Planning Commission - public_hearing

Good evening, all those meeting to order the 715 . Our chair and vice chair are both now this evening. So with that, we need to elect a chair pro tem. So do I have a nomination for the chair pro tem?

Do I have a second for that?

Second. All in favor? Aye. So the meeting is yours.

Okay. Thank you, Mr. Coffey. The first order of business is the meeting that we announced from our last year. Do we need comments either from the publisher or our board of directors?

Do you want to have a... Don't move me. Don't move me, you're okay. One second. Okay.

I'll take a minute to submit it. That brings us to our consent calendar. Mr. Toffey, would you like to introduce that?

Absolutely. I'd be happy to. We have one item on our consent calendar this evening. Item 3, BAR 20.6-00209, Parker Gray. Okay. Request for alterations and waiver of vision clearance at 1200 Waterfront Street. The applicant is Tyler Martin.

Okay. Is there any member of the public that would like to move the sign-in motion to be sent down there? No. You're about to board. Is there a member of the board that would like to move the sign-in down? Okay. May I have a motion to move the sign-in?

So moved. Second?

Second. Okay, that makes sense. Calendars submitted, say aye.

Aye. All right, thank you. So if you're here for item number three, it's concluded. Thank you for your time. No, I was good. Okay, now I'm going to move on to the new business, item number four, the first one. This is AR-2026, that 0-0-2-0-7, all sorts of different operations, which you can have at any time.

Great.

Is the applicant or somebody representing an applicant present?

Present.

Okay, sure. Come on up. There's a beautiful blue box here. Can you just hand it out?

Great.

You can either talk about the staff recommendations or give us a presentation or talk about this. I'm going to be interested in this.

Hi, I'm Daniel Fishman, the property owner in question. It's 1328 Michigan Ave. I had some roof work done. There was broken shingles and holes in the wood, rotted wood, so they replaced, you know, all that stuff that needed some repair. So it's now synthetic instead of the slate that was there.

I'm not sure what you're referring to. Yeah. Yeah.

Do you want to shift on to another one?

I'd prefer to give up on people and actually look at that because I'm going to stop it. I don't want to take too long. So I'll just give them a minute to look at that.

Oh, somebody made that up. Sure.

You can do this. If you go to Saturday.

Yeah, so let's move forward to 7.8.

So we're going to skip ahead, and we'll come back to 7.8. So the next bucket item we're going to be talking about today is 7.8. This is AR246.0.0.0.0.0.0.0.0.0.0. Question of alterations at 310 North Fayette Street. The applicant is Patty Rusevelle, represented by Jim Rusevelle, architect, and here we are on H16-0028, Park and Gray. Question of alterations at 310 North Fayette Street. The applicant is Patty Rusevelle, represented by Jim Rusevelle, architect.

Great. I have an observation note, though. Yes.

Okay. Thanks. I'm not hearing anything. Okay. Hi.

I'm Patti Brownsville.

We live at 310 North Fayette Street in Alexandria.

And I'm Ken Labberwitz, married to Patti Brownsville.

Have you read the staff recommendations? And if you have discussed that, or have you produced your project, answered questions? Yeah, we're happy to answer questions. The staff recommendations are fine with us.

I was going to say for public, and I'm sorry. I'm sorry.

So I'd like to introduce to the public that when I discuss this application.

Okay. So do you want me to have a motion for this application? Yes. Our motion is approved with staff and judges.

Second.

And this is not a new motion, is it?

Yes, it is. It's required in the whole program. One moment, please. I want to respond to you.

Hi. Hi. Hi. Thank you.

And you can reach out to the staff. Okay.

Thank you.

Great. You hosted an AFS student, right?

A long time ago.

Luana, maybe? Yes. Yeah.

Sure.

Okay. Thank you.

If item number 5 and 6 need a couple more minutes, I suggest we move on to item number 9. Okay, 9 and 10 is for 6 minutes.

Really? Go ahead and do it. Go ahead and do it. So item number 9 and 10, I didn't have a 9. I didn't have a 9. I didn't have a 9. I didn't have a 9. I didn't have a 9. I didn't have a 9. I didn't have a 9. I didn't have a 9.

And all in favor of this super long.

Hi. We're back in the room. OK, well. I don't really know where we go from here because the work is done so.

So I hope we, you know, we've cleared the disaster case. You know, staff has recommended a denial. That doesn't necessarily mean that it will be denied. Okay. So we're here to talk about it. But when you've gone by your property, I think you can clear any of this ongoing discussion.

Well, why would I ask the public first? Is there anyone here to discuss this application? It's basically an after-the-fact installation of some routine.

Right. And, you know, the work was recommended by the contractors, so I kind of just took their judgment. It sounds like Since it does connect with another roof that was raised in here as an issue, they can put something to kind of divide, I guess, or blend, I think, if they came back and did that. And the house across the street did the same thing for me with the synthetics, so I didn't think it to be a problem, I guess.

Didn't you realize you were in the storage district?

You're home.

Sure, yeah.

Are you thinking that perhaps there could be a divider between your roof and the other roof now? Is that a new thing?

No, I think one of the concerns in here is that it's the new slate and the old coming together. So it's, you know, semi-obvious. What the roofers can do is put sort of a divider, which I think that makes it more obvious.

Yeah.

Are there questions?

Oh, we have questions, and then I'll post it for public. So there are no questions for the applicant. You can post a comment and then we'll have some deliberations and questions for the district. Thank you so much. So remind us, is this an early or late? I think it's a later vote.

This is a later vote.

Yep. There he is. I have been involved and looked at the project.

I think it's well executed. I do think that the synthetic slate profile and it's really well actually really adjacent everybody's like surprised um and it's it's instructional to me as a member of this board to see that combination of the old and the new together i do wish that perhaps there was more color variation the older slate obviously it's aged and there's a lot more color variation and i think that's what makes it the most stark But I do think the evolution of materials here, in fact, obviously it's already done, and I know that's not something necessarily to consider on this board, but I think seeing it done, for me, I should feel like I am okay with this, and I think it's probably something that, moving forward, that development is a more realistic way to replace the roofing materials. You know, since each building is individually owned, I feel like even a repair on the existing slate is probably going to create a color differentiation. And to me, the way that it's joined together, the roof line is pretty clean, except for the color differentiation. So I don't have a thought on this conversation.

Ms. Miller?

I agree with you, Dayla. I don't want this to establish precedent in the future, but because the work is finished, and it looks okay, I wouldn't put time in mind to give her an approval after the fact. It would be a caveat that this is not precedent for any future situations.

It's a concern to me very much.

And given that this is a later building, and in the north part of Old Town, it's not a very well-traveled street, I would say. And because the building is quite far from the street itself, I think in this particular situation, I can also support you thinking this through there.

I can hear it. So it's a complicated question.

It's been a development like this where I see you have an HOA.

There is no HOA.

