the vertical entry element, some of the vertical glass going up the front, the Stucco, and then that initial sort of upside down you in the front, that's the two-story portion that's on Lincoln Street, and then it steps back from there. And this was sort of just kind of an initial massing study of what that might look like pulling into the driveway off of Lincoln Street. So that's the overall design intent of the project, provide a mix of housing, higher density, adaptive reuse of the office building to sort of invigorate what's going on on the street there. And again, I feel like it provides a transition from sort of the commercial College Avenue uses back transitioning into another residential use that then steps down again into the existing single family neighborhood. Thank you. So we have any questions right now for staff? Just as we're fairly informal, are we sort of just trying to have a back and forth and a talk? So I think it's easier for me to just start at one end. I see, I think John is a good start this time. So just to guide you and help you along in the concept review. Sure, that sounds good. I was telling that. Maybe we can, and we might wanna separate it out, maybe talk about a little bit about College Avenue first and then switch over to Lincoln. That might be easier, I'm not sure, but since college might be less contentious. I guess following that line, there's nothing happening to the College Avenue elevation facade, is that correct? There is, that's why I was asking you if I didn't know if in your... Well, then we don't have the... Okay. Okay. Could you just go through that verbally? Yeah, I mean, I believe I actually have it in my printable. I mean, I could bring this up and if you wanted to just kind of pass it along. Isn't that it right there? Oh, that is. Yeah. Okay, I'm sorry. Okay. I'm sorry to interrupt this later. So it should be attachment for with your project plan set, if you can pull that up. Yeah, so you can see on the North elevation and the West elevation, on the North elevation, there are currently some, what used to be just horizontal planters, kind of similar to what's on the South elevation now, just done in boards and we were going to rework those to create those forms set out. And so those windows into being more of a horizontal recessed element. Do we paint the concrete block which is pretty blasé and then add metal decking in the middle, decks and deck rails, kind of where the Avenue 320 sign is on that facade. So the building would just be freshened up and just look a little reworked. Like a raise three story with. Yeah, the lower level is all parking and the lobby, the elevator, some stairs, and then the upper two floors are office space. But like I was saying, it's just sort of an older funky. It's not, it's just been underutilized for probably the last decade. And Andrew, did you get a chance to confirm as 1977 for the build date? If not, it's okay if you don't have it. No, I can confirm that though while we're talking. Okay, great. So I think, could you switch back, Karen? Would you mind switching that or whoever's controlling? Karen, the original elevation for that. I think it should be the one right before that. There we go. So it's, it's really too bad. We don't have dual monitors, right? So that's the current. And so what you're doing is, can you now flip to the proposed? And what are the black areas sort of in the center that are showing up on the upper right, or the upper left? Did you see those are rail balconies? No, while the, yeah, up top around the sign, yeah, those are, be steel railings, because we're putting in new balconies for the apartment units that are in that middle portion of the building. I can't read your leader lines, but going to the south elevation, the first story is how high the facade facing Lincoln. I think it's like 14 feet, the first floor. And the step back is how far back. Oh, are you on the Lincoln building now? Yes, I'm on the Lincoln, sorry. Sorry about that. Oh, we were still on college. Yeah, I think the first floor, I believe the first floor is our, the portion right on Lincoln, I believe is 24 feet high. And the building itself is set back how far from the street face curb. The building is back, I believe. And you're talking about the Lincoln. Yeah, I'm talking about the Lincoln. And not the college. Yeah, I believe the closest part of the building is 15 feet back. Okay, and how does, does that match sort of the general rhythm and pattern of the houses on the street? A little shallower? Yeah, no, you can see the, you know, the house next door does actually has a driveway and a garage. So let's see if you want to go back one to the site plan. Yeah, so you can see to the east of us, there's a two story home there. And you can see the driveway. So that's essentially a 20 foot driveway. And so the house is set back about 20 feet from the property line. And you can see we're probably set back that kind of high tower form is set back about 15 feet and the remainder is set back, you know, closer to 20 feet. And just out of curiosity, did you ever have a moment where you wanted to max the lot and put a perpendicular block mass? Oh, the entire block? Yeah. Does it economics issue or? No, not really. I mean, I, you know, it was a question of, you know, if you did that, I mean, you would do that if you could add more units, but, you know, you've run out of parking anyway. So at some point, yeah. So given the conceptual design as it is now, do you feel if you were to walk down the street as a, let's say a resident or a homeowner of the neighborhood that you would, it's not going to be a huge, like mass street wall interruption. Is that what you're saying? I mean, it's, I mean, it's tall. I mean, it's obviously it's tall, but it's narrow. Yeah. It's fairly vertical in this setback. So, I mean, I think the verticality is what kind of saves it in terms of scale. I mean, if it was, you know, 80 feet wide, it'd be enormous building in here. It's, you know, more like what you would see in, you know, in the city with the tall narrow building or, you know, certainly different parts of the neighborhood have tall buildings or you tend to see three story tall, you know, Victorians and towers. And again, I was hoping to overcome some of the massing with that art deco look and the verticality of that and some of the elements. I like that treatment, even though the houses across the street are Spanish colonial. Yeah, the, no, I, that's why I was saying really this area of the neighborhood, it's sort of a mishmash. I mean, it's not really the most historic area of the neighborhood, like when you get down to. I think there are contributors right there though. So to the district. And I don't have that list. I didn't look at that. I don't know if you looked at that, Mark. Did you look at it? I have the original Bloomberg survey with me today. Bloomfield survey with me. And it actually has the definition of this district, if you, and this district was made a district specifically because it was a mishmash of styles relevant of the development of a residential neighborhood over time. The time period set for it, I could look it up when it comes back to my car. I think it's 1915 to 1925. Okay, I'll verify that in the. But it might be older. And Andrew, if you can pull that for us. The period of significance. Yeah, for that district, but I. And also my apologies for being late this morning. Oh, okay. Yeah, so I think that, you know, our task obviously is a concept review and is designed guiding you. So as we sort of talk through what we know about the district and the small sort of single story houses, there are a lot of them are bungalow. As John said, there are Spanish revival across the street. I was trying to, I'm actually on street view. I was trying to go through and see if there are any two story that are nearby or adjacent. And I'm not seeing any of that. I see the parking lot. And it's actually well shielded with some trees there right now. So I think that that sort of helps sort of draw your eye away from the parking lot. And you know, even though it's not a building, it's actually kind of nice that those trees are grown up there. So I think that helps at least on the street view is what I'm seeing. But I'm wondering if there are any, looks like adjacent to the east. There might be a two story, which is much more looks like a, someone put a second story on top of a garage. So there are some that are modified, but I think that this area is relatively sort of a modest right homes, but there are some significant designs within the neighborhoods that are architectural styles within and known for that area and in California. So I think that sort of when we're talking through considering the design of that neighborhood and how your design either sort of fits in with it and doesn't stand out too much, but also doesn't create that false sense of history. So one option is obviously going with a more modern approach or something that's different. And then other approaches people have is to use something that has some reflection of a neighborhood. So it sort of pays homage to that period of significance or that time, but it's also unique and we know that it's original. So it's funny because it's hard, especially as an architect, it's hard to find that perfect design style, plus you're designing for two different streets. And you also obviously want continuity with the building that's facing college. But then you have less you're doing on that one. So that's a little easier. So I think it would all, go ahead, John, Phil, jump in anytime. No, when we're thinking about the parking lot today, how much gross like footprint mass are you adding? Is it, you're taking away 50% of the parking lot or I can't really tell from your site plan. Is it less? I mean, it's less than 50% if you consider the area under the building that's parking is part of the parking lot. Right. The building probably sits on 50% of the parking lot even though there's some parking underneath it. Okay. And again, I appreciate what you were coming on in terms of, I don't wanna do a copy of the styles that are there because I think it's hard to take a three or four story building and pattern it after a bungalow or a Spanish mission single story home. So that's why I sort of went a little more down. It's more of a modernist and a little bit of the deco in front in terms of the forms just because the deco and modern use, you do see in Santa Rosa in some larger buildings. Yeah, and I think this neighborhood isn't not so much of that. I'm not sure what's in the neighbor as a contributor that might fall into that. It's very, it's slightly unusual, but there could be a few of them in there. What do you know? If I may, there are some good examples of deco larger buildings, but there are several quite a ways from this particular area. They're on the eastern edge of the St. Rose district along, I guess, B Street primarily and then the block adjacent to it. Down by the mall in that corner, yeah. And you're right. I mean, the neighborhood does have a mix of, I mean, a pretty good mix of styles and I've done a little work in the neighborhood. I mean, we did, my firm years ago did the St. Rose school rehabilitation and we're currently working on the St. Rose church rehabilitation. And then do you, Andrew, do you know, is this one parcel or two? So this is one parcel according to the assessor's records, the existing building was constructed in 1977. Okay. I'm sure there was a house on the other side. Do you know when the lot was joined? I mean, obviously this is more, I would assume it was joined in, maybe in 77. And then the house was probably demoed sometime around there. That would, yeah, I'd have to go back and look for that. Let's see if I can get to... So it is unusual to have a, this is actually unusual because it's very unusual to have a parking lot within a district like that where a house was that connects to another, to a built, to one parcel that go through like that. So design can be tricky, right? I can tell you some things, if you wanna get started, I can give you some ideas of what I think of the current design and we can sort of just keep talking. Do you wanna, do you have any comments you wanna make, Mark? Yeah, I'd like to ask a couple of questions before if we could and then maybe perhaps move into the comments. First, I did wanna acknowledge that I have visited the sites and I looked around the neighborhood a little bit but I did not speak to any residents in the area. First question I had and it's a pretty big one is, this is to Randy. Could you please talk a little bit more specifically about how the design is compatible with the adjacent properties, the size scale massing roof lines, height of the district and its character defining elements? Well, I'll just say I was trying to do or tasked with creating a larger building for the 20 units. And I really approach it like I said, it's sort of a transitional site where it's large and commercial in the front and we're gonna flip to residential in the back but still keep a relatively commercial scale compared to what's going in the neighborhood. So really in terms of scale, that's obviously it's larger than anything is there on the street. We kept it thin in profile in the back and I tried to step it back and do recesses in the front so you wouldn't have a full height wall until you were 20 or 25 feet back from the sidewalk. In terms of matching the scale, I mean it doesn't match the scale of the neighborhood because the neighborhood is primarily single story homes. So there was no way to do a multi-story apartment building and really match that scale. I mean, obviously you can carve the front down more and step it more, but you know. I'll just clarify a little bit in that our mandate is to review it in relation to how well it fits into its immediate environment. Right. In your favor, something you need to look at and is that the district does include mention of its larger elements and to the degree that you can successfully address your low-scale portion of the site and the larger elements elsewhere in the district will have a lot to do with how successful the project will be in view. Let's kind of put it there. I think that in just going on what Mark's saying, thank you for that Mark, is a great thing to do and I don't know you might have already done this is to really tour the neighborhood and then see if there's some multi-story apartment building within it and or anything that has the way it fits in or anything that's sort of unusual or different or incorporated into that district and see how the idea of your projects needs to present itself within the district as part of a flow. So you don't wanna be driving down the road and then go, ah, and then keep driving. So it's sort of that you want that continuity but obviously you don't want anything that matches. So we understand we've been doing this for a long time. So we know this is challenging. Can you talk a little bit about the materials that are on the Lincoln Avenue side? So I'll walk us through what type of exterior material to you that you're using. So materials, what's shown in the moss green is stucco and what's in, you know, obviously the other is horizontal. I mean, the gray is also stucco, if I recall and then the off-white is horizontal siding but it's not a lap siding. It's actually like more of a grooved horizontal siding. So it's not, you know, very small scale, you know, residential and then, you know, metal windows, the ribbon of glass is kind of running up the front. That's a stairwell that goes all the way up there that I was looking to to grid and then there'd be metal, metal sunshades, the column that's kind of in the middle of the Tuckunder parking there is a concrete column. And is there sort of a front entrance, right? Under that sort of centered