So that you need to elect a chair pro temp.

So do I have a nomination for the chair potential?

Do I have a second for that?

Second.

All right.

Okay.

Thank you, Mr.

Tompee.

Um the first order of business is the meeting.

Um we have any comments either from the public or our board corrections.

Do you want to have uh a um moving?

Okay.

Okay, I'll be for some minutes as submitted.

Hi, that brings us to our consent calendars.

Mr.

Tompi, would you like to um introduce that?

Absolutely, yeah, too.

Uh we have one item on our consent calendar this evening.

Uh and then the three B AR26-00209, gray request for alteration and labor vision clearance at 1200 postreet, the applicant marked.

Okay.

Um, is there any member of the public that would like to remove the sign of the design calendar?

Is there a member of the board that would like to remove the sign?

So move second.

Second.

Okay, I'll make the expense of 50 cent calendar is submitted.

Yeah.

I'm all right.

Thank you.

So if you're uh if you were here for item number three, um it's it's concluded.

Thank you for done.

I was fine.

Uh okay, uh now move on to the new business.

Uh item number two or one.

This is the R 226, that 0207, all the sort of different operations, 28 Michigan Avenue.

Great.

Is the applicants uh somebody representing that to think that's it?

Okay, sure.

Come on now.

Um there's a beautiful blue hex here.

Um either talk about the staff recommendations or give us a presentation or um I am Daniel Fishman, the property owner in question.

Um it's uh one three two eight Michigan half.

I had some roof work done.

There was broken shingles and holes in the wood, rotted wood, so they replaced um you know all that stuff that needed some repair.

So it's now synthetic instead of the the slate that was there.

Staff recommendations.

I not sure what you're referring to.

Uh yeah, okay.

Do you want to um shift the on the moment?

I prefer to give them a bowl and actually look at that because I'm a stock that I think we can probably take a role in the time.

And so um please give them some minute to look at oh, we can do this.

Yeah, so let's move forward to second and we think that there's 78.

Okay.

And uh so we're gonna skip ahead and we'll come and we'll come back to you.

Um here talk about ceilings items seven and eighth.

Uh this is AR 2026, that 0026, Parker Bray.

Question operations at 310 North Fayette Street.

The applicant is heading recipe, represented by Chairman Savel architect and VAR 2026, that's the 0038 for the gray.

Applicant is well, represented by Jim Ms.

Okay.

question operations at three times north faith street the applicant put some credit reason by gentlemen to architect and here we are 26 dash 00 and 358 for the gray question question listen capsulation and three ten north faith street applicant is hi and so well represented by gym as well um can i have to know that yes okay thanks not many hi i'm patty rounceau we live at 310 north fayette street in alexandria and i'm chem labor with marriage pet aroundsville have you read the staff recommendations and if you can discuss that or to produce your project uh answer questions yeah uh we're happy to answer questions um the staff recommendations are fine with us the board let a project please have sorry motion to approve with staff recommendations i was gonna say that's public and i'm sorry oh you didn't do that much this okay i'm just guessing well questions so are there members of the public that want to discuss this um application okay so do only have um a motion for this application yes on motion the very one staff and judgments and this is not a second yes require the whole public this rows aye is middle hips aye sure someone thank you and you can uh reach out to the shelf staff and the word movement is not for the data reading okay thank you great you hosted an AFS student right yes I did a long time ago Luana maybe yes sure okay thank you for you yeah give it a couple minutes um I don't remember five minutes exceeding the whole more minutes I suggest we move on to item number um we're gonna sorry we can we can go ahead and go we can go ahead so um I don't I don't know I don't have a nine and that the question requested it approval and like the thing about finding time for that yeah um so um we would need a motion to approve the request referral 10 so you can motion that second so moved and all in favor of this borough aye we're back to number three more four no four yeah no doubt yes okay well i don't really know where we go from here because the work is done so well we you know we were here to discuss your case you know staff was recommended um a denial um that doesn't necessarily mean that it will be defined okay so we're very excited to talk about it i know that when we've gone by your property and I think there you're discussions so sure so why did I ask the public first is there anyone here to uh discuss this at the patron it's uh we could be an after the fact installation uh sign of some right and you know the work was recommended by the contractors so I kind of just took their judgment um it sounds like since it does connect with another roof that that you know that was raised in here is an issue they can put something to kind of divide I guess or blend I think if they came back and did that um you know and the house across the street did the same thing for me with the synthetic so I didn't think it to be a problem I guess so did you realize you went historically sure yeah I mean thinking that perhaps they're thinking divider between your room and the other three map that is that interesting no I think one of the concerns in here

You know and the house across the street did the same thing for me with the synthetic so I didn't think it to be a problem I guess so did you realize you went historically your phone sure yeah I mean thinking that perhaps they're the divider between your room and the other thing that is that an interesting no I think one of the concerns in here is that it's the new slate and the old coming together so it's you know semi-obvious um what the reefers can do is put sort of a divider which I think that makes it more obvious um yeah questions oh we have questions and then I'll post it for public um so then we'll questions for the applicant um for public comment and then we'll have some the deliberations and questions for um maybe um this could have been the same years so the remote is is this an early or maybe this is a later okay there is I have I have been by and look at the project I think that um it's I think it's well executed and I do think the the synthetic slate um profile lens really well actually would be adjacent rebound is like surprised um and it's it's instructional to me as a member of this board to see that combination of the older the new together I do wish that perhaps there was more color variation the older slate obviously is age and there's a lot more color variation I think that's what makes it the most stark.

But I do think um the evolution of materials here in fact obviously it's already done and I know that's not something necessarily a piece of air on this board but I think seeing it done for me I should feel like I would pay with this and I think it's probably something that makes forward that development it's a more realistic way to replace the roof in the two wheels and you know since each each building is individually owned I feel like even a repair and existing slate is probably going to create a color differentiation and to me the way that it's joined together the roofline is pretty clean except for the college of orientation.

So I don't I don't have this complication um I agree with that and um I don't want this to establish precedent in future um but because the work is finished and then and then it's it looks okay I wouldn't I'm in line to the other approval after the fact with the caveat that this is not precedent for um any situations I mean um and if we don't give them this is a leader building in the north department of Wolftown and it's not a very um well traveled street I would say and because you know we building is quite far from the street itself um I think in this particular situation I can also want to support you this uh brief so it's the cult yeah it's gonna uh develop it like this where I assume we have an A4A there is no HOA yeah so then we've got buildings that are matched and built at the same time with the more building material is there ever the recommendation if this you know it's not a standard I guess I guess we now have more precedent but clearly it's been touched with a blog and it was not reported a thought so where is that the precedent that going forward about this board takes every case on its own merits those board is not really that one precedent in the first day I mean some great trying to use that decision as possible but really every every case is taken on its own errors so there could be another time where for whatever reason um variation between the the units is more dramatic or for more some reason is because standard from the guidelines um that could be a bit difficult um so it's you really could to look at this in this in this entire you know this frame of buildings how does this change um the overall pressure was blocked and that's that's what you're looking at my concern is that since this really is happening and maybe people don't know or understand that it's the case that it does need to be improved on the replacement material and want to make sure that I wish we had an HOA that could be right I know at times I wish we did too that we might get the word out yeah okay

Um the overall pressure was that's what you're looking at.