So then you've got buildings that are matched to go to the same time as the lower building materials. Is there ever a recommendation? It's not a standard, I guess. I guess we now have a precedent, but clearly it's been done before without permission. It was not reported or thought. Where is that the precedent now going forward?

I mean, this board takes every case on its own merits. This board does not really have a precedent per se. I mean, some of the decisions are possible, but really, every case is taken on its own merits. So there could be another time where, for whatever reason, the variation between the units is more dramatic or more If some reason or another is inconsistent with the standards and the guidelines, that could be a different vote. So you really need to look at this in its entirety. In this string of buildings, how does this change the overall impression of this block face? And that's what you're looking at.

My concern is that this really is happening, and I think people don't know or understand that it's the case that it does need to be improved on the interfacing material. I want to make sure that I wish we had an HLA that could continue.

At times I wish we did too. Yeah, OK.

I'll spread the word.

And a lot of times even say it's not the slate that's been set up.

the connections, the no connections, that type of . So . So do I have a motion on this?

I need approval. I need to approve the certificate of appropriateness. Definitely. All right, this is a .

No, this is not an .

All the names in paper, I would be doing item number four. Say hi. Hi. Hi.

And those are those.

Yeah.

That motion carries.

Excellent. Thank you, guys. Am I dismissed? That brings us to... I wrote a roundabout.

Roundabout.

I wrote a roundabout. Organization.

Yeah, so. Roundabout. Roundabout. Roundabout. Roundabout. Roundabout. Roundabout. Roundabout. Roundabout. Good evening.

Nice to see you again. My name is Jack McLaurin. I'm the Senior Vice President with EYA. I head up all the architecture and planning. I'm joined tonight by Jack Lester, our executive partner, Adam Hayes, Jerry Yantis, who is our architect of record. And Jerry is going to do the bulk of the presentation, which means it's going to go a lot quicker if I sit down. And I'm also proud to have Glenn Hill. He's with General Shale. And this is our brick supplier. And he's the one who prepared all these bricks and they are so best in this project that he came over here and wanted to sit in here and be a part of this hearing and make sure it gets approved. I guess you have some tough on police in case it doesn't get approved, right? But I think partly because he voted me up with so much weight, he felt bad and he wanted to help me carry the brick. So love for you guys to get over there and we'll figure out how we can bring those a little bit closer to you. I want to start off by thanking the board. This is my fourth appearance in front of you. I was running out of suits. We had three concept hearings, and then now we're here. This is a milestone for our company to be here, and hopefully you're going to like what you see tonight. I'd like to also thank the staff. Bill Conkey has been instrumental, Catherine, Tom Canfield, and Michael Swichak. So they've been I don't want to say they're our partners, but we consider ourselves the type of firm that do partner with people to try to move things forward and get it in the right direction. But I would say most of all, I think the people I really want to thank are the community members that are here tonight and have been here the other three concept hearings. And it's your pushing, it's your guidance, and it's their pushing and their comments that really got this project where it is today. So honestly, they deserve all the credit. for what you're gonna see here. And I'm just really proud of you in front of you. In 35 years of history of UYA, we have built Rivergate, 1986, Villages of Stonegate in 1996, I said 86, but 96, Forest Landing in 99, Old Town Village, 99, Carlisle City Residences in 2002, the Law Offices at Braddock Metro, 2003, Chatham Square, 2005, Potomac Greens, 2007, Old Town Commons, 2010, and Robinson Landing, most recently, 2021. So we have an amazing track record in the city of Alexandria. And I will tell you, through this history, we had privilege to help shape the city, and it's given us pride to watch these neighborhoods mature and generations of homeowners raise their families, grow older, and build lives in this remarkable historic city of Alexandria. It's also given us a deep appreciation of the challenge and the responsibility of embracing progress while honoring those who came before us. And as I've mentioned in prior concept hearings, that requires a careful balancing of the preservation of a nationally significant historic city and its fabric with the realities of contemporary living, modern construction and the evolving needs and the lifestyles of today and tomorrow's consumers. And since concept three in January, we've continued to refine the design of this community while often going back to reflecting on our founder, Bob Yungentop, who was instrumental in that entire list. And I read that list for a reason. And if Bob were here today, what would Bob do? And I believe he'd be very proud of what we have to show you tonight in this such important city block. We've also been guided by the legacies of the communities we've built out at 333 North Fairfax. Our fundamental site design principle or overall design principle has been that these are more than simply residential units. You hear that term thrown around a lot. These are units, units, units. These aren't just units. These are homes. If you look at the people here in the audience, these are homes. That's just the way we think about it. And there's a responsibility that comes along with that. There are homes for individuals and families who will become part of the continuing story of the fabric of this evolving city. As with our previous communities, we hope this community will stand. This community will stand as another example of thoughtful, context-sensitive development that contributes positively to Alexandria for generations to come. We hope what you see tonight is consistent with Concept 3. We believe it is, but it's also a meaningful evolution of those designs. Over the past several months, Jerry and I have been focused on refining the architectural character and incorporating a significant level of detail and material selections. And it's all about the detail. In order to achieve something like this in such a rich community, it's all about the detail. So finally, I will sit down, and I hope you're going to enjoy what Jerry has to show you.

Thank you. We're thankful for the opportunity to design a project in the Old Town Historic District. Yes, sorry. Yeah, Jerry Yantus with Sutton Yantus Associates Architects, principal at the Burke, and the architect of record for UIA.

It's 8300 Boone Boulevard, Suite 750 in Tysons Corner, Virginia.

Again, we are thankful for the opportunity to design a project in the old and historic district of Alexandria. As discussed in the concept reviews, the architecture should use scale, rhythm, and materials to be compatible with the surrounding neighborhood and the historic district. We will present this evening the refinement of the previously supported design concepts. The presentation will reflect the minor changes to the concept designs, but the significant attention to detail of the architecture required for these homes in the historic district. Next slide. Generally, I'm going to try to be brief, so we'll kind of go through some of these slides. I'm just going to focus on the ones that matter most.

I'm going to just turn the light on. If it's too dark, let me know. It's still light outside.

Just to make it better resolution on the images. There we go.

Is that right?

Right. Exactly. So our agenda is going to be brief, basically just the site summary, and then we'll focus on the architecture.

Thanks.

Just a reminder, the project is located at 333 North Fairfax and 300 North Lee Street in the Historic District of Alexandria.

Thanks. Thanks.

It's just showing some of the site topography and the building height restrictions. Next. Here we've got the streetscapes of the surrounding neighborhood.

Next.

