Historic Preservation Board - Regular Meeting

End of slide.

The whole package? Okay.

Perfect.

L.A. 28 Olympic swag.

All right. No, first. Angelino. Angelino. Yes.

The second one.

I'm sorry. Let me get the agenda. Yes, give me just a second. Let me get. Good evening. Today is Wednesday, May 21st, 2025. We are the Village Hall Council Chambers, and we're opening the board for meeting. If you do a call order, please.

Chair Bonaduce.

Here.

Mr. Serrano.

Present. Mr. Sada.

Present. Mr. Ria. Present. President. Ria Coram.

Great. We have order for business, like any additions or corrections that anyone can add, please.

I would just like to open the minutes. No, nothing. Sorry.

Not yet.

Not yet.

Okay, public comments. The board is now open for public comments. If anybody can just step in and have any general public comments, not related to any of the item of the agenda. Otherwise, we're going to go to item number five, which is the approval of minutes for April 16, 2025. Do I have a motion to approve the minutes?

I move to approve the meeting.

Second? Second. All in favor? Aye. Approved.

Can we just make sure that our mics are on so it's on the recording?

Yes. So we have tonight two very interesting properties for certificate of appropriateness. The first one is going to be item number 6A, which is a certificate of appropriateness for a historic property located at 622 Northeast 98th Street. The presentation is now open to microphone, please.

I'm sure I think the staff will open it.

Present the item? Oh, yes. First the staff then. Unless you prefer I did it. It's up to your preference.

Go ahead. Go ahead.

And we have a question regarding that. Remember? About the staff. Yes.

Yes.

What's going on here with this property?

Certificate of Appropriateness for 622 NE 98th Street. The applicant, Mr. David Baker, who is here present this evening, is requesting a Certificate of Appropriateness from the Board in seeking to replace the approved flat cement roofing material on the addition with a barrel roof tile material that will match the existing roofing material of the residence All existing windows and glazed doors will be updated to hurricane impact systems and gable end windows on the addition will be changed to gable vents. The property is located at 622 NE 98th Street and is commonly referred to as the Loomis House, originally constructed in 1933 and designated as a local historic landmark by Miami Shores Village in December 1994. The two-story residence sits on a 13,000 square foot lot comprised of approximately 2,300 square feet of living space, which includes three bedrooms and two bathrooms. Important to note, in June 2022, the Historic Preservation Board granted a certificate of appropriateness appropriateness for the one-story addition totaling approximately 660 square feet in size. The proposed addition included a red concrete gabled roof and new windows and doors with bronze-finished frames designed to complement the existing wood-framed fenestrations. The approved scope also included the construction of a new grand room and master suite located on the east side of the residence. Subsequently, on October 7, 2022, the Shores Planning and Zoning Board issued a Development Order 03-2022, which granted final approval for the one-story addition and the enclosure of a second-floor terrace as part of the residence's overall expansion and renovation. As such, the applicant is proposing the following items for board consideration. Number one, a replacement of all existing windows and glazed doors with impact windows and doors. This will be in the same craftsman style as the existing and Mr. Baker has brought some proposed samples for the board to review. Also, the second request is to replace the approved flat cement tile roofing with a new artisanal barrel roof tile in the same style. And lastly, a replacement of the gable end windows with gable vents. At this point in time, I'll allow Mr. Baker to present his item.

Can you identify yourself, please, and name and address?

Can you hear me?

Yes.

My name is David Baker, address is 262- Maybe push the button? No? Chuck?

No, I cannot. No?

Chuck? Yeah, it's on. It's on. It's on. OK. David Baker, 262 Glendale Drive. Thank you, board, for meeting today. So yes, we're asking to amend the original certificate of appropriateness, mostly from circumstances that arise during construction. The first one for the roof actually turned out to be a wonderful, happy surprise. Originally, the insurance company had asked the owner to completely replace all the tiles on the roof in order to insure the home. She just happened, by chance, to me, who actually built that roof 25 years ago. And he told the owner, no, no, no, you don't have to do that. I built this as a 100-year roof, and I can certify it. You can keep it. However, if you saw the plans for the addition, he didn't like the cement tile too much. He said, look, I think I might have a better idea. Why don't we put barrel tile, but we can use a different type of barrel tile with some markings and stuff. So it'll tie in better with the existing home. It'll still be different enough so that you can tell that this was an addition. And I agree 100%. I thought it was a wonderful idea. So we'll present it to you. The second issue, the windows, that does have to do with insurance. Insurance is asking for it. Originally, I wanted to leave as many original windows as we could, but we are going to make it with a bronze finish. This is an actual... after all the bids came in it became apparent that it was not going to be cost effective to do that and we have to go with scissor trusses the thing with scissor trusses is that they don't look pretty when they're exposed so we're going to clad that, put decorative beams. But for that, we can't have the windows. We need to put the . And then one last issue that we discovered last week, so I didn't have time to put it in here. Can I approach?

Yes, please.

Is that Perry's house? Yeah, I recognize it. That's great.

That would cover from the front of the property, the roof is flat. It's in the rear of the property.

This is the rear.

Okay, but from the front of the property, if you say that it's going to be higher, that will conceal.

Yeah, I was walking towards it, and that's where I saw it, and I was like, I don't like that.

That's great that you're going to do what you did at Perry's house. I think that looks really great.

Well, this one is actually an antique tile that came off of 622. Wow. And they're all different. They all have different Masonic symbols. One famous Masonic symbol is gear marks, right? And so this one that I'm bringing here, you can recognize. So this is an actual tile 300 to 600 years old.

Wow. That's crazy. And you'll be able to reuse that.

Oh, my God. Wow. Wow.

How many, do you have how many, so the whole roof is going to be like this or just what?

No, no, this is one tile.

It's like a tapestry. Every tile has its own individual character because they're all from different manufacturers. When they came here in the 1920s, they already were 200 years old minimum. Wow. So the tiles are reused. They're almost like Coke bottles, but different bottles. And that's just the way it is. You don't throw them away.

But my question is, this is going to be used in the house?

This is what's on the exhibit. It's there now. That's from the house. Out of many, many, many tiles that all have different stamps on them, different Masonic imprints from the people who manufactured them hundreds of years ago.

It's amazing.

I'm going to show you some replicas that Artisanals has been making for the last 30 years. We are now South Florida's oldest manufacturer of tile, period. So we haven't changed management or anything like that.

You presented here a couple of months ago, right? That's correct. Yeah. Lauren's house.

Yeah. So you see the different colors? Yeah. Flame marks because this is a kiln that produces those colors, right? You get that reduction firing because the smoke is in the kiln and it starves the environment of oxygen and that's how you get this reaction like a Raku firing. So this gives each individual tile blend and not some painted on cookie cutter you know flat color exactly that's great beautiful you see some of them have like the triad mark we could preserve this it's just one tile mixed in with other ones so that when the sun hits it a certain way you have a certain texture

And you know that there's an urban legend that if you have animal prints, it's good luck.

Well, you always get animal prints. You check your feet. You get cats. Dogs. So it records basically what happens, you know, bugs, whatever, you know.

Very cool.