column. Right. Like a double door entrance there. Yeah, if you walk in the front, there's essentially a lobby because it's kind of a secure building. So it'd be a lobby and then there'd be a stair that would take you up and then at the far end of the building, there's also a door. So you could come from College Avenue, you could walk under the existing commercial building, pop out, go in that door and you'd end up with a lobby that has a stair and an elevator also. Go ahead, Mark. It's not labeled on the drawing but that vertical glazing element on the middle of the south facade. Is that glass block or window or? No, I was- What's the nature of that glazing? I was thinking it was glass with a metal framework. Okay, that's a standard type commercial window. Right. Fixed. Fixed. Okay. So I'm curious, the building that you want to remodel was built in 1977. Now, what you want to do now, what you're trying to do is you're trying to take that 1977's building, remodel the inside and create what you said, 19- 20 apartments. And in the process of doing that, you have to do something structural with the building on the outside as well. I'm not an architect, so I don't- Not structural on the exterior. I mean, the exterior. So what you're trying, if you don't have to do, what you're doing is trying to get the building to be more in line with what the St. Rose District is like. Is that- No. No. So maybe switch back to the elevation drawing of the one-on-college of what you're gonna, the changes you're gonna make. So changes in the exterior are fairly minor and they're not to relate to the St. Rose District. So there's the- John, there's the avenue facade. So the south elevation is essentially staying the same other than we'd be doing some painting and repair work, adding those couple of windows in the middle that are over the doors. On the right side, on the ground floor now, there's just some planting there that we would be removing and that would be turned into a courtyard around an existing oak tree that would be the outdoor space for the residents. On the north elevation, which is facing College Avenue, we would be doing a little bit of rebuilding to create those two rectangular forms on the left and right side that would create the recesses for the windows. And all the windows were replaced because when we got the building, we'd be taking the windows out and creating new walls and then we'd come up with a new window pattern that would go in. And as I mentioned before, College Avenue would also get the metal railings to go on the two new balconies and we'd have the new signage. And currently on College Avenue side, there are sort of these sloping planters right out on behind the sidewalk. And those would be coming out because right now, City Traffic Engineering wants them gone because they just blocked the view coming in and out of that building too much. So we'd be taking them out and putting in new planting that would go down at grade level. So really the front building, it's fairly modest in terms of what's being done at the exterior. And in terms of the neighborhood, I mean, it's not a building, it's so far north of the street that you don't really even notice it that much when you're on the street. And once the other building gets built, it'll be even less noticeable because the parking lot will only be half the sort of visual window that it is now. Sure. Maybe I can clarify for John a little bit. Just to be clear, if you go to- If you go to drawing number one, which is the floor plans, the site plan, just to be clear, building A, the one along college, as far as the exterior goes, is getting very little change. But building B, the one to the right that's perpendicular to it, is all new infill structure. That's being introduced, it's not 1977. So it's, I'm sorry, so it's a brand new building. The back building, the south building is brand new. The back building is a brand new building. And that's the one that will be facing Lincoln Avenue. Right, the narrow edge of it will face Lincoln Avenue. It's tricky because it's a lot that goes, normally would not be one parcel that hits college and Lincoln. Yeah, so it's slightly tricky. Okay. Yeah, you can probably go back one, maybe just to the elevations of the, maybe like the upper right. Yeah. This one? Yeah. So that south elevation in the upper right, that's the elevation that it would face Lincoln. And that's all that faces Lincoln? That's all that faces Lincoln is that, yeah. Yeah, that's probably- Well, the west elevation and the east elevation will be visible because it's from the street view. So the street view will show the west massing and the east massing. But as far as the facade, that upper right will be the only one that that facade faces Lincoln. And then there'll be a section to the west that's a more open area. Right. That is not parking or just drive through, right? No, there's some parking on the west. It's single loaded, but yeah, the building itself that's on Lincoln is probably 40, 42 feet wide. And are there any height restrictions in the St. Rose district? Well, the- That are different from the college avenue. Is there anything- So it's that, let me go to, it's so strange. Yeah, I think the staff report Andrew references the, I think what you're asking about what the heights are for the district and for the zone. So the entirety of the parcel is zone downtown commercial and a five story building is allowed in downtown commercial. However, as we can see here in this slide, there's a portion of the St. Rose district boundary that reached out and grabbed that commercial office building that fronted college avenue that was constructed in 1977. And that's then what is how that building has come to be considered as part of this historic review. But then when we look on the Lincoln Street frontage then, the historic combining district requires cultural heritage board approval for any structure, two stories or 35 feet in height or greater. So then that's where we have a more, more specific or more restrictive height that requires discretionary action within the downtown commercial. Okay. Without, if this was a project that was not in a historic combining district, then there would not be a- Then it would apply. Correct. Correct. Right. Yeah, I thought there was something that was a little more tricky as far as understanding the ordinances. So any, Mark, any follow-up to that? Yes, I can. Anything else? Go ahead. Directly from the city's own design review guidelines, part two, height, majority of the structures in St. Rose's, Santa Rosa's preservation districts are one to three stories in height. Slightly taller structures are found in railroad square in St. Rose's. The height of new construction in preservation district should be compatible with adjacent structures. And in proportion as the next section, new construction should match adjacent structures in proportions of width to height. The narrow widths of most lots in Santa Rosa's older districts will preclude most buildings whose proportions differ greatly from existing buildings. Did you want any clarification or comment from staff? I think staff is correct on the height limits that they've defined for the, as the official height limits. So correct. I think the guidance from the design guidelines would then be part of the cultural heritage towards evaluation and analysis pursuant to the major landmark alteration permit requirement. So the limit is three, but can you clarify that one more time? So the parcel is zoned downtown commercial. The allowable height in downtown commercial is five stories. However, the parcel is also within a historic combining district and historic combining district requires that any height above 35 feet or two stories receive a landmark alteration permit approval from the cultural heritage board. So if we were to take this project out of, out of remove the historic combining district, then the height would be allowed within the primary zoning district. So it's not to say that the height is not allowed in the historic combining district, but only that it requires discretionary review. And then it's currently, your plan is for four stories or five back there? Four. Four. It's four and 45 feet. Okay. At the highest point, 45 is that sort of middle section and the frontage immediately on Lincoln is 24 feet high. And can you pull up that 3D one more time? That, it looks like you have a setback, right? Right above sort of the little bit of, right? Right, it's stepping, yeah. So that's the 24 foot height that the arrow was just on. So you go back like 15 feet from the sidewalk and goes up 24 feet. So essentially it's a two story for that portion. And then it steps back and then it goes up to full height. So do you think that the front facade is in line with that adjacent house to the west as far as it sort of being in the sight line or is it setting forward? I believe the 24 foot portion is slightly forward because their driveway I'm sure is 20 feet. So it's, we're probably a few feet in front of their garage, but it's pretty close in terms of how it lines up there. So I think sometimes, and we work these all the time and I understand that obviously you wanna get, the number of units are really important, but often if the historic buildings are proud of the non-historical or the new, it has less impact, right? So we'll often recommend that something can, if it can, it would set back a certain, sometimes I go even just five feet back from. Right. So there's the sight plans. Yeah, so you can see the line of our building and the line of the garage. So yeah, we're slightly in front of there, that's probably, there might be five feet, four feet closer to the sidewalk than the house to the east. And then most of that on your 3D is, I mean, I don't know if that's part of that awning that comes out or if that's actually a wall. Well, the awning, you can see the dashed line there in the front. And the two sort of boxes to either side of the entry, that's that form with the recess carved into it. So essentially where the recess is and the stairwell window and the door into the lobby that pretty much lines up with the garage. Where the actual structure starts on the. Yeah, even though you can see our lower corner comes out, you know, flush with that form also. So anyway, the building, I guess the answer is the building, the two-story portion of the building sticks out about four feet past the garage to the east. And if you were to sort of, if you look at, you can go back to the kind of overall of the neighborhood the one you had before that when we were discussing back. And you're, yeah. So I think if, yeah, right there is good. So you can sort of see coming down Lincoln Street, I think those are all pretty much traditional like 50 by 100 lots. Our parking lot or the existing parking lot is actually two parcels. It's a hundred feet is our width there. So, you know, the rhythm of the homes coming down the street and you can sort of see where their garage is and how far the garage is back from the sidewalk compared to the other houses. It's all pretty similar. I think the house to the west of us may even come out a little further than that garage. That's pretty similar. They're probably all about that same distance. What I was trying to say is, if you look at kind of the rhythm of the houses, you've got them going in, you know, like 50 foot, 50 foot, 50 foot, 50 foot. And then our parcel what we have, and I'm sure it used to be two lots there before they did the... That's what it looks like. Yeah, the combination. So our building essentially fits on a 50 foot parcel. To the east. Yeah, on the east side of the parcel. Right, on the east side, right. On the east side of our parcel. So yes, we've got kind of a 50 foot quote parcel that our building sits on and then there's a 50 foot strip that the parking lot is on. And the building itself is about 40 feet wide. So in terms of, I mean, just the massing of the footprint, we sort of mimic what's going on in the neighborhood. You've got these 40 foot wide houses on 50 foot wide lots and then you get to us and we've got a 40 foot wide building sitting on a 50 foot wide portion of the lot. Even though it's taller. I mean, obviously it's always going to be taller, but in terms of just looking at buildings down the street in what you see is kind of building and void between the buildings and building, we're matching that rhythm. Oh, I see. Yeah, and the idea really would be, if you're in a district, you don't want to fit in, you want to sort of set back and blend behind the scenes and not necessarily try to be proud or in front of the historic politics, right? So that's sort of the idea of how the standards are written. So your design, so maybe I'll be the first, should I be the first one to talk about the design? Okay, so could you switch back over to the 3D? I'm gonna try to be very constructive. So I like the design. I'm not sure I like it here. So it's not that I don't like the design because I think it's a great design and it has a lot of good elements. I do think it needs some work if it's going to fit in to this neighborhood. I'm not opposed to the height, then I like how it's set back. I think there's something about it that is well-suited for somewhere that maybe is in the city, in a neighborhood with all single story, basically single story houses. So some of it, I think it, I do a lot of work in Oakland. So a lot of the front facade with the double doors and the entry remind me of something that's in Oakland, but within more of a business area, which is well-suited for like a downtown commercial area. So it's not that I don't like that. I'm not sure that that is the right design for a neighborhood. So just a few of the things that are standing out to me that might need a little guidance for me are the double entry glass doors, which I'm not really sure quite right. So there might just be modifications that need to happen there. Again, I don't know how my colleagues are thinking on the board. I like the underground parking there because I think that breaks up the massing or the first story or ground floor parking. I'm not sure, I like that sort of center column sort of makes the height seem taller. So I don't know, I'm an architectural historian, not an architect. So to me, I think that needs some design. Is your roof flat? Mm-hmm. So I kind of like that, that the roof's flat. I'm not sure about the massing, the bump out. The stucco, I don't mind because of the, I'm sure the plaster and the stucco that's on that street. I'd like to see some wood elements, which I think you said that some of the white is. It's horizontal board. Okay, so I think that's nice. I can soften it. And then are you thinking of the metal, like that are deco metal black windows? Is that what you were thinking in? Okay. So those are my initial comments to get my board to say some things to. Anybody else have any comments or want to take on what I said? Lauren? I do. Okay, go ahead. Maybe I could try to bring some of this home. I've got two things. I've got some concerns and then I'm gonna have some recommendations. So that's what we're here for today is some recommendations. So let's start out with the concerns. First of all is one of the primary reasons our historic districts were created long before any of the members here ran it, but it's clearly in their intent is to avoid large scale infill projects, mostly as a result of what happened after the 1969 earthquake. So that's why a lot of these people voted and asked their city council to create districts as they were concerned about large scale infill. That said, the Secretary of Interior Standards and our guidelines welcome and allow for infill, but generally what they're trying to do is infill is supposed to improve the compatibility of into the neighborhood. It's not looking to copy anything, but