Historic and Environmental Preservation Board - Regular Meeting

Looking at a traffic signal or stop sign leaves sufficient space between you and other vehicles in case you need to change lanes. When approaching your vehicle, keep your keys in your hand, unlock the door with a key fob if possible, and lock it immediately once you're inside the vehicle. Check the area around the vehicle for suspicious persons before approaching your vehicle. Travel on well-traveled and illuminated streets. Be familiar with the streets and locations you are planning to visit. Keep the volume of the GPS low so that it's not heard from outside of your vehicle. If you are the victim of an attempted carjacking, choose life over the vehicle. Give them your keys. Run away as fast as you can. And remember, always be safe.

Our team is embarking on a mission of repair in the northeastern part of Miami. The focus of our work involves the replacement of fractured sidewalks. The root cause of the sidewalk deterioration traces back to the expansive growth of trees. Our diligent efforts will encompass the removal of the tree stump, a task expertly undertaken by Gisela and Leo from the operations department, propelling the sidewalk toward its readiness for the concrete pouring process. Our daily routine involves the diligent handling of diverse 3-1-1 report calls. As our work day nears its conclusion, we are rewarded with a beautifully restored and secure sidewalk.

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Miami Park is leading a movement to promote a foam-free future in its parks and beaches. The use of polystyrene is prohibited in the city's parks in an effort to create a brighter future for future generations. Materials like styrofoam and foam cups can increase the risk of cancer and emit toxic gases when exposed to heat. If left in nature, they can take over 500 years to decompose. there are better and more sustainable alternatives that are recommended. Aluminum containers, coated and uncoated paper products, recyclable plastics, and reusable goods that can be taken home are all more environmentally friendly options. Let's work together towards a sustainable future by reducing waste in Miami's parks and beaches.

Hello everyone, Captain Freddy Cruz with the City of Miami Police Department's Public Information Office and today we want to discuss a little bit about pedestrian safety. So basically as you can see we have an intersection here within a residential neighborhood and what we want to let everyone know is to please if you live mid-block or if you're visiting the area don't cross mid-block. Use these intersections as you can see here to cross from one side to another. We've seen too many accidents, too many fatalities, we don't want to see another one. So basically we just want everyone within the city of Miami to do the right thing, cross at the appropriate area, cross at the crosswalks and utilize them. Don't cross mid-block because that is where we have seen the majority of our accidents.

The mid-block pedestrian signals, or MPS, is a traffic control device that functions like a regular traffic signal at a mid-block crossing location. The MPS operates as a standard semi-actuated traffic control signal, but instead of the typical solid red indication, the MPS will display a flashing red indication during the pedestrian clearance interval. How to use. Pedestrians. The pedestrian signal can be activated by pressing the button when a person arrives at the intersection and wishes to cross the street. Pedestrians should wait for the walk signal to appear before attempting to cross and should only initiate the crossing when it is safe to do so, making sure vehicles have fully stopped behind the stop bar. As pedestrians proceed through the crossing, a countdown will indicate the remaining time to complete the crossing. If pedestrians arrive at the signal to cross after the countdown has started, do not cross. Please press the button to activate the cycle and wait for the walking signal indication. Drivers Drivers should pay attention to the light change on the signal. If the signal shows a green light, it means that drivers can proceed normally. If it changes to a red light, they should stop at the stop bar pavement marking. When the red light is flashing, it means drivers must come to a complete stop. Then, look both ways and proceed with caution if no pedestrians are present at the crossing. The MPS is intended to ensure safety at pedestrian crossing.

Did you know that the dangerous excess speed law is already in effect? It is a criminal offense for any driver who exceeds the speed limit by 50 miles or more or who operates a vehicle at 100 miles per hour or more in a way that threatens the safety of others and is punished as follows. First sentence up to 30 days in prison and a fine of $500 or both. Second sentence up to 90 days in prison and a fine of $1,000. o ambas. Una persona condenada por una segunda violación de dentro de cinco años después de la primera condena tendrá su privilegio de conducir revocado por hasta un año.

The life of every child is precious. If you care for a child or teenager with a disability and have limited income and resources, they may qualify for monthly cash payments through the Supplemental Security Income Program or SSI. Call Social Security at 1-800-772-1213 or visit ssa.gov slash ssikids to learn more. That's ssa.gov slash ssikids. Message produced by Social Security at U.S. taxpayer expense.

We want to hear your opinion. Help us shape the future of Choli, the city of Miami. Share your opinion in the Grand Plan Choli survey. Go up for free, follow the journey, and start exploring Miami on Thursday. If you have any questions, call 311. Or call 305-416-1130. Thank you.

You come to an intersection which is blocked by other traffic. You should... A. Go slowly until the traffic ahead moves. B. Get as close as possible to the other car. C. Stay out of the intersection until you can pass through. D. Sound your horn to make the cars move up. The correct answer, C. Entering a blocked intersection can cause gridlock and may be illegal. Only move forward when there's enough space for your vehicle to fully clear the intersection.

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The City of Miami's Building Department website just got a fantastic upgrade, making it easier than ever to access essential services like permits, inspections, and contractor resources. Now organized into six clear categories, permitting, inspections, property and address, contractor services, records, and additional building services, you can quickly find the information you need. This streamlined layout is designed to support residents, developers, and contractors at every project stage. Visit the building department services page to experience the new user-friendly design.

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Want to green up your curb and beautify your block? Planting a tree in the right of way is a simple, eco-friendly way to make a lasting impact. But before you dig, make sure you've got the green light. The city requires a permit to plant on public property, like the space between the sidewalk and the street. Unsure if it's the right of way? Get a boundary survey or check online. Visit our website and follow the steps. Let's grow a greener neighborhood together.

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Meet in public places such as shopping centers, coffee shops or police stations instead of inviting strangers to your home. Verify the user's qualifications and comments on the platform. Do not share personal information and avoid giving your telephone number. Be careful with buyers who want to make a deal outside the platform. Do not give verification codes that can steal your credentials or bank information. Manténgase en la plataforma al realizar negocios.

you Thank you. Thank you. you you you Thank you. Thank you.

Environmental Preservation Board. I ask everyone to stand for the Pledge of Allegiance. Please remain standing to be sworn in by staff.

Thank you. If you intend to testify in this proceeding, please raise your right hand. Do you swear or affirm the testimony you will give will be the truth and nothing but the truth? Thank you. You may be seated. It's okay to do roll call?

Not yet. Please take this opportunity to check your phone. Make sure they're on vibrate or do not disturb. And we'll have a note from our city attorney about lobbying.

Good afternoon.

Any person who is a lobbyist pursuant to Chapter 2, Article 6 of the City Code must register with the city clerk and comply with the related city requirements for lobbyists before appearing before the Historic and Environmental Preservation Board. The person may not lobby a city official, board member, or staff member until registering. A copy of the code section about lobbyists is available in the city clerk's office or online at www.municode.com.

Thank you. Are there any requests for absence waivers?

Absence waivers?

Now, Mr. Ryan.

Am I able to do attendance now?

I'm asking if there's any requests for absence waivers.

You have Jordan Trachtenberg who's requesting an absence waiver.

How about Mr. Ryan?

He's out of town.

No, I just have Jordan Trachtenberg.

I received a request from Hugh Ryan asking for an absence waiver.

Is there a motion to approve the absence waivers? So moved. There's a motion and a second. All in favor say aye.

Aye.

All opposed? And we can have a roll call, please.

Calling members Robert Powers. Yes. Calling member Najeeb Campbell. Here. Thank you. Calling Chair William Hopper. Here. Calling member Luis Prieto-Munoz. Calling Christopher Cauley.

Here.

Calling Elvis Fuentes. Calling member Julie O'Dell.

Here.

Thank you. Calling member John Perez.

Here.

Thank you. Calling member Hugh Ryan. Calling member Jordan Trachtenberg. Okay, we do have Quarrel.

Thank you very much. Did everyone have a chance to review the minutes? If so, is there a motion to approve, or are there any corrections or additions? Mr. Prieto-Minos is present now.

And we're waiting for a motion to approve the minutes.

So moved.

Second.

Thank you. Any discussion on the motion? All in favor say aye. Aye. All opposed? Motion carries.

Are there any changes to the agenda? At this time, there are no requests for changes to the agenda.

Great. Do we have I guess we'll move right into the agenda. So staff will announce each agenda. The applicant or appellant will come forward, give your name and address for the record. We'll then have the staff report, after which the applicant may respond. When you have completed your presentation, if you need one. We will open up the floor for members of the public to make comments. I'll ask you to please limit your comments to two minutes or less. And everyone has had a chance to speak once. Once. We will close the public hearing and open up to the board for questions and comments among themselves and to whom they may direct a question or comment. So with that, we start with item number one.

Thank you. I'm just asking, are we able to close the online public comment? Yes. At 3 p.m., there were none. Thank you.

Thank you.

Calling HEP item number one, file ID 16802, a resolution of the Miami Historic and Environmental Preservation Board. pursuant to section 23-6.2, subsection B4 of the City Code of Ordinances, approving or denying a special certificate of appropriateness, SCOA, for a property located within the Spring Garden Historic District to permit partial demolition of a contributing structure, the construction of a two-story addition and site improvements at a property located approximately at 834 Northwest 9th Avenue, Miami, Florida 33136, further incorporating the attached analysis in the staff report entitled Exhibit A with the following findings.

Is the applicant present? No.

I reached out to them yesterday and over the past few weeks. They've been made aware of our recommendations. They are currently out of the country and do not have anyone to represent them. I let them know we're going to continue with our recommendation for denial. This was deferred for six months. No changes were made to the application.

Okay. Yeah. Is there anyone from the public who wishes to speak on this item? Seeing no one.

So this is the original home, Spring Garden Historic District. They are proposing a second floor addition, or rather proposed. Yes. We had recommended various changes in the end to the windows, to the parapet on the first floor.

To match the second floor.

Yeah, they were removing other wing walls, the front door. There were various changes and various recommendations to the project, and so they had decided that they would come back with a brand new design, but they never uploaded anything, and nothing was provided to us.

So having no input from, were there any online comments for this? One sec.

Any online comments?

There were no online public comments for any of the items.

Okay, thank you, that makes it easy. What's the pleasure of the board? I move to deny.

I second that.

Motion in the second, is there any discussion on the motion?

Well, I'd like to ask staff, I mean, I was there when this project has several severe problems when we denied this. It's come back like, I think it might be the sixth time I've seen the drawings come back. Is that normal to have people just come back again and again and again with zero changes? Is there any penalty or they just can just keep doing this over and over again?

So as long as the board is willing to entertain, right? So it's at the discretion of the board to make a motion. They... waived their 60 days. So it's really at the discretion of the board to make that determination. There have been ongoing discussions between the applicant and staff. It's not that they didn't know that they were on the schedule. It's not that they didn't know. And here we are.

OK. Thank you. Any other questions or comments?

Actually, a question for Steph. Would this benefit from a denial on a certain basis or is just a straight line denial enough? Are you concerned about an appeal?

So all of your denials should include why they're being denied.

Then I'll amend my motion to note for the record that my intent and my reasoning for moving to deny the item is on the basis that The drawings presented are materially unchanged from what was presented previously, and the proposed works for the house are not in keeping with the historic district and are detrimental to the historicity and character of the historic district and property individually.

And the seconder of the motion agrees?

I'll second that.

Okay.

Can we have a roll call, please?

Calling member, my apologies. And just to clarify and for clarity of the record, is that a still a motion to deny? Yes. Okay. So calling member, Vice Chair Luis Prieto y Munoz?

Yes.

Calling member Najeeb Campbell?

Yes.

Calling member Christopher Cauley?

Yes.

Thank you. Calling member Julie O'Dell? Yes. Thank you. Thank you. Calling Member John Perez.

Yes.

Thank you. Calling Member Robert Powers.

Yes.

Okay. And calling Chair William Hopper. Yes. Thank you. This passes by a vote of seven to zero.

Seven to zero.

calling HEP item two, file ID 18995, a resolution of the Miami Historic and Environmental Preservation Board recommending to the Miami City Commission approval of an ordinance amending chapter 62 of the Code of the City of Miami, Florida as amended city code titled Planning and Zoning, more particularly described by amending article 16, I'm sorry, by amending Article V1.1, titled Historic and Environmental Preservation Board, and Article 16, titled Art in Public Places, to modify board appointments, making findings containing a severability clause, and providing for an effective date.

Okay. Who's going to take it?