Are there any questions?

the board has any questions I just have one question on the the gable and windows in this rendering you show the windows there so those are now gonna be vents that's right okay that's what I had to do in my house as well yeah yeah Exactly.

Okay. Before any question, I would like to show a small presentation I've done for each of the certificate we have tonight. And for the records, it's going to be on the village and for the public as well to, like, Educate or inform people general about these two properties that are very special for village for the village. Okay This property 622 Northeast 98th Street It's called the Lomas house because it was the first resident it actually was designed in 1929 not as public records indicate because Miami-Dade County property appraisers has a lot of not accurate But we found on the village, and this is one of the lucky properties that we still have the original centennial floor plans from Robert Low Weed. Robert Low Weed, as you see, this was designated in 1997 because all the three requisites to accomplish being designated, this house has them, okay? A prominent resident, a relevant architect, and the architectural style was significant. Next one, please. No, before. This was the next one? Okay. This is a small bio of who was really Robert Lowood and we have for the public here the presentation printed if anyone can want to have them as well. Robert Lowood has designed many, many residents in Florida and also he was one of the master architects of the University of Miami. Imagine all the prizes and awards he had. And Miami Shores has two big, big accomplishments, like the Grand Concourse Apartments and our beautiful Art Deco Elementary School. So that's why this house has a tremendous value for the village. The property is 622 Northeast 98th Street, designed by Robert Low Weed. Not only the architect. The next slide. will show that their first resident was the son of John Newton Loomis. He was the developer of Miami Beach, a bigger investor, banker, and the first mayor of the city of Miami Beach. So not only his son was a treasurer of the bank, his wife, Martha, also live in the property until, I think, 20 years ago. So I think this house has two owners or three owners. That's it, three owners, I think. That's why we name the house by its first residence. So that's why we call it the Loomis House. These are the original plants still existing in the village. They've been restored. So the proposal, and this is something that I want to discuss with my board members, what really is relevant for us is what is the impact of the facade of the property. that it cannot like, let's use a sweet word, disfigure the original design, the architect, or it will accompany the same architecture. For what I get from your plans, and correct me if I'm wrong, this is the first picture is the actual facade, and the second one is the proposal, which I only see, can you get the next slide, please? I only see that it's the same tiled gable roof.

The same style.

Yes, I know, I know. But from the front, go back again, please. So from the front, the only change is the gable roof on the left.

Well, not exactly. So that is, the top one is how it's existing right now. Okay, and the Lashi modification is done to it, or it became a slow-mo.

Yes.

You know that that was a veranda in the past. They enclosed the veranda. Yeah, they enclosed that.

So what that was was... Okay, but I'm talking about the front. The change of the front mostly was going to be the roof.

Yeah, here. Okay.

That roof. Yes.

But that was from the 2022 approved. That's already been approved. Yeah. So that's not what we're reviewing here.

No, but this is the actual one. The first one is the actual one.

Yeah.

Okay, yeah.

Yeah, but I mean that gable was approved in 2022, so that's not something we're discussing tonight.

And you know that we have tonight precisely the chairman at that time, Mr. Castellanos. And I read the files and everything. And I thought not only this, or was it a prior one? This is the second one. I know. I knew. I knew that there was first one that only was a flat roof and then they came up with an updated. Yes. Yes. Okay.

The first one, it was too...

Bulky.

Yeah, it was kind of erasing the silhouette of the original one. And I said, no, we need to separate this somehow so that the original silhouette of the house is readable.

Any question for...

Yes, I have a question. On the front facade, since we're talking right now about the front facade, what you're asking for tonight is to change all the windows, correct? That's part of the application. So the windows are relevant to this conversation. Okay. When I read the report, it says that the intent is to replace them with the same style. From what I can see of the original plans,

of the house. Can you go back to the original plans? Yes, there.

Well, yes, that is completely different because there was that arcade. They covered the arcade years ago. Yeah, they covered the arcade. But from the second plans or from, let's just look at the entirely of the windows types. from the original home. From what I can see, they were, the style of the windows, it was not a roller, it was probably, from what I can see here, it was more of a casement. So are you planning to replace the windows with casements or with rollers? Casements. Okay.

OK. It's going to be the one on the stairway, the ones up there, not in there in the back. It's actually not that many.

Some were already replaced, yeah, with casement, which is great.

The existing ones are beautiful, but they're .

They're not in packs.

So they will be casements, not like what you're showing there, because that looks like a, that's just the single home. And then you will put in the months, like you mentioned. Okay, unfortunately in your plans, and I guess that's because they were from the previous approved, but there is an image here. of a wind guard that just shows something like a fixed window or something like that on page M100? I'm not sure. A100?

M100? P100?

I don't know why it says M, but where you have also the.

Yeah, okay, so in the addition, okay, we're not doing any monthings or anything to differentiate. from the original. So in what's new, it's gonna be, it's not gonna have mountains and those might have, those might be fixed. I think some of them might be horizontal.

Okay, and this is relevant to this meeting because we're replacing all the windows.

Well, all the ones that we, yeah, all the, in the existing house, not in the addition. The addition had its own windows that we're putting in. Do you understand?

And it was approved before?

Yes.

So it was approved without the mountains and not matching the existing style of the house.

Exactly, yeah, because we still want to differentiate.

Well, but you're doing an addition to a historic home. I mean, I know it may be water under the bridge. I'm not sure. That's a question more for...

But our understanding is that there should be differentiation.

There should be differentiation. Or exactly or completely. Or exactly the same to maintain the style of the house. But you're looking at the rear facade, it looks like, right? Or is that the front that you're talking about? No, no, the rear. Because the addition is on the rear. So it's really not, I mean, it's not that relevant.

Yeah, well, maybe she was following the same as the Secretary of the Interior. So we're not supposed to make it look the same.

Yeah. It's not supposed to look the same.

The addition is supposed to differentiate from the original building. Yeah.

There should be some differentiation.

Or be the same. Or be the same. Or not the same. No.

It's supposed to be differentiated. They want it to be differentiated.

Yeah.

To exalt the original construction.

So you can see what the original construction is. Okay. Right. Okay. That is just as you said.

Yeah. So what's the new addition? Okay. It's. language and colors and things.

So it refers to it, but it's not identical.

So the windows are going to be modern, But when you look at it, there's not going to be any confusion as to what is an addition and to what is an addition.

The existing. That's right. Okay. So in the front, you will have the same, it would have the same style.

Yeah, in the front, the board did ask me to try to replicate the original.

Yeah, in the original part of the home, basically. Not only in the front, but in the whole original part of the home.

Well, just in that front facade, but...

Correct. Correct. Yeah. Any other question from the board? I personally would like to give you my appreciation for all the applicants that really care about our historic properties that we really love. And we've been in a crusade to make the people really love the history and the legacy of Miami Shores because it's easy to create any modern house, but these houses made with the craftsmanship at that time was not easy. Not a regular person could own these beautiful villas. And now centennial years, you know, 100 years later, they look fantastic. And adapting it to the modern world, you have to respect what they've done. And that's why I wanted to show what the relevance of the architect and the resident. This is not a simple house. And seeing you trying to really match and respect what for the village has been hard to preserve, it's really appreciated. So I would like to give you good luck with the project. If anybody has...