it's looking to replace whatever was there before with something that's more compatible with a texture, feel, quality, height, aesthetics, neighboring properties are inconsequential. I think that across the street in particular are a pair of near matching Spanish colonial arrivals which are at least potentially eligible contributors for this district. They were overlooked in the 89 survey perhaps, but there definitely would be considered contributors to this district. Some of the other ones have been of lesser quality in that neighborhood, and for that reason, I think we will have greater latitude in accepting more diverse solutions here, but I do think we need to recognize the quality of some of the buildings that actually are adjacent or across from the property. I'm also gonna go ahead and immediately address the College Avenue. I think I really don't have any concerns with the College Avenue, what you're doing on that building over there. I think your minimal input on the exterior of the building and its separation for the remainder of the district are make what you're planning, I think, just fine for the College Building A, as you call it. Other concerns, I'm really not reading Art Deco in your building much at all. I really am not. I'm reading a 21st century design in there, not a bad 21st century design, but it's clearly a 21st century design that makes, to me, the only real nod to Art Deco is that vertical glass element, which in Deco, of course, would have been glass block. I think it's crying out for some rounded elements, frankly, and there are some lovely Deco buildings at the other end of the district that have some of that more modern sweeping elements you might want to take a look at. Also the polychrome, again, that's a very 21st century. I get it. It has a certain aesthetic. I'm not sure it's the right fit here. That's not good to say that we would say no to it, but please give that some additional thought. It's just, by our evaluation standards, it really is too massive to infill in the way that's been presented. Perhaps you could step back from the Lincoln Street and do a smaller scale frontal element, and after 40 or 50 feet back, then step it up to the height you need just to preserve the street line a little bit. I think your setback line is fine. You're within a foot or two, and it's not a real consistent setback line, and I think you're within those margins. So under my recommendations, I mentioned already taking a look at some of the other Deco both in St. Rose and elsewhere in town for multifamily. Spanish Colonial, there's some excellent examples of that as well for multifamily. I'd also recommend you consider taking a field trip to the island of Alameda in the Bay. If you look at some of, there's a whole area of very high-quality early-century apartment buildings that might be inspiring to you on how to bring a residential quality. Some of them are fairly big structures to a neighborhood to maintain a low-level residential feel. When you come back, I strongly recommend you have some photos of the context of the neighboring properties. Some of our applicants have come with a street view, simple bashing of their project and the adjacent properties that we find very helpful. It'll be very important for you to identify siting materials, lighting. What else would I have? The windows and doors, even to the three of having samples when you come back for the actual application of what kind of doors and windows you're planning. Again, they don't have to be historical, but we have to understand your intent. And it's hard if we don't have a cut sheet or sections of the windows or building sections to understand what your real intent is. And perhaps the most important of all, take a look at the city's own design guidelines and the Secretary of Interior standards for new construction infill. That isn't to say we won't have some flexibility in looking at them, but you'll at least understand the standards we're gonna have to evaluate your building under. All right, so I think this neighborhood could definitely use a building like this. I think it just needs to decrease its scale a little bit at the street line. And maybe I'm not saying duplicate historic styles, but take a stronger influence from the historical styles and forms when you come back to us. Okay, so you think in the four story, I mean, we're talking about pushing it back. This is obviously something we consider as an alternative. So we think if we get essentially a home depth back from the street, then we can bring it up. Yeah, or even a half home depth back, but something more than, it looks like you've got 10 to 15 feet right now. Yeah, it is. And that's just not sufficient. Yeah, okay. Yeah, yeah. Okay. Yeah, and perhaps if we went all stucco, and like I said, we're there. Stucco would go a long way toward... Yeah, for that stylistically and with the homes across the street. Fitting into the neighborhood. And if you want to use some horizontal siding elements, look at what some of the other neighboring homes have and maybe have elements of that that play into it if you need an accent in an area. Yeah, and I didn't mean to disparage the neighborhood. It was just this corner of the neighborhood isn't quite as uniform and unique as some of the areas of St. Rose. There are some clearly vernacular and spectacular buildings very close by. Yeah. All right, thank you. That's really my comments. Great comments, Mark. Laura. I agree with Mark that the frontage on College Avenue is fine for me. I think that it's a business area. It, you know, the stylus that you have set up for that are fine. I wish that the additional massing could be on the College Avenue side with adding the four-story. I hate the idea of having a four-story apartment complex adjacent to homes that never thought that there was going to be a four-story building and nor would they have had the thought that they were because they're in a protected historic district. And I think about, you know, that and how much they will lose in their value of their property due to, you know, and that's part of our job in protecting these neighborhoods is to take a look at what, how you're affecting not only the way that the property looks, but what you're doing to the house next door and the house adjacent to that. And those properties are going to lose a tremendous amount of value due to an apartment complex coming in. I also feel that I liked that you have one car parking for each unit, but when you have two bedroom places, most likely you're going to have two cars and you're going to be adding, you know, additional. So you're gonna have this four-story building that's gonna be adjacent to these single-family homes that and you're gonna have a lot of parking, a lot of parking problems. And while I do think that you've done a nice job in addressing that, I just, I hate the idea of a four-story building on that end of a historic district. If it were on College Avenue, I would welcome it with open arms for right now, looking at it the way it is, and thinking about how I would feel if I were next door to those homes, I would, I'd be devastated. So that's all I have to say. John. First of all, I support what you're doing, the fact that you want to build, you want to convert this Huff's building and you want to create 20 apartments. We desperately need the housing and I'm very supportive of that. I tend to support also what Mark talks about in terms of the design that you currently are showing us here, that it ought to be, I tend to think he's right in the sense that it's a 21st century design trying to look like something in the 1930s. Perhaps maybe we can, you can change that around and actually come up with a design that actually does reflect the 1930s if you're trying to do that. That would be my comments. I'm not opposed to the size of the building, the four stories. I think if you design the building properly, that won't be an issue. And so my sense is, come up with a design that's more compatible with the surrounding areas, particularly the St. Rose District. And I'm okay with whatever you do on College Avenue. So those are my comments. Thank you. There's been a lot offered and I agree with most of it. In terms of your basic design and form, I have no issue with it. I think it could be pushed back a little, but I wouldn't advise getting very complicated with step backs. I see the primary intrusion, if we take away its height, is that south facing facade. It's a little overscaled, that double height entry is just incompatible with the street. I think the tower, which I do think looks like Walter Gropius, maybe like his Destinal building, is also out of scale and doesn't blend in with the street, with the houses that populate the street. And also the sun visors are a little bit edgy for that area. I don't think you should grab a bunch of styles from the neighborhood and come up with a pastiche of references. I think there are some minimal traditional homes just to the west that do have some of that 1930s, 40s elements that could be incorporated. And also I would think if you could remove the polychromatic facade along Lincoln. I understand what you're doing and it's a nice kind of rhythm and setback, but it just is not compatible with the houses along the street. But in terms of your overall project, I like it and I recommend that you move forward and come back to us. That's some great feedback. So I think maybe you have some questions for us or some clarifying comments. I think I'm in agreement with most of what my colleagues said as well, board members. I think you're sort of getting the idea of, it's not that there's something wrong or the design is just not the design that should be in this neighborhood at the way it looks right now. With some elements, I think a lot of us are talking about the front facade, the height and sort of the scale of that sort of two-story awning, right? And I hadn't mentioned the sun visors, but I agree with that too. That was a good comment to call. So is there any questions you might have because we can clarify some things because there's any specific? I know, I like the idea of sort of going with those houses to the west as well, keeping it a little simple. I don't have any problem with all stucco or a little bit of wood elements or wood. Either I think that you just have to make sort of a decision as you're designing what's gonna work best. And I think what Mark said about some, maybe edges that could be softer, could lessen that visual impact, I think is a great idea as well. Do you have any specific questions that maybe we can answer for you? No, I don't think so. I mean, I haven't had any great shocker surprise. I mean, I understand what you're trying to do for the neighborhood. And then like I said, I've actually done a fair amount of historic rehab and we did Sonoma City Hall and we did the Rosenbergs Department Building and St. Vincent School and Petaluma. And I do like that sort of styles from the 20s and 30s. And then maybe that's talking to my clients and see, maybe this just moves into a little more traditional direction might be good. And I'll talk to them about the step backs off the street, because I know that was always gonna be the issue in terms of scale. So no, I mean, all good. Appreciate the comments very, very much. And we'll certainly be bringing this back in front of you again. Great. And then I just to clarify, we none of us had a problem with the College Avenue building at all. So unless you play on changing something and we need to see it again, but as it is, I think what we know about it, it's fine. Okay, yeah. There, one down. Yeah, yeah, that building would have been out of the district, I'm assuming if that property hadn't been joined up and demoed and all that it looks like it just sort of got sucked in. Yeah, that's just unusual. It's all right. I know. Well, thank you. Thanks very much. Appreciate it. Shall we move to item two? Or 6.2? If it short break? Yeah, if it pleases the board, staff recommends a break. So we can get board member Edmondson here. Okay. Thank you. Andrew, you just let us know when you're ready. Oh, there he is. That's fine. Andrew, do you mind if we drive the bus? Sure. Right, thank you for your patience. So the second project before us today for concept review is the Econo in development. This project is located at 502 Santa Rosa Avenue. The project would require major design review. Again, preliminary design review by a joint design review board cultural heritage board meeting because the project does exceed 5,000 square feet in a historic combining district. Project proposes expansion of the existing motel to include one and two-story hotel rooms with private terraces and an interior courtyard with an event pavilion, as well as a new five-story building fronting Santa Rosa Avenue that would feature ground floor hotel lobby and retail spaces, hotel rooms on floors then two through five or four. And then gallery and event spaces on multiple floors with a rooftop terrace. Project would also require a major landmark alteration permit for building height in excess of 35 feet in two stories within a historic combining district. This project is a bit different with regard to height than the previous project because the height limit is currently limited to two to three stories by the station area combining district. The station area combining district height limits are established by the downtown station area plan. Senior planner Patrick Streeter is currently leading the downtown station area specific plan update. And one of the items that they will be looking at is the height, building heights allowed throughout the station area plan boundary. So there we can see that the additional applicable plans are the Santa Rosa Avenue Corridor Plan which really focuses on the street design but does encourage revitalization of commercial properties lining Santa Rosa Avenue Corridor and then of course the downtown station area specific plan. Project is located on the corridor between Burbank Gardens preservation district. It is within the Burbank Gardens preservation district and then to the west, the South A Street Arts District. This project quite recently and I'm sure the development team will describe the recent process of the existing icono in being closed that was the result of code enforcement action. And since then, the project has been boarded up and then fenced for security reasons. It is within the retail and medium density residential designations of the general plan and then the primary zoning district is neighborhood commercial with the historic and station area combining districts. And we can see here the neighborhood commercial zoning district that lines Santa Rosa Avenue on both sides of the roadway. And then this slide shows its location within the Burbank Gardens preservation district. We'll go ahead then. The development team does have a presentation for you. I'll go ahead and load that up but certainly I'm available for any questions. Andrew, did you say the development team is gonna present now? Right. Okay, thank you. Andrew, technically who is the owner of the lot room? I'm sure. The current owner is a family trust that has been a long time owner of the property. Good afternoon. My name is Eric Anderson. I am the principal of Urban Green Equities, Urban Green Food entities, which have acquired an option to purchase the economy and project or site under a lease that we've established that extends for a couple of years. I am a Santa Rosa native. The last time I was in these chambers presenting it was as a sophomore in youth and government. It didn't go well that day. Hopefully it goes better today. And I've long been living on the East Coast in New York City. I've long wanted to do work in my hometown and about 10 years ago, 12 years ago, I started to look at different