Savan Steiner, Assistant Director. So the PowerPoint is coming up. The purpose of this legislation is that there is a 30-day notice requirement prior to making any appointments to the Art and Public Places Board and the Historic Preservation Board. That advertisement has to run in the newspaper and or on the city website. And then after that, appointments can be made from those who are actually applied during that time period. Give my computer one second to catch up. I can go through the language and show it to you. But essentially what this legislation does is eliminates that advertisement from both the AIPP process and from the HEP process. So commissioners will be able just to appoint directly or people can apply. with applications to the clerk's office, those are then distributed, but we essentially just won't have to run the 30-day notice anymore. There were a couple of things that have been done, including the clerk updated chapter two last year, so that appointments are now done on a quarterly basis, and so this kind of more aligns with that as well. Hopefully it'll catch up in just a second.

Can I ask a question?

There is one other part of this legislation. It does change the number of members to the HEP board. So currently now there are nine members with a 10th alternate member appointed. So this changes it to 10 and gives each commissioner two appointments to the board. And then it allows the mayor to appoint the alternate. So this is the language. This is in Chapter 62 for AIPP. It's, again, no appointment shall be made without the 30-day notice. And then, again, for the HEP portion, we're eliminating the 30-day notice requirement. we're increasing the number of members from nine to 10. And that allows each commissioner to have two members and the alternate member to be appointed by the mayor. We did a little bit of audit review. Of course, chapter two was changed to only allow for quarterly appointments in March of 2025. So this better aligns with now the quarterly appointments of board members. Most board members actually sourced and appointed by their commissioners. I don't know how many of you actually answered a 30 day notice in the newspaper. And then attendance is reported by the clerk's office and is available to the commissioners if they ask. It's also available on the website. So just a little bit of better alignment with what some of our other boards and commissions are doing. Each one of these ads cost approximately $8,000 to run between our various newspapers. So it also additionally saves that money from the city. This is the timeline. So it has been approved by the Art and Public Places Board. PSAP has also done a recommendation of approval, so it's now. It's on future legislation for April 9th, and then first reading is April 26th, and second reading and adoption is May 26th.

The 23rd of April.

That's everything. That's all I have.

Any questions or comments? Mr. Powers, I believe you had a question.

Yes, through the chair.

So can any commissioner fill in empty seats, or are they only allowed the two that they're allowed to fill?

And if a commissioner doesn't fill board seats, does that mean that the mayor can fill the board seats?

I'm just asking. So sure, commissioners can choose not to fill their board seats, and we have in the past had commissioners who have chosen not to do it. So that is their right to do that. Typically, I mean, somebody can always proffer or put forward a resolution to appoint somebody. That doesn't mean that it will necessarily be adopted. You do not have to live or work within the district that you represent. Correct. So the commissioners are allowed to, you know, appoint somebody from outside their district.

No, I just wanted to ask that. Like, because for instance, like the art in public places didn't have appointees for many, many, they couldn't even have a meeting. They didn't have enough members on that board to even have a meeting to have to do anything. But could other commissioners fill that board if a commissioner, say, from District 5 decided not to fill those seats? Can another commissioner say, I'm going to fill those seats if you're not going to fill them with somebody?

So that board works a little bit differently. I'm just asking. That board works a little bit differently because each commissioner only has one district appointee. And then the remaining members are all at large. So it has a large number at large that can be appointed. by any elected official. This board is a little bit different in that it's two appointments per commission district and then one by the mayor.

And there's not one by the city manager?

No.

No, okay. Some boards the city manager fills, correct?

I believe that is the case. We do not have any of those in the planning department.

No, this isn't like to get anybody to fall into a trap. That's not why I'm asking. because we do sometimes not have enough board members on this board where it's completely filled. I mean, we've had a couple people who showed up for one or two meetings and then never came back, you know, which is kind of tragic in a way, because they were good board members. And it's a shame that they're not here, but whatever. And I just wanted to know if I should go and ask another commissioner to appoint somebody to that position. Because there's plenty of people out there that want to serve on board. Some of you people should think about sitting on some of these boards. You bring so much business before this one.

At any rate, thank you. That's all I wanted to know. Any other questions? I have a couple.

Thank you.

So my question is, how does this affect, first of all, a tie vote if there were 10 members present plus the alternate? Would the alternate decide the vote?

The alternate member can only vote if there is another board member that's missing.

Right. So it would always be a maximum of 10. So there is a possibility of a tie vote. And my second question is, how does this affect our supermajority requirement for designation?

It would, I do believe it would increase it by one.

Two? To what number?

Seven, right.

So supermajority is defined as majority plus one. Florida law.

My question was, is it of sitting or of appointed members? Like present or appointed?

Yeah. Those would be present. That's correct.

But assuming everyone were present, that would be seven rather than six. That's correct. Wow. Okay. Any other questions? Motion to chair.

Okay. I move to approve the resolution as presented. A second? I'll second that.

Any discussion on the motion? We have a roll call, please.

Calling Vice Chair Luis Prieto y Munoz. Yes. Calling Member Najeeb Campbell. Yes. Calling Member Christopher Cauley.

Yes.

Thank you. Calling Member Julie O'Dell. Yes. Calling Member John Perez.

Yes.

Calling Member Robert Powers. Thank you. And calling Chair William Hopper. Yes. Thank you. This passes by a vote of seven to zero. calling HEP item number 3, file ID 19021, a resolution of the Miami Planning Historic, I'm sorry, my apologies, of the Miami Historic and Environmental Preservation Board pursuant to section 23-6.2, subsection B4 of the City Code of Ordinances, approving or denying a special certificate of appropriateness, application for after-the-fact alterations on a contributing property located at approximately 337 Southwest 10th Avenue, Miami, Florida, 33130, further incorporating the findings in the analysis attached herein as exhibit A.

Is the applicant present?

Please give your name and address for the record. Yeah, my name is Eve Trokel, address is 337 Southwest 10th Avenue.

Thank you, and we'll start with the staff report. Gabriel Villares, a planning technician. City of Miami. Yes. Well, the request is for the section 23-62B4, City Code of Ordinance. Requesting a special certificate of appropriateness for after-the-fact alteration for a contributory property located in represented historic view. The applicant is requesting to retain non-conforming stucco works, windows and doors. The windows and doors are not conforming impact windows in multifamily residential building. The stucco work was permitted. The applicant requested building permit was approved. HEP was never flagged. The work was performed and the stucco work was removed. The building lost all its historical elements. recommended the work, sorry, we found that the request do not comply with all the PICARI criteria and the request for a special certificate of appropriateness, the retention of the existing window doors and stucco, we recommended a denial pursuant section 2314, we recommend a denial for the special certificate of appropriateness.

Do you want the staff report entered into the record? Sorry? Do you want the staff report entered into the record? Yes. Thank you. Approved. Okay, your turn.

Hey, everybody. So ownership purchased the property knowing that there were outstanding issues with the city of Miami. We've made every good faith effort to bring the property up to compliance with city of Miami standards and all other applicable standards, all other applicable building standards. During that process, ownership found that the property was within a historic district. and has been working with the city to try and come up with some sort of a solution to move this process along for us to be able to call for our final inspections and close out the pending issues that we have with City of Miami. In terms of the windows, staff was not able to approve this without board approval, but we floated the idea of installing mullions to bring the property's windows more into like a historic, to look more historic and reflect the characteristics of the neighborhood. In terms of the stucco work that was performed, the work was performed with a permit. We've, again, made every, we made good effort to try and approach the situation the right way. We got approval from the city of Miami for some reason. We don't know why the historic department wasn't flagged and the stucco permit never went through historic review. The work was done with the permit, had inspections, and at no point up until we were discussing with the city the issue of the windows where it was the stucco flagged as being inappropriate. We looked around the neighborhood as well to try and see other properties in the area to try and make sure that the building would reflect the characteristics of other buildings within the neighborhood and found a bunch of other properties located within the historic district to have smooth stucco as well, as well as impact windows that were installed. Even one that was a relatively new construction that was built around 2008 that had impact windows and smooth stucco as well as some sort of artwork design on the outside of it.

If I may, my name is Emile Troquel. I'm one of the owners as well.

Can you give your address for the record, please? Sorry? Can you give your address for the record, please?

337 Southwest 10th Avenue. Thank you. I'd just like to take you folks through the time frame and the timeline of how this all transpired, which I think is important and very pertinent in this situation. When we had purchased the property, the property had several violations which we came in to cure. The way that we were curing it is obviously we had to pull permits. We pulled all the necessary permits as prescribed by all the agencies. We had inspections where the inspectors came out, they inspected the work. We had the final called in, which they came in, everything was approved. At no point during that whole process was there ever a flag that there was one discipline that did not review it. Now, we could do our part, but we need the cooperation of the other part in order for them to be able to review it because we had no idea that this was even in a historic section. Otherwise, we wouldn't have done the stucco the way that we did it. Had somebody told us, or had we been apprised, we would have done things very differently. We're not here to challenge the laws. We're here to comply by it. And it's evident because we pulled the necessary permits. We called the necessary inspections. We got the necessary final approvals. Then in the 11th hour, we find out that, oh, this is not acceptable. You guys need to recreate everything that you've done. That's a big deal. I mean, there was a lot of time and a lot of effort and a lot of money that was spent trying to cure and right a wrong ship on our part. So we are here simply because it was never presented in a fashion where we could even comply with. We were doing exactly what our plans called for, the way our plans were approved. Now, in a step of good faith, we are here today to try to see how we could cure this reasonably. That's it.

I mean, it's really that simple. Thank you. Is there anyone from the public wishing to speak on this item? Seeing no one, I'll open up the board for questions or comments. Beginning with Mr.

Powers. One of the things I'd rather be at the end. Can I ask, so what year did you pull your permits?

What year? Yeah. The... I think it was December 2025 the permit was pulled for the stucco work.

When was the historic district created? I'm sorry? When was the historic district created? Off the top of my head, I don't know. I would have to... So did you see any of this prior to it getting this far? 2015.

No. So we were not, again, this is a situation where they acquired the property. They were rectifying violations. They actually pulled a permit to do the stucco work, which they're not required to do. And we were never flagged. And so it moved forward without our review. And so we're... I can't, as staff, just say, sure, go ahead. The idea is the board has to approve either if the board feels that it can stay this way, or we've given what we believe to be a modicum of minimum requirements in an effort to make the property appropriate historically.

Okay, so having stucco redone doesn't mean that you remove everything off the building to do the stucco. So that's one thing. So essentially you bought a building built in the 1920s and decided that you wanted to make it look more like the 1950s. And in an area that's a historic district. And unfortunately with this board is we don't care whether you knew or not. should have known you should have found out what whether it was in a historic district or not because we get faced with that all the time my personal thing is to follow staff recommendations I mean you can take your time restoring the facade of that building I don't know what to tell you about the windows because that comes before this board so whoever who gave them permission to replace their windows the windows were done prior to their ownership it was not approved by by staff Okay, so part of the problem that this board has is that when you guys buy these older buildings and stuff like this, there's supposed to be a whole step-by-step process that you go through, and one of them is historic preservation. For anything, I would just say any building over 50 years old, everybody should go to the preservation officer just to find out if that property is a contributing property or falls into some inane thing that you've got to do. And we've had homeowners have had to tell homeowners that they had to remove the windows that were put in and replace them with the time appropriate windows for that period of time. So I don't think that you're going to get out of that here with us, even though you bought the building that way. That should have been part of the due diligence of the property. I hate to say it, gentlemen. I just hate to say it. It should have been part of the due diligence of the property. And when you say you go through all the disciplines, one of the disciplines is historic preservation, whether you're in a historic district or not. I'm just saying. So I know that they can work for you, give you time. You know, you can do this over a period of time to rectify the situation. But if nothing, if nothing else, you should at least attempt to do the facade appropriate to the historic, like put the arch back in, those kind of things, and try to put as much of the old fluting and all the other things that are on there. There's quite a bit of architectural detail at the top of the building. There's also that architectural detail across the the top of the thing. There's also a cartouche where the name of the building would have been many, many years ago.

If I can interject, I do want to make it clear that we've had numerous conversations with the applicants. I think... I have actually asked them to wait to do any restoration work until they've come before the board. So they're eager to work with the board. And I just want that to be very clear.

I just want to make one point here.

I just want to make one point.

We're not here under the auspices of ignorance is bliss. By no means is that why we're standing here. Otherwise, we had suggested prior, fine, if this would satisfy you guys, we would do it. This has nothing to do with me knowing or not knowing. This has to do with we followed the appropriate steps that was required by law, but that's set forth by the city. So whichever department had to review it, I mean, we can't force them to review anything. So it's not where I knew or I didn't know that it was under HEP, it wasn't under HEP. HEP should have opined on the license, the permits that we were going out for. I mean, that- Thank you, I think you made that point before.