Well, just adding to that, that obviously it's a labor of love. This has been over three years, the process. So we understand and we appreciate.

The house was worth it.

But that wasn't us. It wasn't just us. It was us. No, I mean the three years. We didn't cause a three-year delay. No. No, no, no. It's construction. It's permits. It's not us. Do you have a completion date?

Very soon. They're flying. Maybe, if we're lucky, before 2026. might be done. Oh, that's great. End of year. We have an excellent, right now to finish this show, we have an excellent interior designer.

I tried to get Jean to open up her house for us, but she Jean is the owner, right? Yeah, but she said it was it was being remodeled Yeah, yeah, but she did come over look at some spare doors I have from my house, which is the same period An opportunity to get people into the property tours.

I

Anyway, but they weren't quite right. They weren't the same.

I have just something else to add. You mentioned that the barrel roof was a happy... Yeah, I thought we were going to have to get rid of all of the tile because of insurance.

Nobody wanted to do that.

I met the gentleman who built the roof.

Gene was actually driving past another house that I did about 25, 30 years ago. And she saw the guys up on the roof. And I was just trying to help that guy because that guy wanted to sell his house. And he says, I need an insurance letter. They're saying that if it's 25 years old, that they have to replace the roof. And I said... Relax. I did the roof to last 100 years. I mean, you have really antique tile, same story. It just had to be coincidence she drove by. And when I saw her house, I was like, whoa, man. This is what should happen. So you got 75 years of longevity at least. That was the intention. I just removed some tiles on the perimeter where they tie in. That underlayment we installed looks like I did it yesterday. Amazing. So it'll probably last 200 years.

That's spectacular.

to the point that a lot of people get very scared with every time we're here and the word insurance gets thrown to us, it creates these, like, you know, kind of a heart attack, which is great that you are...

This began in Miami Shores. The reuse and reapplication of antique tile was lobbied by Miami Shores Historical Preservation Board. That was the seed. That's where it began. And then it rolled over with all the municipalities making resolutions to Miami-Dade. And then it was implemented in the South Florida Building Code at that time. And then when it turned over to the Florida Building Code, it was actually put in 2007 in the Florida Building Code, and you could see the language that Warren Bittner crafted back then. We know him, yes.

I knew it was Warren.

We actually got a designation of the historical Cuban tile, 18th century Spanish tile, so that it's exempt from the strictures of product control. And originally, it was supposed to be that before you did your roof, you had to arrange for private or public salvage. So if you didn't want it, somebody else could come and get it and put it on their house.

That is amazing and that is a lesson I think for all of us to get information and to be aware of these things because not necessarily every time that the word insurance gets thrown or, you know, there's many ways and to be congruent to the house going back to the subject about that originally got approved being a flat roof tile. I think that's what it was approved with, the new volume. which I just heard, you know, it should be different. I think it would have been a mistake. It would have been a huge mistake to leave that flat roof. It has nothing to do with the original part of the house, with the flat roof tile. This is a much better solution. And it's going to look like the rest of the house, which I think at the end, it's a good thing. It's a good thing that it would look, I mean, either you do, you throw in like a, I don't know, which is completely different and you do a glass or, but trying to be congruent is very, in my opinion, is honorable to do.

What was approved? No, what we want to do now.

No, I know. Just for the record, what was approved with flat roof was the back addition, not the front.

No, no, but it was a flat roof tile. It was approved as a flat roof tile. Because imagine having this beautiful barrel tile next to a flat roof tile, which has nothing to do with the style of the house. In that case, I would have done a flat roof, like a completely flat roof, or I don't know.

And the flat roof tile also has less of a longevity. You're talking about 25 years.

Right now, the existing one is just the typical one where, you know, So you have the, and then they fill it up with concrete and they put little weep holes.

So Dan suggested to do this to differentiate it. For the tall part? Or for the new part as well?

It's the eave stops. It's called the vented eave closure. And what it does is it captures the shade so that it adds like a lattice work, a beautiful perimeter instead of a Miami-Dade implemented mortar with a weep hole.

That looks really nice. I just have one more question and I know that it may not... because it has been approved, but I wanted to ask you, see how the original house has this detail where at the end of the eave, of the gable, sorry, of the gable, it ends up flat? It looks like you, and I had a question, do you have it extended or is it going to be flat on the new part? Because the rendering shows it, your rendering shows it like if it had a wood piece.

So the front part, the

Okay. Yeah, on the north and on the south of the house, it extends it, and it was one of the client's requests? It's already built, right? It's built, or? It's getting there. It's getting there.

No, they haven't built the roof yet. If the board really

I would I mean it will be a it it will be a suggestion because it would match much better I think you tend to agree with that with what I'm telling you and I think that now that you're using the beautiful roof roof barrel it will be it would look fantastic because then it's it's congruent it's congruent with the rest

Oh, excellent.

If we could.

So in order to not delay, can we just make that a suggestion and just approve what they presented already?

And a motion to do that at the end? Yes. As a suggestion.

I'd like, if we're going to add a condition as staff, we need to be sure that we understand the expectations of the board and what's being put forth. So if there's a way that perhaps you can guide us as to its south elevation, west elevation, and what we're doing, and that way I can move. I don't think we're asking for a condition.

I think it's a suggestion. I'll let you guys debate it. It's okay with him. It's not being done.

It's not being done. The roof has not been built.

Okay.

Yeah, if you go to 002A, you can just look at the roof plan. So...

What page are we at?

That's the page.

That is A. A2 what? A002.

Oh, here we go.

On sheet A002A, the north-south roof overhang will be cut back so it's flush with the exterior wall.

Is that a complication for you?

No.

We haven't ordered the trusses. There's still time. I'll have to do a revision anyway for some of those. So I can just put it in right there. It's not a big deal.

And you can reference the elevations, too, if you want.

Oh, of course. Yeah.

The two is the A202. Hold on. I still don't understand the change, but it's okay.

There you go. Okay.

I had one more question. Sure.

It was on your elevation. Let me see. I have it here on my iPad. The new volume that you're doing, the square one that you're going to do the little detail with the roof, how high that volume end up being?

It's going to be the top of the parapet. It's going to end up being 19 feet.

Yeah, because I saw the elevation had a little bit of a discrepancy.

I didn't add the numbers correctly. I had the real number there. Right now, the way it's drawn is 18 feet. Yes. It's even going higher. Yeah, we had to go. That's why I wanted to put the coping.

And then on the ground floor, are you elevating that slab? Or like, in other words, since you're doing the new part, are you doing higher ceilings in the ground floor as well? Because the original house?

No, we're matching, though. You're matching? Yeah. Oh, OK. Yeah, that's the interesting thing. Those are 9-3. 9-3.

OK, so the original house had 9-3. 9-3.

Well, 9-3 to the other side of the structure. Correct. Not the actual ceiling. The ceiling had structure.

Correct, yeah, because you have to put in your mechanical equipment, your mechanical end.

OK.

That was the question. I know that's already done, but I just had the question.

I think those little details will make it even More perfect than it is right now.

I have to say this was a nerve-wracking project to do. To get a house, you don't want to screw up.