My concern is that this really is happening, and maybe people don't ever understand that it's the case that it does need to be agreed on the earth based movement here now.

I wanted to make sure that I wish you had an HOE that could continue to be able to do that.

Right, I know at times I wish we did too.

Okay.

Oh yeah, which is not the judge.

I'll spread the word.

And a lot of times it's not the slate that's being some other connections that kind of get breakfast.

So we so um do I have a motion on this and I mean to pre-release certificate of the recordings.

All right, this is a designation.

No, it's not a question for this part of the thing.

Um, all the Current, I think we mean item number four.

Say I and this I think um that motion carries excellent.

Thank you, guys.

That uh brings us to I wrote a roundabout uh round about uh basically um there's nine hundred five and six B ARI602.

Application three north fair facts and certificate by six yeah, it's like fan line, it's fine.

LLC remember by Adam Drees Hi.

Good evening.

Nice to see you again.

My name's Jack McLaurin, I'm the senior vice president with EYA.

I head up all the architecture and planning.

I'm joined tonight by Jack Lester, our uh executive partner, Adam Hayes, Jerry Antis, who is our architect of record, and Jerry's gonna do the bulk of the presentation, which means it's going to go a lot quicker if I if I sit down.

And I'm also proud to have Glenn Hill, he's with General Shale, and this is our brick supplier.

And he's the one who prepared all these bricks, and they are so vested in this project that he came over here and wanted to sit in here and be a part of this hearing and make sure it gets approved.

I guess you have some tough uncle in case it doesn't get approved, right?

But I think partly because he loaded me up with so much weight, he felt bad and wanted to wanted to help me carry the brick.

So loved for you guys to get over there and we'll figure out how we can bring those a little bit closer to you.

Um, I want to start off by thanking the board.

This is our my fourth appearance in front of you.

I was running out of suits.

We had three concept hearings, and then now we're here.

This would be milestone for our company to be here, and hopefully you're gonna like what you see tonight.

I'd like to also uh thank the staff.

Bill Conkey has been instrumental, Catherine, Tom Canfield, and Michael Switchrack.

So they've been kind of, I don't want to say they're our partners, but you know, we we consider ourselves the type of firm that do partner with people to try to move things forward and get it in the right direction.

But I would say most of all, I think the people I really want to thank are uh the community members that are here tonight and have been here the other three concept hearings, and it's it's it's your pushing, it's your guidance, and it's their pushing and their comments that really got this project where it is today.

So honestly, they deserve all the credit for what you're gonna see here.

And I'm just really proud of here in front of you.

But in 35 years of history of UIA, we have built Rivergate in 1986, villages of Stone Gate in 1996.

I said 86 but 96, Forest Landing in 99, Old Town Village 99, Carl City Residences in 2002, the law offset at Braddock Metro, 2003, Chatham Square, 2005, Potoma Greens, 2007, Old Town Commons, 2010, and Robinson Landing most recent recently, uh 2021.

So we have an amazing track record in the city of Alexandria.

And I would tell you through this history, we've been privileged to help shape the city, and it's given us pride to watch these neighborhoods mature and generations of homers, homeowners raise their families, grow older, and build lives in this remarkable historic city of Alexandria.

It's also given us a deep appreciation of the challenge and the responsibility of embracing progress while honoring those who came before us.

And as I've mentioned in prior concept hearings, that requires a careful balancing of the preservation of a nationally significant historic city and its fabric with the realities of contemporary living, modern construction and the evolving needs and the lifestyles of today and tomorrow's consumers.

And since concept three in January, we've continued to refine the design of this community while often going back to reflecting on our founder Bob Youngentop, who was instrumental in that entire list.

And I read that list for a reason.

And if Bob were here today, what would Bob do?

And I believe he'd be very proud of what we have to show you tonight in this such important city block.

We've also been guided by the legacies of the communities we've built out at 333 North Fairfax.

Our fundamental site design principle or overall design principle has been that these are more than simply residential units.

You hear that term thrown around a lot.

These are units, units, units.

These are homes.

You know, if you look at look at the people here in the audience, these are these are homes.

That's just the way we think about it.

And there's a responsibility that comes along with that.

There are homes for individuals and families who will become part of the continuing story of the fabric of this evolving city.

As with our previous communities, we hope this community will stand.

This community will stand as another example of thoughtful context sensitive development that contributes positively to Alexandria for generations to come.

We hope what you see tonight is consistent with concept three.

We believe it is, but it's also meaningful evolution of those designs.

Over the past several months, Jerry and I have been focused on refining the architectural character and incorporating a significant level of detail and material selections.

And it's all about the detail.

In order to achieve something like this in such a rich community, it's all about the detail.

So finally, uh, I will sit down and I hope uh you're gonna enjoy what Jerry has to show you.

Thank you.

Um thankful for the opportunity to design a project in the old town historic district.

Oh yes, sorry.

Yeah, um, Jerry Yantis was Sutton Yance Associates Architects um principal at um and uh and the uh architecture record for UIA.

Um it's uh 8300 boone boulevard suite uh 750 and Tyson's corner, Virginia.

Um again, we are thankful for the opportunity to design a project in the old old and historic district of Alexandria.

Um, as discussed in the concept reviews, the architecture should be should use scale rhythm and materials to be compatible with the surrounding neighborhood in the historic district.

We will present this evening the refinement of the previously supported design concepts.

The presentation will reflect the minor changes to the concept designs, but the significant attention to detail of the architecture required for these homes in the historic district.

Uh generally, I'll I'm gonna try to be brief.

Um, so we'll kind of go through some of these slides.

Uh just kind of focused on the the ones that matter most.

If it's too dark, let me know.

It's still light outside.

If that's okay, just to may give better resolution on the uh the images.

There you go.

Is that right?

Great.

Thank you, um, agenda is gonna be brief.

Uh basically just the site summary, and then we'll uh focus on the architecture.

Thanks.

Um, just a reminder the project is located at 333 North Fairfax and 300 North Least Street in the historic district of Alexandria.

Thanks.

Thanks.

It's just showing some of the site uh topography and the building height restrictions.

Thanks.

Um here we got the uh streetscapes of the uh surrounding neighborhood.

Um here's the site plan, which is not changed.