opportunities to pursue based on my interest in affordable housing developments and sort of urban redevelopment generally. Urban Green is a company that was founded in 2004 and it was the successor to a company that was started in 1991. So I've been at this for a while. On the East Coast, we've built and developed approximately 2,500 units of housing, mostly almost exclusively affordable in the New York City metropolitan area. We've developed and renovated approximately 60 historic properties. And in Santa Rosa, we did our first project when we opened up the Spencer Sisters restaurant about going on eight years now. We are, I think, we find ourselves being less and less real estate developers and more and more place makers as I go through my career. And I think that looking at the map and looking at the distance between Spencer at the corner of South Bay and Sebastopol and economy and at the corner of Mill and Santa Rosa, it's about as far apart as I wanna develop in my career going forward. And in fact, the project after Spencer Sisters, which I think is very germane to this, today's conversation is the Astro Motel, which we affectionately refer to as the first crack house on Santa Rosa Avenue, this being the second crack house on second on Santa Rosa Avenue. And the opportunity to fix these sources of sort of sociopathic activity has been a real honor and a real opportunity and a real privilege in my hometown. We hope to do more in this neighborhood. And in fact, we also control and own the, we own the property across the street from this, the former growth site. And eventually that's an affordable housing development that we hope to have moving through the system here the next year, year and a half. Economy Inn, which we hope to relaunch in a couple of years as Spinster Inn is a project that has us sort of caught between or at the service of two masters. One master is that we are in fact in an historic district. We are on the edge of one, we are non-contributing but we are on the edge of one. And the other master is the Santa Rosa Avenue plan which is something of keen interest to me personally and the idea that Santa Rosa Avenue needs to be more of a gateway into downtown Santa Rosa. And so how do you put forward a project that in essence potentially satisfies two competing tendencies? And I think that we've actually done a reasonable job of that in this concept proposal. I'll let the architects talk more about the specifics of the project but I want to lay out for you kind of where we're coming from, who we are and really our motivation about place more than a particular property. The architects, the architecture team here, the architecture design team, also East Coast Space, a group that I've worked with for way too long. We have done a number of a couple dozen, probably a dozen historic projects together. These projects include an individually listed building in Connecticut, five, six buildings in Connecticut that we've got listed. And a building in New Rochelle, New York that was a former mill building that we got listed. And just this morning I signed part ones on three 1820 row houses in Thatcher River Valley that we are reworking and trying to scrape away 150 years of really bad fixes. I think that it's really important to sort of point out to you that when we talk about place, we are, we're trying to be quite serious about that and not just in a facile way. The Spencer Sisters Restaurant by way of example is named after the two Italian sisters who were the sisters of the co-founder of the Grocery Store that I remember as a kid playing youth soccer at Burbank Elementary in 1972 before it closed I think in 1974. And I don't know if I hope everyone here spends a spinster, if you have in shame on you. But one of the things that I've engineered recently and I'd love to pass these out to the board is we've got an actual history of the building on the back of the history of the name on the back of the menu. Some of the menus are worse for wear so apologies for that. And I think it sort of signals like the meaning with which we are trying to bring to these conversations. If you haven't been to the Astro Mattel, if you haven't seen our embrace of the history of 1963, I would encourage you to take a visit. The staff there is happy to show you around. And I think that that sentiment is, well I hope that you find that that sentiment is continues in this proposal today. So Matt Cordon, Christine Magliano are going to, I think, run you through the design aspects. Good afternoon everybody, much better. My name is Matthew Cordon and I'm Eric's architect and designer for this project. This is my associate Christine Magliano. And just to give you a little bit of a background on what we do and how we do it and where we do it. Most of our stuff is with Eric doing a lot of historic preservation. I am a member of the Society of Architectural Historians. I'm also a member of the National Preservation Trust. I do a lot of work with the State Historic Preservation Offices in New York and Connecticut. And we continue to work with national parks on moving forward with projects on historic tax credit basis. So without more on that, let's walk you through our project. As you all know, this is a familiar site for you folks. This is Santa Rosa Avenue. This is the construct form of it via aerial shot. And as Eric had mentioned earlier, our goal is to do two things. One, to create a gateway coming from south of Santa Rosa into the downtown district. And the other goal is to maintain and embrace the urban fabric, the historical thread on Mill Street and the Luther Burbank Village historical district. As we move forward, we look at the floor plans and move to the, yeah. So the ground floor, as we have proposed, consists of the Hotel Lobby facing Santa Rosa Avenue. This is the heavy lifting street. This is the wide street. This is the street that we are really focused on putting on the show. We want our new building to be a flag for Santa Rosa, from folks coming down Santa Rosa Avenue to see this and say, wow, something's gonna be happening here. So our Hotel Lobby is entered from Santa Rosa Avenue. We also have commercial spaces that are entered from Santa Rosa Avenue. As we turn the corner, we get inspired by the single family homes that start flowing down Mill Street and the existing structure of the economy in, which we plan on restoring becomes an important element of tying these elements together. We chose to renovate and restore the economy in with a Adobe style finish with Stucco, creating almost a series of casitas in this courtyard. The courtyard is reminiscent of the Julliard Park where we were drawing influence of garden in green space, which is something that Christine and I were incredibly influenced by in Santa Rosa. The smells of the plants and then the green is something that we want to bring into this building. In addition to just the park, we do plan on having various screens throughout the property that will be grown with vegetation and vines. So we're kind of, again, focusing on the idea of flowers and botanicals as we walk through this space and embracing the sense of the wonderful front yards that you do have on the Luther Burbank Historic Village houses. So the second floor of the structure is primarily more apartments, sorry, not apartments, hotel rooms. And in order to help with the breakdown of the hotel rooms and to the casitas, we do pop up on occasion two stories throughout the original economy and campus. We continue to move forward. And as the building rises, we maintain a strong roof plan of flat roofs on the casitas with parapets that are, again, of the Etobie style, rounded and humped with a white stucco finish. Continuing up into the third floor where we have, now we're just all about the new structure and moving up and creating the street wall that we want to showcase on Santa Rosa Avenue. As we get up to the fifth story, we have an event space and the event space is articulated with glass walls that run a perimeter around the building. The goal of the glass walls is to create a transparency to allow the building to feel lighter as it's reaching up to this higher story of five stories. Above the event space, we have a rooftop bar which will help take advantage of the beautiful views of looking down toward downtown Santa Rosa and the geographical mountains and vegetation that surround the structure. The elevations are, I think, quite indicative of what we're trying to do here. And we're gonna skip over to the renderings because I think they give us a little bit more information. So the front elevation is what you are looking at which is called the west elevation. The components that we are proposing, which can be seen here in this rendering, will be a terracotta rain screen and a stucco finish toward the south portion of the building with terracotta bays that tilt toward the southwest angle to engage more sunlight for the hotel rooms. Above the bays, we have that glass perimeter that I had mentioned earlier to help reduce the scale of the building and to create more of a transparency on the upper level. The ground floor will be of glass. This is a welcoming opportunity to allow people to see what's going on into these stores. Our lobby is more than just a lobby. We have gallery space. The commercial spaces on the ground floor are going to be a glass box that people can look into and really appreciate what's happening inside and engage the pedestrian. On the, what you're looking at below the west elevation is the south elevation. This is the elevation that is almost back of the house of the building. There's an eight foot easement that allows for the function of getting equipment and material into the hotel. And we're using this as an opportunity to put street art, urban art, a mural of sorts where we're proposing just the placeholder in this image. But again, our inspiration of the botanicals and the plants of Santa Rosa, we chose to put some flowers on this wall. If you look to the right of the, can you back one? If you look to the right of the mural, you'll see a glass box that is also clad in an open frame terracotta fin rain screen. This is the same material that you're seeing over on the other end of the west elevation. This material is to help shade and cool those glass walls that those two stories of glass are proposed to be more of a workspace areas for people to come and to work share as a facility within Santa Rosa that helps engage the street during the daytime hours. Next slide. That glass box with the terracotta fins can be seen in the north elevation. And this is where I tend to call this the jewel box. This is basically a glass box that allows people to see what's going on in there, which is this shared work, this idea of co-working, folks working together in the same space, not necessarily doing the same thing, but also just doing what they need to do during the work hours. Below that will be an outdoor cafe. The jewel box is set on columns so that we have this outdoor area element. The east elevation is the elevation that seals the courtyard of the old economy in. We clad the east elevation with Stucco and Julia balconies that allow folks who are staying in these hotel rooms to open up and engage the courtyard. The terracotta rain screen and fin system does wrap around the corner. And the concept of the terracotta rain screen I guess it would be the northeast corner of the building is it's the anchor of the building. It adds a little bit of thickness and heft to position the building as the gateway that Eric had mentioned to you earlier. And you can see how that translates on the north elevation. It's an undulating fin system that allows to have transparency, translucency and opaqueness at the same time. And we have a wall section that shows some images of what that material is. So as you can see in this image, this is more of a fin system that actually wraps the building and allows us to achieve this transparency and opacity that we want as we come across the north and west side and east side of the building. The terracotta rain scene will be hung off of the building. Behind the terracotta rain screen would be a white stucco, which is consistent to the rest of the materials of the whole campus. So with that being said, a new building I want to show you some elevations of the casitas in the rear of the building where the old economy in was and how we plan to restore. As I mentioned to you earlier, we do want to embrace the vegetation and the idea of plant growth on the building. We also are embracing the adobe style, treating again these units as casitas. We have materials of wood canopy, wood doors, wood frame windows, that would be casement windows, which actually was the original window on the economy in. At the second floor terraces, we have metal screens that will allow for the plant life to grow up and have again that idea of plant and flora up throughout the entire system. We have stucco sun scoops that hang over the window just to help for protection. And in the middle of the campus, we have a pavilion. The pavilion will be a cast-in-place concrete pavilion with glass and a green roof. The green roof will hang gardens down off of the walls and meet the reflecting pool that the pavilion sits on top of. Let's go to the Mill Street image. And lastly, what I'd like to talk about with the building is the Mill Street approach. One walking down Mill Street, the idea is that we want to focus on the two-story structures that occur behind our building. As you are aware, there's an empty parking lot where the new building is going to be, but afterward you do meet the residential section of the neighborhood. And this is where our historic sensibilities are coming to play. We have two and one-story structures of Adobe kind of marching down with again this plant screen to help create a barrier on Mill Street, a green barrier, not just a blank wall that's hiding everything from the folks on Mill Street. We find this to be integral to our design. The balance between organic and built form is key to our design party. If you look above the proposed Mill Street elevation, you'll see an elevation of the courtyard. And this is a similar feel of what you'll get when you're walking in the courtyard. You have these wood canopies that shield the entry doors. You have these doors that are wood and heft of a dark color, stained mahogany or deep walnut. The terrace balcony parapets have penetrations through them to give more of a feel of scale and texture and a tactile aesthetic as you stand on those terraces. The terraces will also be floored with a Mexican tile and the Mexican tile will also be put throughout all the casitas as well. Again, trying to maintain that feel of Adobe casita. Lastly, what I'd like to do is I'd like to show you some of the images that we have found throughout Santa Rosa and where we drew our inspiration from. As you can see here, these are the original images of the economy and as it is today, boarded up all one-story structure and waiting to get spruced up. So as we walked the streets of Mill Street, we came across the Adobe styles that you see throughout the Luther Burbank historic village. And this was where we were drawing our inspiration from and we felt it be paramount that we maintain this type of fabric in our new approach to the restoration of the economy in. So with that being said, I do wanna add our four-story structure, a five-story structure, fifth story being glass to be the gateway. From this view, looking downtown from the astro, which is more or less across the street from where we are going to be placing our new structure, you see the emerging of the larger buildings in Santa Rosa. This is our homage to the downtown district and our connection to the downtown district. We feel as though there's a strong axis of travel on Santa Rosa Avenue that