Here's the site plan, which has not changed. The development special use permit was received by the city council back in April. So again, this is the site here. And then next, these are some of the surrounding images of the architecture, styles, and details surrounding the project. And then just the site showing the three different unit types here. We've got three different sizes, 22-footer, 26-footer, and a 24-foot wide unit. So we're going to be showing each building, kind of go one through seven. And I want to mainly point out the differences between the previous concept and kind of where we are just in terms of refining the details, et cetera. I think you'll see one of the major refinements is the detail of the mansion roof, as you see on the left end of the building. You can see the previous and then now what it looks like. a much bigger improvement. We added a parapet to transition from the mansard roof to the adjacent unit, which has a flat roof. And then unit three, four, and five now have the same brick color, but the detailing that was previously done still remains the same. So the end unit on the right is slightly different than the other two units. So there's still some distinction there. Next. On the side elevation, on the right side, one of the biggest changes, we carried the brick all the way up to the roof line, so it covers the loft level. So that was siding prior, so now that's brick all the way up. And just kind of go through these. This is going to be showing the material schemes, and we'll talk more about that at the end of the presentation. So we'll just kind of walk through these. Building two. The most significant here is the detailing at the cornice. At units 2, 3, and 4, those have all been refined. The cornice at each unit will stop short of the edge of the unit. This avoids the cornice crashing together where the two units meet each other. This also helps transition to the end units that have an open rail at the front parapet. So basically these piers, these brick piers basically provide that transition. There'll be a brick pier at each unit allowing the rail to terminate the one unit and the cornice to terminate it adjacent to it. Unit four has been flipped to better coordinate with the grading.

Sure.

This is, yeah, Princess.

This is Princess, yeah.

The first was North Fairfax, and the key is for the building is in orange there in the top left. So it kind of will walk around. So we'll come down Princess and then North Lee. On the side elevation here, again, that brick continues vertically through the loft up to the up to the roof. This will happen on both ends of the building.

So the roof is slightly stepped, but the units themselves are not stepped, is that?

They are. The vertical steps in this building is fairly subtle, but the units are. So the door, it's pretty subtle, but it's just a slice. There are some buildings that have a little bit more of a vertical jump, and I'll talk about that as well.

You're right on the site. It's really sloping down from here to here. This building and this building, one of the unique things you'll see, you see these transoms here? That's because this floor level drops halfway through the unit to absorb that grade. So we want to make sure we have fair housing contestable here so we can have elevators for our future homeowners. So we have these flush entries. So that is a unique characteristic between a building and these two places versus those other two to try to absorb the grade. Sorry.

Next. Next.

Next. So building three. Again, the mansard roof here shows refinement. The mansard roof terminates at the top to a parapet, where previously there was a low-slope roof. So you can kind of see the difference, that low-slope roof on the previous – So this is more consistent, having that flat roof like the other units, and it helps with the transition from one unit to the next as well. Again, Unit 2 was flipped, again, to coordinate with the grading that we're working with here.

Otherwise, we're keeping with the previous design. Next. Next. Next.

So building four on the corner here, this building has every unit, every home there has a cornice detail at the parapet. And so this really kind of shows the need to be able to stop that cornice short of the adjacent unit. And so we've basically created these spread piers that will extend up above and that way each cornice will stop and start. instead of those come together, especially when we have a vertical separation and that becomes very difficult from a, you know, standpoint. So this really helps resolve that issue in a positive way. And here the bay windows, which we have three of the five homes here have bay windows. And so those details are just refined and so forth. And we'll see some details of that later presentation. Thank you. Sure.

So I noticed in the application that there are options for future homeowners for certain bays. Are these bays options?

These are not. So on the front and the sides of all the homes, what you see is what it will be. Those optional bays will only be on the rear. That's the only location those are going to come up. Next. So, for example, here we're not showing any bays, but on the rear, which is the elevation on the bottom, yeah, there's opportunities there where there could be a bay. But this would be the only location. And if it's on the end unit, it would be more in keeping with what's on the side or the front. And then if it's more interior to the building, then there might be a little bit different material on those bays.

Next. Building 5.

Unit two here was again flipped and it actually creates a nice symmetry on this building where there is a lot of symmetry to it in terms of the two ends. So that really kind of enhances the look of this building. And this one on the far left, that has a unique pinch roof. So again, a real need to be able to transition that pinch roof to the next adjacent unit. This brick pier concept really does a really nice job to transition where you have the railing. The Terrace has got an open rail, so you have to be able to transition that. So again, that really creates a nice effect.

Next.

Here on the left side, which is the elevation in the top left, this elevation did change a bit. I believe we had some bay windows on that side due to some floor plan conflicts. We changed that, yet the window composition really follows the massing of the building and creates a nice balance.

Next.

building six. Again, the design of the railing pier has been revised to provide consistent detailing with the other buildings. And again, this really comes evident here and you can really kind of see even more of those brick piers and again the transition to the management roof with the parapet. The two center units have been flipped again to manage the grading.

Building seven.

So this building, as you see, there is a bit more of an exaggerated vertical drop with the grade. So the center two are flush, but then each annulated steps a pretty good amount from the adjacent unit. So again, that really kind of shows we need a transition there to manage that with the cornices and so forth. So it really becomes successful here in the next. On the left end of the building, again, that elevation was revised and also just kind of want to point out we have these utility enclosures on the sides of the building and basically locating those where it works with, again, kind of the balance of the elevation. They will all be internal to the site, so it's never on the end facing the street.

And we'll look at a bit of a detail with you a little bit later.

So, these are basically providing the street views around the entire site. So, the first one here is North Fairfax, and then Princess Street, and then North Lee Street, and then finally Queen, which kind of gives you a nice feel all the way around. We have some 3D renderings here that kind of brings all this to light, kind of makes it a little bit easier to understand everything that's going on because there is a lot of detail, especially with the far three units and having that brick masonry pier vertical element, which is offset from the facade. So there's a lot of detail. kind of relief on the facade of the building. Same thing with the second unit in, with the Juliet balconies, the corner's detailed with a large bracket, so there's a lot of projection with that parapet and just some of the detail there with the mansard roof and being able to see those dormers and kind of really how that looks. And what's really nice is just seeing this wrap in the corner where you have the entry But we still have, you know, really two sides there that, you know, look like they should be facing the street, and they do. So it's, again, I think a successful way to manage that. Next. So this is looking into the pedestrian area through the site that connects to the other side, back over to North Fairfax. And then also you see the MUSE, and they have the two mansard roofs kind of bookending that MUSE area. It's just kind of the whole look. This kind of shows on the building on the right, the larger opening on the rear of the unit, which I know staff commented on. So that's the door is recessed quite a bit from there. So you kind of see here, you really don't see that door, but it provides a larger outdoor space for these homes. This is North Lee Street. So that we're standing on and looking into the to the project. Yes, this one here that's on the right that traverses all the way through. And then there's another one I have to get past this first building that would take you all the way back out to Queen Street. And this is, again, still on North Lee, but now looking up. And so you see building four there, which is on the corner. So we're seeing buildings really four, five and six there. And then the final one, which is on the corner of Queen and North League.