Um the development special use permit was received um by the city council back in April.

Um so again, this is the site here, and then next, and these are some of the surrounding images of the architecture styles and details um surrounding the project.

And then just the site showing the uh three different uh unit types here.

Um got three different sizes, uh 20 for 22 footer, 26 footer and a 24 foot wide unit.

So the um we're gonna be showing each building.

We're gonna go one through seventh, and I want to um mainly point out the differences between the um previous concept and and kind of where we are just in terms of refining the details, etc.

Um, I think you'll see one of the the major uh refinements is the uh detail of the mansard roof, um, as you see on the on the left end of the the building, and see the previous and and then uh now what it looks like.

So um a much bigger uh improvement.

We uh added a parapet um to transition from the mansard roof to the adjacent unit, which is has a flat roof.

Um and then unit three, four, and five um now have the same brick color, um, but the detailing that was previously done still remains the same.

So the the end unit on the right um is slightly different than the other two units.

So there's still some distinction there.

Next on the side elevation on the right side.

The uh one of the biggest changes, we carried the brick all the way up to the roof line.

So it covers the loft level.

Um, so that was siding prior, so now that's brick all the way up.

You can just kind of go through the keys.

These this is gonna be showing the uh material um schemes, and we'll talk more about that at the end of the presentation.

So we'll just kind of walk through these.

Um building two.

The um most significant here is the the detailing at the cornice.

The um at units two, three, and four, those have all been refined.

The cornice at each unit will stop short of the edge of the unit.

This avoids the cornice crashing together when um where the two units meet each other.

Uh, this also helps the transition to the end units that have an open rail at the front parapet.

So this basically piers, these brick piers basically provide that transition.

Um there'll be um a brick pier at each unit allowing the rail to terminate the one unit and the corners to terminate adjacent.

Right.

Umit four has been flipped to better coordinate with the uh grading.

Sure.

Um this is um yeah, Princess.

This is Princess, yeah.

So yeah.

First was North Fairfax, and the key is uh for the building is in orange there in the top left.

So it kind of we'll walk around.

So we'll come down Princess and then northly and on the side elevation here.

Um again the brick continues vertically through the loft up to the up to the roof.

This will happen on both ends of the building.

So the roof is um slightly stacked, but the units and sally sorry, not stacked is that they are the this the vertical steps in this building is is fairly subtle.

Um, but but uh the the units are so the the the door it's it it's pretty subtle, but uh it's just a uh slice up.

There are some buildings that have a little bit more of a vertical jump.

Um, and I'll talk about that as well.

There is the grade on the site, so it's really sloping down from here to here.

This building and this building, one of the unique things you'll see.

You see these transoms here?

That's because the this floor level drops halfway through the unit to absorb that grade.

So we want to we want to make sure we have fair housing and testimony so we can have elevators for our future homework.

So we have these flush entries.

So that is a unique characteristic between a building and these two places versus those other two to try to absorb the grade in that.

Okay next.

Next next.

So building three.

Um again, uh the mansard roof here um shows refinement.

The mansard roof um terminates at the top to a parapet where previously there was a low slope roof.

Um so you can kind of see the difference, that low slope roof on the previous uh uh changes.

So this is more consistent, having that flat roof like the other uh units, and it helps with the transition from one unit to the next as well.

Umit two uh was flipped again to coordinate with the grading that we're working with here.

Next next.

Next so building four on the on the corner here.

The this building has um all every unit, every home there has a um a cornice detail at the parapet.

Um, and so this really kind of shows the need to be able to stop that cornice short of the adjacent unit.

Um, and so we've basically created these brick piers that will extend up above, and that way each cornice will stop and start instead of those come together, especially when we have a vertical separation, and that becomes very difficult uh from a detailing standpoint.

So this really helps resolve that issue um in a positive way.

Um, and here the uh bay windows, which we have three of the uh five homes here, um have bay windows, and so those details uh just refined um and so forth, and we'll see some uh details of that later in the presentation.

Sure.

Um the application and their options for the feature homeowners or certain bays.

Are these options or these are not?

Um so on the on the front and the sides of all the homes, which you see is what it'll be those optional bays or only be on the rear.

That's the only location those are going to come up.

Next.

So uh for example, here we're not showing any bays, but on the rear, which is the uh the elevation on the bottom.

Um, yeah, there's opportunities there where there could be a bay.

Um but um but that this would be the only location.

Then if it's on the end unit, it would be more in keeping with what's on the side or the front.

Um, and then if it's more anterior to the building, then there might be a little bit different material on those base.

Next building five.

Um unit two here was was again flipped.

Um, and it actually uh creates a nice symmetry um on this um on this building, but there is a lot of symmetry to it in terms of the two ends.

Um really kind of enhances the um the look of this building.

Um this this one on the uh far left that has a unique uh pinch roof.

So again, a real need to be able to transition that pentch roof to the next adjacent unit.

So again, this uh brick pier concept uh really does a really nice job to transition where you have the railing.

Um that's the terrace has got an open rail, so you have to be able to transition back.

So again, that's uh really creates a nice effect.

Um next here on the on the uh left side, which is the uh elevation in the top left.

Uh this elevation uh did uh change a bit.

Um I believe we had some bay windows on that side um due to some floor plan conflicts.

Uh we changed that and yeah, it uh the the window composition really follows the the massing of the building um and creates a nice balance.

Next building six.

Um again the design of the railing uh pier has been revised to provide uh consistent detailing with the other other buildings.

Um and again, this really becomes evident here, and you can really kind of see even more of those brick piers, and again the transition to the management roof with with the parapet.

Um the um the two center units have been flipped um again to manage the grading.

Um so this building, as you see, there is a bit of more of an exaggerated vertical uh drop uh with the grade.

Um so the center two are flush, but then each end unit steps a pretty pretty good amount from the adjacent unit.

So again, that really kind of shows we need a transition there to manage that with the cornices and and so forth.

So um, so it really can become successful here.

Um next on the the left end of the building.

Um again that that elevation was revised, and also just kind of want to point out we have these utility enclosures um on the sides of the building, um, and basically put locating those where it works with the again the kind of the balance of the elevation.

Um they will all be uh internal to the site, so it's never um on the end facing the street.

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

Next.

So these are uh basically providing the street views around the entire site.

Um the first one here, which is uh North Fairfax, and then um Street, and then uh North Lee Street, and then uh finally Queen.

It's kind of gives you a nice feel all the way around.

Um 3D renders here that kind of brings all this to light, um kind of makes it a little bit easier to understand uh everything that's going on because there is a lot of detail, um, especially with the the far three units and having that uh that brick masonry pier vertical element um which is offset from the facade.

So there's there's uh a lot of uh um kind of relief on the on the facade building.