brings you down there. Hence the reason why we feel strongly that we need to have a building of importance and size and scale at the economy in. With that being said, I leave the floor open to Eric. I think that I'm glad that the architects have kind of finished with these images that we have found throughout the Luther Burbank neighborhood. There are two styles, two prominent styles. There's two prominent historic styles in the Burbank neighborhood, Burbank Garden neighborhood, and the Craftsman Cottage and the sort of 1930 Southwest revival. And we've really tried to figure out how to work with each of those styles, but have landed on the Adobe style because it just feels better for the size of the mashing that we have on Mill Street and the Craftsman style we just elected not to pursue just felt a little bit too finicky and too precious for the use and for the length of the mass. But I think that that's a fairly complete presentation of what we're trying to do and I'm sure you have some thoughts and questions. Thank you, appreciate all the information and all that you've put forward, it really helps to completely understand the project and the process that you went through and the things that you considered and that's really helpful to us. So I think what I'm going to do is let John get us started because I know he has some questions, but I'll give you a few comments just from my knowledge of the area. So obviously it's a motor court. Obviously, if you know anything about California and Old Redwood Highway, that's an important element of the history of California. So motor courts are few and far between. There's a couple that remain, but they are elements that are in the Office of Historic Preservation and in the National Trust to be preserved. So those, they're just rare. And sometimes they just don't fit anymore and they don't work. There's one in Hillsburg as you're coming in. There's one on Santa Rosa Avenue that's near the college, I believe is on the left side. There may be one more, but that may be one of only a handful. There's another one further north on Mendo, on the east side of Mendo. Yeah, there may be only a handful, I think maybe three or four left in Santa Rosa that are connected with the history of Old Redwood Highway and that sort of motor court and people motoring and it all is tied to the construction of the Golden Gate Bridge and things that changed in the area. So there's a really defined history and a really developed context in relating to motor court history. So just so you're aware of that from the get-go. In regards to the, what I would ask Andrew is I think, Andrew, we have a period of significance for that district from, it's really wide and this always bothers me about districts but I believe it's 1875 to 1940. So is that correct? And it does range, there are period revivals which is what you're referring to as Adobe, I'm not sure if they call it out as Adobe because usually with Adobe, what we're talking about is really real Adobe's. I put an Adobe on the national register so we usually don't refer to them in that way in California unless they are on an Adobe structure from the Spanish period or the Mexican period. But I know what you're talking about so it's that design that we do see in that area but I think they're calling it a period revival. So just as a FYI. And that's all just because you know, everything's different in California, right? And we have different laws and regulations and people do things a little bit differently but that's just information. But I'm having a feeling that John might have something to say, John number one, to get us started. I'm gonna start with you. I just have some more general questions. And I don't wanna get into your business model but I understand you have options on land surrounding it. Is this a bigger kind of scheme vision that you have? Because right now this seems kind of overly scaled for its site. Are there other things coming down the pipe that would kind of compliment this? Well, I think I spent a fair amount of my presentation talking about making place. Yes. And talking about all the other properties around us that we're working on. So I think I've answered the question but we do have plans for a five story affordable housing project across on this avenue. Yeah. And at this point, obviously the hotel pencils out and... At this point, there's no hotel. Well, I meant your concept. There's an idea and a dream, yeah. Yeah, okay. Ideas and dreams always pencil out, man. Okay, thank you. I mean, I'll get back to the motel issue. I just, I thought there was probably a bigger dream and I just wanted to hear it. Thank you. John, do you have any history of the motor court that you could mention at this point? Sure, it was completed in 1939 as you probably will know, the Garden Motel and it was designed by one of Santa Rosa's most esteemed and probably prolific architects named Clarence Aldebert Cochens Jr. And there have been some modifications to it in terms of, I think there was an infill of one of the garage openings and there's a lot of stucco applied where there was once wood. I do have a picture of it. I could introduce this into the record or pass it along as it appeared in 1939. Thank you. And then I'll just add something else just so you all know when the Luther Burbank district was designed and this one was, I believe, is not considered a contributor at this time. But sometimes what happens is things are overlooked. It's within the district. So I would ask for some clarity on that but there are sometimes when things were done in the 70s which I'm sure you guys have come across in your findings and your experiences that sometimes it's unclear why things are included and why things are not included and such. So it's sort of unknown where this one will sit, the motor court in regards to its significance and its evaluation. So that's just sort of an unknown for us and I'll pass this down. And if you haven't, have you guys seen this photo? We'll pass this around to you. John, did you have a, John number two? Do you have any comments or questions or at this moment? Not at this moment. Casey, you wanna dive into it and give it a go? I think I'll hold off until a little bit later. It's always good to bring Mark in. Let's give Mark a go. Thanks. Actually, first of all, I want to start by saying I really appreciate your commitment to trying to maintain the historic flow in Santa Rosa. I really appreciate your, the work you've done on some of the facilities already. I'll also say that I'm really torn about this project. I'm gonna give you my usual banter about why the district exists and what its objectives are and try to get how this fits into it. And I'm also gonna be moan one more time, Chair. I lent my overall city map that showed all the contributors and non-contributors to someone last year. And I haven't seen it since and boy, would it be useful. So I don't know which member of the board has it or whether one of the staff has that. But I would sure love to get that back. It was taken to make a reproduction of. So I did also visit the site and did not speak to anyone on this one. Let's get on to Burbank District and some of the general questions is, again, the reason that a lot of our historic districts were built and Burbank is no exception was to limit large-scale infill projects following some rather disastrous things done in the 60s and 70s. Burbank is no exception to that. And Burbank's actual district nomination among all the districts talks of its consistency. A lot of our districts aren't particularly consistent, but Burbank is in its residential. That said, you're very much on the outskirts and much more of a facing Santa Rosa Avenue facing site. I do my first question is, and I ask this on most infill projects of the designer. Can you talk to us specifically what was done on this project to make particularly the large element? And I think you've already talked to a certain degree about the smaller side of the existing motor court compatible with the district. On the larger portion of the project, we are maintaining similar materials and color scheme that does help tie the casitos or the period style that we have in the motor court. Most importantly, the identity of the larger building, the new building has to really do with creating a new fabric or revitalizing the fabric on Santa Rosa Avenue. We were looking at the buildings that dress Santa Rosa Avenue all the way from downtown, all the way up. And what we found were a lot of flat roof buildings. We found, again, a lot of casement windows. We found a lot of texture and movement on those elevations, which is the reason why we are proposing the bay windows along the edges over here. And the terracotta screen is, again, like I had mentioned before, a grounding element that allows the building to turn the corner and tie into the materials of the period style on the Mill Street side. Okay, thank you. When you talk about the terracotta screens, that actually is a great segue to my next question in that I can't really tell from your section, but are those bars of sunscreen actually terracotta, or are they simply some of the material painted terracotta? No, they will be terracotta, and we actually have a manufacturer that we're working with. Okay. Can you also comment a little bit more about the green screen that is mentioned in the drawings and what that is intended to be, please? Absolutely, am I seeing it? I'm sorry, can I have you hold on? Would you mind pulling up that photo with the green screen so maybe just to help the other board members when you're discussing a specific feature? Sure, absolutely. So if I may, one of the, you know, this property's been a, you know, sort of a cancer in the neighborhood for a long time, and one of the inexplicable moves made initially was to leave a 10-foot swath of grass along the Mill Street side, inexplicable, because of course it's just like a trash receptacle, which is now full of needles and bottles and whatever. So the idea here with the screening is to be able to bring the building to the sidewalk, get rid of this, as I would think, this problematic green, problematic swath of dirt and then pour lawn, but not bring it all the way to the sidewalk in such a way as to make it feel like you're walking next to a monolith or a slab. So we were able to break it up, but we also have to create privacy. And so these ornamental metal fences designed TBD, but think of Todd Barraclough's really charming railings at Astro as kind of a precursor, maybe, a different style, but sort of similarly creative. As an opportunity for us to do plantings, I'm a big fan of doing edible plantings that allow for privacy to be created for the hotel guests. So there's both a design aspect to this and also a functional aspect, which is creating opportunities for the guests to have their own outdoor private spaces. That idea continues to the second floor where the casitas pop up in there. And I think that there's six second floor hotel rooms and I think that there's maybe a like number that are duplex or two-level hotel rooms, just to give you kind of an idea of numbers of rooms here, that where the screen becomes important to screening, creating privacy for the hotel guests, also frankly, creating privacy for our neighbor, our one neighbor to the east, who we're very, very well aware of has been afflicted by this building for a long time and who we also, who we are mindful of, we don't want them to have to live in our hotel. So creating a second floor on that east edge is both a design move, but also a, we think a neighborly move. Again, it's not just one model of the building, but it's also broken up with screen and the screens are all planted. Okay, I'm gonna go back to my question still because I'm not sure, I understand your purpose for your screen, but our question is, well, what is it? And from the view that on this particular drawing, it looks like you have two different types of screens. The lower one, I see a strong horizontal terracotta element on the ones down at the street level. As we discussed just metal, or is that something else? And how is that different from the screens shown on the second level, which are shown very differently here, that are also called out as green screens? There are two different types of screens that you are looking at. And part of the reason why we call out for two different types of screens has to do with the scale and the feel when you're next to these screens. The street wall of Mill Street requires a little bit more of a denser screen. This is gonna help add for some more privacy for the rear yards of the hotel rooms. And it'll give us a little bit more grab for heftier vines to grow up the screen. This is, again, a street urban fabric, so we created more of a denser screen. And you are correct, it does match the terracotta fins that we have on the building, and that was done on purpose to help tie everything together as our street wall perimeter. Now, the only difference here is that these fences are not made out of terracotta. They will be a painted metal to match and compliment the terracotta. The only reason is for the vegetation that we're growing on it. The terracotta does not really lend, this system that we're using doesn't really lend well for vegetation. Now, with that being said, I would like to address the upper story, the second story screens. With this concept design, it is a bit of a minimalist architecture. And as probably over said, but one of my favorite quotes from Mies van der Rohe, God is in the details. So we have this important opportunity here to really address the scale and what it feels like to be on those terraces. And you are looking at these screens at a smaller scale, at a smaller distance. There's a texture to them. They are again metal. However, they have a tinier penetration through it that'll allow for more of a delicate flower vine to grow on and to actually have a tactical feel to it. So when you're up there, you actually are part of the vegetation and part of the scale that we're trying to create. And it's also an opportunity for us to do some art, which like I saw my reference to Astro is appropriate here. If you haven't seen the Israelis, you'd be encouraged to take a look where we've had a local artist do something that's quite whimsical, very appropriate for the purpose of our overall design and the kind of thing that we would imagine doing here without knowing exactly what he would come up with at this point. Okay, thanks. It's our duty to ask. So, and my last question, which I need to ask about as well, is operable windows. Are there any operable windows on either the casitas or the hotel? All the windows will be operable. We are planning on casement windows, excuse me, casement windows, that'll be a wood window. The opportunity that we have with these casitas is that we have windows in the front and the back. So there's gonna be a cross ventilation throughout these hotel rooms and the casement window again adds to that tactical feel of opening and pushing these windows open and having them project gently into the walkways and allowing maximum airflow to come in and out of the buildings. Okay, thank you. That's my question to save comments and concerns for later. Thank you. I should go back to the motel court. In terms of what structure will be left once you assemble the second floors? I think this can actually be explained better in floor plan. Yeah. Which sheet is that? That is A, I believe it's A2. Is that correct? A3 and A2 would be the first floor and I'd like to direct you to the A2. If you were to look at the existing economy in, you'll note that a lot of the movement within the courtyard is the same. We have an undulating bend that occurs when you first enter the courtyard. As you walk in and you take a left, you have a series of protrusions and