And I'll just go back to that one. So we were fine with the board comments that Bill summarized in the staff report, as well as his recommendations. And there there was one board comment that we did not adhere to or agree with. And that was the idea of putting a management group on this corner lot right here and there's really two reasons that we didn't do that caddy corner to here is that beautiful white clean and roof uh chrome that just we didn't feel like we want to just copy it our reform being trying to be very uh traditional just to have these two kind of category opposite to us felt a little bit odd but maybe there's three reasons secondly i think the flat reform this is the commercial street if there is something to make sure with the flat with buildings and whatnot But there's also the driver of this home has the views down to the water down Virginia Street. And that's kind of hard to get around. You know, we felt like the other aesthetic reasons for doing what we did kind of really support the idea that only just having the tremendous views. So this one's just going better. A lot of the other changes that Jerry talked about, Bill did indicate in the report were staff recommendations, including the Fairfax building, the three gray homes there. We had the two rows and then a gray. And we felt like we kind of forgot, forget who mentioned it, but I felt like that was a good way to just respond to the Hoffman building that's further down the street there. So there was a lot of changes that were their thoughts that Jared picked up on.

The next number of slides are just the black and white elevations and plans. And generally it's hard to read any of them, but it's just generally noting that the different materials and so forth. So we can just kind of run through these unless you have any questions about answer.

It basically shows every elevation that throughout the site. What we'll look at next is

some of the various details. So these are all cornice details, a little hard to see here, but you can, I think, see enough to where you see there is a lot of relief off the facade. So there's a lot of depth to these cornices, a lot of, you know, trim detail, you know, varying heights of the cornices. So I think all those really lend itself to enhancing and making the different homes unique. I think there's one slide there. Again, the bottom right is some of the detail of the mansard roof. I want to focus here a little bit just to really kind of hone in on the way this parapet is the transition for the mansard roof. So you can see the elevation, the top left. And then we start to see this sloped parapet that then flattens out and then slopes parallel to the roof line, which you see in the far right. and it really allows for that mansard roof to terminate. And then on the other side of that mansard roof would be the adjacent unit and the terrace there. And so if you're on that terrace, you'll be seeing the side of that sloped parapet wall, which will all be in masonry. So that'll all be brick. So that homeowner would be looking at a nice brick wall versus siding or something else. So it's really that continuity. It's almost an old-time look of It used to be a block wall that's a masonry wall that would separate these townhomes. But in this case, it does have the bricks so that it really kind of enhanced that adjacent unit. On the bottom three pictures here, we've got what happens on the backside of the unit. So the terrace on the mansard roof is always on the rear. And there's kind of two different situations depending on the floor plan. either in the middle there where the mansard roof will actually turn a corner wrap and then it truly looks like a large dormer coming off that which is basically access to the loft space out to the terrace and then on the far right would be another version where it becomes the mansion still turns the corner but then would terminate to a vertical wall with again a similar dormer element So if you have any questions on any of that, it's it gets complicated, but it's hopefully these images kind of help to clarify.

So I was trying to understand at the level from the lower right hand corner, how far is that turning back?

It's probably about four or five feet.

Bottom right corner. Right. Yeah. At the roof level.

Oh, at the roof level. Okay. Where that slopes up, obviously it becomes more minimal. So that's probably in the, you know, 12 to 18 inch range, something like that. It tapers back, of course, because the side roof is sloping as well.

Basically, a series of door entrances

Just by the sheer number, there's a variety, but we basically provided details for each unique door entry. I think all of the door entries on the side elevation, which would be on the street, are recessed, so it provides some relief off the sidewalk. Obviously, that provides cover. We also have some units with a canopy, mainly on North Fairfax, to provide some cover there as well. Next. And these are mainly on the rear of the homes where we do have the swing door access besides just the garage door. And then the garage door itself. And then again, the number of window types with a variety of different detailing between precast or brick. So there's, again, quite a variety. Showing the dormers. Sometimes where the windows carry in a two-story fashion, kind of what happens between those two windows, that panel detail. These are some of the details on those bays, so really detailing out exactly what happens at the top, middle, and bottom of those bays, just with various trim. See the projection in the plan view at the bottom right there.

Projects about 18 inches off the facade.

This is showing the site plan, and this shows – so we have this wrought iron gate here. and so it is located in those yellow squares so it would be at each alley where the cars would enter so there's basically three spots there all these fixed gates will be located to kind of frame that opening making that alleyway just a little more private and kind of screen it from the street And then the top right is the meter locations for the utilities. And that's the enclosure, which would be, again, a wrought iron enclosure. And that's all the purple spots. You can see all those are internal to the site.

Light fixtures.

And then to our material pallets. Jack picked that up. Maybe I get the lights back up.

Sure.

We have 90 different bricks. Basically, they're kind of born out of the neighborhood. This Cortez brick is in the surrounding blocks. Obviously, those are 1970s-built homes, so you're only going to get what you can today, so this was a pretty close match. So what you're going to see is a combination of tumbled brick as well as the wire cut, the extruded wire cut. This is what's on North Fairfax on the gray homes. And then you see we have three painted bricks. This is kind of a nod to the incense gray, which used to be one of the Durham historic colors. It's a different color today, but the Yarmouth Oyster and Adams Left Hand, and then the Nebulous White. So it's not a bright white, it's what we call Nebulous White. And then this is an idea of how the Arescraft, which you see on the base of many of the homes, will play with several of these bricks in here. It's not just this one brick. And I think we had two colors on the Arescraft, if I remember right. Yeah, so this is kind of a, it's not a 12 by 12 square, it's a 12 by 24, and it's a full bed. It's four inches thick. It's quite a nice product. And there'll be a band treatment to separate it too, you know, but we're just trying to get both the materials on there. in the largest, heaviest panel board possible.

So that's like a limestone bar. And what was the other one?

It's more of a cloth. Yeah, it's just a... Yeah, you might say this has a little grain to it, and the other one is just a little creamier or a little bit lighter. And they go with... There's a couple of these bricks that all that goes with. I can look it up if you want. And this is the forward mortar? Correct. Correct. Okay, this might be a cloth or... This will have a gray. But then, yeah, I'm not really happy with this border. It's just a little too red, you know, but there is an intention to do the right thing on the border. I did want more of a monotone look on this. I just don't like the way it's too close. It's kind of too pinky and red. So we'll probably tweak that a little bit. But that is that is the idea is it's not just gray or buff. We're actually kind of thick.

So why A lighter brick.

Painted brick is just throughout Old Town. We built it at Chatham Square, Potomac Rains. It's something that we see quite a lot of, and we just felt like continuing that fabric and going forward, and it's appealing. It's pretty maintenance-free, you know, and it takes work to paint it on there, but yeah.

Our guidelines, it's through painted brick. So we considered that when we decided.

We did. But a lot of what we heard from the board was, you see Chatham Square, you see these other projects, you know, this is kind of what we want. And that that vocabulary, this is part of the vocabulary over there that we brought over here. So, right.

I think we considered the same number.