Um same thing with the second unit in with the uh Julia balconies, uh the corners detail with a large bracket, so there's a lot of projection uh with that uh parapet um and just some of the detail there with the mansard roof and be able to see those dormers and kind of really how that looks and um and and it's really nice is just seeing this wrap in the corner where you have the end entry.

Um, but uh you still have no really two facades there that you know look like they're should be facing the street when they do.

So it's uh I think a successful way to manage that.

Um next.

So this is looking um into the pedestrian um area through the site that uh connects to to the other side back over to uh North Fairfax.

Um and then also you see the mews, and you have the two mansard roofs, kind of bookending that news area, um which is kind of the the whole look.

This kind of shows on the on the building on the right, um, the larger opening on the rear of the unit, um, which uh I know staff uh commented on.

Um so that's the doors recessed quite a bit from there.

So you as you kind of see here, you really don't see that door, but it provides a larger outdoor space um for these homes.

Got street is this space.

This is uh North Lee Street, so um that we're standing on and looking into the uh into the project.

And the walkway.

Yes, this one here that's on the right that that traverses all the way through.

And then there's another one after you pass this first building that would take you all the way back out um to Queen Street.

And this is uh again still on North Lee, but now looking um up.

And so you see building uh four there, which is on the corner.

So we're seeing buildings really four, five, and six there.

And then the final one, which is uh you know the corner at Queen and North League.

And I'm gonna spend back to that one.

So we were fine with the uh board comments that Bill summarized in the staff report, as well as as his recommendations in there.

There was one board comment that we did not uh adhere to or or agree with, and that was the idea of putting a mansard roof on this corner lot right here.

And there's really two reasons that we didn't do that.

Caddy corner to here is that beautiful white Queen Anne roof uh home that just we didn't feel like we want to just copy it or our reform being trying to be very uh traditional, but just to have these two kind of catay corner opposite to us followed a little bit odd.

But I maybe there's three reasons.

Secondly, I think the flat reform, this is the commercial street if there is such a thing street with the flat roof buildings and whatnot.

But but there's also the driver of this home has the views down to the water, down street, and then kind of hard to get around.

You know, we felt like the other aesthetic reasons for for doing what we did kind of really support the idea of that home and just having a tremendous view.

So this one's just point that I think a lot of the other changes that Jerry talked about, Bill didn't indicate in the report were staff recommendations, including the Fair Pax building, the three gray homes there.

We had the two rows and then a gray, and we felt like we kind of got forget who mentioned it, but felt like that was a good way to just respond to the office building that's further down the street there.

So when there was a lot of changes that were their thoughts that were that Jerry could the next number of slides are just the uh black and white elevations and plans, and generally it's hard to read any of them, but it's just generally uh um noting that the different materials and so forth.

So we could just kind of run through these unless you have any questions or answer.

It uh basically shows every elevation that throughout the site.

What we'll look at next is um some of the um various uh details.

the the different materials and so forth so we could just kind of run through these unless you have any questions or answer it uh basically shows every elevation that throughout the site what we'll look at next is um some of the um various uh details so these are all corners details a little hard to see here but you can I think see enough to where you see there is a lot of relief off the off the facade so there's a lot of depth to these cornices a lot of you know trim detail um you know varying heights uh of of the cornices um so I think all those uh really lend itself to um enhancing and making the different homes unique um I think there's uh which slide it's showing that again um the bottom right's the some of the detail at the mansion roof um I want to focus here a little bit just to um really kind of hone in on the the way this uh trade this parapet is the transition for the mansion roof so you can see the elevation the top left um and then we start to see this this sloped parapet that then flattens out and it slopes parallel to the roof line which you see in the far right um and it really allows for that answer roof to terminate and then on the other side that mansor roof would be the adjacent unit and the terrace there and so if you're on that terrace you'll be seeing the side of that slope parapet wall which would all be in masonry so that'll all be brick so that that homeowner would be looking at a nice brick wall versus you know siding or something else so it's really that continuity it's almost a an old time look of uh we used to be a a block wall that's a masonry wall that would separate um these townhomes um but uh in this case it's um it does have the brick so that um it really kind of enhanced that that uh adjacent unit um on the bottom three um pictures here we've got what happens on the on the back side of of the unit so the the terrace on the mansard roofs always on the rear um and there's kind of two different situations depending on the um the floor plan um either on the uh on the in the middle there where the mansard roof will actually turn the corner wrap and then it truly looks like a large dormer coming off that which is basically access to the loft space out to the terrace and then on the far right um would be another version where it becomes the mansion roof still turns the corner but then would terminate to a vertical wall um with again a similar dormer element so if you have any questions on any of that it's um it gets complicated but it's uh hopefully these images kind of help to clarify so I was trying to stand um at the leaf level in the lower right hand uh corner how far is that it's it's probably about uh four or five feet uh in the bottom right corner yeah bottom right yeah at the roof level oh up at the roof level uh okay uh where that slopes up obviously it becomes you know more minimal so that's probably in the you know 12 to 18 inch range something like that um it it it tapers back of course because the side roof is sloping as well um basically a series of uh door entrances um you know just by the sheer number there's um a variety but we basically um provided details for each unique um door entry um i think all of the door entries on the side um elevation which would be on the street are recessed so provide some relief off the uh sidewalk um some have um you know obviously that provides color uh cover we also have some units with a canopy mainly on north fairfax uh to provide some cover there as well that's and these are mainly on the the rear of the homes uh where we do have um uh uh the swing door access besides just the garage door and then uh the grass door itself and then again the number of window types um with a a variety of different detailing between precast or brick um so there's again quite a variety um some of the dormers um sometimes where the windows carry um in a two-story fashion kind of what happens between those two windows that that panel detail these are some of the details on those bays so really you know detailing out exactly what happens at top middle and and bottom of those bays um just with the various trim see the projection in the plan view at the bottom right there um projects about 18 inches off the facade this is the show in the site plan and this shows um so we have this wrought iron um gate here and so it um is located in those yellow squares so it would be at each alley um where the cars would enter um so there's basically three spots there all these fixed gates will will be located uh to kind of frame that opening making that alleyway a little more private um and uh kind of screen it from the street and then the top right is the um is the meter locations for the utilities and that's the enclosure which would be again a wrought iron enclosure and that's all the the purple spots you can see all those are you know internal to the site

Um so there's basically three spots there, all these fixed gates will be located uh to kind of frame that opening, making that alleyway a little more private.

Um kind of screen it from the street, and then the top right is the um is the meter locations for the utilities, and that's the enclosure, which would be again a wrought iron enclosure, and that's all the the purple spots.

You can see all those are you know internal to the site uh light fixtures.

Um then uh to our material pallets, you know.

Let's pick that up, maybe like get the lights back up from the case.