I believe that was the original caretakers or hotel manager's facility is probably his sleeping quarters or where you got the keys. And as you get around that, we maintain the same wall and covering a canopy that runs pretty much around the entire perimeter of the motel or hotel rooms. I need to jump in here. All of it. The footprint's the same. So the footprint, we're talking about the materials though. No, he's, I'm sorry, I understood. Yeah, he was asking about structure. Oh, okay. The footprint is the same. The only, the footprint gets pulled to Mill Street on three different occasions and the footprint gets pulled forward on the east elevation a little bit. And on the south elevation, we complete the U, which I think historically was a pool. And is there any demo of, is there any demo out front of any of the buildings portion, right? There's a little portion on the north wing that gets pushed back. At that north west side. Yes, that's correct, the northwest side. And then I'm sorry, in the interior facades of the courtyard, is your openings and fenestration the same as in terms of the rough openings or? That's correct, yes it is. And then when you're adding the second story component, what will you need to do to the existing structure? We'll have to add in two by sixes in some places, where there are two by fours. We have a structural engineer already on board. We've done some probes, looked at it, but we're trying to use as much of the existing structures as possible. Okay. And then the stepped parapet, what's its greatest height above the flat roof? Okay, we do have it positioned off. Hang on one second. I mean, it could be rough. Oh no, well we have the hard number, so we'll give it to you. Okay, so the second story, the highest point of the parapet is 18 feet. On the first floor, the parapets are roughly 12 feet at the highest point of the undulation. Those are flat roofs. There are no mechanicals on those roofs. They're just flat roofs with internal drains. They're mostly terraces. And also in solar panels. And PV, yeah, that's right. That's a very good question. And part of the reason why we brought a manufacturer on so early on in the process is to make sure that we do understand how the solar gain will work on these buildings. Yeah, that's part of the science experiment, yeah. We, I have spent a number of summers here. And there's a, on this slide, they're in the middle section, there's a tree that doesn't, that's not there now. But this actually goes to your question, your earlier question about a larger plan. At the south end of what we call the groth lot, the groth, you use car lot. There's a mature, beautiful oak tree that's on our property, but shade's mostly the used car lot next to us. And we have a proposal to move that tree across the avenue into the courtyard in order very much to create the kind of sunshade that is nice in September. And then in terms of sort of the, are those vegas sticking out from the wall or is that, what is that? Can you ask the question again? Are those vegas sticking out from the wall? Yes, there, yeah. What's their material? Is it metal or wood or? That'll be, everything would be either trimmed in, everything on the casitas are gonna be trimmed in wood. So, and except those little shades, that'll actually be a continuation of the stucco. Underneath, we are proposing to put a tongue-ungroove wood system so that it kinda helps with the warmth of bouncing some light in there. And then your stucco finish, I know this is way ahead. What's the texture you're looking for? Is it a trowel or smooth? We're way ahead right now, yeah. We are. What do you think? Well, can I just interject? I think you're going very historic and this could be a problem. So, I think part of going too far because as you're designing it, clearly know you've done historic. I mean, this is what I do for a living as well. So, I think that from what I'm hearing, you're doing a very good job of going with a sort of traditional Adobe. So, you might want to, and I don't know if I'm reading that incorrectly, but it sounds like you're doing a fantastic job of almost like a recreation. And you might want to think about elements that don't scream, I'm not really an Adobe. We did a, we did a, we did a G.P. Putnam, G.P. Putnam and Sons Book Bindry in Westchester County 10, 15 years ago and to building built in stages from 1870 to 1950. Right. And we tore off a scat, this bathroom, masonry bathroom tower that they built probably in the 30s and worked with Shippo to create a whole new entrance to the building in that corner where you enter the building. And we were actually referred to it as Darth Vader's helmet with the idea that we're not trying to dress up anything here. We're trying to discern very clearly what's historic and what's not historic, but we do want to be respectful of the Luther Burbank Historic District. So, can you tell me what you're doing to make it not make me think or trick someone into thinking it's an actual historic adobe-style motel? I think that's a great question. And I think, again, as mentioned earlier, this is a very minimal design. This stucco finish, the wood windows. I actually see a lot of the gropious house in this. I see the fencing and the materiality of those fences to be very integral to giving us a fresh look at this casita that we're trying to give you. Again, that's what I was trying to get at. Is this something with rounded vigas and textured stucco, or is it more a really clean skin? That's what I'm getting. Is that what you're aiming for? That's what we're aiming for, but we're having this discussion for a reason, right? So, we love to hear your input. I think it's fairly clear. I don't think a well-informed person with historical interests would confuse this with a period piece. We agree. I think you're, I'll list off a number of things that immediately clue me that this is not period, is that you've got a very uniform size of windows everywhere for every purpose. If this is period, you'd see all sorts of different size windows that reflect what was going on inside different spaces and rooms. There's no capping elements on top of any of the walls. Can you pull up some of the more detailed drawings of the casitas? So, I think you're already on a pretty good path with that. I mean, if you would go to highly rounded corners of stucco and elaborated tile capping, like a lot of the neighborhood has, it would be much more easily confused. Yeah. Well, you know, it's funny, if I had my way, I would make the porches a fun metal finish with a very bright color, but I was outvoted. But I was heading that direction specifically for this reason, like we need to be very clear that this is 2019 and not some other time. And it's not that it would trick the professionals that are up here, it's that we don't wanna create a, obviously you all know, a false sense of history. I like the little bits that you were just talking about. The sort of flag, the normal person, right? The regular person, the person that lives in the district. So, but I don't know, sometimes it's hard, it's just something to keep in mind because you might have something that's much more clear when you do, maybe some more 3Ds or something like that, that will show that it really does look different. But just because you picked out all these great elements, you know, it's, for me, you know, that's great, but for a district, you obviously, you wanna conform, but you don't wanna look too much like it, so just a little bit of a flag. We're respectful of the fact that this is a historically a motor in. We're maintaining the footprint of the building. We're not maintaining the use. And if I do have a larger plan here to John's earlier, John one, I guess, is earlier, earlier point, the larger plan for me has always been to develop in Santa Rosa where we're doing buildings that are not car centric. And the idea of the Astro, of taking most of the parking out of the Astro and planting that with an edible garden has been a huge success design-wise and otherwise. And I think that we have two masters here. We have the master of the historic district and we have the master that is, I think I should be equally important to all of us. And I say that pointedly to an historic board of trying to make this part of Santa Rosa Avenue feel like something important, right? And it doesn't, it hasn't happened despite everyone's best efforts. The Santa Rosa Avenue, the Santa Rosa Avenue play it. Let's point out was I think published in January or February of 2011 or 2012. Not a single building got built on Santa Rosa Avenue until we did Astro, right? So it's really like, I really, I love my hometown, I really do. I really wanna make it feel like something important coming into downtown. Which is why we've gone I think to the effort of trying to make a building on the avenue that feels like something. But I think the architects have done a pretty good job of that without being overwhelming or completely non-referential or completely out of place. If I could ask a question of staff. I am unfamiliar with the Santa Rosa Avenue court or plan, how does this confer to the design guidelines of the plan? I should say conform, excuse me. We haven't, well I've not gotten that far in my analysis of this project. So we would review that with formal application. I do have a question. I mean, you're taking a beat up old motor court and you wanna take that, you wanna turn that into a 60 room hotel. So the question I have is how is this project compatible with the Burbank Historical District? I know, I've listened to all the design information that you've talked about, but I still don't really have that, I don't understand that. So how is this project fitting into the Historical District? Well I think we have two masters here again. I think we have the district and I think we have the Santa Rosa Avenue need to do something important on the avenue. I think that we have spent a lot of time figuring out what the right design motif is for the casitas, for a site that's 180 feet deep. The 130 feet of it, that's away from the, the first 55, 50, 55 feet is new building. The last 130, 125, 130 feet is a scale of a design type that is entirely evocative of a style that is found widely throughout the district. So I think we are meeting a relationship with the district quite directly in our design motif. Use-wise, historically, we're in a... Let me interrupt you for a minute, please. I just want to make sure I understand. So what you're telling me is, at least on the backside of the project, you are designing what you believe to be compatible with the Historical District. Is that correct? Well, do you consider the 130 feet, almost three quarters of the site to be, quote, the backside? Well, I would consider that to be two thirds. The, you know, the two-story... Yes, I believe that that two thirds, I believe that that two thirds of the footprint is decidedly been designed in respectfully to relate to the district. Okay. Okay, I'm just fine. The district is a residential district, I was about to point out. Not a residential use. Let me interrupt you, please. I just want to understand, okay, if I understand you correctly, you believe that that is compatible, the backside is compatible with the Historical District. And do I also understand you then that the five-story hotel facing Santa Rosa Avenue is part of this design plan for the Santa Rosa Avenue? Is that, am I understanding that correctly? I believe that it's part of the, it's part of a response to a stated public goal of developing Santa Rosa Avenue, yes. Okay. Two masters. Okay, okay. So you're trying to walk the line between the two. I don't think we're walking the line. I think that if we were walking the line, we'd have a very different project, but we are trying to maintain and reposition, reuse what's there, but bring it into the 21st century in a way that is usable and recognizable to the 21st century, but also sympathetic to the community and to the Historical District. And it's not the backside. It's the last 125 feet of a 180-foot deep site. That's two-thirds if my math works. So if I'm going to understand you, if I were to walk around the district, I would see examples of the two-story structures in the back that would be reflective of the district, right? Well, you don't have to. We just showed you 10 examples. We can run them through again. I know, but you don't have to. Here you go. Okay, but what you're saying, I'm just trying to understand. So that's what you're telling me is that those are reflective of the district, correct? Yes. Okay. It is one of the two predominant historic... Okay. All right. I get that. The hotel, the five-story structure on Santa Rosa Avenue is separate apart from that in a sense that it is more connected to Santa Rosa Avenue than it is to the district. But that's not how we apply our guidelines. But that's exactly what he's saying. Okay. And I'm just trying to understand. Yeah. Okay. Thanks. Thank you. Laura. What is the percentage of... On the 600 block of Mill Street that takes it to a second story? Is that a... It's almost a whole thing. It looks like on here is almost all two-story on the facing Mill Street side. Don't have the numbers. It goes in and out. It's really just those first three on Mill Street that are bumped up. What you're seeing is behind. I'm seeing behind. The backside of the corner there. Okay. We probably should have graded them. And then the back... The back corner on Mill Street adjacent to the neighbor... It's almost entirely two-story. That's going to be a second story. That's going to be a two-story... Screen or building. That's the bottom elevation right here. That's from the far left. That would be adjacent to that existing residential building. All right. That's what I... That's all I have. I just wanted to talk a little bit about that Mill Street side as well. The gate that's there. So am I correct in saying that back of the main building, it's the proposed entry gate that may or may not be there. And then the fire access gate. And other than that, it's the screened off yards or terraces. So is there no public point of access along Mill Street to the courtyard? No. Was any consideration ever given for a public access point or anything along there that would break it up? You should come down and spend some time with us on Sunrose Avenue. And the question would be no. Right. We're looking forward to the useful life of the structure and how the neighborhood might go in the future. Yeah. Access to this private space would be privately controlled. Okay. I think that's correct. I think that's correct. So in terms of circulation from Sunrose Avenue through to the courtyard as well, there's the lobby, and then there's the gallery event space behind it. That's correct. And that would be the one means of ingress from Sunrose Avenue to the courtyard. Yeah. There is, to your point, I think larger. There is the idea that we have a shared workspace with the public. And we have the gym and we have the cafe and all of those spaces will be publicly accessible. And we would actually hope, and we're just toying with this, that maybe there's a membership that we would be able to sell to anyone who would want one that would give them access to those uses on a 24-7 basis. Okay. Just to ask you to repeat, because I just couldn't get every bit of that. Which parts would be public? Not membership-based, but hypothetically would be held out for lease to businesses that would serve the public and that would also have access to the courtyard. All of it. The entire courtyard. The entire courtyard. Yeah. Okay. All right. Thank you. Mark, do you have anything? Okay, go ahead. I've got one more question and then I'll go into some of my concerns and recommendations if that's okay. One last question was, it's a statement and then a question. Santa