Yeah. In my sense, on the requirement of the guideline, the recommendation of the guideline was If you have not been in these hearings or these meetings or even the last one, somebody wanted to paint their brick they had today and there was even a standing and you guys were going to go out and look at it. It was a pretty big deal. My sense is if you're a natural brick today, don't paint. But I felt like there was an acceptance for new construction to be able to paint right out of the gate.

So that was our interpretation of the guy. We refer to it. So it is really talking about existing buildings.

But it's in all Mason previously. At that same point, yes, it is.

The intention of the guidelines really is to talk about existing buildings.

Yes, it is a, there is a different concept of painted masonry, but it's the intention is to be as simple as it can be.

Part of our application is a historic marker. We have the new construction. We have the certificate of demolition, which I'm not sure there's a lot to talk about there. It sort of is what it is. And then there's a historic marker. And we kind of have what we think is a neat idea. In our first concept one hearings, Our first concept one hearing, I tried to really get back into the history of the site and George Washington survey map, which is emulated up in here from 1776. I forget the date. I'm going to mess it up. Thank you. show this site and how this is north lee street here queen street and how the water's edge was right here so this used to be water street and as you know i don't have to tell you this that the maritime ships would would dock deep in deeper water and it was very cumbersome. So they grew the land out there and then this turned into Lee Street. So we thought it would be kind of neat to sort of pay homage to that in a plaque that would sit in this location here. This is one of the muses. And you can see there's a diagram in here. This would be a bronze plaque and there's a little bit of a narrative about what I just said. And there's actually kind of a cool little schooner ship right in there. So that was that's idea number one for historic marker. And then honestly, we struggled a little bit with the second marker. It turns out the archeology report we used talked about the green factory being really, we knew it was on the other piece. It turns out it was off. It was actually a couple blocks away. So we didn't have a lot of, you know, kind of joke that it used to be a red light district, you know, back in Civil War. I don't know. I said it's red lights, you know, on everybody's liners. Wouldn't that be great? Probably not. I think the idea is we're open to a second marker. You could see this chair was, this was one of the green factories. They kind of became famous for their furniture, not only here, but abroad. We thought maybe there was some paying homage there. What we want to do, if there is an opportunity for another one, and we're working with Garrett Fessler on this, he kind of knows where we are. We want to maybe go through the archaeology first. We want to get in there and disturb the dirt and maybe see what comes up. If there isn't an opportunity for a second one, maybe okay, but we're open to the idea of another marker more in the court internally over here. So it's a little bit of a TBD, but I think the idea of this evening here is to let you know what our intention is. And we'll just keep working with Garrett and Bill and staff moving forward on a possibility of a second marker.

So I think that was that.

And I think that's it. So again, uh the staff report we're good with we accept all the bills recommendations and all the board comments that he repeated in there all of that one on the floor i'm going so love to hear what you think and answer any questions if you haven't thank you so let's if there are any questions right now to the application otherwise we can go to a public hearing and we have speakers um

Would we have any further thoughts?

We do have one in a public speaker, one by Scott.

Representing a civic situation, correct? Old Town and Civic Association.

Yes. Scott. Good afternoon, everybody. Good evening. And Madam Chairman Pro Temp. I think that's I think that's your title for the night. I'm Scott Corazon, I live at 300 Queen Street, and I'm here tonight representing the board of the Old Town Civic Association. OTCA fully and enthusiastically supports docket items five and six for the demolition of 333 North Fairfax and 300 North Lee Street buildings, replacing them with a townhome community that we think was designed to fit the character of our historic district and the immediate neighborhood. The team bringing this project for approval consulted with the neighbors authentically and credibly. They accepted pretty harsh feedback from their initial concept that we gave them in front of this body. They considered our reasonable requests and came back to the board with significant architectural adjustments that we applauded. Unlike the dreadful 301 North Fairfax project that would tower over this set of town homes, the collaboration and give and take among the developers, their legal counsel and neighborhood residents is a model demonstration of what should happen with every new development in Alexandria and especially in the old and historic district. It shows that residents enthusiastically welcome development that is neighborhood appropriate. And it demonstrates that residents and developers can work together toward a compromise solution that meets the broader needs of all stakeholders. So for all these reasons, Old Town Civic Association thanks Don Simpson, 333 North Fairfax Associates, EYA and Wire Gill, wishes them well with this development. And we look forward to welcoming it to this quarter of Old Town. Thank you.

That's all I have.

Oh, sorry. Then I can close the public hearing.

And then the board can open it up.

Can we start with this?

Do we want to do that next?

Well, thank you, everyone, for joining us today. We hope you all enjoyed. Thank you for all that you've done. I've served on this board long and I'm here to work with Mr. William Todd and EYJ and JTG on boards and meetings. And so I was very enthusiastic when you all were bringing this topic on because I know how thorough you are and how expanded you are to putting into our community and reaching out to people in the community that to have a voice and one comment as good as it can be. So thank you very much for all of that. I have a couple of questions. I wasn't excited about the three gray work buildings on Fairfax Street when I first read it, but having listened to your presentation and realizing all the thoughtfulness that is going into this, I'm just fine with it. I think Ben's seeing the brick. I'm fine with it. I do want to understand what is the facades of brick? What are the sides of the back?

Part of it's brick.

All brick.

Yeah. Well, the sides are all brick. And the rears are largely brick, especially when you're at the ends closest to the street. And then, yes, the loft levels are often siding. then sometimes we are bringing siding maybe one more floor down in order just like i'm not a fan of all brick is good to try to kind of mix up the materials there a little bit and then you can see those those three homes that about north lee where we have the cut out on the back you know so that's that's a hole you know but that'll be you know paling or sliding up in there somewhere you know in the recess So, I mean, just any rear, stop on any rear, if you wouldn't mind. So this is all masonry. This is masonry on the lower level. And then this is masonry, three stories with the terrace. This is siding, and then this is siding. So you see some movement, rather than just what I call a datum line going straight across. If you don't mind, Brendan, let's just find one more. It's like our roulette. Stop.

Back one. Org.

They're here.

Likewise. So full brick, four brick, those are on the ends. The public can kind of see in there. We have a history of kind of taking whatever's on the front and the side and wrapping it around the rear. And then you'll see, you know, two-story brick with. And the idea is that the front is on the rear from a color and material standpoint. Whatever window was on the front, there is a combination of casements and double hunks, which you probably saw on the sheets. So casements, that means there's casements on the rears. It's extra money. Not a lot of people would do that, but in the month-end pattern, you know, everything on the front is coming back to the front.