I'll ask you to hold your comments till the end.

Okay.

Ms. Odell.

I'm actually in agreement with Mr. Powers. I don't understand how the windows could have been approved. Were they red flagged? Was the property red flagged because of that? Because the windows didn't get approved properly? Because you said there were problems, violations, I think you said, against the property when you bought it? No, we purchased the property with violations.

I'm sorry, have you given your name and address for the record?

Gabriella Rodito and my address is 495 Brickell Avenue.

Thanks. Is it possible for one of those violations that the windows hadn't been properly permitted or approved?

Yeah, so the property had a ton of violations and we met with the city of Miami and we went through a process with Taylor Reed and he explained to us everything we needed to do and we followed that process.

But I asked you a question about the windows. Was that part of the violation?

Yeah, yeah, it was.

Okay, so you're asking for an after the fact permit for something that was not properly, it didn't get through the right channels. You bought it that way. You should have found this out in due diligence.

So we did not and that's our mistake and that's why we're here and that's why we're trying to work with the city. So we had different ideas and the city shared with us when we met with Ken that he thought that we could put on, was it Mullins? Is that what it's called? Mullins on the windows, which we're ready to do if that's approved by the board. And I think the city also recommended that we put on the fixtures back on the building. and the architectural details, and we said we have no problem doing that. We just want to make sure doing those two things, would that be sufficient? Would that be okay?

Okay, I'll leave that up to my architect people here.

Mr. Cauley.

Thanks very much for presenting all this information. I guess I look at this from a little bit of a different tact based on everything that you guys have mentioned. In a scenario like this, I'm curious what commonsensical and reasonable remedies could be made to the front of the building to bring it more in line with previous historic character I don't know if that's possible. I'm a landscape architect, not a building architect, so I understand that the rough stucco has been made smooth, right? And there's two historical pictures, I think, in our staff report. Let me just give you an example. One of them has awnings over the windows. It seems that along the perimeter of the top of the building previously In both historical pictures that we have, there was some sort of trim. Curious if that could be treated or painted in a way. I'm just curious if what we could do as a board, rather than be stuck, if there was any common sense suggestions that could be made in a case like this. And those are my thoughts so far. And then I would just like to hear what our other board members say too. Mr. Campbell. Thanks.

Hello. The timeline of the permitting, so you bought the building after the windows were installed, correct?

Yes, that's right.

And Ms. Odell just asked about the violations listed after you purchased the building, and one of them was windows not approved, correct?

I think it was just work without permit in general.

This is very important for me to clarify.

Sure. When we purchased the property, the violation was listed as work done without a permit. And then there were a series of photographs that were presented from the unsafe structures department that we went through with them, which we brought to our design professionals. And our design professional then created an after-the-fact permitting plan in order to get all of the work that was previously done by past ownership approved.

I understand. So the reason why I ask is because if there was a specific violation for the window being unapproved, unapproved by whom, then that would be staff or the start board. But if it didn't specifically say that, then I can understand why you didn't realize what was going on. Now to the next point, the design professional, do you mean an architect? What was that professional person's?

So I think if what would be good, if you have the work without permit violation so that the board could see it, So there was never specified that the windows were not in compliance. The violation that the building had was work without permits because there were work that was done in the building, I believe both interior and was there any exterior? Okay, interior work that was done, work without permits. And they had photos of, like, wood that was taken out. So we had our design professional, meaning our architect and our engineer, do drawings after the fact. The city approved it.

Okay.

That's the extent of it. There was never any, like, one thing that was specified. I understand. And we went through it with the city, line by line item. And I think Eve could also tell you the people in the city that we went through it with. Okay.

I understand. I understand. So everything was lumped. And I repeat, the reason why I wanted to figure this out is because if it was specifically listed Windows not approved by HEPB then... But it wasn't. Everything was just lumped together as not done with permit or done without permit. Correct. It was worked without permit. I'm good with that one. Okay. And yes. So that's that. The next thing is do you... Do you realize what was lost from the building?

I'm sorry, do we realize?

Do you realize what was lost?

Well, now understanding, you know, from hearing the board, yes, absolutely. It's the integrity that you want to maintain in the neighborhood, which we were perfectly fine with.

I'm getting a little more specific on the building itself, like the particular parts of the building that were struck off by the stucco worker or stucco activity.

I went to the city to meet with Ken so that he could explain to me what needed to be back on the building, and maybe it would be the awnings that stripe across the top. The holes still remain, but Basically so that it looks more like what it looked like before. He went through with me.

My questions are going to be quite specific. So were you the ones who hired the stucco workers? Was amongst this group here?

Yes, I did.

Okay. So the reason why I asked, if you understand what was lost from the building, you hired a stucco worker and they either struck things off or covered things over. And that was done by you hiring them to do this. So when these workers arrived at the building, they were given carte blanche. They could just stock all the thing. No instruction was given. you can do this or you can get rid of that or they were autonomous workers.

We went to the city and we opened a stucco permit.

Forget about the city.

And it was approved. So yeah, they were just giving carte blanche. We said, we need you to stucco the building. What kind of stucco do you want? Do you want this rough, Rough is actually less expensive, but I was trying to make it smooth to make it look nice. So they did smooth stucco. So they did cover things and make the building look as smooth as possible.

Okay. I particularly am not, you know, really hung up on smooth or rough. But, you know, this should be based upon the historic nature of the building. But the fact that the workers were there, I was trying to figure out if these guys were doing the stucco work, saw things and just went over, or they were given carte blanche, don't worry about this, don't worry about that, just do what you need to do. And that's why I'm asking you, are you aware of what was lost on the building, or were you just, you had no idea, and you just hired guys, they worked, and that was it?

No, we were not present while they were working.

Okay, so you realize that mistake, correct? Well, the first mistake, I think, was with the design professionals. who assisted you, because any architect in the city of Miami should have a certain purview and think, okay, maybe this might be a historic building, let me help you guys check on this or that. So that design professional failure, that was the first failure. The second failure is not realizing the parts of the building that are historic and giving these workers complete autonomy to do what they want, except to make it smooth. So I'm trying to bring your consciousness up to the level of what was lost, because you may purchase another building like this. Well, after going through this, you won't do this again. Won't happen again. Right. So, you know, the parts of the building, the awnings were there because historically those openings were not windows individually. Those were probably open porch areas, right? Or easily adjusted windows to open up to the front yard. That's why the awnings were there. Now, It's filled in space with maybe two windows in front of each. That wasn't the case back then. To return the awnings may not be the best thing because the architecture has changed. The interior dwelling style has changed from a porch-like outdoor to now completely indoor. The awnings are not the right thing to replace, maybe not. The horizontal banding and the two nameplates Those were either struck off by your stock of workers. To strike those things off, you have to use a chipping hammer. It takes a lot of effort to destroy those parts of the building. That's why I was really interested in what was happening with these guys when you hired them. Do you understand?

I think they covered it because I drove by a few times, and I don't think they struck it off. I think they covered it.

okay so by covering that it's a lot of thick stucco work to cover over those things not only to this is the facade of the building then the protrusion to then fill it cover it and then another layer over it then there's a lot of stucco you know so i'm not sure how recoverable that will be, you know, or even an artisan that can replace those two nameplates in an appropriate fashion. So that is a possibility. Are you open to doing these things?

Yes, I was speaking with Ken about replacing them, having similar nameplates made for Alpina and putting it back on the building.

But you can't just buy stuff and just throw it on.

No, I know. Trying to make it look as similar as possible.

Right, so you have to have... The mistake you made by hiring those type of stock workers that just covered stuff over, don't do that to hire whatever masonry workers can replace those things really well. Because not everyone does the right work properly. So if we were to make requirements that these things will be replaced, It has to be done properly, and you have to hire good people.

Well, Mr. Campbell, if you'd like to recommend a company or a person that does it, I'd be more than happy to use them.

Okay, so long as you're prepared to go through that process. The next issue is, this may have happened before your purchasing, but it would be good to think about it also. There are walls by the staircase in the original photograph. Do you see that?

Where?

In the historic photograph, you have the central stair, and then you have two low walls hugging the stairs.

When we purchased it, they were not there.

I know. But like I said, this might have happened before. But those two low walls hugging the stairwell, that's another thing that's missing. And the two lanterns on either side of the entrance, there were two lanterns there. And last but not least, the fencing that you have in front of the property right now.

Rot iron?

It's not really... Rot iron is when you rot the iron. This is just aluminum, cheap, good point. If you were to do a much more amenable fence...

I'm willing to remove it if you would want us to remove it. I don't have a problem.

Yes. So I'm willing to... pending other discussions with other board members, we have allowed people to put in the mullions for their windows. Especially since this is post or pre-purchase value. And to re-invigorate or to re-add the elements I talked about, and then add the half walls for the stairs and get rid of that awful fencing. I am willing to move forward, but let's see what our other members have to say.

Just to be clear, you want us to put that wall back up that you showed in the picture?

Just the two walls that embrace the staircase, because the point I'm getting to is that so many things have been removed that whatever you can replace, even if it happened before you purchased it, will help

I actually like it like that, and I have no problem doing that. I actually have the perfect planters also to put. So we don't have a problem doing additional work as long as it's reasonable. If it's just removing the gate or the fence, putting up those... I mean, I just also have to... Could somebody just go back to... How far out do you want us to come with regards to the stairs on that wall?

Exactly where it was historically. Okay, and where could I get a photo of that? It's right here in the set. Okay. Yes. Okay.

And that was done so people wouldn't fall off the steps. Because that property is about four feet above ground, if memory serves me. Because I drove by it. About four feet off the ground, isn't it? That's reasonable.

That's fine. Yeah, we don't have a problem with that.

Okay, good.

Campbell, pardon me. Yes, and the last line of the new gate that you have, that aluminum thing, if you look at the historic photograph, it was almost like a beautiful lawn in front with actually no border, no barrier. And I understand nowadays security is an issue, but a nicer and lower one than that cheap aluminum pointy thing you have there.

Hold on, we're not putting up another...

Okay, so you had plans to get rid of that iron, aluminum thing?

We don't have plans to do any of it. Right now, we're just trying to come up with a solution that would satisfy the board, that would be reasonable for us, so that we could all move on.

Right, so I'm suggesting that gate system, that fence system you have there now is extremely ugly. and it takes away from the building and impacts all the points we have been making here. So if you were to remove that as a condition, that would be a very good thing.

Speak into the microphone. Speak into the microphone, please.

Sorry. I said the only reason why we decided to even keep that up was we thought that it would just be common sense would be that it would be a little bit more protection and security for the tenants. But if it violates historic, no problem. We'll remove it. At the end of the day, I think we're here fighting the same fight. I don't think that any of us are disagreeing on any of it. We just have to come up with you know, reasonable terms that we all agree with. Right.

We're getting there. We're there. So, well, pending. So you don't have to get rid of fencing, just that one. And you can put hedging if you do a 42-inch, which is, I think, basic requirement, 42 to 48 inches. If you do that and then add some hedging, good landscape hedging that can be suggested, it would be a perfect solution.

Mr. Campbell, can I just leave nice grass and take it out and nothing in front? Would you prefer that? I would prefer that.

Well, you're owners and you have security issues. You're going to have tenants. That's up to you. But either something lower with hedging or without or completely gone is fine with me. Okay. Thank you.

Mr. Perez.