Rosa, one of the characteristics of its commercial space, railroad, squares, and other, is the recessed commercial entry, where the entry door is stepped back from the face of the structure. It appears that this project does not have recessed entries. Is that correct? Okay. Actually, the entry into the hotel is recessed and we're engaging a chamfered corner. You can see it on the northwest side of the building. In addition, the commercial storefronts, the bay windows project above the commercial storefronts, creating an outy as opposed to an inny. Right, but the storefront itself at street level where pedestrians engage is flat going across the front building, except for the angled entry into the lobby. Is that correct? That's correct, yes. Okay. All right, that was my question. I'll give some concerns and move on to some recommendations if that's okay. First of all, I share the concern that motorcourts are an endangered species. And this is Redwood Highway and this was like almost Route 66 as far as California is concerned. It was one of our characteristic things for travelers on their way through here was the motorcour. We were the one day outstop from San Francisco. And the loss of another one really does give me pause. That said, I kind of like the project and I understand where it's going. Infill, I've talked about on the last project as well. When we do new structures in historic districts, the metric that we evaluate them with is taking a non-contributor or an open lot and doing something that makes it more of a contributor to the district. And I think the answer on this one is mostly. Again, I've got a lot of background in historic preservation and I'm really torn a little bit because I think the valid case can be said that the face, portions facing Santa Rosa Avenue are different from the rest and aren't necessarily relating strongly to the neighborhoods behind. And that's kind of where I'm going. Parts and things that are not our purview but I'm curious about. Well, first of all, color is not our purview. So what you paint on the side of the building it really isn't up to us. So I wish you luck with that. And I do want to be clear that there is no on-site parking. It's not our purview, but I'm kind of curious. There is no on-site parking on this? Okay. I understand what you're trying to do as the low-scale version trying to address the period of significance. But I do want to point out one of my other concerns is we'll go to the elevations, particularly along Mill Street. I think it's A11, right? Yes. Yeah, A11. That is the public face of the majority of how it faces into the district. There's some forms there that look like a face with a pair of eyes with no mouth and nose on that. And then what's left in between them is basically a wall. It really isn't addressing a potential pedestrian flow at all. I know the neighborhood likes to walk down here to go to some of the restaurants and other activities that are out on Santa Rosa. And this is pretty much not responding to that. I'm going to go back up to your photographs. Page 3, which is where you have the photographs of the existing context. If you look at photographs 1 and 2, that shows the backside, the wheel of the existing motor court. They had windows and they had little gables and they had at least some pedestrian scale addressing, and not necessarily a blank stare out onto that street in that historic district. And I notice also that it's a uniform plane all the way down there. So clearly if we're putting in recessed like garden areas and we are tearing down portions of this in order to create those gardens, we're not talking a flat building face that runs down that length anymore. We are taking down a portion of those structures to create those little gardens. So my concern here is the way that it relates to the street. And I'll talk a little bit more about some of the opportunities might be when I get to recommendations. But that is one of my concerns is that there's a wonderful job of looking inward with the elaborated Adobe Revival-esque view that it faces into the courtyard, but it's actually kind of facing its backside to the street and to the historic district with the view we have here. I think that there's room for some improvement on that. So that's my primary concerns. Some recommendations. I think we need a historic structures report on the motor court property before we see the project again and find out what the role of this particular property was in Santa Rosa before we talk about its fate. Can it have a better fate than what it's got now? Absolutely. There may be better use for that, but we want to know what we're going to be losing a little bit more clearly. I appreciate the fact you've got more dimensions that we normally see at this stage of the project. We will need to see a similar level of dimensions or more when we see it again next time. Your heights were clearly labeled. And thank you. We sometimes really struggle with that. We're going to want to see more about your siding, your windows, your doors, your lights, what the materials are. If you're going to do anything special with the textures of the stucco. If you can bring samples of things like what you're planning for your windows or some of the things that would be very much appreciative when they come forward for the final report. We need to understand what we're approving and to give you latitude when we can. And say, yeah, that one's fine. You can do some other things too. One of my strongest recommendations is please consider recessed commercial entries along Santa Rosa Avenue. Go ahead and relate to this community's small scale historical past by having that little, well, sometimes they have ceramic inlays in the step in the openings. But please consider doing that just to be out of respect for our other commercial districts and its namesake, the Spinster Sisters. Along that Mill Street, I get that benches are problematic in this neighborhood. But a lot of times in more settled communities having a place for people to sit and enjoy the sunshine. This one's north facing. It might be a place to get out of the sunshine. Some sort of articulation or doing something that acknowledges pedestrians along Mill Street. I think other than just simply the garden fencing is something it would be good to take a look at. I was going to suggest putting tile caps on. Spanish tile caps off the top of the parapets. That's an idea. I wouldn't necessarily go there. A lot of the Burbank has that, but you're not trying to duplicate it either. On your grills, Astor Hotel has masonry, heavy masonry grills. That might be something you want to consider. It's certainly going to be durable and maintainable and doesn't require repainting as often as metal and is very characteristic of Spanish colonial revival. I agree with you that Craftsman is far too finicky of a tradition to try to follow on this site. Another thing, and my final recommendation on this for when you come back forth, is do include demo plans of what you're taking down in order to see this vision. Okay? Thank you. Thank you. Thanks, Mark. Go ahead, Laura. Okay. I guess the only thing that, one of the only things I like the way that the back part of the building in the motor court, I like the way that the design comes through. It reminds me of La Quinta and the hotel down there that's so iconic and the casitas and stuff. I do have a lot of worries about a five-story building which doesn't read really as a five-story building. It reads like a six-story building because of the bulkhead at 61 feet on top of the roof and a rooftop deck and a bar area. That's another story, basically. And it's... Years ago, there was a plan that was put forth and it said that they wanted the neighbors and the neighborhood and the neighbor, you know, surrounding areas. People that were interested in what was going to happen on that gateway were asked what their plans were and what their thoughts were. And it was called for two to three-story buildings with retail on the bottom, some residential on top. I love the idea of the hotel being bigger. I just don't want to see it at five or six stories. I think that... I think it's just over-sizing that area and that neighborhood and, you know, the fact that we talked about not wanting the car, the car things. And you've done such a great job with Spencer sisters and all of that. And I cherish it because I live in that neighborhood and I walk it and it is my home and it is, you know, deeply, deeply important to me and my neighbors. And people that live in that neighborhood and this area, they're fiercely protective of their neighborhood and what it means and where it's going. And five stories is scary for a lot of people in that neighborhood. And I would like to see it, if it were scaled down a little bit, that would feel so much better to me, you know, on a personal basis. I like the idea of a rooftop thing, but not at five stories, kind of almost feeling like six stories. But other than that, I love your work. I know that you will do it well. It just is, it's a little bit worrisome, you know, for what the other thing that worries me and it's not part of our thing is the parking. If the parking were to go across the street or if it were to be what they had asked for was parking to be behind these buildings, these retail friendly neighborhood style buildings that parking would be behind that. And so it wouldn't be the premier thing of what you saw in Santa Rosa Avenue. And so the parking thing does worry me for this big of a complex, you're gonna see this beautiful hotel and then what, you know, what are you gonna see with regard to parking. And I know that's not our purview, but it's just something that is a personal concern. So that's all I have. Thanks. You know, I've seen what you've done with your other ventures here in Santa Rosa, they're terrific. One of the thanks staff and the architects really very attractive buildings. It's not even a compliment to say that it would improve the area, but it would, so I'm gonna say it, it would. You do have the two masters thing, it's an interesting way to put it, and it's true. And the city has vested and policy based interests in having Santa Rosa Avenue be activated to a level that can support creating a kind of corridor effect there. And that's definitely the way the city has gone land use wise. And so the project has to support that. But when I think we're talking about the neighborhood and whether it's compatible and what's there in terms of the existing layout. And what we begin with is a kind of open horseshoe. And what we end up with is a very closed off compound that reminds me a lot of blocks in West Hollywood where they had been deep, fine grained kind of single family homes or courtyard apartments or something like that. And then somebody comes along and builds an apartment complex and they've got that kind of thing that we see on the Mill Street side where it's visually attractive. But it has that dead block effect like you see downtown with a bank with pedestal parking where there's nothing for a pedestrian to care about. There's everything for a pedestrian to avoid. And it's nice to drive past. It's nice to look at from a distance. Clearly what we have there now is not anything terrifically interesting but there are those windows there that create a feeling of safety. I mean you can imagine a building that doesn't create a feeling of safety for anyone but you can imagine a building that is well done with windows there that creates a feeling of safety. So I agree completely with the concern for that part of the project in particular. And I know that you are, of course, you know you have your business interests in mind you're not running a charity but we're kind of taking quasi-public space at least the open space that you can look into from a distance with the courtyard. And now the building is going up for policy reasons and because it's part of a good project but now the public is left with nothing. They spend money to get in. You know that's good for those of them who know to do it or feel like doing it. Pedestrians have yet another block that they kind of need to avoid that holds nothing for them. So anything that could increase the engagement of the property with the paying public and the non-paying public would be greatly appreciated as kind of a recompense for what otherwise might be kind of creating a bit of a compound in the middle of a neighborhood with a lot of fine grained streetscapes. Architecture, excellent. I think it's compatible. I like the style on all of it. I like the materials. And I like the way you do business. I... That's all I have to say. Thanks. Thank you. I like the idea of what you're trying to accomplish. I'm a little bit concerned about the hotel on Santa Rosa Avenue. It seems like a 21st century building plopped down in a historical district. I like the backside of what you're trying to do. I would like to see the hotel. I would like to see architecture similar to that in the hotel itself. The five-story structure. That's kind of where I'm coming from in the sense that it just seems out of place given where it is. And I know that you're trying to walk the line between two different configurations or two different things, but if you can kind of blend the two together, I think that would be, for me anyway, that would be something that would be important to me. So... Thank you. Thank you. Mr. Anderson, you've brought to us the boldest design I've seen so far, sitting on this board. So that's good. Is that a good thing or a bad thing? No, it's good and bad. And Matthew soldiering on with concepts like fin systems that have never been talked about in front of us. Congratulations. Thank you. Thank you. And I do appreciate the work you've done with the Astro. I used to be part of the Route 66 corridor program and there is five Astros along 66. Yep. And we begged people to use our funds to restore them and they just never would. And so ironically it happens here in Santa Rosa, 800 miles from the route. So, interesting. We lost one this year. Which one? El Paso. Okay. I agree with John too and some of the others that right now at five stories it's just completely out of scale with that corridor. I know there's other plans in the works and maybe you're talking about a two-sided entrance into Santa Rosa. And I see that. I do like the design. It's different than my colleague. I don't think recessed entries are common along that section. Like mikes down the street, you have things that are straight on the sidewalk. So I agree with your design. Kind of like the stiff rhythm of windows across the West facade. It's just kind of out of place for that area. I wonder if you could remove some of the windows and have a little more of that upper facade of a two-story commercial building along Santa Rosa Avenue, if you know what I'm talking about. The suspended canopy was used a lot. I don't know if you looked into that. Did you? Nope. A little bit. Yes, we did. Yeah. So my fear is that, and I understand what you're doing and it's creating a new place, but that some of the kind of the rough-and-tumble auto-related business of US Highway 101 and Redwood Highway is going to go away. And that, believe it or not, that's one of the strongest corners in Santa Rosa. So if there's a way to incorporate a little more of the auto-related theme into that front facade. I mean, not to goof up your design plan, but just something that one gets us, I mean, the bay windows at ground level are start. That feels like a garage. I like it. But if there's any way to pay a little more homage to you know, how that, those corners were used. Because across the street used to be a gas station. It was, you know, the central hub for US Highway 101 right before you got into town or exited town. I love the back courtyard concept. Maybe just tone down