That shows your appreciation for what you have in your hands. That's very good. Thank you very much.

Will I make a motion to approve?

Who seconds?

I'll second.

So the motion was to approve the project with the condition explained and approved. Perfect. So all in favor?

Aye.

Thank you very much and good luck with your project. Thank you.

Thank you.

Thank you. Oops, this pen is not good. May I have another one?

What a disaster of signature.

OK. Perfect. This is for them? So we move to item 6B, certificate of appropriateness for the property located at 501 NE 94th Street. The applicant, please say your name and address.

Wesley Castellanos, architect, 7300 Biscayne Boulevard, Miami, Florida.

And can you do the next one, the presentation? So what's going on with?

If I can, with your permission?

Yes, please. I'll present the item.

Thank you. The applicant, Mr. Cesar Martin Pifaretti, is requesting a certificate of appropriateness from the board seeking adjustments to several window and door openings in order to update to newer windows and doors while adding a brand new garage door. The request also seeks to convert an existing roof area into an exterior roof terrace with railings. The exterior areas will be restuckled and repainted using textures and colors that are consistent with the historic character of the home. No square footage addition or removal of building footprint is contemplated by this request. The property, commonly referred to as Renoir House, located at 501 Northeast 94th Street, was originally constructed in 1935 in the Tudor Revival architectural style and designated as a local historic landmark by Miami Shores Village in 1984. The two-story residence sits on a 9,675 square foot lot comprised of approximately 3,444 square feet of living space, which includes four bedrooms and three bathrooms. The applicant proposes the following items for board consideration. Along the south.

Are you reading one of the copies or it's different what we have?

Our staff report, which is part of your packet.

Okay, I'm looking for it. The first one, I don't see it.

It was before that one, on top of that.

Okay, thank you.

So the south elevation sheet A41 is proposing to replace the stained glass windows to clear glass and also replace the garage door to a wider door, thus allowing for actual vehicle access. The east elevation is adjusting two window fenestrations or openings for proper interior design accommodations. The north elevation will be adding windows and doors with a clear story at the family room wall and thus converting the roof area to a sitting room and thus accommodating a second floor roof terrace with railings. There will also be proposed skylights for newly renovated kitchen for a more natural light and also proposing to replace the window at the bathroom for a door that will serve as a pool cabana. And at the west elevation, they will be adjusting the second floor window in order to seek proper interior design accommodations. And with that, I will allow Mr. Castellanos to present to the board. Thank you.

Good evening, Chair, board members, staff. Wesley Castellanos, registered architect. To my left, I have the owner, Cesar Martin Pifaretti, and his wife, Carlota. So allow me to express how we got to this point to present the package to you, because with the Historic Preservation Board, we understand we want to maintain all the elements as possible, but allow me to express the holistic manner to how we got here today. So remember, this house was built in 1935. So in 1935, there was a lot of different situations. One of the main reasons was the beds. So back then, the windows were placed at a certain orientation because there would be twin beds. Even when they were married, they would both sleep at separate sides. So that was one of the items that we needed to understand, that these windows that we're looking at and the facades is that the windows are in the center with the twin beds on the sides. Nowadays, we all have headboards. King-size, California kings. So these are the conditions that what was happening inside. I can go on, we talked about it. We went on for a while, but the actual, so as we walked in, there was an addition that was, there was an enclosure in 1980, I believe, of a porch. It was an open porch. This porch that was enclosed in the rear, what happened was it was that they just made it really easy and they just put a pitch roof on it. However, when you're in the space, this house is grand, so you have volumetric spaces of the living room, the dining room. the family room, and then you go to the porch. And then the porch was asking for to replace the roof, make a flat terrace to increase the ceiling height. Because when you're in the kitchen, I'll walk you through the plans. When you're inside the kitchen, you'll see that there's not enough light. So if we make the plans. No, this is my presentation. Do you have these plans? Okay, perfect. Yeah, we can go through them. Okay. Just tell us what sheet. What sheet? So again, the facade is maintained at the street level. We come into the foyer and then we have the grand stair. To the right, there's a little wall. In this wall, it's a non-structural wall. So what we decided to do is to open up the interiors to make it a better flow. So again, the front fenestration of the street, we requested to replace the stained glass tile that was done in 2007 to allow more light. That's really the request on it.

Wesley, just 94th Street is the bottom of that drawing?

Yes, the bottom, yes. So as you come into the living room, you go into the dining room. And then we realized that the dining room and the kitchen that was separating the spaces was a non-structural wood partition. So we decided to open that wall up and then the sitting room is where the porch used to be. That sitting room was the enclosed area done in 1990. That's where the roof, it just needed to be replaced and it had a really steep slope. So that's in the back of the house. And then the family room gets maintained and we're opening up that whole entire piece. The carport, they enclose it to put a door there, but it's not a carport. So the owner is a car fashionado and he really wants to put his car in the carport which was originally designed for him. So that's.

So the actual, the actual door will be.

It will be wider to what it was originally. So if we go to D1, if you mind going up please. You passed it. I'm sorry.

No, but I want to see a rendering from the front. So we can go to the front, but this is the door. See how it's too narrow?

If you go to the front, please, Jerome.

Ah, so it's not going to be the wooden doors on the front. No, no, the gates remain.

The wall in the back. Yeah, so this gate remains.

You see how this door is right here?

A car cannot go in. So when we expose the structure in there, they furred it out with wood to accommodate this door. So what we want to do is we want to increase the width back to where it was the car.

But it's going to be in the inside car.

It's inside, beyond the first carport. But the gate, this wooden gate remains.

The wooden gate remains.

This stays, and then it just winds up inside. Inside, okay. Yeah, you see how it is over here? So that's where we're opening up, but the gate stays. Since we're on the front, the main facade, which is the south view.

Yes.

So we have, the request upon this was to paint the house in the origami white. The origami white is a historic color.

I don't mind about the white. I have my representation. Yeah, that's a great color. And the rest?

It is a nice color. So the origami white and the wood, the dark wood remains. Excellent. So you're going to have the stronger contrast. So that's really.

I thought it was black in your rendering.

Well, it's dark because believe it or not, what we did is we used the Sherwin-Williams app where you can take the photo. Instead of redesigning the rendering, we took the photo and we actually applied the actual origami finish on the facade. However, it adjusts the color accordingly. But in the notes, if we put it as a contingency. So the brown remains. The wood stays. The brown stays. The wood stays. Okay.

Just the yellow, okay.

Yeah, just this beige facade. Element. Okay, so again, and then that's this facade. If we go to the next sheet. Okay, so here is the east facade. So again, what I was willing to do is I actually showed, these used to be original openings. So I dashed it in so you guys have it for record.

It's in the original plans. You see them?

This is the original history of the plans. So when I illustrate, I try to illustrate as much as I understand from the original architect.

Those are the original plans?

I'm sorry? Up at the top. That's the original. Up at the top.

The original plans of the house? Correct. Where were they? Because they're not online.

Oh, I had to dig through them through the records. It's not like the first item. It's not in Miami Shore Village. There's one that has like 20 sheets. I'll send it to you. But it has like 20 sheets, and it's like the last two pages. Wow. Actually, it's in the packet, the original set.