I guess most of my questions from reading this were answered. between the architect's presentation and your presentation. So I just want to weigh in on a few more things. And in all deference to our VAR, Pain and Unpainting Virtuals, and to my colleagues' opinions, when I was looking at these, I was wondering if some of them, earlier today when I was reading them, if some of them could be changed. I really like that you've introduced change growth. I think it's refreshing. And I like that you saw it in the community, realized it was integral to the community, and I'm introducing it here. And I do interpret our standards as you did, that it was awful, but it was an expense. So one of the ways to know now. And then secondly, the historical markers. People, locals, and visitors are lying loved. many locals and visitors alike like to read historical markers because they're in a historical community a historic community and they're interested so if the subject matter does come to mind for what to do with a second marker i think it'll be twice as good as just one marker so that's that's all for me

I am new to this board, and I did not have the advantage of being in this office. Obviously, we all work very closely with the board and staff and the community. And just a few comments from me. I think that the development of the main side is exceptional, and it completely transformed the way I see them do these designs and the way they continue the detail of the cornices and the parapets. and recessed terraces are extremely elegant. And just the attention to variety. I'm sort of looking for the painted bread and the variety and something else, something else in color. And we really bother with every detail, which I appreciate so much. I do have a 9.5-liter bowl of gray. So I don't know. We'll see how everyone else feels about that. But I actually prefer the previous colored illumination. It seems like an outlier to the development, understanding the motivation behind it. That's just a couple of thoughts. I do wish that the street facades on Building 2, Building 4, and Building 7, which are pretty flat, monumental, besides as they compare to those buildings that have the highly developed man's arteries are potentially a missed opportunity. And are there some ways that we can introduce some more variations in those amounts that we've done so federally in other places? I think particularly, and I'm going to address the reasons behind not wanting to make that change with the partner, Princess Nina, she's the one.

Sorry, Kate.

I just said that those would be my comments, but otherwise, maybe for some measure, what do you think?

I just have a question.

I am supporting our chair tonight. I think we should just work as a natural material. We should pick a word that actually is to be close to the color that we want, as opposed to paint a little bit. It's just my opinion. Even if it's coming from the factory painting, it should just be bright.

So that would be my thought on that issue.

I have questions or actually concerns about the rear extension options. A lot of them feel kind of haphazardly in place, in the way they're placed.

I don't know if you can go to sheet number 86.

Where is it? It's one here. Let's see there. 86 on here. I have a couple of them.

I know this is an option.

I don't think they're designed well yet. The relationship between the . It's not . It's .

Yes, so when we bump out here,

and their relationship to the level below, which is... I'm sorry. The relationship to the bump out and the windows below. It's a weird relationship. It doesn't quite work. And the bump outs feel like they're just placed on the back. They're not really designed to be there. They're just not there. So I think that needs to be studied. The one that works the best is actually the one on the left. But the windows below don't. So the windows below don't work within any small bounds.

And Mr. Spencer, you're aware that those are the windows that are recessed five feet inside the rear building case. So they're largely in shadow. So that's why we didn't worry about that. This is, you know, what we call multi-slide, where they can kind of really open it up and have the in and the out. I will tell you, because I asked Jerry, hey, Jerry, what's going on? This one's on the left, this one's on the left, and this one's on the right. what this is, is he's representing our floor plans will have the ability to have a two bedroom plan and then a three bedroom plan. So that they might be on the left side or the right side, which in our mind just gives a little more diversity rather than like that. And we do get, there is probably a pretty decent mix of two bedroom, three bedroom buyers out there, so.

It's the headroom.

Again, that's a transition at the sill. Okay.

Yeah, something's not quite right there.

Okay.

I appreciate the fact that the windows are set a little back.

Yeah, maybe we should have shaded them or something. And then we go to page 67.

So that one, I feel the bay is too wide, and the relationship between the windows and the road, and then the amount of space between the bay and the window next to the bay. I think when I sketched it here, I slid it down so it looks a little better before here.

I'll go along with that. I agree with that. I'm sorry, but that means .

That one is, I think, the same thing. It's just like . Right, OK. Not quite right. So we're going to page 64. Just a quick question.

It's going to take a while. That's right. So, at least

These two are, yes. I think I've seen it both ways. I mean, it was not for a twin to have it continue as one.

Yeah, that's pretty typical. I mean, there are some where it breaks it to make it more of an individual unit feel. But yeah, I mean, it's not unusual to have a baseline if it's a twin. I understand that depends on the team. We might see that in school. I know I was just wondering if that was just standing. I've seen it both ways.

Is that like a privacy law between the two of you?

It's low. It starts out at the parapet height, which is 42 inches. And when it gets closer to the loft level of the door, it steps up to, I think it's 5 and a half feet back there, just for a little bit of privacy.

It's one that you've got to explore and make the maintenance continues.

We did, which is why we went to here. Because it's really, Mr. Spencer, it's really driven by these others over here. And the symmetry was important. Yeah, you know, and if you feel like we want to marry this too. I don't have an issue with it. It was the symmetry that was really important to us. And the termination of the parapet dividing the roof terraces is important, which is why this has to be masonry over here. The back of this would be fine if we married the cornices in there. I wouldn't have a hard time on that.

Yeah, I don't have a problem with that.

I also used to add That is the one location where we are not using that masonry pier. So maybe if we actually introduce that masonry pier between those two units, then we can provide more consistency to that cornice or a bulkhead to it. And then that would kind of provide consistency throughout the whole project.

Yeah, what he's saying is this pier, see how it's elevated above the top of the parapet? And what happens here is this is low, but this one is falsely brought up. So it didn't step right there. So it's higher than it needs to be, just right in that spot. But it appears not over here, Jerry. It's just on that one. But you're suggesting we could bring this element into here, or are we just mirroring that with phones?

I actually said it was on the other side, too. So that made sense to me, but now that you don't have it, too.

Yes.

Now it makes even less sense, because it's here on this side, and you're having fines and things not for you. Yes, that's stepping, but I was just in my mind. I would miss this. I thought the peer was going to go to in physics studies to show you the depth.

Yeah, I think we can conjoin the corn if that's related. At the border.

You have to do that. I saw what you said last week.

I've never said you have to do any change.

Oh, my God. Again, I want to reiterate, I appreciate your enthusiasm for this project. I think that's refreshing. And just to see how nicely it's evolved. This building number seven is, you know, the building As you mentioned, this is clean street. It's probably the most important elevation I think we have on this project. And I think the idea of introducing the tie loxers, like you just mentioned, as you are doing on Fairfax, I think that's going to be very successful. the Fairfax streets with the three townhouses that are gray and got, you know, some pilasters that's really, you know, providing some variation in that facade elevation. They were always too supportive initially of those three gray and Fairfax streets because of their adjacency to the Hoffman project. You know, I think that's nice. But I think also the, pilasters on those units. Really make it much more elegant and I think that's something that you may want to investigate on building number 7.

So I guess what Jerry wasn't suggesting with pilasters that would run all the way down.

He was suggesting he could have a taller elevation.

Back to the presentation.

Yes, I mean, on the presentation, please.

So building one.

Yeah, I think we're starting with one. Let's go to one first to serve surfing. Illustrator.

Well, sure, that would be an organization. It's been a fair few years. So I have another submission, so I won't do the mission. You're going to see what you're going to do.