I have a few questions. I agree with a lot of what my colleague discussed. I have some specific questions, and I think this goes to some of the information that was presented. I see here that the original permit that was pulled was for stucco repairs. to be wrong, I'm just playing devil's advocate here, the representation or saying that all the permits were pulled to do this work, I don't think it's entirely accurate from where I'm looking at it because it looks, and please correct me if I'm wrong, that a stucco repair permit associated with the unsafe structures violation was pulled. And my question would be, do we have access to the specific drawings that were submitted as part of that application. Because I see that the only reviewer, the only reviewer in that permit was unsafe structures and building, which leads me to believe that the scope of work that was written into this application was minimal and general and only would cover stucco repairs, not overall stucco of the building, meaning a repair wouldn't necessarily mean removal of elements that are on the building. That's one point I want to make. The second point is work without a permit usually is given out, and what that does is it burdens ownership to prove to the city that there were permits for all the scopes involved, and then done without a permit. It then goes through a review process where everything's reviewed by all the different trades, which is why I assume you are here, because now is when it's actually flagged. So making the argument that somebody put them in beforehand and even providing some consideration that they didn't specifically site the windows I don't think it holds as much weight because essentially the city inspector sees work without a permit. Oftentimes they do cite individual violations that they can identify, but most of the times they take photographs and then they say, come prove to us that everything's done appropriately. And then all the reviewers then request all the microfilms and all the original permits, which I don't see a window permit for this. So, although I sympathize with an owner that buys a building with existing windows and I understand why you may not want to replace them, it's kind of a difficult argument for me to process because it just means that people, and not you, I'm not saying you did it, if people out there simply replace windows and then it just changes ownership and somebody new comes around and says, it wasn't me, give us a break, then other people are going to do it. Well, people do it a lot these days, but by us accepting this, I worry about the message that we would give out to the public that this is kind of a way to work the system. And I guess the last comment, again, I sympathize. The last comment I wanted to say is I agree with with the concern with the stucco, I think that turning, I'm an architect, I'm a builder, I'm a developer, so I understand the process. I think that turning this building into what it was turned into was much more difficult than simply repairing the stuccos. So my question would be, who specifically provided the directive to the stucco workers of your team to do the work that they did because I believe, through my experience, that it's a lot more work to get to where they went than to have simply repaired the corners and applied corner bead and then just replaced the stucco, especially as a permit that was pulled to repair stucco associated with an unsafe structures violation to simply seal the building. So it was just my, I mean, It's difficult for me to say this, again, I sympathize, but I think that allowing for this to happen would send the wrong message, and just saying, well, it's done, so can we just add a couple moldings and just kind of get on with life for a couple months? I worry about what that will do to future people that might end up in this situation. That's...

Thank you for that, and points well raised. I just want to address each point that you had suggested. Your last point, I'm going to start with your last point, and then I'll walk my way back. Your last point was with regards to the stucco.

As one developer to another, you're probably a bigger developer than I. I'm not even from Miami.

You are right. But I could give you several addresses that we've developed where we don't just go in there and we don't only look at the dollars and cents. We try to make the best living environment for the tenants that we're going to be bringing in. So if it's going to cost a little bit more money, we're going to make it up in the long term. And you're right. In order to fix that stucco, we could have spent literally a fraction of what we did. Had I known, I would have done it differently. I could have just put, excuse the expression, but like lipstick on a pig and it would look just fine, and it would accomplish the same purpose.

But we don't do stuff.

We don't do work like that. And hence, this is why I could have purchased the building, and I could have left it the way that it was, and I could have just rented it out if I was just, you know, sort of like a slumlord, but we chose not to because we do the right thing. Your second point you had mentioned, and which is a very good point, And I respectfully have to disagree with that because, like you said, when an inspector comes in, I had an inspection on one of my properties where it had nothing to do with electric. It had to do with... What was the guy that came in for it?

It was for electric. No, it wasn't for electric.

It was for something else.

Another discipline came in, and he had noticed that the lights that were installed, and again, this was something that the trade had nothing to do with electric. He came in, he noticed that the lights were the newer type, because he said that the lights looked new. And I said, well, nobody changed the lights. But apparently, from like after 19-something, came these type of lights, and there were no permits that were issued. And he had nothing to do with electric. But you're right, when an inspector comes in, he sees each different items, and he's able to call out, even if he's the plumber, and he sees something that's deficient, he's in within all the rights in order for him to say, that's not right, you need to correct it. And it took me another two months in order to get the drawings done and to correct that. So, you know, I don't think that it's after the fact where it opens the door for people to do that. I think that if the inspectors are coming in and doing what this gentleman that came in did, and they're following, you know, and they're doing their job, it's called out, and the investor, the developer, the owner is, you know, has the opportunity to go in and to rectify it. But I don't think that it's fair to say, well, you know, if we give you the, especially after following the protocol as I had gone through with you guys, for you to just say, you know, well, it's going to send the wrong message. Because it really doesn't send the wrong message because we took all the necessary steps and we did have inspectors come in and nobody said anything about what we are still willing to, you know, take the effort, take the best effort to try to rectify. So... I agree, I understand what you're saying, but I don't necessarily agree with it. And the first point, I don't remember what you said.

For the first point, you said that the permit was only issued for stucco repairs, but I have a survey and what we put in and it shows stucco all around the building and it was approved. Do you want it?

I'm happy to look at that, but unfortunately to me, looking at a survey with a couple of call-outs, I understand, but these are stucco repairs, not removable moldings.

You'll need to speak into a microphone as we're being broadcast.

So this is a plan that has call-outs of stucco work. Stucco work, like a scope as limited as this would tell me that it is repair of existing stucco, not removal of moldings, infill of different reliefs in the building. If there is an elevation, for example, if there's an elevation of the building that's specifically called out removal of molding, removal of lettering, then I wouldn't be able to make a single argument here against this. But pulling a a stucco work permit associated with an unsafe structural violation, it's understood, and I guess that's the point that you're making today, that the stucco work related to that is in service of making the building safe again, not removing or adding in stucco or removing moldings. So it's just difficult for me to accept that the removal of moldings or the infill of a historically designated building should be acceptable based on a stucco repair permit. That's my opinion. I mean, I don't know.

No, well, I understand what you're saying. I didn't know that it was a historic building, so I wasn't watching to tell them, don't take this off. I was just trying to fix the building. And again, I'm willing to do what Mr. Campbell basically suggested, to make it look historic again.

We'll get to that. Mr. Prieto-Minos.

Thank you. I think this point's been well articulated by my colleagues. I won't belabor this too heavily. I will dwell on one portion. You all seem very well-intentioned, and I do gather from the process that you presented today that there was nothing untoward or nefarious with the process that you undertook to get these approvals. You went through a permit process, which is much better than a lot of the items that we've dealt with with this sort of situation. But that said, if we granted... after the fact permits without modification to every applicant who came to us saying that they were ignorant of the historic district, it would be virtually every project that we address. And the problem is that, as we all know, ignorance of a law doesn't absolve us of having to comply with it. So here we are. You guys now know it's historic. What's been done has been done. I think the path towards remedy that was presented by Mr. Campbell and Colley is a good one. You seem amenable to it. But I do think it's really, really critical that as we proceed through the next steps of articulating what an approval would constitute for you, Mr. Campbell, which I think you certainly are in the driver's seat of this wording, it is critical that we do reflect that whatever concession is being done here is to bring back the historical integrity of the facade of this building, which was unquestioningly marred by the processes undertaken by the applicant. And likewise, that we are not giving credence to the notion that there's any consideration given to the fact that there is validity to ignorance of the historic district as a exculpatory factor in this matter. I think that's the most critical component, because this does come up a lot, and I appreciate where you're coming from, but there are a lot of resources in the city, and a deep due diligence dive would definitely show you it's historic. If you go to the city's GIS and look at the zoning layers, it says historic, it's flagged. So it's just lesson learned for the next city of Miami development that hopefully you guys do. And, you know, Mr. Campbell, I think, well, obviously after Dr. Hopper articulates, I'm sure he's inevitably... Articulate points we we need to I think get the wording right on whatever mechanism we intend to implement to approve it But from what you said, mr. Campbell, I think you're right on So the recommendation for staff is is a denial but the option exists for us to approve with conditions Are you in agreement with the conditions presented by staff listed here?

These three conditions plus the one I guess the two that mr. Campbell suggested the removal of fence and the installation of the two walls.

So the removal of the gate, putting up the sign with Alpena on it, correct? Mr. Campbell?

Do you want me to read staff's three conditions?

Yes. Yes, I'm actually reading them right now.

So the applicant shall comply with all requirements of all departments agencies as part of the City of Miami building permits middle process to legalize any work that is outstanding. The applicant shall apply appropriate pattern and profile muntins to the windows, And the applicant shall restore the stucco texture and ornamentations to the facade, including the rough texture, building identification signage, sills, engaged pilasters, and ornamental banding.

I'm sorry, I don't mean to interrupt, but I just want to be very specific here because I don't want to continue to do work. So when the only... When we had... When we had the Zoom call, I think the only thing that was brought up was the texture. And we were thinking about, okay, what would be the solution to do the front, to do the side, to do only one side, two sides. But now I think we're expanding the scope here where we're saying, you know, we're putting that.

Am I mistaken, Mr. Campbell? We're not touching this, like whether it's rough or smooth, correct?

No, we are.

I'm going to address that. I was waiting for your response to the question. Are you finished?

Sure, yeah. I'm just trying to take notes so I know what we're going to do and what steps we're going to take to be able to.

So I'm going to comment on the three conditions. I'm good with everything. To restore the rough stucco texture, it's already been layered on thick. cover over the elements that were there before to add to recreate the rough texture will add another layer of thick stucco so i'm wondering how appropriate that would be and i think the historic elements would look just fine with the smooth stucco and so that's the only part of the third condition i would amend in terms of having to replace um the stuccos because of the fact that it's already been done and would even hurt the building even more, not because it's okay to not have done it.

So the condition should read, the applicant shall restore the ornamentations to the facade, including the building identification signs, sills, engaged pilasters, and any ornamental banding.

And the stucco will...

then we're going to add a condition that the fence will be removed, and the applicant can either have a, they can apply for an appropriate fence, or they can do a hedge, that is on them.

Yes, yes, because I think you're going to need the security, even though you don't want it.

You wish for it to be removed, and that the cheek walls to either side of the stairs shall be restored based on the historic photo. That's it. Okay, and awnings, favorable, unfavorable, what? So those, you are correct, those were open porches. They have been substantially altered over the last hundred years. The change of the actual punches have been substantially altered. So again, it's the board's agency to do that. It was just something that had been discussed.

I'm not attached to the awnings, so that can... be removed now and I would like to add at the layer of the comments mr. chair Peter Munoz said about the you know the the intention of not wanting to approve things based upon actions out of ignorance but to the fact that we're making it amenable due to the fact that well I would like to add this There are so many of these mini apartment buildings in Little Havana that are abandoned and need work. It would be, to me, not good to chase away this particular group and force them through an extremely arduous process. I'd rather have the building saved, repaired, done properly, and brought back as close as possible.

Although I agree with you, I think that would be outside of the scope of a motion.

Okay.

But how does the rest...

It's on the record. Okay.

Yeah.

True. All right. So that's the motion.

I second the motion. Yes.

I have a motion and a second. Is there any discussion on the motion? No.

Just briefly, I would, on the topic of the awnings and on the topic of the rough stucco, I would be inclined to ask that the rough stucco be remanded to staff and whether over the iterative process of the ornamentation, if staff arrives at the belief that there is an advantage and it's important to re-add that, then that can be given at the staff level. So rough stucco to be determined by staff. Stucco texture.

With professional advice from a really good stucco person. And I want to comment on... John, I understand your feelings, but there's so much ignorance about historic... architecture and the elements of it in construction workers here in Miami and in people who purchase property. That's why one of my first questions to you was, do you really understand what was lost? because it's easy to just buy a building, stucco over it, you know? So I can understand why you just maybe said, okay, just do stucco because the ignorance of historic architecture is so high in both camps. So I don't think it was intentional. You thought in your mind, oh, look at that band, destroy it now. I doubt that.

And Mr. Gumbel, one more amendment, if I may. I agree with the awnings. I don't think the awnings make sense. However, I do think looking at this pre-picture, the one of the orange building, the entrance awning does, I think, add an enormous amount of character to the property. And that does remain an opening. So the functionality of that awning, I think, remains germane.

Well, was that an arched opening back then?

No, in the historic picture that you saw your cheek walls, it's also squared off. Okay. So that would be my only... firm amendment would be the addition of the entrance awning. And just before, I would say, I was going to mention, I forgot, I think to echo Mr. Campbell's point, there are a lot of buildings that need treatment, and you all seem like a wonderful group that is committed to doing good work. As Mr. Perez commented, you spent more money than you had to with this work. So I encourage you to go look for more of these and avail yourselves of the many tax credits and various other tools that exist to make these slightly more profitable than they would otherwise be, which are the advantages of a historic district. So I would be thrilled to see you guys here again with other projects.

So if I may, I'm going to add a sixth condition that there'll be the introduction of an appropriate rectilinear fabric awning at the entrance. Is that okay?

Well, it should be curved.

No, it should not.

Does the color matter?

No. We can work on the color.

There's a color approved for the district that you can work with on stuff.