There's not online on the record.

So those are the drawings. They were black and white.

He had to go and get the folder probably, right? Yeah, I got the entire folder.

The last two sheets.

The last two sheets. Before any question, I would like to have the presentation of the house that I prepared. No, but I don't think it's finished.

I still got more to go.

You're still working on the presentation. You're not finished, right? No, I still have more to go.

I can talk for hours. It's okay. Okay, so again, this is what we're requesting today. This is fenestration adjustment.

So this is the existing. That's what it was back then.

This is the proposed. This is the east side. This is the side setback. So you really don't get much of a view from this corner. So I try to show you what it would look like from the corner so you don't see much. It's mostly buffered because it's a side step back. Again, this is the only thing I'm requesting here is just to adjust these windows. Okay, so and then we go to the next elevation. Okay, so here's the, again, another image of what it was. There's the two French doors. Then we have the, so you see on top, the window was in the center. So we're requesting to divide the window so we can put a headboard at that location. The same look, we're adding more fenestration to bring more light in because it's really dark. And we're opening up the back, we're putting these sliding doors with a transom because the ceiling height in that space is actually, I think it's 11 feet. But it has this header that's so low that makes it dark. So what we're doing is we're raising the header and give it a grander effect. And then they have a generator, which they omitted, which has a little window, and we're putting a door to the cabana. So that's the request in the roof. So right here, this railing you'll see, this is for illustration purposes, but let me show you what we have here. It's still in the works, because remember, you're the board, I have my ideas, we have your ideas. So this is the, if I may approach, this is what the railing looks like inside the house. So this is what an image of the rail. And then, Now that we have, we're trying to replicate that riff. So we have an image like this. We have an image like this.

I think the first one is more appropriate.

So we're still brainstorming, but of course with your review, this is the simple picket. And then here's the, with the ornate features. So right now, those are the items that I wanted to present to you that We're still looking at.

Can those be seen from the street?

Yes. Somewhat, if you like, really, from the alley and then diagonal from the street.

No, but aren't you proposing another balcony in the front?

No.

So it's only in the back. It's only in the back. And you can see it through the side. Yeah, yeah, yeah.

Yeah, through the corner. Yeah. Okay, so this was inside the property. Okay, so that's this elevation. If we may go to the next. Okay, so here's the street facade. So you see this railing does show an elevation. And this window, how it's in the center, these are the two windows we want to separate.

Yeah, exactly.

And then the window of stained glass is at the top above the stairs. That's a question for them to replace. And then again, so if we understand the structure too, the base of the structure, the first floor is concrete CMU. The second floor is wood. So the relocation of these elements are actually easy on the second floor. So this is a unique structure, so the way they built it back then. The roof is going to remain. If we go to the next image. Okay, so here is the back. This is just the color, how it was imposed. You see that the wood brown stays. It turned black towards the rear because the roof is actually black, right? It's a dark, dark, dark brown that was replaced. So believe it or not, that was a variance of approval because of when they apply for it, the prior owner, because we only allow flat concrete or barrel, clay, So what happens, this is a composite plastic that was approved, but that's already on the water bridge. Yeah, it's already on.

So that's that, and this is what it would look like with the color changes.

If we go to the next sheet, I think it's the last one, and that's just the door schedule. So overall, that's really the request today. So the items are the window fenestration, the terrace with the railing, and the stained glass. The patina above the entry door and the crest will remain. So that concludes my presentation. If I'm favorable approval, that would be something.

Okay. I just also prepared a small presentation about the relevance of this property, and I'm happy the owners are here because are you new residents in Miami, sir? Yes. Name and address, yes.

First of all, thank you, members of the board, for your time, for your consideration. Obviously, the reason we're here, that I'm here, you're here, is the same. I mean, because we love these old structures. We're coming from a 1932 Art Deco that we renovated over 10 years in Belle Meade. They were allowed. It was completely abandoned when I got in there. I love things that, you know, have a story. I like things that have patina. I like old cars. I like the old floors. You know, when the guy came over and said, are you going to get rid of it? I said, no. But there's things, I guess. But, you know, that's part of the story.

Why buy an old house if you like modern? Exactly. It's nonsense.

Yeah, I know. And, you know, it has a ton.

That's why the request is called certificate of Appropriateness we would like to advise what is appropriate for the original architecture of the property, you know after you can see completely disregard and respect for what we've done before, so that's why some houses like this one need to be protected. The property is a really unique property, and I'm going to explain you how and why. The house was, I think, I don't know if you knew that in March was designated the Historic House of the Month. I did.

Yes.

And we make this like monthly award. And this year, last year we celebrated Centennial Homes, like the one we saw before. And this year, we're celebrating houses from the 30s and 40s. And this one was selected with only 12. And this one was of the houses selected. Every month, we change it. So this house also had a prominent resident, also had a prominent architect. and prominent architecture. The architect's name was Henry van der Linde, which also he designed several houses. And the owner was Renoir. I'm going to speak a little bit about him. Look at this house. This house has so many elements, so many elements of Tudor revival. We have only three houses in Miami Shores that are two-door revival. And this one has almost all elements. That's why it has to be respected for its uniqueness and valuable, okay? This charming storybook house style came to United States in the 1900s. And two-door buildings are now found in many neighborhoods around the country. For example, go back, go back. For example, you see the steeply pitched roofs, stained glass windows, and half timber facades. You have them all. Every single in the list, that house has them all. The next one. Not only that, you have a weather vane. Only a handful or even two handful houses in Miami Shore has an original weather vane. I don't know if you still have it.

I don't think I saw that.

Until last year, it was there. Okay. Yes, it was original. You have decorative chimneys. You have exposed bricks. What about the bricks, Mr. Castellanos? It's not there.

I would love to put it back because I would love to have it.

It's original. What about exposed bricks? Are you going to keep it? Yes, we will keep them.

Okay.

We will keep them. uh and you also have a copper portico with an amazing patina okay that that that's really special because none of the two remaining houses have them and that has it already done the next one So Lucien Renoir was a member of a prominent Miami-Dade County business family which owned Renoir Construction Company in Coral Gables and Renoir Lumber Company, one of the few early industries in Miami Shores. The company was here for 40 years, from 1925 to 1965. Imagine the house you build for yourself if you want prominent construction, the best of the best. Imagine that. So he was also, you know, even of the founding board members of the Brooklyn Memorial Library, served as the president of one of the companies, so a whole prominent resident. And next one, please.

Why was his business in Coral Gables?

This is the picture of the Renoir Construction Company, Coral Gables, and the Renoir family in Miami Shores. So it's relevant. The property has value. And that's why we always focus on preserve the most of it, OK? Understanding, of course, that you have to adapt the interiors, like the wonderful things you're proposing to make it livable inside, but the outside, we have to respect what it is, okay? So in the designation in 1983, you can see highlight, the house already had stained glass windows. The next one, please. And this is an actual picture of that 1983, and they did have stained glass windows. I don't know if they were changed. I don't think so. But this is original from the house. So the house has now 90 years. And if they have stand like 500 storms and 18 major hurricanes, so that glass can stay. They don't need to be hurricane impact windows.