So these are the pilasters you're referring to, right? Yeah.

Yeah. So I think Jerry was not recommending that. He was talking about this treatment here.

Right.

Which is on this side and this side. The reason that I just have an issue with your suggestion on Building 7 is we're purposely trying to make that an Italianate facade, which is flush and there are punched windows and it has this bracketed, this heavy bracketed cornice on there. So the pilasters would start to be You know, this is the least historical on purpose because it's adjacent to the Hoffman building.

It's adjacent to the Hoffman building.

It is, but this is directly. And I was trying to be a lot of what I heard from the board was go back to those historical themes and styles and precedents. And we would be getting away from the Italian eight. version on building seven if we were to do something like that. So I'm just making a comment. The reason.

Because, you know, I think that's an opportunity to develop that elevation. It looks like the upper floors, it's just a flat. I mean, from one building to the next, it's just one plane.

Which groups? Building seven. Building seven. But I think that's on purpose, Ms. Del Nino. Alexandria is not wrought with facade articulation. Many styles are flush with punched windows. And if we felt like up there was a place to do it, it was probably Queen Street because it had that more commercial character to it. Whereas when we were on the other side, you saw more of the bay treatments and the ins and the outs.

Right. And I think, you know, the bay treatments, you know, that's fine, but even all the other buildings, the upper levels are just a flat thing. And so you are dealing with where, you know, you have an opportunity to bring it out a couple inches, if it's a little problem with footing or something, because otherwise it's just a control joint that you're going to see, and it's going to look not as, you know, as nicely developed. And if we look carefully, In old town, you see that, you know, we don't have block faces. It's like a flat brick that's completely aligned. There's always a little different stage in there, even if it's just a piece, which is, doesn't have to be as much as the width of a brick. And the other thing that's successful about the fair vaccine, I understand you want to make Um, you know, building seven is Italian. So, but it's two different colors. So that's why it's odd. Well, that is a very common precedent in the city.

Um,

I don't know. I think there's just a few minor details that could be addressed and possibly articulating the importance of what it seems like to get that guardrail tight, the distance between the top of the rail and the top of the guardrail seems to be a good call. And it looked like in your details you had some work that was adjusted to set this flat, though.

I mean, there's a lot of movement on that when you see it, not in 2D.

But it's just the way that it's coming out from that wall.

the man in the choruses you know there's there's a there's a there's a lot of movement in the pet brief addition we felt like was a good move to to try to break up that yeah it's the same i mean i'm just suggesting i think it may be more successful than you know articulate the facade thank you okay thank you um the other suggestion i mean is and i mean the staff has thought about this the The overhang in the roof, I think when we were south-facing it, it felt like failing, but I think that, you know, a canopy over the door might be a little more sensitive.

It seems... You're talking about up here?

Yeah, suddenly the overhang of the roof on that south elevation is going to happen for every room since the building last. Maybe it should be consistent, and then, you know, it might be a little different.

Thank you.

And then just a couple of things. I know that we've got a lot of balconies and a lot of bays, and we all are going to need gutters and gums plugs. And we're looking at some of your details, I'm sure. How are you planning? Are these all members on the outside of the building? And so I'd encourage you to try to get away from the streets if possible and see how we can get that detailed.

I think there will be no exposed gutters.

It's inside the building.

I mean the downspouts. Downspouts, yeah. Exteriors, yes. Maybe you should go to the

Yeah, the downspouts on the street-facing units, the gutters are exterior and the downspouts are exterior, and then they're piped into the system below ground. The downspouts on the muse-facing units that are internal, same exterior, exterior, and they're piped into the bioretention boxes that are on every lot. So there's no runoff into the street or a sidewalk or anything like that.

So it's a copper?

They're non-copper.

Actually, I wanted to go to half rounds for a little bit, but then in actually looking at the guidelines, there's only certain styles that then have to kind of be with a slope. It has to be with a slope roof going down into it versus the K style or the OG guns. Right. Right.

So everything we're proposing is the case to all based on that.

Because that's not really what's shown here, and I think that's going to be a big element, especially when you have kind of the delays with the corners, you're going to have to vary. And then. Just the other very minor detail I had was, you know, just I encourage you to be consistent in the detail around the windows. Sometimes the header is aligned with the jam, and sometimes it's, you know, extended beyond the jam, which is more historically practically the same in the cell. I think that's consistent. That would be helpful. And the You know, of the bays, we've got a precast bay, and that's great. And I've heard you may consider a precast cell instead of a first cell after the precast bays. It's like window number 24. You know, the two-inch precast edge seems a little bit thin. We might want to extend it into three inches. But I don't know. So if there are no further comments, I guess we have a couple of questions here. Probably the most considered one, you know, is the page here. And I'd like to hear the other two members. I am happy to speak up of my thought.

I think it's really, I think it's a good decision.

I look at this when you say women's, I, I, It crossed my mind. And well, we call some of them are painted. So I think when it's new construction, I think I've already said this also, I read our guidelines as the applicant has, that a new construction, it can be painted or our guidelines do not, say new construction cannot be painted. And it is reflective of what our community needs. And I really applaud you all for the level of research and integrity that you maintain to incorporate this, the details of our community leader project, even to the extent that that corner there's already a beautiful man's heart group and you didn't want to compete with that and it's been good so that's my sense um i'm not every presenter stated that no break shouldn't be made but i don't feel that way i think it would bring me

I guess from my perspective, I do feel like the thing for best character, it differentiates the texture. I do understand the strengths.

But I feel like there's been a great attention to variety here and to be painted for this.

I think it just creates a lot of interest that we might not see otherwise if it was just all brick that wasn't picked up.

I guess I know I'm not supposed to speak right now, but it goes back to that idea of variety. We were very much encouraged to provide variety, and that's just another tool in toolbox to get that variety of influence. If you start with natural kiln bricks, it'll lose some of that in my mind. And we try to limit it to the Italianate, which that is very common, and then the Queen Anne, advanced versions. And I do believe Cleen Street, closer to the water, where Bram did not only the corn, but I think there's a couple of Italianates that are twins and painted like a check, but I think that so nearby, but as well as the Chattel Square. And every project we've done in Ontario on Andrew, I don't think forced landing was, you know, most projects would be done. I think part of the issue is, is that, is that, is it encouraging for any work?

And, you know, inclusive of the ferocity of work also?

Just to report some of this to the guidance, because you asked about the guidelines. And so, a couple of things about the guidelines and the reason that the guidelines do discourage people from using them. One of the reasons is that it's not a big problem with Modern Earth. Obviously, the Modern Earth just doesn't take as much water as it's supposed to, so that's not a big issue. It still can be an issue, but that's still not as much of a technical issue. And the other aspect that we talked a lot about over here about maintaining unpainted mixers is changing the original design intent. So that's one of the things that I've been talking about, saying, okay, well, we don't want to paint the brick because the original design intent is for it to be red. And so painting that brick changes the original design intent. And I think that's been the common thread in the discussion regarding the painted mixers over there. Not in terms of your decision, but just in terms of, like, placing power guidelines in the context. I think those are some of the reasons, for all these reasons, that we have that answer.