Yes, Mr. Powers. All right, so, and I wanted to ask one of my board members a question, so to John, Mr. Perez. So, like, I have one of these buildings. I own it. I own one like this, not up in the Upper East Side, not here. So the thing is, is that when... because this is a 1920s building. Mine's a 1940s building. When you see that facade, from the corners of the building, there's a step back of probably about two to three inches, and then it goes across, and then it comes back out again for the front entryway, and then it goes back in and goes across. All of the architectural elements then stick out from that another two to three inches, right, to give it perspective. I'm just saying that's how that was done. So did they remove that off or did they just stucco over it? So where the name of the house is, where all the sills are, was that all just taken off? and then restuccoed? Or did they stucco up to it and over it and then stucco back to the thing? How did they do the stucco work?

I want to ask that question.

Because I think you're going to have to take the stucco off to get what you need to do to do the front of that building the way that it needs to be done so that it looks historically correct and doesn't look like a third rate Mass, it'll look horrible. You just won't be able to make it look the way that it's supposed to look historically. I'm just saying, you know, we say all kinds of things on this board, but until you like really look at those pictures and understand that the side of that building sticks out either two to four inches out, and then the part that used to be the Florida room went back, then went across, and then there's the pile aster with the name on it that sticks out. The one on my building sticks out almost four and a half inches. I have a pile aster as well where it says the Alpen. That sticks out four inches. Then if you notice, gentlemen, there's a setback. You see the setback on the corners? And then the band that goes across, those used to be all windows there. I don't care whether we have a picture or not. All the way across that whole front, nothing but windows all the way across because that used to be a Florida room. an outside Florida room. And what gives you the whole flow of that building is when you go up those steps to either side, there were doors that went into those apartments that are on the first floor, and then you walked inside to go to the apartments in the back. That's how that works, okay? So there's a whole architectural thing that happens here, and with just...

So when you change, we're not going to make you do the windows, okay?

The windows, that's already been settled. I honestly believe if you want this to look really good for you as being the owner of the building and you want to take pride of the building and do the right thing, you're going to have to take the front of that and take that plaster down to the original, or some facsimile therein, and then do that correctly, so that it looks historically correct. That's all I'm saying, because I don't think you're gonna like to put on another layer of plaster, I don't think it's going to look right. I just, honestly, sir, I'm not trying to be a jerk. I'm just saying to you, from a historical, and you're looking at that house, and you're going to own it for a while, you'll probably own it for five or six years, and then, you know, it'll become a condo or go on to something else, right? Some other thing. I think in order to, like, really make it so, like, you'll be proud when you drive up to it and you look at it and go, I'm glad they made us do that. You know, even though it cost me some money at the time, I'm glad that they made me do that because you know what? It makes the house and the building, I don't care what they did. Other people do really crappy stuff to their houses. That doesn't matter. This is a really pretty place. And I think that you can, you know, I think you're going to make some good money with it, but I think you're going to have to do that. And that would be my only, that's my only exception to everything that everybody said is that I really think he needs to kind of bring that back to ensure that that's there, because I think if they put another layer, it's like putting too much frosting on a wedding cake, kids. You know, it just looks stupid. And it just does. And I think it's going to cost him more money, guys, to actually try to do that than to just do the right thing. Okay. Good observation. Do you accept my amendment?

Well, hold on. So it's an excellent observation, a good observation, but you should jump in in the conditions phase so that we can articulate this because hold on when you jump by doing this afterward now they have to think about it and then another thing comes on and it starts so next time that observation bring it up the conditions phase so it's a good suggestion but we have to encode it that's what we're doing now okay

I don't disagree with you. I just wanted him to go through the whole thing. And then I wanted to say something to Mr. Perez because he actually builds this stuff. And I wanted to ask him if that was something that would be appropriate to do.

This is my answer. Obviously, I didn't see this work being done. I don't speculate based on my experience. But to answer your question, I believe some of these white elements may have been, again, I'm not sure, they haven't chipped off. And I believe that the intermediate elements, the three elements that are sunken in, might have been filled in to basically make a uniform elevation. I'm just answering your question. I do agree that in order to bring it back to where it could be, some portions may have to be removed and some portions may have to be added on.

names too, just in case you didn't know. There's two separate names on that building. There's one name on to the left and one name to the right. They're two different names.

I also have another.

No, no, the A is just, I think the A is there, it's just painted over.

Ken, I have a question, Ken, for staff. And I don't know if this is within our purview, and this is something that I've been advocating all across, so this is not towards you specifically, but would it be possible to add an additional condition that, to close out the permit, a report with final photographs be submitted to the Historic Department for review and approval? Would that be possible?

Yes.

I would like to add that in if possible. Not just with you, but for all projects. Okay.

The second supports that amendment.

Who's the?

Yes.

Right.

Do you agree or not?

Do you agree to the change in the amendment to the motion?

I didn't even hear the full details of everything that you desire.

Mr. Perez, would you repeat your proposed change?

The condition would be that at the completion of the project, a report that has photographs of the final project be submitted to the Historical Department for the review and approval prior to the closing of the permit.

Okay.

Got it. So can you summarize where we are with the motion, with our conditions?

So the motion is to approve with the first three staff conditions. The third condition to be modified to allow for smooth stucco but for the elements of ornamentation to be restored. Condition four is to remove the fence. Condition five is to restore the cheek walls. Condition six is to introduce a rectilinear awning at the entrance fabric. And condition seven will be that final documentation shall be submitted for staff approval prior to the final issuance of the permit.

There was one misstep on condition three. I had requested that the rough stucco be determined by staff. Yes, it is here.

Yes. Should staff find it necessary. Okay.

Is everybody clear on what we're voting on? Any questions? Okay, can we have a roll call, please?

Yeah, we think so, but if we have any questions, I guess we'll reach out to Mr. Kenneth and we'll figure it out then. I don't want to take up the board's time any longer. I think that we're pretty much there.

Thank you. Roll call, please.

Calling Vice Chair Luis Prieto y Munoz. Yes. Calling Member Najeeb Campbell. Yes. Thank you. Calling Member Christopher Cauley. Yes. Thank you. Calling Member Julie O'Dell. Yes. Thank you. Calling member John Perez.

Yes.

Calling member Robert Powers. Yes. And calling chair William Hopper. Yes. Okay. This passes by a vote of seven to zero. And this decision is final unless appealed to hearing boards within 15 days.

Thank you very much. Thank you. I want to thank the board. And Mr. Perez, anytime you want to partner up, I'm more than willing to do so. Take care, guys.

Thank you. Calling HEP item number four, file ID. 1904, a resolution of the Miami Historic and Environmental Preservation Board pursuant to Section 23-6.2, Subsection B4 of the City Code of Ordinances, approving or denying a special certificate of appropriateness to permit partial demolition, addition, and site improvements to a contributing structure within the Morningside Historic District, located approximately at 634 Northeast 57th Street, Miami, Florida, 33137, further incorporating the analysis in the attached staff report entitled Exhibit A with the following findings.

Is the applicant present? Is the applicant present?

Yes. I am speaking on behalf of the applicant. Power of attorney was submitted.

And your name and address?

Melissa, Easy Permits, 2221 Northwest 6th Street, Miami, Florida, 33125.

Thank you very much. We'll start with the staff report.

Karina Gonzalez de Mendoza, Historic Preservation Planner. I request that the staff analysis be accepted into the record.

Approved.

Okay.

Awesome.

So, as said before, the applicant is requesting a special certificate of appropriateness to permit for partial demolition at the rear of the lot, the rear of the property to install an addition and other alterations and site improvement. The 1937 structure The 1937 structure has a U-shaped plan currently with a central block and two extended wings at the front with the lawn patio. It largely remains faithful today in its appearance. So per the letter of intent, the intended plans are to expand the interior while maintaining the historical exterior. So this rear addition would be basically placing a second floor It would basically be installing a second floor just in front of the ridge of that central block, but maintaining the historic exterior of it. Some of the other changes would include extending the chimney so that they maintain the chimney that is in place so that it extends higher than the second floor roof, as well as incorporating the aluminum parapet above the attached garage in order to return to the original style of what had been on the house when it was originally built. So the fenestration patterns on the west elevation and the east elevation, So here we have the elevations for it. On the sides, as they build it, they will be changing the fenestration patterns on either side of the property, on the east and west sides. So while changing the fenestration pattern, it does create a cohesive look that does follow through the entire property. So by adding the second story and extending the first floor, because it does extend into the rear of the lot, it does increase the mass, but it does remain below the 50%, which is allowable by the Secretary of the Interior Standards recommendation. So it's using that lot at the rear. Still falling aside, step back. So while the proposed undertaking does increase the overall height of the structure, there are many other two-story houses within the district. So this addition will not detract from the context of Morningside neighborhood. As we see in the roof plan here, while it was originally more of a U-shaped property, they are doing an addition that extends further into the back, but it's not necessarily visible from the public right of way. And that second story addition is gonna be L-shaped, which kind of keeps in line with what the existing roof that they had, the L-shape that they have because the attached garage basically is a different style of roof being flat rather than sloped. We can go to the next. So all the materials that they propose are in line with what exists now, maintaining the colors of the structure as well as matching the rest of the historic district. And again, reintroducing that aluminum parapet So as for the conditions for we do recommend approval with conditions the conditions Basically being you know develop in accordance with the plans as they were submitted Submitting brochures and photographs as we go through the process all glass to be clear the resolution to be included It was the next page We did want to consider. I did mention earlier about the fenestration patterns there is We were considering a restudy of the wall-to-window ratio for the second floor facade So basically at the front, specifically the eastern and western windows and the north elevation, the front, exploring the reconfiguration of that. Point being, as I've mentioned, the fenestration pattern, that they have been changing fenestration patterns through this. Basically on the front, because there is a regularity, we were wondering if maybe to break it up a little bit with perhaps introducing doubling up the windows or introducing a triptych as well. So that's one of the conditions. So a conversation perhaps to happen with the applicant to be determined by staff outside of the determination by the board. And then with that, I believe that's all on my end.

Okay.

Anything you would like to add to the staff report?

Ownership and the applicant, they agree to work and restudy with the staff the windows and the facade for the east and west side, and we agree to all the conditions.

Great, thank you. Is there anyone from the public who wishes to speak on this item? Please come forward, give your name and address for the record. And limit your remarks to two minutes or less, please.

There's usually an HDMI cable up here, but not today. But because I'm a nerd, I brought one of my own. Okay, here we go, Elvis Cruz, 631 Northeast 57th Street. And I'm here today because I'm very pleased with most of what I'm seeing, almost all. This is a 1937 ranch-style home, and for the historic preservation aficionados within the sound of my voice, this is a ranch-style home, which is very unusual pre-World War II. But I've had the pleasure of living across the street from this home since 1977. So I'm very pleased that, as you can see, their design will maintain the original facade. They're going to keep and extend the chimney. And that's a working fireplace, so they'll be able to enjoy that. They're keeping on the first floor, the original facade, they're keeping the windows. They're keeping the shutters on either side of the windows. They're maintaining the roof design. And they're also keeping the front door side lights. And I think they're even keeping the screen door, which is wonderful. I'm also very happy that they're keeping tire strips for the driveway and for the garage instead of one big, huge concrete slab, which seems to happen a lot nowadays. But I'm especially pleased that they are keeping or bringing back, I should say, they're bringing back the decorative woodwork railing that was originally atop the garage when it was built in 1937. So kudos to the architectural team for all of that and to the owners, which I'm sure went along with all of your suggestions. My only concern was what I heard from both the architect staff and the city, which is the pattern of the windows on the second floor. It doesn't really match the original, and I heard mention that they're talking about, and I spoke with the architect prior, that they want to do something to hopefully make them a little more compatible with the original. So again, thank you for a very good job, and I hope that it's very successful. Thank you.

Thank you, all of us.

Thank you.

Anyone else wishing to speak on this item? Seeing no one, I will close the public hearing and open it up to the board for questions or comments. And beginning with Mr. Pietro Minos.

Looks great. I agree with the city conditions and have no comments at this time.

Thank you.

Mr. Perez. Congratulations. It's a beautiful wall proportion design. I can see that the architect and the owner studied this thoroughly. I see all of the original plans and the photographs. A lot of work that was put into this. I can appreciate that. I appreciate the architectural language being translated throughout, including the rear. There's some projects sometimes that come to this board where they only focus on the front. As an architect, I think it needs to be translated and compatible throughout. And again, to echo what was said, it's nice to see some of the original details being restored, such as the element above the garage and some of the other ones. I think it's a great project. Thank you.

Mr. Campbell.

I agree with both colleagues' comments and good job. I'm ready to move forward with you.