They replaced it. It is impact glass, stained glass.

It's stained glass as well.

It's hand-edged into it. When they replaced it in 2007, which has not been permitted yet, it was actually stained again. And it's impacted. I mean, how?

So they put it on steroids. Yes.

Maybe they copied it exactly into a hurricane proof.

The next one, please. Look at this.

Look what they have. Did the house originally have stained glass windows there? We don't know. I mean, the reason you want to take them down, which I'm not sure we agree with, but is that you want more light in the house, not because they're not impact.

Well, for instance, I will understand about preserving the front because that's the most impactful from the curb appeal standpoint. However, if we can find some common ground and allow me to replace this one, which is only visible for

landing here is very very dark and it's very very hard because there's not that's a two-door house that's a two-door house i understand um but uh you know the next one please so i just found this picture of a remodeled two-door modern house and they keep they kept the stained glass windows and it's black and white and it's all you know Remodel, but they kept all the stained glass windows. So this is a perfect example how can you just bring a Tudor house to the modern colors or design respecting the regional features like the stained glass windows. The next one, please. And this is the portico you have.

Which they're keeping.

Yes, they're keeping, and it costs a lot of money. So I saw in the rendering that it was painted in black, and I said, how come they want to paint it in black?

I don't think that was in there.

So it was in the renderings. And also, can you see the heraldic coat of arms? That's original from the house. I'm not an expert in heraldic, but if you make a research, I guarantee that's the Renoir last name, heraldic coat of arms. So imagine the elegance. Imagine the importance of that house. That... right now is under you know value to try to preserve the maximum possible getting you the commodities of a modern world in the interiors that respect the original house because it's valuable for the whole village it's not only for owners because You know what we are? We are only temporary owners. We can be there for five years, for 10, 20, and that's it. The house has 100 years. So imagine if every little owner, 10 years, 12 years, they did whatever they want. We didn't have anything. So this one, even with the patina, it's simply spectacular. Do we have more? I don't know if I have more. Okay, and this is the last one. So just to like the cherry of the ice cream. There's only three two-door revival homes in Miami Shores. And the two first ones, they only have the timber. You have all. The first one is a landmark in 19, the historic designated. The second one in 96th Street also designated. Look, architect, architect, these are remarkable houses. And they only have the timber outside.

Those are what we like to call MediTutor. They're half Mediterranean and half Tudor.

But yours has all. I agree. The portico, the copper, everything. Because it was done for a remarkable resident.

You forgot the other one in 96 that needs some help. Because it needs too much help.

Because it needs too much, that has.

That is not anymore, Tudor. That is not the exact, I lost all characters. So why I do this, because it's not easy for us to, To say no to somebody that comes with all their, you know, love for the new house and all the passion to create something special for the family, but there's a reason. And I explain one by one the reasons we would like you to preserve some features of the house.

I'm missing the balconies.

Exactly. Let's go there. That's your subject. But for me... Keeping all the stained glasses is a must. Keeping the copper portico, it's a must. And I like what else, the rest that you're doing, architectural structures can be adjusted, but I think for me, These features are non-negotiable. So you don't need new glasses when it could stand hurricanes for 90 years, whatever design it is. I know maybe it's not a white Miami and clear house, but This is a two-door house.

That's not what we wanted.

It's like a Victorian house. So if you buy a Victorian house, you have to enter with lanterns because it's all dark. But you purchase it. I know, of course.

Listen, Patricia, the moment I drove through the house, I mean, the curb appeal, I was taken aback by it. And you have a corner. I want to go inside.

And you have a corner, yes.

I mean, once I saw the floors and you see the indentations in it and the little, like, you know, like...

What about the wood inside? Are you keeping the wood?

I'm keeping the wood.

You know what they do all the time? White. Let's paint all the... The first thing I was like, well, you know, Yes, solid, solid.

Yes, solid. I mean, it's incredible.

They own a lumber company. Imagine what kind of wood is that.

No, if you walk on it after 100 years, they're actually straight. I mean, when you move some houses in 1932, I mean, it has indentations, and you can feel, like, you know, you're rolling. This one's straight. So, I mean, you know, we went to great lengths to protect it, so, you know, through demolition. I mean, obviously, it has, like, a big, you know, what is it, like,

You can you can keep the report and give it to all your guests and say hey This is what we have right now. So this was my opinion Now I open the board for comments and questions for both, please

Well, first of all, I am very happy that somebody bought a house that appreciates it and wants to keep it as much as possible. That is really, really nice. Like Madam Chair was saying a lot of times, it doesn't and it falls in hands. And that you want to keep the interiors. um as somebody that does interiors appreciates that you want to keep some of that interiors as well because the house is a complete structure it's it's not only the front facade you know i it may be that the county says or the standards say that we need to keep only the front facade but a building is a building it's it's the whole And, you know, just starting it to pull apart, it loses its character. And at the end, you know, that's what we're trying to do here, to preserve as much as possible. So it's nice that you want to keep the interiors and the exterior of the house. I appreciate that. And to Wesley, I think that the interior, what you're doing is really, really nice, opening the kitchen. You know, I totally agree. Time comes where you need to kind of relocate some windows. And even if... They're not really aligning because I saw the elevation and unfortunately they're not aligning. I went to the plan and I saw that, well, you know, you have the bathroom there and you have the walk-in closet and then, you know, some sacrifices may be needed. So, although it's not ideal, the placement, I understand your predicament and there's nothing else that we can do about that. So, you know, it's on the side facade. I have a question. You are going to keep the same style of the window even though you're replacing the windows, right? So we're keeping the mullets. You're not doing a regular wall hung or casement.

The proposed windows are going to match exactly the same style, same color and everything.

Okay. Of what's current. Okay, because I only saw in page... Because on page A7.3, there's the window schedule and then the windows, a drawing with the windows and it doesn't show

I don't show mountains on when I do my window schedule. I only show it for the facade. But yeah, so that's going to come in with the mountains. Yeah, we can make a contingent. We can make a no contingent on that, that all windows match the existing with mountains.

Yeah, just because usually when you get to... bid your windows and fabricate, they're going to look really at the window schedule. So just for that, just to make sure that it's the same.

Can you restate this condition for the record?

If I may, I would say window schedule to illustrate, to indicate new windows to match the existing windows with muntins.

With the muntins, yeah. And then the last thing in regards to the balcony, given that I agree. I mean, it's nice to have the balconies. It's a good idea. I am glad you're getting rid of that weird on the back, the rear, like wood, something.

I don't know what. I think that is there.

Yeah, I'm glad you're cleaning that facade. And the balcony is nice. It's a nice addition. But given that it's in the structure of the house, my suggestion, when I saw the elevation, I just saw like a picket. Now you're mentioning that you're bringing, that you're trying to work with raw iron, which is one of the important elements of the Tudor style. but my suggestion will be that on the on the floor or on the edge of the terrace, maybe you incorporate some of the wood elements like you see in the front. So give it a little bit more character and not just have, you know, just a flat floor, but add a little bit of character to it with some of the architectural elements that are shown in the front of the house. And actually that will make the house look really nice.

so that that just to be consistent with throughout um okay it actually has this if we may if i even may uh it has a review if we go to sheet a 4.3 4.3 yes a 4.3 it has this uh molding around the edge here and then we'll propose a wrought iron similar to the interiors

This is similar to the interior, and they would add like a wood fascia, dark wood fascia to this point.