Sorry, two levels.

We have mounting different bricks.

So basically they're they're kind of born out of the neighborhood.

This this Cortez brick, this is in the you know the surrounding blocks, and it's some obviously those of 1970s built homes, so you're only gonna get what you can today.

So this was a pretty close message.

So you'll what you're gonna see is a this combination of tumble brick as well as the wire cut, the extruded wire cut.

This is what's on North Fairfax on the on the gray homes, and then you see we have three painted bricks.

This is kind of a nod to the instance gray, which is used to be one of the Durham historic colors.

It's a it's a different color today, but the arm of the oyster and Adam's left hand, and then the nebulous white.

So it's not a bright white, it's a what we call nervous white.

And then this is an idea of how the airscraft, which you see on the base of many of the homes will play also with several of these bricks in here, it's not just this one brick.

And I think we had Glenn two colors on the airspraft, if I remember right.

Yeah, so this is kind of a it's not a 12 by 12 square, it's a 12 by 24, and it's a full bed, it's four inches thick.

It's quite nice product, and there'll be a band treatment to separate the two, you know.

But we're just trying to get both the materials on there in the largest, heaviest uh panel board possible.

So that's like a limestone color, and what was the other one?

It's more of a cloth.

Yeah, it's just a lighter color.

Yeah, you might say this has a little gray knot to it, and then the other one is just a little creamier or tan or a little bit lighter, and they go with there's a couple of these bricks that all that goes with.

I can look it up if you want, but this is the uh colored mortar tape.

Correct.

Correct.

Okay, there you might see a buff or uh I guess we don't have a red, but then yeah, I'm not really happy with this mortar that's just a little too red, you know.

But there is an intention to do the right thing on the mortar.

I did want more of a monotone look on this.

I just don't like the way it's it's too close.

It's kind of too pinky and red, so we'll probably tweak that a little bit.

But that is that is the idea is it's not just where buff we're actually kind of picking.

Okay, um, and so why have uh a lighter brick?

Painted brick is just throughout old town.

We we felt we've we built it at uh Chatham Square, Potoma Greens.

It's something that we see quite a lot of, and we just we just felt like continuing that fabric and going forward, and and it's appealing, it's it's pretty maintenance-free, you know, and it takes work to paint it on there, but yeah.

Uh we considered that I mean the side.

We did, but a lot of what we heard from the board was you see Chatham Square, you see these other projects, you know.

This is kind of what we want, and that that vocabulary, this is part of the vocabulary over there that we that we brought over here.

So right.

I think we considered um a scene brick, or yeah, and my sense on the on the requirement of the guideline of recognition of the guideline was if you have not been in in these in these hearings or these meetings where even the last one, somebody wanted to paint their brick they had today, and there was even a standing, and you guys were gonna go out and look at it.

It was a pretty big deal.

Um, my sense is if you're natural brick today, don't paint.

But I felt like there was an acceptance for new construction to be able to paint right out of the game.

So that was our interpretation of the guy.

What is that?

We got it specifically referred to painting.

So it is it isn't really talking about existing buildings.

Okay, but it's an um uh basin piece and sounding like on that at that same point.

Yes, it is the guy, the intention of the guidelines really is talking about existing painting zipping buildings.

But that's that's what it is a um there's definitely painted basically, but it's really um see what we got in there.

It's the uh okay.

So uh part of our application is a historic marker.

We have the new construction.

We have the certificate of uh demolition, uh, which I'm not sure there's a lot to talk about there.

It sort of is what it is.

Uh, and then there's a historic marker.

And and we kind of have a what we think is a is a neat idea in our first concept one hearing.

Uh we start over.

Our first concept one hearing, I I I tried to really get back into the history of the site and George Washington's survey map, which is emulated uh uh up in here uh from 1776 or I forget the data, I'm gonna mess it up.

Um thank you.

Uh showed this site and how this is North Lee Street here, Queen Street, and how the water's edge was right here.

So this used to be Water Street.

And as you know, I don't have to tell you this, the the maritime ships would dock deep in deeper water, and it was very cumbersome.

So they grew the land out there, and then this turned into Lee Street.

So we thought it would be kind of neat to sort of pay homage to that in a plaque that would sit in this location here.

This is one of them the muses.

And you can see there's a diagram in here.

This would be a bronze plaque, and there's a little bit of a narrative about what I just said, and there's actually kind of a cool little schooner uh ship right in there.

So that was that's idea number one for historic marker.

And then honestly, we struggled a little bit with the second marker.

It turns out the archaeological the archaeology report we used talked about the green factory being really we knew it was on the other piece.

Turns out it was off, it was actually a couple blocks away.

So wouldn't it have a lot of you know?

I kind of joked that it used to be a red light district, you know, back in civil war.

I don't know.

I said red lights, you know, on everybody's liners.

Wouldn't that be great?

Probably not.

Um, so I I think the idea is we're we're open to a second marker.

You could see this chair was was this was one of the green factories.

They kind of became famous for their furniture, not only here but abroad.

We thought maybe there's some pain of homage there.

What we want to do if there is an opportunity for another one, and we're working with Garrett Fessler on this, he kind of knows where we are.

We want to maybe go through the art the archaeology first.

We want to get in there and disturb the dirt and maybe see what see what comes up.

If there isn't an opportunity for a second one, maybe okay, but we're open to the idea of another marker more in the court internally over here.

So it's a little bit of a TBD, but I think the idea for this uh evening here is to let you know what our intention is, and we'll just keep working with Garrett in and Bill and staff moving forward on a possibility of a second marker.

So I think that was that.

And I think that's it.

So again, uh the staff report, we're we're good with.

We set up all of Bill's recommendations and all of the board comments that he repeated in there, all with that one on the on the corner building.

So love to hear what you think and answer any questions if you haven't.

Thank you.

So let's if there are any questions right now to that again.

Um otherwise, we can go to public hearing if we have speakers.

Um would be happy to hear their thoughts.

We do have one public speaker.

Uh representing a civic association, correct?

Old town and civic.

Yes.

Scott.

Good afternoon, everyone.

Good evening.

Um Madam Chairman Pro Tim.

I think that's I think that's your title for me.

Uh I'm Scott Corizon.

I live at 300 Queen Street, and I'm here tonight representing the board of the old town civic association.

OTCA fully and enthusiastically supports Dock and Items 5 and 6 for the demolition of 333 North Fairfax and 300 North Lee Street buildings, replacing them with a town home community that we think was designed to fit the character of our historic district and the immediate neighborhood.

Those the team bringing this project for approval consulted with the neighbors authentically and credibly.

They accepted pretty harsh feedback from their initial concept that we gave them in front of this body.

Excuse me, they considered our reasonable requests and came back to the board with significant architectural adjustments that we applauded.