Bill, I'm sorry if I'm speaking, but was that a whitewash effect in the version of the paper?

The whitewash was definitely on the red. There's the red wash. There's the red, you can see, wash that you found on the home. For me, the main issue is that the break-in from section at that point. There's something that's wrong with the colors and everything. has no texture, where if it was a whitewash, the texture is still there, the brick texture is still there. When it's painted, it's not as, especially over time, it just becomes a mass of whatever paint color it is. So you don't get this texture of brick as much when it's painted. But if it's whitewash, whitewash is actually wonderful.

Possibly to illustrate your point, or maybe to just discuss your point, to make it so the stream is at a point that the texture is such. But I can change the texture of the brick. This is a full-range wire cut, which is a little smoother. I can do, you gave me two bricks, I'm going to use the wire cut. But I can use something that's got more texture to it and paint that.

paint something that's got more texture less texture um we also talk about the type of paint that you could use and i'll do what's specified here but recommend using a barrel of paint it's more breathable will allow more breathing to trap that moisture in um like i was explaining we recommend mineral paint When you're painting masonry, it helps the wall breathe. It won't trap that moisture in. Like Jack says, we can go with a smooth brick. We can go with a wire cut texture brick like we've done over there. A smooth paintable brick will give it a smooth overall texture on the wall.

I'm sorry? My address? Yes. Oh, Mason Kingport, Manassas, Virginia.

Thank you. No problem.

I thought that we could take a moment to speak. I thought that that sample button, that just shows texture. Often when there is paint that's been painted several times and it doesn't have much texture. But I think that that had some texture to it.

I mean, honestly, we'd love to have them and not have to come there, but I wonder if there is a way for us to

receive a positive approval, and work on this. If we can work with Glenn, and that's Sherwin-Williams latex lab, because that's the closest thing to my house. So if we did it right, and we work with a couple different textures, and maybe work with Bill, and he can get you the samples. And I don't know really anything about stains. you know, I don't know the cost or the practicality or what is that maintenance free, you know, what's, what's going on. Yes. I'm not telling you. I'm on the screen. Okay. Once you get, you know,

Staining is typically done when an extruded brick, brick that comes out of the kiln that's a sand finish or just a regular through-body brick, doesn't come out the right color. Staining is typically a color correction. When you want to change the overall look, color of the wall is typically when you paint.

Right.

Another case of this .

that the board gave a partial leave, whereas the board gave an approval for it Everything's on the project, except for maybe the final color and thickness of the stand. And that's something that we can do. We can say we're going to stack on the final again. I think I have a pretty good idea of what's going to be achieved. And just make that traditional device. Or we can find everything except for the final treatment of that part. And then we can come back to the board for just that one aspect of it later on. So that's again, that's the other project we asked for the second. Yes, there were. Yeah, there were. But this obviously, you know, there's no site that we had because that would be customary sometimes. Yeah, exactly. But I mean, but I think just if there's something that we're concerned with, you know, it could be a partial approval with the exception of the final finish of this particular break. You guys can come back just with a sample of that and get that moving along. No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.

It's going to have to be a bookstore.

Yeah, absolutely.

You would ask, because we don't know if it's already in.

Is that a personal approval? And then maybe if they come back with the project, which particular approval would be approval of the connection?

It would be, but we'd like to get it in the screen project, which is approval of every unit, except for the final finish of the spring. And then we'd like the applicant to come back with that final finish at the later approval date.

This is going to be in the field, of course, because we're painting all the mortar joints. I believe that we give staff a lot of leverage. Oftentimes, we turn things over to work with staff. But I'm not quite sure it's at that stage. But given the applicant and their willingness to do the right thing, I'm comfortable And again, I said, having you all work with that.

Now, so, you know, it's not not good. I don't have faith in the team, but I think I would feel better if we actually saw this and see what we're actually doing. And they have to do with basically everything except for.

and then finally finish them. I think this one. So do I have a motion to have a motion to be good with this topic?

Yes. I think we do have a motion. I can come up with a motion, but I think I'm going to need some modifications to my motion because everybody had a little tidbit. So I have voted that we make a motion to approve this project for staff recommendations and with the applicant coming back to present the brick colors to us, just to be sure, just to be the paint colors. I'm expecting some friendly events. So if we have some, I'm hoping to see them.

And also that they

explore the design of the extensions on the back. Some of them need to be reduced. Some of them, and some of them, the seal of the recessed windows in the back needs to be pronounced. That actually needs to be cut off by the bay as it comes down.

So I think that's a, and I'd like to work with staff on that. And that's it. Thank you for your time.

I was going to encourage you to work with staff on coordinating all the downspouts and scuppers so that they are able to build up their design.

Working with staff on an option if

it works out to reduce the south over here with building number seven and the increase of canopy over the doors there.

Any other thoughts? Working with staff on this ?

Okay, I believe your suggestion was that they come back for the coverage of the bridge. Just the vehicle, not all.

But you said colors. So do you mean the painting itself?

The final finish of the brick proposed to be painted. Okay. And they'll come back. I'm sorry. They'll come back to another board meeting in the future.

And we didn't review this evening what happens if the motion is tied and invoked or does the motion fail? If the motion fails, we're going to keep it.

Okay.

All right. No, I love the project. And I think that the next time, we do not have any amendments. But I was trying to say... I do not, I'm not interested in having changes to Queen Street, deadline changes, residential presence, because it used to be more of a commercial feeling. And I asked both of the two, first one and two concept reviews, to give it more of a residential feeling than a commercial feeling. Even though it's across one level of commercial projects right now. But I don't, I believe all of that is good. of suggestions in Scalegos asking you to consider are not going to change the integrity of that being residential. I don't know if that needs to be in motion or not, but I'm just making that statement. Okay. So I guess my motion would be for it to retain its residential integrity on the street, even with the things that just have definitely

Do you want me to send it on this motion?

I don't think it would be a good motion for you. No, you don't have to. This is normal. I don't know.

Thank you.

Thank you very much.

All right. Well, that's the end of our business night.

A couple of announcements before we recess. Obviously, this is the last meeting of the council meeting. So, it's going to be in August. We're going to be quite busy during our next event. It's going to be great for a couple of things. If you guys remember, we're going to be doing this. It's pretty interesting. Bring it here. I think we're doing this. It's not bad. We haven't done it before. We bring the times in. It's not slow in this house. And it makes it a lot more affordable. Now we've gotten through. I think it's 11 chapters. And we're going to take those to the community. I was going to say something. I was going to say something. I was going to say something. I was going to say something. I was going to say something. I was going to say something. I was going to say something. I was going to say something. I was going to say something. I was going to say something. Thank you.

Thank you.