Where? Here. Oh, excellent. Thank you.

But could you make it a little bit more like that it comes out a little bit, protrude out?

So it would actually look like a big cedar.

Yeah, like the front of the house, yeah, to give it a little bit more.

Are you okay with that? It would be here. It would be this element. Oh, yeah. It would be a brown wood. A little bit more. Two, three inches thick. We can put it on the surface.

Which is kind of what you see in the front as well so it gives it you know the Exactly and and you know the tutor is a very strong it has a very strong character Which is I think what you like so that will you know? I also think that is a good idea to that you added those windows can like you were saying is Dark inside in the in since you hide the height is a good idea I wish that That two windows that you have on the side had been doors, though, yeah.

Like to be... We discussed this.

And I know you have a... I saw that you had like an L-shaped sofa, but it's a sofa. It's furniture. Just, you know.

A full height. We can do a full height. Similar to this. And then maybe make it a... This is a French outswing, and then this is the sliders. Would you be okay? I mean, I'm just bringing it up.

Yeah, sliders.

What about the railings? This is just for rendering purposes, right? Correct.

This is just as simple, as easy as I can illustrate it. But, of course, it can go into a plethora.

The iron work, of the Tudor house is just art. So you can have the opportunity to have some embellishment just with that balcony that people will say, wow, what a great art. You know, you have the same inside. But that's why I say no, it has to be rendered because it's too modern.

We'll work on some ideas.

No, you proposed some picture you found online.

I proposed a picture, but the way it could happen is that we can make a condition that because the railings are usually under a sub-permit.

Correct.

So the sub-permit would have to go, the sub-permit application for the railings would have to go in front of the HPB again.

That's a good idea.

And in that way, it would alleviate P&Z from making any decisions, so it would come back in front of the board just for the railings, while you'll have the COA, the certificate of appropriacy, the scale of a, you know, you won't get certificate of occupancy until you get

Yeah, and you can submit it with time ahead so that they don't lose time in construction or anything like that. It doesn't delay them.

Okay, because they can be anything, but we'll work together. We'll meet what you're interested in. Okay.

That would be amazing.

So I did want to consider the owner's request as a question. So you're saying, you asked if you preserve the front elevation stained glass windows, would we consider... Allowing you to replace this one window in the landing right you asked for that Yeah, because it's very dark Yeah, it's on the it's actually on the east elevation on Northeast Fifth Avenue, and it isn't very visible It's way up here. Yeah, it's on You can barely see that

There's a big oak. There's an oak, yeah.

And what is that, the landing of the stairs?

Yeah, I mean, it's like a, there's two landing.

So what happens is it has those slopes, those steep slopes. Underneath is storage. It's this little, little pocket of storage. So that's why it has an exterior facade. You can't see it here, but it's slopes over here, that little element.

Yeah.

I like that. That's a common ground. I like that.

That's a common ground. That's a good idea. Yeah.

Yeah.

I would agree with that.

Yeah, that plus a beautiful chandelier. That plus a beautiful chandelier will be perfect.

I think that's a great idea. That way they get more light in there.

Maybe the same design but with clear glass.

Yeah, with the clear glass.

Maybe you can keep that window somewhere special after you take it down.

Repeat which window is being changed for the record? For the record, can you repeat which window is being changed? There's been several conditions now.

The only window that we agree to change is the one above the stairs to be replaced with the same design but with clear glass.

So it's the one on Northeast Fifth Avenue, just to be very specific.

To allow more light to that area.

Yeah, west elevation.

West elevation, second floor. This one right here, right?

Yes, it's item number four. Yeah, item number four on the original- Proposal that we would allow it, as long as it maintains the design, but with clear glass.

This is sharpening a pencil for this house.

Well, it lets them have light. I understand that.

But this is a two-door house. There's never light. They're like this.

They're leaving the main light. They're leaving the main windows in place. It's still going to be dark.

Don't worry. You can always put light.

Yeah, of course.

Just that one.

The rest are all changing.

Yeah.

No, but keeping the same stained glass, but clear. Then you have a lot of glass. It's a good compromise.

It's great.

Do I have do I have a motion to approve the project of the house located at the 501 northeast I Move to approve with the conditions stipulated I

Eddie wants to state all the conditions again. I'd like to recite them.

Yeah, sure. If everyone's okay with that. Okay, I have in total four conditions. The first is that new windows must match existing windows with muntins. Condition number two, sheet A4.3, north elevation at balcony, the railing shall add a wood detail treatment similar to the front facade of the home.

Facia, so that detail is called a facia. So, wood, facia, detail.

Wood detail, facia.

Facia.

Yeah, wood, facia, detail.

Okay. Number three, remove railings from the request. So essentially the railings are not going to be part of the COA request and the applicant is going to come back at a later date for HPB review of the railings at the second floor, the exterior.

That will give you time to decide what design you want, study several options and then come back, oh look, we decide this design, not make something rush right now.

Okay.

It's worth it. It's really worth it.

But I would put, when you stipulate, it has to be, railings to be deferred to resubmission to HPV. Because you don't technically remove it. Because the railings are a requirement.

Yeah. It's just a deferral of that.

So you defer. You keep it in the COA. Within the COA, it has to say deferred upon next COA. It has to be presented again, is what I'm trying to say. OK. to be deferred and re-presented for approval. HPB approval.

This is your new name?

Got your name on the back of it. Anyway, sorry.

It's not paper, is the actual? It's paper. No, that's not paper.

Because what's going to happen is that when this project, let's say we sneak a sub-permit in, and it goes in front of the P&Z again, you're going to go straight to the report, the staff report, and the staff report is going to go, oh, here's the . We're going to go present to HPV.

We're going to go off these notes. Yeah, for sure.

That's why it has to match those notes. The order has to match those notes.

He knows. He knows his business.

Okay, so I have proposed railings at exterior second floor shall be deferred and brought back at a later date and time for HPB review. All right. And then the last one I have is west elevation at second floor, okay as is, as presented. No, no, no.

The last one, no. All the stained glass windows remain original except the one above the stairs that can be replaced with stained glass windows in clear.

Okay. Hold on. Let me give it a try. all stained glass windows in the house to remain except for on the west elevation second floor which will be replaced with the same style of window but with clear glass and i think you still have the detail of the of the chimney because in the pictures that you presented um it's shown

Which? The detail of the chimney?

Yeah, the chimney remains.

No, I know what I was saying.

Oh, you mean the weather vane?

Because you guys were asking if it's still there. The weather vane.

What is it you said it is? Weather vane.

It's not there in this picture. It's not there in this picture. No, no, no, no.

It's the chimney.

Last year was there.

Patricia, I'm talking about this. The chimney. Isn't that a chimney? That was not a chimney? Chimney, yes. Yeah, a chimney. You still have the detail. You still have it. Oh, yeah.

The chimney's there.

Yeah, the chimney's still there.

Okay, because I thought you were saying that you didn't know. It's there.

That's awesome.