Thank you. Mr. Cauley.

Yes.

Wonderful job.

Mr. Cauley. Yes, beautiful drawings, beautiful package. It's really nice to see an actually developed set of architectural drawings with concept imagery and clear renderings and clear plans. It's pretty amazing. When you see a package like that, you almost always know that the architecture is going to follow and be really great. And in this case, it seems like you've done a spectacular job. So good luck with the project. It looks awesome.

Thank you.

Ms. O'Dell.

I echo everyone else's comments. Really a great project. Thank you. We don't get them this way. Well, he lives in Morningside. He better do a great job. Oh, okay. That makes sense.

Now, Mr. Powers.

Thank you. My only thing is the windows on the second deck.

Yes.

I don't think they complement the first floor. And when you have a classic house like that, you really need to... I mean, you've done a beautiful job, but those windows, I don't know. You either have to pair them up I don't know what your rooms are. What's the room at the far right? Say that again.

520 Northeast 55th Terrace. Good. Yes, we are considering that. We've spoken to staff, also Elvis, your president, for the two rooms. So on the left, so east side, you're looking at the right. So that's where the staircase comes in. If you see it in the plan, that's the staircase behind. And on the other side, it's a bedroom. So we're considering bundling those up into two double casement windows or something bigger that echoes and mimics what's below.

Listen, I'm just saying to you that you need to kind of, I would say you need to mimic what's on the first floor, on the second floor, in perspective. Honest to God, it's going to make your project look so much better. Because right now, it looks like you ran out of money. I'm just saying, to me, it just looks like you ran out of money.

So right now, so first of all, we're trying to differentiate a little bit from the addition from the existing home. Again, not to create a false sense of history here. But there's also a tie beam right at the top of the windows and right underneath there's a roof line that butts up against it. We wanted to make sure they have breathable, like some space for them to breathe. But the width of it, I totally agree. We'll look at it.

There's going to be certain things that are going to give you where your window placement has to go. I got that. That's why I asked you. What's the room to the far right-hand side, and what's the room to the far left-hand side? That house, like so many in Morningside, is so proportionally perfect that if you don't get the placement of the windows correctly, it won't look good. You'll say to yourself, oh, that prick at that meeting was right. I should have done that. I'm just saying. So I would say to you to really take a much better gander at those window placement. Instead of having two, I would put one together and make it one large one. Here's another thing. I'd almost make them arched if you can do that. Especially in the bedroom. On the thing upstairs. As I look at this photograph, I'm not talking about where the garage is. I'm talking about at the other end. What's that, a bedroom?

The other end of the garage, there's a staircase right behind those two windows. So there's, oh, sorry, on the first floor, it's a bedroom, correct, if you're talking about the first floor. First floor. Opposite to the garage.

Then on the second floor, above.

That's the second story of this L-shaped stair coming up.

So that's a two-story. Where the fireplace thing goes, where the fireplace goes.

Fireplace, it's outside of an office.

This is why I hate these pictures, because they really don't give us a real representation of what's there. There's plans. I'm just saying that the perspective is not, I can't see it as well as I would like to. Like even this, I don't like the way that this is done. Okay, now I can see everything else, because the house is actually larger over to the left-hand side. Yep, I see it.

Yeah, right, right.

All right, because I can't even see it on this. I'm just saying, because they're so small. All right.

Is that it? Okay, I agree.

Well, you'll work with them on that, I'm sure. I mean, we very rarely ever see such a beautiful job. I just think you can do better with the window.

We'll look at it. No, comments taken, and I agree with a bunch of that stuff. So, yes. Thank you. Thank you.

Great job, I agree with all of my colleagues. And we'll leave it to staff to work out the details of the windows on the second floor, which I think needs some adjusting. So with that- I would like to make a comment. Yes, go ahead.

I would like to make a comment actually in support of the current design of the second story window. It adds an element of modernism. to the design. It wouldn't exactly replicate the lower structure. And it gives that caveat that the guidelines said about not having to repeat exact and show some difference and work on those smaller windows give a modern profile that I actually like. So I guess you could tough it out in staff, but I actually like the second story as designed by your architect.

That was the whole point. Points taken as well. We'll look at it and come up with it.

Thank you. Mr. Chair, I have a motion. Yes, sir. I move to approve the item with the seven conditions listed by staff.

Second.

There's a motion and a second. Any discussion on the motion? We have a roll call, please.

Calling Vice Chair Luis Prieto y Munoz. Yes. Calling Member Julie O'Dell. Yes. Calling Member Najeeb Campbell. Yes. Calling Member Christopher Cauley.

Yes.

Calling Member John Perez. Yes. Calling Member Robert Powers. Yes. And calling Chair William Hopper. Yes. This passes by a vote of seven to zero. Approved as amended. Also, this decision is final unless appealed to the hearing board's office within 15 days.

Thank you.

Thank you very much.

Calling HEP item number five, file ID 19025, a resolution of the Miami Historic and Environmental Preservation Board pursuant to section 23-6.2 subsection of B4 of the City Code of Ordinances approving or denying a special certificate of appropriateness to permit a new construction of a single family structure on a vacant lot within the Bayside Historic District located approximately at 765 Northeast 70th Street, Miami, Florida, 33138, further incorporating the analysis in the attached staff report entitled Exhibit A with the following findings.

Is the applicant present? Is the applicant present? Yes. You're the applicant?

Yes.

Would you give your name and address for the record, please?

Sure. My name is Isabel Pineda. My address is 10427 Northwest, 64 Terrace, Doral Florida 33178. And I represent Mr. Mauricio Alocio.

Do you have a power of attorney?

No. I'm sorry. Yes.

That's a big difference. Okay. Thank you. We'll start with the staff report.

I'm sorry?

We will start with the staff report.

Adrian Espinosa, Story Preservation Planner. I request that the staff analysis be accepted into the record?

Yes, sir.

Great, thank you. So here we have the project location at 765 Northeast 70th Street. It was originally part of the property to the direct west of it. which is a contributing property. It's currently a vacant lot. I believe there might have been some sort of utility structure to the far rear at one point, but currently it exists as the photo shows. The proposed site plan here shows about 39% green space. with the resulting yellow shaded area as the building footprint. There will be three spots for parking with the third over, what is that word called? green block pavers. So it won't appear as a driveway, but there will be space for parking. We kind of continue on. The applicant provided some site context photos to show where their design I WAS INSPIRED BY SO ON THE LEFT WE HAVE SOME. MORE OF THE MODERN NEW CONSTRUCTIONS IN THE BAYSIDE HISTORIC DISTRICT AND ON THE RIGHT. THEY TOOK EXAMPLES FROM MID CENTURY MODERN CONSTRUCTIONS THAT ARE CONTRIBUTING RESOURCES TO THE DISTRICT. HERE WE SEE A SIDE BY SIDE COMPARISON OF THE ADJACENT PROPERTIES. And we can see the the roof line comparisons as to height and angle The applicant has chosen to put a shed roof on the side of the house which Originally we had requested that perhaps they could explore lifting the roof slightly, the starting position from the left, and then having a more shallow incline. Here are the elevations. The house shows predominantly vertical alignment. As we'll go over next, one of the conditions that we're requesting is that they... TAKE A SECOND LOOK AT THE WINDOW TO WALL RATIO TO EVEN OUT THE HORIZONTAL TO VERTICAL RELATIONSHIP OF THE HOME. SO THE ROOF WILL BE MADE OF METAL ROOF. AND THERE'S ALSO SOME WOOD PANELING WHICH ALSO ACCENTUATES THE VERTICAL ORIENTATION OF THE HOME. there will be space on the roof to the right for I guess originally there was going to be a pergola but no longer but there will be space to you know activate that roof sort of like a If we continue on, this is a landscape plan. Not too many plantings. The majority of the landscape will be dominated by grass and some large tree plantings. So we recommend approval with conditions. The site shall be developed in accordance with the plans as prepared by Deforma Studios as part of their application, PZ2519434. The plans are deemed as being incorporated herein. The applicant two, the applicant shall restudy the window to wall ratio, emphasizing horizontality. Revisions will be submitted for approval by staff. Three the applicant shall study the introduction of windows on the south end of the east elevation where there are only blank walls Actually, if we can go back to that really quick You can see it on The bottom left east elevation. So we're asking them to revise that far left wall and to include some Windows on that end So four, all glass visible from the right of way to be clear and or low E. Five, at time of permitting, the applicant has to provide all manufacturer's brochures for the chosen materials. Six, the resolution shall be included in the master permit set. Seven, the applicant shall comply with the requirements of all department agencies. as part of the City of Miami building permit submittal process and I'd like to invite the board to consider also one of the original recommendations that we made, although it's not in the conditions that the roof line be further explored to, as I said, be raised higher on the west end and incline at a more shallow angle.

Okay. Anything you would like to add to the staff report?

No, I can say everything. Based on the information, we submit architectural plans in order to obtain pre-approval for planning and zoning development site. We have the approval and with condition. Of course, we want to build the property. We want to do the construction. as Florida Development Code, accepting all the conditions, and we're waiting for your resolution.

Okay, thank you. Is there anyone from the public wishing to speak on this item? Please come forward and give your name and address for the record.

If the control room can hear me, if you could put my slideshow up, that'd be nice.

There we go.

Okay, here we go.

All right, there we go. Elvis Cruz, 631 Northeast 57th Street. Unlike the previous item, What is proposed here is simply not compatible with a historic district. This is a recurring problem. I've spoken about this many times. And as I've said many times, this is not an elegance district. This is not a modern district. This is an historic district. By way of another example, you may recall this proposal for new construction in a historic district came before you in February, which was very well received. This developer proposed something that was extremely compatible with a historic district. The problem is the guidelines are too loose. There's a need to change the guidelines for new construction, and there's an important existential question that we should ask ourselves. Do we want the public, especially the other historic homeowners in historic districts, do we want them to like historic preservation? Because I can tell you from my 40 plus years of advocating for historic preservation, when ultra modern houses get approved in historic districts, the neighbors sometimes get furious because they've been spending a lot of time and effort and blood, toil, tears, and sweat, and they've bought into the concept of historic preservation on a philosophical level. And then the city turns around after having told them how wonderful historic preservation is and how they're going to maintain the character and the aesthetic ambiance and the historic ambiance of their neighborhood, and then they allow an ultra-modern house to get built. So, I would ask you to please, I would ask you as the owner, please consider something that is far more compatible with a historic district. What you have proposed could be built anywhere in the city, regardless of whether it's a historic district or not. There's nothing that says historic district about the design. It's a fine design, it's a modern design. Thank you. Thank you. Anyone else wishing to speak on this item?

If no one, I'll close the public hearing and open up to the board for questions or comments. Beginning, Mr. Powers, we'll start with you again.

Can you bring it up for me? Okay. Why, when they ripped down the house, didn't they rip down the whole house?

He is the architect.

Gabriel Chavarria. I'm the architect of the project. And your address?

What is your question again? Wait. Please give us your address for the record. Your address for the record.

161 Crandon Boulevard, apartment 413. Thank you. So,

I know that house and I know that block because it's in my neighborhood. So I have to agree with Elvis. I don't understand why you would want to build a modern home and knock down a historic property to build it. But I just don't understand. Why did you save the front of that house?

Was that a place saver for your setback? Excuse me, Bob, this is a vacant lot.

It is now? It has been. It is and has been a vacant lot. But the original house? There used to be an original house there?

The lot was empty all the time.

So it's the lot to the...

I'm just asking. The previous property there had three lots. Of a house and an empty lot on the side. It was only one lot. And the previous owner divided and sold the empty lot.

Alright, it's an empty lot? I just honestly believe that you guys should be looking at bringing some elements of that neighborhood into that modern home. And I don't see that in these drawings, and that's my concern, because that's one of the oldest historic districts in the city of Miami, and I had a deal, and this has been historic. The stuff that got built in my neighborhood got built before that neighborhood was historic, so nobody could say anything. Now we certainly can. Palm Grove, which is your neighbor to the west. I'm on the other side of Biscayne Boulevard. But nobody would even think of trying to build this in Palm Grove. We would look at them and go, I don't think so. So I don't know. For me, you've got some work to do there. And I think that you need to take a look at some of the other, even some of the stone guys. Like you have a red house here. There's a red house on the thing. with that brickwork there, because that's definitely a 1950s, that's very modern with the 1950s thing. But you need to bring in the rockwork or something like that. You need to do something, because that house that you have designed there is just a little bit, it doesn't have like all three elements that we need when you're talking about building in a historic district. So I would look into embellishing the front of the house with some type of a stonework or something, because unfortunately, I just think you could do better with it. I just think it's just a little bit too on the fly for that neighborhood. That's all I can say right now. I'll reserve later.