a little bit of the Pueblo revival. You know, so it's not so, I mean, it's stark and I don't think it should, I mean, I think you should go for stark, but maybe lower the parapets. Please no treatment on top of that. And if there's any way, you know, to make this a little more open to the public, as my colleague said, because it does have really like a sharp street face that's not inviting to pedestrians right now. I wish you luck and I'm looking forward to seeing this again. Thank you. Those are all some great comments. So I agree with a lot of the comments that you heard from the board. I do think it's a great project. Some of my concerns which have already voiced, obviously here's the thing, you know, you need a historic resource evaluation. You need someone to figure out the significance and the city knows this, so they'll advise further. There is Sequa here, so there's sort of little things you have to get through. As you know with projects in California that are just a little different than other states. Our recent idea project in Montana and found out that they have MEPA, which is, no. So, you know, obviously some other states obviously fall in line with that, but it can be a little tricky. It's important. There's a very well-known historian here and you may know her as Gayla Baron and she's done a lot of research on Old Redwood Highway, motorcourts and such. It's really important that you engage the local historical societies. Not just here, but Hildsburg Holds are a really good sort of repository of history and they also have photos and such like that. There's a lot of history and research on Old Redwood Highway and it's really fascinating, so I think that once you have that and have a grasp of that, I think that, like John was saying, will inspire you to sort of think about your design in a little bit of a different way because for us what we were looking at initially I think is we have a motorcourt. You know, we have a motorcourt and we're tying it back into Old Redwood Highway and I think inviting which I think everybody's hitting on. There needs to be some sort of visual sight line or something so the public's not cut off because it was open to begin with. And obviously the old gas station has gone and such. There are still a little bit of elements but we still want to pay homage to that Old Redwood Highway. I do like your design. I already mentioned that with the sort of Adobe theme just watch that. I do like the big sort of front windows look do like sort of garage dory. I think that's a good idea. I don't like the windows along that fifth floor sort of on the sort of center to the... Why do I keep doing that today? I think I'd like to see what John mentioned. You know, the fenestration is going much more up. Maybe take a look at that again. As Mark mentioned, there's a lot of comment on color but obviously you want to pay attention to that and you want to be... I would just be mindful. I like the canted. Is the canted on the northwest corner is that your main entry into the hotel? Yes, it is. That's correct. So I like that. I also like those canted corners. You know, ideas. You don't have to do this but even having a diagonal door is kind of cool. So it widens that space. And sometimes, you know, when you're walking around the corner and there's a canted corner and you sort of move into the space of that area, you feel like you're in that building. So I feel that way a lot when I'm doing projects in Oakland that I think are really neat. I do. To not feel like, oh, I got to stay out. I can't access the back of the building anymore. I don't want to see anything. I think you've done a great job on the Mill Street side and I think the residents will be happy. I do think it's tricky. I think the height is too much. So my initial reaction is five is too much to me. I did a big project in Napa and I'm adding the terrace and I don't know what you're going to put up there but it hits it to maybe looking like a sixth floor. So just a suggestion to I would and obviously it has to be feasible so I completely understand that but just watch that height because that might be something that may need to be scaled back for you to move forward. But I think it's a great project. Obviously I love the motor courts and as an architectural historian I completely understand reconstruction, rehabilitation, preservation and I do approve and understand this as an adaptive reuse. The idea would be hopefully that this would be an enduring building as well but you're saving the form. The one thing is I'd ask of the city to make sure you check and consider a demo percentage wise under CEQA for their mitigation and such because you need to calculate the amount that you're going to be taken down even though you're going to have that that's what I was getting at a while ago even though you're going to have the form that's similar it doesn't mean if you're taking out a lot of walls and the roofs are going so does this end up being a demo permit instead of sort of rehabilitation but I think it's great I think you have a little ways to go and I'd love to see more happening on that street and I think Mark has one more comment but I really appreciate the detail because as an architectural historian working with architects all the time I was like okay I need the detail so it's really helpful, I appreciate that Thank you chair just a couple of final comments and things to think about a little bit signage you're going to be a hotel and I suspect you're going to probably want to let people know where you are we're going to want to see what you have in mind for your signage likewise the discussion about the angled entry had me thinking a little bit more and think about maybe elaborating that entry or contrasting that entry a little bit more and making that stand out right now it this is the entry into your building you know let people know it so anyway thank you very much thank you very much thank you for your time thank you for the opportunity to present we are trying to build off of what we've already done in the neighborhood Laura to your point I don't expect to do anything that is contrary to what we've already done Casey to your point about sort of availability and openness fundamental to what I'm trying to do is build things I always use the word democratic not political but available to as many people as possible and so we very much hope that we can respond with some design moves that make it feel more democratic in my sense of the word so thank you for that comment and finally John 1 I love that John 1 you'll be pleased to know that the just today my colleague Aidan here was finalizing the package to submit for the counter corner of the Naked Pig former Greyhound site where we are repurposing that gas station service station as a food facility slash beer garden and we are maintaining the facade of the building it'll look exactly like a gas station you just have a kitchen inside of it as opposed to a lift for your car and I think you'll be pleased with the working title which is the service station and also the final result and you've seen the foundation in Martha, Texas yes of course one last thing I want to say outside of our purview but I know from studies that neighbors hate rooftop decks that look down on them so if you could restrict some of your square footage so they don't have that alienating experience you don't have a screen then we'll I don't think anything to do I think actually that's one of the three reasons for the screens I got it the screens are always on the backside causing the guests to face in Andrew I have a quick question for you and just a comment if you felt you needed to and not to make my board come back more and more but if you felt you needed a second concept review that's something we could do correct do what I'm sorry if you felt that you wanted to go through a second one this is not our normal time to meet so this is an added date for us and I think our board had agreed that you guys would be up to at least two a month if that was true Mark says no do I have a quorum who would go for two a month if we needed to as things are hopping anyway I think they had agreed to too but anyway if you needed to come back before you wanted to get everything done I think you could give that a try is that okay it's an important question so I would be I would want as much input as possible so anyway thank you so much appreciate you all being here thank you folks appreciate all your time and input thank you board business we have minutes somewhere in here should we do minutes before since it's not listed okay did you all have a chance to review the we have two sets of minutes okay John both sets we have them online so if you want to take a look at I think it's October 2017 and December I mean 2018 and December 2018 minutes so Margie's not here but yeah Mark you can I can't open mine but I thought we had some very specific conditions about that house maybe Mark you can recall I agree that we had put some conditions on that I wasn't here Karen do you is there something you could check on that and then maybe we can hold this for was that appropriate could you clarify which agenda you're referring to October 2018 so maybe bring can you bring that one back and just check the details I don't think you need a motion for that but I think I think that's good yeah I don't know just leave okay so on to December 2018 so Laura you weren't here and then Anne wasn't okay I'll make a motion to approve the minutes in December 5th I'd like to see a current motion I'd like to see a correction on it if I can find it again here quickly under item 6.1 I think the minutes are fine but the spelling of Mark Perry's name is incorrect we ought to get that corrected before it's made permanent I move we approve the minutes as amended oh we have two two on the table would you like to do a friendly amendment John yes all right we've got the one amendment so do we need approval or it's just approved yeah we don't need that it's just approved okay all right that's it for the minutes with tabling the October 2018 bringing that back next time board member reports I know it's been a long time and then Casey I don't know if you're aware but we had previously sort of assigned each board member preservation district and then you sort of check that district out or see what's going on or if you have any news about something that's happening that you just want to advise then you bring that to information sort of like you know when we had the last time John number one I should have let them know it wasn't in any favoritism I was talking to John number two John number two I don't believe we were ever assigned a district yeah so I think the last time it was before Kristine before you were here but we had talked about you know getting together and giving each other districts again and did we want to keep our districts and which district were you of course St. Rose and I have a railroad square nobody had West End which I thought was really bad so would you like to take on West End I live on the East End alright I'll take West End as well what would you like to have what do you call it McDonald's district is available okay Terry district is really good would you like that one okay and then we have I took two would you like the West End okay I think that's actually all of them right because they're four okay we got the West End usually what I recommend you do is go on to the neighborhood associations and sort of check them out yeah they do do we have Burbank and Cherry we have Burbank we have Cherry I have railroad square okay and you're fancy and you're St. Rose yeah how about Ridgeway and all of Margie has Ridgeway but I don't know about all of Ridgeway and all of we need to check with Margie so there's nothing going on in rail square I'll just start I mean there's things going on but there's nothing in particular in regards to historic preservation or changes I know that some of the items that we had already gone through I think are potentially starting to happen so isn't that it's on the parking lot and rail square isn't that approved to go forward you know that yeah so otherwise I don't think anything's happening out at the old cannery which I wish something would happen so keep your eyes on that hopefully someone will hear us do something there somebody can you think of anything that you want to talk about I have nothing to talk about okay nothing come on people I've got a couple first of all I really really really want my map back did you give it to Margie for the mapping project I don't know there was the staff to make a reproduction of that's what I thought I remember I don't ever remember I mean I've been here that day this is a last call you can re-watch it re-watch the video maybe because we've been in this chamber probably since then second item was there's been a really good project that's been done in the city that made use of historic property and I would like the board to consider bringing it up for future agendizing possibly doing an adaptive re-use award from the board and the project I have in mind is the veterans the facility was just finished on North Street they did an exceptional job on maintaining an old fire station and a compatible residential building next to it and it would be great for them to get some recognition from us on their efforts particularly they've maintained the windows that's a great idea Kristen, can you that's not something we've done since I've been here but Mark in the past as a board member you have done that before, correct? not formally we've actually had a physical plaque or anything we've done but we have sent a a nice certificate Kristen, can you check on that and maybe bring it back to the board and see if we can do some sort of recognition you could time that as most people do with preservation months there you go that'd be perfect yeah bring it back before me though so we'll know and my final item was just to bring to the board's attention that there was just a Supreme Court I believe decision yesterday that strengthened the importance to preserve view sheds for historic sites that was pretty much a landmark ruling where they were putting some towers that were going to interfere with the view from a historic site back east and that's been increasing in momentum lately in the profession and this one is one that's gone all the way now so something we need to bear in mind on our projects as well and it strengthens the original view this board had where it wasn't only the properties that are in the historic district that were part of our purview the ones that were across the street from a district also were part of our purview so that's it that's good information thank you we are done with our staff you ready for yours the only thing I have is to recognize Karen, Aran's role with the being the secretary for the CHB for how long about two years so keeping us on task organizing the agendas maintaining correspondence keeping us organized Karen has played a huge role I think we're going to be able to do that. I think we're going to be able to run as smoothly as possible, so I just want to acknowledge her role as the CHP secretary. Thank you, Karen. As of the next meeting, it will be Patty Pacheco-Gregg taking over. Thank you, Karen. Thank you, Karen. Thank you all. Where's the cake? I'm going to go ahead and talk about the downtown revision plan. I can check with Patrick Streeter, who's the project manager, to see what the next milestone is for that project. It's a very aggressive schedule. Yes, I believe their goal is to have everything finished by fall. Yeah. Okay, well, I don't think we have anything more to complete. Thank you all today. Appreciate everyone's input, and so I think we should motion to adjourn. I move. All right, we're done. Yep, we can't. Oh, wait, I could do that. Done. Thank you.