Unlike the dreadful 301 North Fairfax project that would tower over this set of townhomes, the collaboration and give and take among the developers, their legal council, and neighborhood residents is a model demonstration of what should happen with every new development in Alexandria, and especially in the old and historic district.

It shows that residents enthusiastically welcome development that is neighborhood appropriate.

And it demonstrates that residents and developers can work together toward a compromise solution that meets the broader needs of all stakeholders.

So for all these reasons, Old Town Civic Association thanks Don Simpson, 333 North Fairfax Associates, EYA and Wire Gill wishes them well with this development, and we look forward to welcoming it to the this quarter of Old Town.

Thank you.

Oh, sorry.

And go to board delivery.

Well, I was wanting to just cut up here from you all.

Thank you for all that you've done.

I've served on this board longly on your board with Mr.

NEYA and David Power's landing.

And so I was very enthusiastic when you all will bring these projects on because I know how thorough you are going to help any of you are to putting into our community that reaching out to people in the community that you have a voice and one on it.

So thank you very much, Robert.

I have a couple of questions.

I'm fine with it.

I do want to understand what is the facts of brick.

What are the sides in the back?

All bright.

Yeah, well, the sides are the sides are all brick.

And the uh the rears are largely brick, especially when you're at the ends closest to the street.

And then yes, we the loft levels are often siding, and then sometimes we are bringing siding maybe one more floor down in order just like I'm not a fan of all brick is good to try to kind of mix up the materials there a little bit.

And then you can see those those three homes that abut North Lee where we have the cutout on the back, you know, so that's that's a hole, you know, but that'll be you know paneling or siding up in there somewhere, you know, in the recess.

So I mean, just any rear, stop on any rear if you wouldn't mind.

So this is all masonry.

This is masonry on the lower level, and then this is masonry, three stories with the terrace.

This is siding, and then this is siding.

So you see some movement rather than just what I call a datum line going straight across.

If you don't mind, Brendan, let's just find one more.

It's like our roulette.

Stop.

Yeah, that one.

Or here.

Likewise.

So full brick, four brick, those are on the ends, the public can kind of see in there.

We have a history of of kind of taking whatever's on the front and the side and wrapping it around the rear.

Um, and then you'll see uh, you know, two-story brick with, and the idea is that the front is on the rear from a color and material standpoint.

Whatever window was on the front, um, there is a combination of casements and double hooks, which which we probably saw on the sheets.

So casements, that means there's caseblips on the rears.

It's extra money.

Not a lot of people would do that, but in the month and pattern, you know, everything on the front is coming back to the room.

So I just want to weigh in on a few more things.

Um that runs to our AR, and payment virtuals entered on my colleagues opinions.

I uh uh looking at these.

I was wondering if someone went earlier, did I know reading them and then uh if some of them could be changed correctly?

That you're thinking of uh I think it's a refreshing uh and I like that you saw in the community, realize it was an integral to the community and I'm introducing it here.

Um and I do interpret our standards as you did that it was a ball use and expense.

So one do I know that and then secondly the historical markers, people locals and visitors are lying love, many locals and visitors alike like to read historical markers because they're in historical community or historic community and they're interested.

So if the subject matter does come to mind for what to do with a second marker, I think it'll be twice as good as just one marker.

So that's that's all for me.

Um is obviously all very closely with for the staff with the community.

Um just a few comments for me.

Um I think that the development of the main solar period is exceptional, and it completely transformed a lot of what I can see from these designs and the way they need um continue the detail of the cornices and the parapets and recessed terraces.

I think that's extremely elegant.

Uh, and just the attention to variety uh sort of the painted bright and variety from town house to townhouse and color and the bottom or everything together, which I appreciate so much.

Um have a non-informative right, so I don't know.

We'll see how everyone else feels about that, but I actually refer the previous color combination.

Um it seems like an outline to develop understanding the motivation.

Um that's just a colored button.

Um I do I do wish that the facades, the street facades on building two, building four, and building seven, uh, which are pretty flat monumental facades as they compare to those buildings that have the highly development's arteries.

Um potentially a missed opportunity, and are there some ways that you can introduce some more variations and then it's announced that we've done so that really in other places.

Uh I think particularly in a remote trust, the reasons we're not wanting to make that change of the cover.

Uh something actually sorry, please.

Um just leave.

So that that would those would be my comments, but otherwise interesting what do you think about it?

Um just having the question.

I support share that I have there to look at brick.

I think we should just read it for the natural material, which the brick that actually is keeping close to the colour and want as opposed to cable.

It's just not exactly even if it's including the factory painting.

It should just be brick.

That would be my issue.

Uh I have questions or actually concerns about the rear extension options.

A lot of them feel hazard replaced in the way they're placed.

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

It's one here.

A one eight and a couple of sort of misses an option, right?

Don't think they're designed well, okay.

The relationship between the bump option.

So it's in the only set.

It's in the same thing.

So doesn't media page the different.

Yes.

So you're leaving ball outs here and their relationship with the level below which is the relationship to the bone mouth and the windows below.

It's a weird it's a weird relationship.

It doesn't quite work.

And the bump outs are like they're just placed on the back.

You're not going to design to be there.

They're just not there.

So I think that needs to be studied.

Like the one that works the best is actually the one on the left.

But the windows below don't the windows below don't work when you get these small buttons.

And Mr.

Spencer, you're aware that's those are the windows that are recessed five feet inside the rear building place.

So they're largely in shot.

So that's why we didn't worry about that.

This is you know what we'll call multi-slot, where they can kind of really open it up and have the in and the out.

Um I will tell you uh because I asked Jerry, hey Jerry, what's going on?

This one's on the left, this one's on the left, and this one's on the right.

What this is is he's representing our four plants.

Well have the ability to have a two-bedroom plan and then a three-bedroom plane.

So that A might be on the left side or the right side, which in our mind just gives a little more diversity rather than like that.

And we do get there is a probably a pretty decent mix of two bedroom pre-medry bars um out there.

So we're just looking at these.

Yeah, yeah, that's a transition at uh at the sill.

Okay.

Yeah, something something's not like there.

Okay.

Just I appreciate the fact that the windows are set a little bit.

Yeah, maybe we should have shaded them or something.

And we're gonna go to page 67, but not as well.

So that one the bay is too live in the relationship with the windows for and then the amount of space between the bay and the window next to the bay.

That's that thing from that sketchy.

I slimmed it down, so I think it was a little better proportionally.

I'll go along with that.

I agree with that.

That one is I think the same thing, it's just like the coin the uh header point shop ball by the day and just in the same right.

Okay, not quite right here.

So page 64 minutes.

The top middle.

Yes, we can a lot of things.

It's gonna take a while, but it's not so popular.

So at least two to be like the same elevation.