I would like to respond to your comments, because that's one of the first conversations that we had with the client at the beginning, and one of the first thoughts is, okay, we are in the historic district. We need to take elements from there and take it to the level that the client is satisfied with the design. So we go through the neighborhood, and we use some of the examples of properties that you see there on the left of the page that has a lot to do with that. I mean, we have a combination of low slope roof with flat roofs. We have a combination. In some cases, these houses have very large windows for the time, so we try to mimic some of the things that happens there, but not copying exactly what they have, just reinterpretation of that in a modern design. I agree with you, this is not a traditional barrel tile house, it's not intended to be, and I think there's room in an historic district like this to have this kind of architecture as well.

Through the chair. Yes. Mr. Powers, the red house that you're looking at, or the red house that was before, that has a similar roof form, as well as the chimney that you're calling out, These are all characteristics of mid-century modern structures. So typically in mid-century modern structures, you have a horizontal line that will intersect a vertical line. So here you see that chimney being used as the vertical line to intersect that horizontal roof pattern. And then you have the sloped shed roof that is also kind of being intersected with that horizontal and vertical line. So the comment from staff about restudying that roof form goes directly to your comment about looking at how those vertical lines and horizontal lines intersect with each other and coming up with a roof line that better incorporates and better fits the historic district.

I'm just saying to you that if you took the wall by the front door and that that wall, listen, I don't want to design your project for you. I just know from dealing with my neighborhood that when they build a modern home in my neighborhood, they ask them for three elements to borrow from the homes in the surrounding areas. That's all. You know, sometimes it's a round window in my neighborhood because we got the modern, that whole modern and art deco thing going on there and all the stuff like that. All I'm saying to you is that there's elements missing from this. The massing is rather large. And I think there's some decorative things that you could do that would be not that expensive to do that would make that massing look a little bit better. And brickwork is one of them. You know what I'm saying? And it brings in the three colors, like three different colors, three different pattern type programming that goes there and also lends itself better to the people that live there who have to look at it every day. I mean, there's... I drive through this city, and in the middle of a single-family neighborhood, there's 35-foot-high houses built. I don't know how anybody in a million years thinks that that's being a good neighbor to anybody. You follow what I'm saying to you?

Yeah, absolutely.

So I'm just saying, like, I understand that street, and I was really sorry to see that other house get torn down because it was really kind of a cool old house. But whatever. You know, I can't... This is the vacant lot, which has nothing to do with it. The only thing I would say to you is add a third element. Work on the roof line with them. Break that up so that it's not all one modern-looking edifice to the front. I don't know. Look at that 1950s with the beanstalk-type stuff and all that kind of stuff to kind of mimic some of that. Play and I think it would it would actually make the project look a little bit better and look like okay this kind of like belongs in this neighborhood how about glass block. What a great building material that nobody uses today and it's a fabulous building material talk about hurricane proof. And I'm just saying, I think, I'm just.

Yeah, we can accommodate it, although, yes, of your ideas, of course, we accept it and I completely agree, yes. We can revise the architectural plans in order to go to next step, yes.

Ms. Odell.

Question, have you guys met with your organization, the homeowners organization?

Yes.

Do you have any letters of approval or?

I think the owner has all the letters. They already contacted the association, yes. This is one of the requirements for the public's, yeah.

So was there any feedback that was negative?

No, absolutely not. I understand that everybody was agreed. That's why we continue with the process, with the design that we're presenting, yeah. Please use the microphone. That's why this is an empty lot. We can discuss any modification. We completely agree, of course. But, yeah, this is an empty lot, and we can make all the corrections until starting the construction.

I will leave it up to my colleagues that are the architects to give their input on some of those things that you can do to address that.

Mr. Colley.

Yes, hey, good afternoon. Thank you for being here. I have quite a few questions in this particular case, comments, questions. And thanks for the architect for being here, for both of y'all being here. I guess the first question, some of this is for staff, and some of this is for clarification from yourselves. We always talk about the two tracks that projects go by to come here to this board. And I'm inferring, I guess is the term here, from this particular project that this is a scenario where has it come to us before it's worked its way through all the other departments at the city? You know what I mean? You know how you can choose? Do you want to come to the HEPB and get our feedback before you go through all your permit drawings and all of that? Or do you want to do that and then find out you have to come here? So has this been reviewed by planning and zoning and all the other departments?

As part of the special certificate of appropriateness process, yes, but you don't have a building permit open for this, I believe.

I would like to respond to that, because in order to start this project, since it's an empty lot, we start the process of pre-sonic approval. How is that? It was... I don't remember the exact name, but it's a pre-application that you do. And you have a meeting with Sony reviewers, with historic, and they give you feedback. After that, we start developing the project. Okay, good. And we have two rounds of comments from them. Already. We respond to that and making changes.

Okay, good.

All right. Looks like a building pyramid. We have a comments back and forth, and we have to comply and address all the comments. Yes.

Okay, good show. I'm asking because obviously there's suggestions about making some architectural adjustments and modifications, and it's obviously better if you haven't done all your engineering drawings, structure, mechanical, electrical, plumbing, and everything else.

We started in November last year. We submitted in November, and we've been

Okay. You're getting here, though. That's not bad. November, December, January. So, all right. That was my first question. Second question. So, the finished floor elevation, the house is allowed to be – is it the renderings? Is the house allowed to be this low to the ground here in this – Like we don't need, you don't need more steps or?

Actually, looks like it's a little bit higher than houses that are closer to the water. But we use the Sonia criteria and the flow criteria. Okay. It's over flow. It's over. It's a little bit over. Not a lot, but it's above flow elevation. It is.

Okay. So I just, I have this recollection of thinking that the finished floors have to be higher now and that there will be more steps at the first floor elevation. in relationship to the grade, the existing roadway elevation. And I don't know if that's something that's gonna come up as you start developing civil plans and whatnot, but it's just a general question, because it looks like the house is low, but that's something that clearly your team, I'm sure, is going to continue to clarify. I've seen cases where the clarification of that forces a project to come back here. So that was my question. Question for staff, I think, This, and this is back to my question about the plans working their way through the city departments. Like this, like what you guys are, and I don't mean this in, you know, I mean this is a working comment. What you guys are referring to as a landscape plan is a diagram. It's not a landscape plan. Any project that comes here that ever gets approval from our, from this board, I think is required to meet all of the requirements of the city of Miami was Article 9, the landscape code, right? And so, like I'm sure your neighbors in this case, if they were looking at these renderings of the house to look at these big side elevations and not see any screening or any proposed shrubs or plantings or anything like that in this particular case, in this contextual environment, especially based on some of the projects we've reviewed recently for this neighborhood, I think that's something that's going to have to be considered. Sometimes the projects that come to this board, we don't get detailed landscape plans, but I think in this case it's something we're going to have to just work with staff on to make sure that's happening. But again, if you haven't gone through all those departments and you're just here to get feedback on the architectural design, then that's something that you'll be thinking about as you work through and address any comments, right? Because I think that

The process that we usually do in these cases are bringing together the basics of the design team. The landscape architect is in. He did the design. He did the mitigation and all that. It's not showing here because this is a partial portion of what we submitted. But the landscape, it's already set. And the zoning as well is already set. There's no structure yet, no MEP, but those are things mostly inside the house.

Okay, got it, understood. I all right, those are all clarifications I. I do really appreciate you, we appreciate you being here. Being so forthcoming with your question, you know with all your responses, I think. These project examples of the other residences that are provided here. in the neighborhood. I understand the process you went through with your client where you went around and you looked at different elements. There's mid-century projects. There's other projects. There's good examples. There's examples that aren't as good, right? So it's a historic neighborhood with some contemporary architecture. What was, you know, at its time was contemporary. Now it's historic, right? Or classic. So it's a challenge to develop a new house in this neighborhood, no question. With that said, I think that the comments, like the staff, and just for clarification so you understand, the staff is making a comment that would ask that you study some of these elements, right? And the vertical and the horizontal relationship, the pitch of the roof and some of these things. And I have a feeling that in this case, it could be elements that are gonna require potentially having this board look at again. I don't know that there are things that are gonna be able to be achievable at a staff level. I'm just reading the tea leaves here. And so I think the proportions of the windows to the front of the project and some of these other elements are gonna need to be studied a bit. And I think the materiality, as Mr. Powers mentioned, on the residents, I just think in this particular context, now that you've gotten this far, talented team like yourselves i'm sure you may be able to take these comments and these feedback and and just maybe go a little bit you know beyond where you are now and it's going to probably make a huge difference that this particular neighborhood and community i think are really going to like so i'm curious to see what the rest of our board members say but thank you again for being here for your submittal mr campbell thank you

Board member Odell asked a question about submitting drawings or sketches or whatever to the neighborhood board and you said you did and she, well, we usually get written, some kind of written documentation by these organizations that are in the neighborhoods about each new construction that's coming on. You said, I'm not sure if that point was fully answered. I'm not clear if that point was answered to my clarity.

I understand. As for the property owner, they already contacted all the neighborhood.

Right.

And I understand that everybody was agreeing with the new project. I don't have any proof of letter here with me, but I can find out. Yes. Okay. I understand a portion of the comments that we need to address this to the zoning permit. I call zoning permit because it's like a permit. It's compliant with the neighborhood.

All right. We've had issues here. in the past about even notices being missed, members of neighbors coming, well, I didn't get the notice, and then things have to be reviewed until. So you are here saying you think that the owner spoke with the neighbors. you don't know for a fact and you don't have any documentation from them. So that's something I'm going to think about.

Yes, I understand. Like I said one more time, the owner told me that I already contacted him. I don't have any proof, but I can find out.

I understand. So if this happens to, like Mr. Carly said, have to be know reviewed again make sure you take that into consider report this back to the the owner of the property okay and now with that and there's a reason why i'm bringing this up um there's a there's a visceral reaction in the gut when well for me personally and also for mr cruz who was here and mr powers And I want to see the neighbor's reaction because there's a gut reaction when I see the building that in a historic neighborhood that I twitch involuntarily when I saw the drawing at first. Could you switch places please? Yes. So with that said, the design approach now has to be analyzed why I'm feeling this way. And I'm an architectural designer myself. So you mentioned your efforts to bring elements together, right? If I wanted to make a sports car, I could technically get the front hood of a Mercedes, the side profile of a Maserati, and the whale tail of a Porsche. And I could put all those together and get an engine and drive this car. would it actually be practical for the art of automobiling, and would it have a good reaction? Do you understand the point I'm making? You can put things together, but does it make a proper artistic and appropriate whole presentation for the context? So if I was to bring a car like that to a race, there would be a visceral reaction to this vehicle. Do you understand the analogy I'm making? So with that said, as Mr. Collier recommended, maybe another phase of meditation can be put into the design process. Now, the primary thing that I think most people are reacting to is that that shed roof. Mr. Cruz, staff, the shed roof is very prominent. And it seems to be like the crown of your design. And yes, you did see this element in other homes in the area. But what I want you to think about is that shed roof, first of all, were single story homes. And there were vertical elements, and that shed roof was set back, recessed. And it never became this prominent crown, if you look at the examples. And I know the area. I live in the area. So I know these shed roof examples where you have chimney lines coming up, facade lines, front elevations, and then it's kind of back there, but you have made it the crown. And it's, that's the element that's really, you know, creating that snarkly, discordant element within the historic district. So definitely I agree with staff to rethink that shed roof. And when you look at it in the, In the CAD profile, the three-dimensional CAD profile drawing that you provide, the line drawing shows a thickness of the shed roof as the same thickness on the elevation elements or the horizontal elements. But in the CAD drawing, in the three-dimensional representation, the shed roof is thinner. Do you understand what I'm saying? So in the line drawing, which I would say is more the truth, that shed roof is so thick. You see the profile, thick the profile is, it's matching vertical mainstream elements also on the facade. So it's giving this really It's really this uncoordinated feel to the design. And I think that's where you need to really refocus and pay attention. And also, even as an artist yourself, right, practicing in the historic district, it seems as if you maybe even Maybe you feel that to design it this strongly is good for the historic district and I want you to rethink that thought pattern as an architect and as an artist. To not really punch against as the way of expression but maybe somehow also incorporate and that's why the contact with the neighborhood association will also help with that concept.