But you can put one. You can get one. You can...

I'll be cool. You can you can find one in like the same thing. I have seen them.

They're very delicate. That's why you don't most houses had them. Yeah, but maybe you can find one.

That would be cool to put it back at it.

I have here my notes as well. There was a posed change to the doors and windows on the north rear facade.

Yes. Main door remains the same, right?

It's the actual... What was that, Jerome?

On the north rear facade, the left bottom, Ms. Correa suggested that it be turned into doors, I believe.

That was a suggestion, though. I don't think it's a condition.

That's just a suggestion. Well, I think we can make it into... I mean, I think they're in agreement with it, so... With what?

The three doors at the back.

It seems like it'd be a lot more expensive... I mean, it's not the street facade, though. It doesn't matter. It's not a street facade.

But it's the building.

Yeah, but you can't see it from the street.

You're going to have a better facade. I mean, it's going to be nice.

If he's OK with it, that's fine. I think, yeah. Bye. You're too easy. So Jerome, it would be.

What was the reasoning for the window?

The reason because of the return of the couch. They have a sofa. They don't have any place to put the sofa. So Jerome, it would be family room to have three-pane doors. A three-pane door versus just a three-pane door. Because he'll pick it up. You guys will pick it up in the review.

Well, this was long because the house has great details. Yes. Every little corner is a detail.

The house is very unique. Okay, so if I may add a little too. So we pulled a demolition permit because we wanted to expose some of the interior structure so we understood what we were getting involved in. The ductwork runs underneath the house. The water heater, everything is very unique. I've been in old homes. Thank God the electrical is decent. But again, the owner is really putting a lot of funds into the house to maintain it. It's just that it's outdated for its current use today. But understand that it's a lot of love going into that house.

Yeah.

Yeah.

You can see that, yeah. Beautiful.

And it's amazing you're changing that yellow color to this.

Please, I think, please. While you change it, you know, it's a completely different house. The original two doors were white. Were white.

Yeah, no, that yellow. Oh, my God. That yellow. I don't know why everybody like to paint everything yellow, inside and outside. It's like...

And it's interesting to me that, I mean, obviously that roof was put on, like, whenever it was put on. But it actually doesn't look bad today. I like it. In the copper color, it almost goes with the house.

I'm going to be a little bit of a...

It's thick. Amazing.

I know, I know, it's not original, I know. Flat roof, polymer. I didn't even read what I told him.

So I'm looking at him, he starts stepping on it, and I'm like, no, it's clay. No, mi amor, mira, no le cambiaron el pitch.

It probably would have been a tile roof, I think. It would have been a slate. No? Or shingle? Slate?

Slate or shingle?

I imagine that must have been way before my time, so I don't know.

Just for your information, now that you're residents of a historic home, We would like to invite you to all the activities we have. This is a very active historic board like never before, like in 30 years. We do exhibits and walking tours that finishes with drinks and people. Yes, all the time. And we make friends, and we make a lot of friends. We are like a very neighbor community, and we just share all the experiences we have with our houses, Mediterranean and the other one, Mid-Center, and that creates like a conversational... Excellent friendship, and we are very, very involved to protect the houses. This year, soon we're going to be having three books published with all the architecture in Miami Shores, and it's going to be nationwide recognized because Barnes & Noble, we have it. So this is something that we're working on. So we invite you to be part of this as well.

That would be great. Oh, don't tell Jeffrey. We're coming after you.

Jeffrey will sign you.

After the remodel.

Exactly.

But he's worth it.

But you got one of the best. He's doing a great job. He's worth it. He used to be chair of the school. He was the chair, yes.

He's doing a great job.

You learn a lot from him, a lot, a lot.

Thank you very much. So do I have a motion to approve? Wait, Jeffrey.

Do we have a motion to approve the certificate of appropriateness for 501 Norris 94th Street with the conditions explained here?

I so move.

Second? Second. All in favor? Aye. Approve and good luck with your project.

Thank you very much. Thank you. Thanks for coming. Have a great evening. You too. Do you want them back, Wesley? We won't talk about that. Nice to meet you.

Thank you.

Bye-bye. Wesley, is there a date line for the project?

Christmas. Christmas there. Yes. Yes. Thank you. Have a good night. Bye. Have a good night.

Thank you.

This house just took long because it was...

I know.

It's a long...

I know. Okay, the next...

I'm here, okay. So number seven, discussion and possible discussion item, the Historic Preservation Board report.

Yes.

Do you all receive this report by the staff?

Yes. And we've not submitted anything to the staff.

Exactly. But have you read it?

I've read it. Not one, but it's okay. I'm not here to judge. It wasn't anything personal. It's an excellent report. Absolutely excellent. There are some grammatical things in it, so Batista sent me the original, and I'll just update those grammatical things and send it to you by Monday.

And better than that, I conferred with Isabelli, and she says that this is part of the boards and committee review to the council. So once it's ready, you just need to coordinate with Isabelli, and she will let you know when the next hearing is.

I would like to invite all the board.

No, I think she would just at the next council meeting.

As soon as we have it, he can just like. Correct. Once it's ready, you let her know. I'll let Isabelle know because I would like to have, you know.

Wait till I do it. I should be able to send it out by Monday and then you can just. Okay, so let's. I'll send it to Eddie and then you can talk to Isabelle.

Exactly so to say who I would like to be exposing it as well with the powerpoint presentation like this I have it so it's gonna be

Yeah, make sure Isabelle puts a time limit on it.

Do I have a time limit?

Yes. I'll put in a good word for you.

I'll put in a good word. But they have a lot of items to discuss. I wouldn't present this whole thing. Not the whole thing. Absolutely not. Why don't you do like a, why don't you do like a, like the abbreviation, the highlight. Highlight, yeah. Okay. I think that's good. Two slides. Like a bullet point. Two slides. Two slides may be little. Impossible. Two slides may be too little.

Can you summarize a whole year of hard work? Absolutely.

But the whole thing

Absolutely. Yeah, they're gonna get the whole thing.

They'll read it and they'll read it.

We're gonna be their worst board if we bore them with like...

I know, okay, I agree, okay. No, yeah, because imagine they have to see so many things that actually they may not like us if we stay there very long. Exactly. They may go like...

Oh, here they come again. I do have one other thing to add, and that was we had a very successful tour. In spite of the rain, it poured, but we still had, we oversold our tickets. We had a max of 50. There were actually 53 people there. We made $1,050 for the preservation board. So thank you to everybody that helped. I really appreciate it. All of you, everybody on the board.

Jeffrey did a great job.

Thank you, Paula, for co-sponsoring the beer. The check went to the finance director from the library, so that check should be deposited.

What's that?

It went from Michelle Brown to whoever the finance director is. I don't know if she sent it to Kathleen or she sent it to...

Meaning the $1,000 that we collected?

Yeah, that it should be deposited into our donation fund. And I'll send an email just confirming that.

So all that money goes to the library? No. No, we're changing that now.

No, we didn't give any of it to the library this time.

Because I was like, we barely have any money. No, no, no, no, no. We're keeping it. I think the library understands that.

We've donated a lot of money.

Yeah, I talked to Michelle, and she's fine with that.