I guess the these two are yes, yeah.

Yeah, is that is it typical here historically that the context would stop in the same way?

I mean, I've seen where the piece on the top is really kind of a common piece.

I mean I think I've seen it both ways.

I mean, it was not usual for a twin to have a continuous one as well.

Yeah, I think that's pretty typical.

I mean, that doesn't say we've seen some there are some where you can break it to make more make more of an individual uh unit field.

But um, but yeah, I mean it it's not unusual to have a course line if it's a twin line.

Okay, I think you stand at the end zone three at least that's like wondering if that was just uh you can have okay.

Isn't that like the privacy law between the two?

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

We did, which is why we went there because it's really Mr.

Spencer, it's really driven by these others over here and the symmetry was important too.

One in the middle.

Yeah, you know, and I if if you feel like we want to marry this two, I don't have an issue with it.

It was the symmetry that was really important to us, and the termination of well termination of the parapet dividing the roof terraces is important, which is why this has to be masonry over here.

Um this is the back of this would be fine if we married the cornices in there, I wouldn't have a hard time on that application.

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

Look at uh also just to add that is the one location where we are not using that masonry pier.

So maybe if we actually introduce that basic pier between those two units, then we provide more consistently consistently that corners or a book into it.

Um and then that would kind of provide a consistency consistency throughout the uh the whole project.

Yeah, what he's saying is this pier.

See how it's elevated above the top of the parapet.

And what what happens here is this is low, but this one is falsely brought up, so it doesn't didn't step right there, so it's higher than it needs to be just right in that spot.

But but it appears not over here, Jerry.

You know, it's just on that one, but right.

You're suggesting we could bring this element into here, or we just marry them.

So that makes sense to me, but now that you don't have it too.

Yes, three out of the four.

I mean here on the side because you can have it five, and then it's not what you think.

That's stepping, but in my mind, I looked at all computer was only two, yeah.

Yeah, I think we can conjoin the corners if that's really the board and think you have to do that.

That's not what you said the last one.

Um again, I want to reiterate uh I appreciate your do you see how it was project?

Um I think that's refreshing.

Um just to see how nicely it's evolved.

Um this building number seven is you know, the building, as you mentioned, you know, this is clean street, it's probably the most important elevation I think we have this project.

And um I think the idea of introducing the tie masters, like you just mentioned, as you are doing on Fairfax, I think that's gonna be very successful.

The fairfax streams with the three townhouses that are gray, you've got you know, some pile masters that's really you know providing some variation in the facade elevation.

Um too supportive initially of those three gray on Fairfax streets of the because of their adjacency to uh the Hoffman project that you know, I think that's nice, but I think also the high masters on those units really make it much more elegant, and I think that's something that you may want to investigate on building number seven.

So that I guess what Jerry wasn't suggesting were pile massers that would run all the way down.

He was suggesting you could do the color elevation back to the the presentation and like building one on the presentation please.

Building one, yeah.

Surfing it's figure one.

Sure.

That would be more nature.

Oh, other solutions, so not in presentation.

Yeah, it's just a color.

So these are the pilots you're referring to, right?

Yeah.

Yeah.

So I think Jerry was not recommending that.

He was talking about this treatment here.

Right.

Which is on this side and this side.

The reason that I just have an issue with your suggestion on building seven is we're purposely trying to make that an Italian eight facade, which which is flush, and there are punched windows, and it has this bracketed, this heavy bracketed cornice on there.

So the pile of start to be, you know, this is the least historical on purpose because it's adjacent to the the Hoffman building.

And it's adjacent to Hoffman building, isn't it?

It is, but this is directly, and I was trying to be in a lot of what I heard from the board was go back to those historical themes and styles and precedence, and we would be getting away from the Italian eight version on building seven if we were to do something like that.

So I'm just making a comment, but reason.

Because you know, I think that's an opportunity to develop an elevation.

It looks like um the upper floors, it's just a flat.

I mean from one building to the next, it's just one plane.

Which you groups are building seven.

But but I think that's on purpose, Mills Mistel Nino.

It it Alexander is not wrought with facade articulation.

There are many many styles are flush with punched windows.

And if we felt like up there was a place to do it, it was probably Queen Street because it had that more commercial character to it.

Whereas when we were on the other side, you saw more of the bay treatments and the ins and the outs.

Right.

And I think um you know the bay treatments, you know, that's fine, but even at all the other buildings, the upper levels are just a flat plane.

And so you are dealing with brick, you know, you have an opportunity to bring it out a couple inches because it's a total problem of writing or something, because otherwise it's just a control joint that you're gonna see, and it's gonna look not as um you know as nicely developed.

And if we look carefully in old time, you'll see that you know we don't have block faces between us with like the flat brick, but that's completely the line.

There's always a little differentiation there, even if it's just a few deciding.

Doesn't have to be as much as the width of the direct from that's like and the other thing that's successful about the fair facts, and I think I stand you want to make um you know building seven and six houses building seven years, so but it's two different colors, so that that's why it's odd that if we want to put one building, well that is a very common precedent in the city.

Um I think there's disappearing line or details I think we dressed, possibly uh articulating the corners a little bit.

It seems like to get that uh guardrail tight, the distance between the top and the top of the firewall seems to look all and look like in your title scene had some that's it's like this flat though and view this the 3D view, yeah.

It's at the end of his yeah, uh yeah, I mean there's a lot of movement on that when you see it not in 2D.

But it's it's just the behavior that has come down from that wall of the flat in the corners, you know.

There's there's a there's a there's a lot of movement in the pet roof edition.

We felt like was a good move to try to break up the same common thing I'm just suggesting.

I think it may be more successful to you know I think the facade.

Thank you.

Okay, thank you.

Um the other suggestion I mean have is and I don't know if um the staff has thought about this the the overhang and the roof, I think remember self-facing it's gonna felt you know with fabling, but I think that you know it can be over the door might be a little more successful.

It seems you talk about up there, yeah.

Suddenly the overhang of the roof on that south elevation is gonna happen for everyone since a little bit less.

Maybe it should be consistent, and then people maybe different.

That was not one.

Thank you.

And then just a couple of old things.

I know that you've got a lot of balcony and modern bays, and they all are going to lead uh and and down spots and looking at some of your details that isn't sure how you're getting everything all members on the outside of the building.

And so I'd encourage you to try to bend away from the streets if possible and see how you can get that detailed.

There will be no exposure gutters.

Um it's inside the but yeah, the I mean the downspout downspouts, yeah.

Exteriors, yes.

Yeah, but maybe you should go to the yeah, but the downspouts on the street facing units are the gutters are exterior and the downspouts are exterior, and then they're piped into the system below ground.

The downspouts on the news facing units that are internal, same exterior extra, and they're piped into the bioretention boxes that are on every lot.