Regarding the roof, I believe the front elevations are always some kind of unrealistic because they're showing a flat vision that you don't have in a render. The render is a little bit down and you see up, so the proportions could be different, but technically the same size is in both.

Yeah, but the point is... In the three-dimensional representation, which is really how you pull clientele or public towards accepting the look, someone in designing that three-dimensional representation made it thinner. But in the line drawings, it's fatter in the line drawing. So maybe the person who created the three-dimensional image instinctually is bringing that down because it's a gut thing, you know? But in the line drawing, it's thick. So you are saying it's the same, but it's actually not. I'm trying to call your attention to the fact how thick it is and the fact that you're crowning the design with that, and that's what's giving a visceral reaction to, it's like, not belonging, and it should be rethought. Yes.

I want to point out a couple of things. First, we don't have a structural drawing, so that's a lot... guessing on the size of exactly the roof.

It wouldn't change what I'm saying, though.

But I want to point it out that the design of the profile of the house was thought based on the context that we have there. If you take a look at the front elevation where you see the side properties, we're trying to push the horizontal roof. I know what you're trying to do. The side of the horizontal roof in the neighbor and the lower point of the house is where the one one-story houses. I understand. Those kind of things are... And if you look at the plan, the floor plan of the house, you're going to see that we're trying to avoid a box. We don't want a box. So we're trying to set back... both sides of the sides, so it creates a pleasant view.

If you mean box by meaning two walls, four walls on the top, I mean many buildings in architectural history are shaped like rectangles and could be defined as a box, which is fine. So the word box doesn't bother me. What bothers me are the things that I pointed out. Thank you.

Mr. Perez? Yeah, I appreciate a lot of what my colleague mentioned. I see some of the inspiration images. I can tell that some thought was put into this. I appreciate you being here. I see some of the inspiration. Actually, first I want to build upon the question that was posed. Did the owner and the architect meet with the neighborhood association specifically or do you believe that the neighbor notices were sent out? Because there's a big distinction between those two, and I think that we may not be clear on that.

I understand, as for the property owner, that they already met with all the neighborhood and the association as well. That's the information. Like I said, I don't have any information with me here, but I understand, as for Ms. Mauricio, that they already got all the information

Approval for the neighborhood.

I guess then a better question would be, Mr. Architect, did you meet with the neighborhood association?

No, no. I personally not, but we gave the information to the owner. And the owner, I know that they contact them. I don't know exactly the terms and the feedback is there, but I know that they contact. There's a specific association also for that street specifically. I don't remember the name of that association, but I know that they send emails to them and contact them. I don't know the feedback. That's something that I don't know the result on that. Okay. We don't have any red flag. Oh, this is something that they say. So far, I don't have any feedback. Negative or positive? Okay.

We don't have any negative comments, like I understand, but yeah. I don't have here the proof, but I understand that was via email, and maybe they got information.

I would recommend that you communicate to the owner that you should meet and bring his architect because ultimately, I mean, I assume that the owner has, I like all owners, they have their ideas, but the architect is going to be the one that brings them to fruition and brings them together as a cohesive design. So my recommendation. Separate from that, I see some of the inspiration images that were presented, although I would consider the ones... that show the low-slung roofs as more valid precedents that hold a lot more weight for this specific neighborhood. Showing some of the other modern examples, to me, it may show context, but to me personally, it doesn't necessarily support a design that may be proposed in a historic neighborhood. That's the way I look at it. Usually the shed roofs consists of some overlapping intersecting roofs that kind of celebrate the horizontality of the building while adding some dynamic nature to it. Maybe exploring some horizontal projecting volumes could evoke some of the mid-century modern architecture examples in the neighborhood that were presented as precedents or inspiration and just accentuate this horizontality. I think further articulation of the volumes might also assist in terms of taking some of the volumes that are in the facade, pushing some back, pulling some forward. I don't know at what stage of the design you are or how fixed to this specific layout the owner is. I understand those are some... Please get a little closer to the microphone I'm saying that if you see the render there and the floor plan of the house is

In our opinion, of course, this is something that you can not agree. It's very articulated to get in and out on the architecture, avoiding the box, let's say.

You're right. A lot of this is a matter of opinion. Whenever there's two planes, whenever there's a single plane... vertically than horizontally, it's cut up into different pieces. I always think that it's better to push them back and push or pull them forward. Another small detail, one of the things that I notice in this is that there's wood on the left side and then the front side, but there isn't a return Coming around, I would think that's pretty basic completion of the volume. These are just details. And I agree with a lot of what Mr. Campbell said, so I'm not going to dwell on that. I just wanted to add some additional feedback to this.

We can work it out with the staff on those things. It's part of one of his comments regarding the side windows and the side...

So that's a combination of things that can work.

And I guess the last thing is some of us give a lot of weight to this concept of meeting with a neighborhood association. So to consider moving forward for you.

Thank you. I won't belabor the design clinic that happened to my right. I think I agree entirely with the feedback you received from there. And I profoundly agree that while it's a lovely structure, it does not meet the aesthetic of the neighborhood. It does, to me, seem out of scale and in conflict with the historic character that's there. Even the somewhat more modern structures that are just two doors down are substantially more, I think, conventional in their approach. This, to me, is just pure contemporary architecture with hard stop. I mean, I don't see the evoke. I appreciate the narrative that you gave. even going through and looking at the various mid-century elements and things like that that stand out, I mean, at the end of the day, it's just profoundly contemporary, and I feel like it does erode the historic district. So, with that said, you seem like you guys came profoundly ready to come up with something, and you seem very willing to work with the intent of the board, and so the whole Point of this and I think why this board exists is to preserve these districts and ensure that they are valuable to the city and valuable to its residents and to reward those who have contributed to its preservation. So that's why we stand here and it might not be the quickest process, but it's the only process that we have that preserves these things. So I think. The feedback that you're going to get tonight, and I think Mr. Cauley captured this well. I think he did indeed read the tea leaves correctly. I mean, I think the intent of the board here is to probably have you guys come back with a revision that captures the feedback that you received and make sure that we get this right for your sake and for the sake of all of your neighbors. So, you know, maybe, Dr. Harper, I'll hand over to you, but when we get to the motion making, maybe capturing

spirit of this and giving them a standard that they can design to will be the most important component so that we're not just cutting them off into the wind with with no you know benchmarks thank you I agree with my colleagues with respect to the architectural design and it's being a little beyond what would be acceptable in a historic district but I want to draw your attention and expand on what mr. Colley said about the art of the landscape plan generally speaking the landscape plan would include the existing vegetation and what is to remain and what is taken out. I noticed on the sketch of survey and from the pictures that were provided that there's an avocado tree at the beginning or at the front of the lot. But halfway back, there's a royal poinsettia that is 30 feet high and has a spread of 54 feet, which is rather substantial. I'm wondering why you do not take into consideration protecting that tree at least. and introducing what you have and not providing, again, for screening on the sides.

The trees are you talking about on the side? Yes. Well, there are some limitations on this specific lot. We have some existing trees, as you mentioned, but mostly are in the center of the lot. So we're not going to be able to save them because if not, the house is not going to be able. In addition to that, in the front, this is a super narrow street. It's very narrow that the cities require a double entrance for cars. So we need to have, as you see in the site plan, the parking for two cars and we need to give an additional entrance because there's no place to park cars on the street. That limits a lot the visibility triangles as you see are drafted there and the location of some trees that we can do. So we put some trees on the front as much as we can and there are also some perimeter trees on the back and again this is a substantial big house so we are trying to do a house that has or bedrooms and a good area. So the size of the backyard is very, very small. And we're trying to put perimeter trees all around. Our instructions to the landscape architect is to try to put as much tree as possible. But of course, there's some distance to the property lines, distance to the foundations that limits a little bit how much we can add. I mean, we can entertain that with a landscape architect to see how much we can. But believe me, the owner doesn't want to pay for trees that cannot put in the house.

Yes, but in the landscape plan, they must include existing trees that are there, and their disposition is whether they're going to be removed or moved or remain. That's not on your landscape plan.

It's not in the pages that you see there, but the landscape architect did work on that, and we have a landscape plan that includes that.

Where? I don't see it in my documents.

Let me see. We have that separate. I don't believe it's there, but I mean, we have that something to show you. Your question is regarding the existing trees. Why we don't...

The only landscaping plan I saw is labeled A09. And it does not show existing vegetation.

It's a requirement, of course. We know that sometimes it can be difficult to build a house when there are substantially big trees. The trees that they have there, some are invasive species, and some others are trees that are in the middle of the way. So it's difficult to...

There are no exotic trees, invasive trees listed in your survey. Okay.

May I make a statement?

Yes, Mr. Chair. I guess the caveat here, what our chairman is mentioning, is just that, and everybody here on the board, I think, right? There's a way for you to document contextualization from an environmental and historic character of this neighborhood with regards to what you're proposing. And, for example, on that plan that's on the screen right there that says landscape plan, it doesn't show the right-of-way. You know you're stopping right at the property line so there's substantial amount of landscape area that goes between that line and probably the street. And then you know it's possible that one of those big trees falls up in that front area. If your house can really be as a low as you're showing you and your renderings, then you could preserve any tree that's not in the footprint of your house, because you don't have to raise the grade. So it's very difficult for us to make those educated decisions and especially like, if you look at the side renderings. According to those side renderings, there's no room to do any screening between the giant two-story white walls and the neighboring properties. So if you lived in one of those houses, how would you feel? So we're just looking if you guys can take a pass at that, architecturally and from a landscape point of view, and just help tie it together a little bit. It would just be awesome for everybody.

The site plan shows the... The parkway area, it's a nine-foot... Use your microphone, please. Yes, sorry. It's a nine-foot parkway that they have. There's no walkway there. It's just a small piece of grass. And the visibility triangles limits really a lot the possibility to put many trees there. That's why we put it inside the property, the required trees for the lot.

And your rendering doesn't show any of those trees.

May I second Mr. Cawley's comment by saying I don't think you're taking the comments in the right way because Mr. Chair presented the landscape issue and you argued around it. Mr. Cawley also said a comment and you're arguing around things, but what we really want or we're asking you for or what would behoove you as an architect to present things to a board. is that you provide the landscape drawings as robust as possible, using dashed lines to represent trees that will be removed, but place the center point of the trunk on the plan so we know where this is and where it will remain or not be anymore. A robust landscape plan with information. and you're arguing around it. This will improve your performance within your art. So instead of arguing around things, listen to what we're saying and it will improve your presentation when you have to come back because you have to get an approval at some point. You have a client who has hired you and paid you. open your mind.

No, I see what you mean. Do you understand what I'm saying?

The side plan has... Can you look at me for a second, my friend? My friend?

Yeah.

Look at me for a second. Do you feel what we're trying to say?

Mm-hmm.

Okay, so that's it. Thank you.

Through the chair.

Yes, sir.

I think there are two parts here that I think we need to get right. The first is from an action standpoint. If I'm reading the tenor of our board correctly, The intent will be to defer this item to a later date to give you time to revisit the design and capture something that would be more agreeable and in keeping with the district per the feedback that you received tonight. So the first question to you is, are you amenable to deferring this item and to coming back at a later time?

Yes, of course.

So the first thing is you would need to waive your rights to a 60-day approval. So under normal circumstances, we need to take action within a certain amount of time. So in order for us to defer the item, you need to waive those rights. So if you're willing to do that, then what I would suggest is the three gentlemen to my right, Chris, Najeeb, and John, all gave you guys a lot of feedback. I think perhaps it would be helpful if you guys could condense your feedback into some actionable items so that if they were to watch back at this, watch this hearing again to try to capture this and come back at three, four meetings time. that they have something that they can draw from and we give them a realistic benchmark. But I would say being concise would probably be helpful.

Through the chair, I'm happy to summarize what I've heard everybody say, if that would be helpful to the board.

I think that would, thank you.

Yes, so what I've heard is that you would like for them to restudy the scale and the massing of the structure and to consider using wall plane offsets to reduce the massing, to restudy the roof pitch and form, to look at architectural features from mid-century design, such as increasing the horizontal nature of the building and using intersecting vertical lines to break up that massing, and then also to restudy the materiality of the building so that it's more contextual to the neighborhood. In addition, you would like to see a full set of landscape drawings before the board that denote existing trees and trees to be removed and having that landscape plan fully developed.

That was an impressive recap, Ms. Steiner. Thank you.

I think maybe also some documentation from the Neighborhood Association.

So again, you cannot require them to go before the Neighborhood Association.

No, but they said they already did.

You can request that, yes. So you can request that they also submit their documentation.

Any documentation that they may have.