So there's no runoff into the street or a sidewalk or anything like that.

So it looks like copper.

They're non-cover.

Actually, I wanted to I wanted to go to uh half rounds for a little bit, but then in actually looking at the guidelines, they're kind of there's only certain styles that have to kind of be with a with a slope.

Has to be uh uh with a slope roof going down into it versus versus the K style or the OG guards, which is the half round we have sloped out right.

Right.

So everything we're proposing is the K style based on that.

Okay, because that's not really what's shown here, and I think that's gonna be a big element.

Um especially when you have kind of the deep ways with the corners, you're gonna have the grain and it's not going to be and then um because the other very minor detail I had was you know just we encourage you to be consistent in um the detail you're running windows.

Sometimes the header is aligned with the JL, and sometimes it's extended beyond the gem, which is more historically correct and the same with the cell.

That was consistent, that'll be helpful.

Um and the you know the base we've got a prepass A, and that's great.

I'd like for G consider instead of the brick cell after the precast base.

It's like window in the 24.

You have a two-inch pre-pass edge, seems a little bit thin.

We might want to extend it to three inches.

I can't see that's good.

Um, so if there are no further comments, um I would uh I guess we have a couple of reaches here, probably the most considered one to have these the judge and such details is that page there, and I'd like to hear um what the other two members encouraging third time.

I I am happy to speak up of my thought.

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

I look at this way witness.

I I think my mind would be kind of um yeah, and well, we call some of the minds.

So um I think when it's new construction, um I think I've already said this also.

I um I agree our guideline is the applicant has that new construction, it can be painted or it our guidelines do not say new construction cannot be painted.

Um it is reflective of what our community makes it, and I really want to for the level of research and integrity that you maintain to incorporate this the the details into our of our community we include project, even to the extent that we're there's already basically my compete with that and it's painted.

So that's my sense.

Um I'm not expensive that no break.

I don't feel that way.

I think it will bring the idea.

I guess in my perspective, I think you'd like to think for S character, it to brand shapes the texture.

I do understand the sense.

There's been a great attention to variety here and paint a participant.

Do you see the same library paint of the bread?

I think it just creates a lot of interest.

I guess I know I'm not supposed to speak right now, but goes back to that the other variety.

It would very much encourage a variety, and that's just another tool and toolbox to get that variety of things.

If we start with natural bricks, you'll lose some of that in my mind.

And we try to limit it to the Italian age, which that is very common, and then cleaning and advanced versions of it.

Um I do believe it's uh clean street closer to the water, where granted not only the core, but I think there's a couple of Italians that are that were twins and painting like a chat, but I think that so nearby but as well as a child supporting.

No, I just said the for the force landing was you know, most products we've done.

Um the cross being there, also just report some of those guys because you have to go on this.

And so a couple of things about the government.

The reason the reason that the guy was doing described with the basement.

Um is the process of issue.

That's not a big problem with modern work, obviously.

The modern group doesn't just doesn't think it's not the water as the story, so that's not a big issue.

It's still an issue, but that's not still not a technical student.

Um the other aspect of it that we're talking about a lot about over here about me taking my painting basically is changing the original sign.

So that's one of the things that I've been talking about.

So okay, well, we don't want to make the direct cost advantage.

Right.

And so anything that we're changing is the original side.

And I think that's the main comment where they're discussing the argument.

Nothing decision, but just in terms of like placing our guidelines in the context, I think those are some of the scriptures for all this reason that we have the guys.

Yes.

If it was a lightwash, the texture is still there, the break texture is still there.

When it's painted, it's it's uh it's not as especially over time, it just becomes a massive whatever paint color is so we don't get this texture brick as much when it's light wash, light touch is actually possible.

But I can change the texture.

This is a full-range marker, which is a little smoother.

I can do you gave me two bricks, I'm gonna use the walk, but but I can I can use something technically to look and pick that up.

Something's got more texture, less texture.

Um we also talk about the type of paint that you could use and I don't know what's specified here.

Uh recommend using a paint, it's more breathable, allow more breathing trap that moisture in that's super state you made for the records.

Um with general shell brick.

Um, like I was explaining, we recommend mineral paint when you're painting masonry.

It helps the wall breathe and won't trap that moisture in.

Um like Jack says we can go with a smooth brick, or we can go with a wire cut texture brick like we've done over there.

Um a smooth paintable brick will give it a smooth overall texture on the wall.

You know what you see.

I'm sorry, give an address.

My address.

Yes.

Okay.

Oh, um Mason King Portman asses for January.

Thank you.

I thought we could paint by mistake.

I thought that the sample button that just followed bridge and texture.

Um there is pain and rippling down and painting several times, and it doesn't have much texture, but then I think that that had some extra once they sell your building, then somebody that payment would better than other years.

Um we'd love to have a filter and not have to come back.

But I wonder if there is a way for us to receive a positive approval and work on this.

If we can work with Glenn.

And that's Sherman Williams latex flat, because that's the closest thing to my story, I hope.

So if we did it right, and we we work with a couple different textures, and maybe you know, work work with Bill, and he can get you the samples and just I don't know really anything about stain.

You know, I don't know the cost or the practicality or what is that maintenance free, you know, what's what's going on with the what's going on?

I'm not done.

I'm on the score.

You haven't stayed on the end, maybe we have a free.

Okay, once you get, you know, staining is typically done when an extruded brick, brick that comes out of the kiln that's a sand finish, or just a regular through body brick doesn't come out the right color.

Staining is typically a color correction when you want to change the overall look color of the wall is typically when you paint right.

So then the board took this up, but it's on another another case of this one more.

Um the board gave a uh partial um where the board made when Google for everything's on the project except for the final color and um uh uh thickness of the standard.

Um and that's that's a different project we've done is so that's something that we could do.

You could say work with stack on the final.

I think I put it up the push one of the two.

Um, and just make that condition divide.

Um we can do everything except for the final treatment of that brick, and then we can work with step work with we can come back to the board for just that one aspect of it later on.

So that's okay.

That's gonna be done as other project we ask for the second.

Yes, but there was yeah, they're this one, obviously, no site doesn't be happy because that was it would be possible.

But I mean, but I think that's if if there's something that we're concerned with, um you know it could be it could be a partial approval with the exception of the final um finish of this particular brick.

You guys can come back um just with this sample that and I could definitely write.

No, no, because it's on a very large part of it, and there's lots of things.

So if we're on a long run, just this thing could prove everything exceptional as well.

Or you can pick it up with that purpose.

Concerned with um you know it could be it could be a partial approval with the exception of the final um finish of this particular break you guys can come back um just example that and I could definitely wrong no because it's a bit of a very large project as well as I think so if we're on a long time just this thing could you could prove that being exceptional as well or you can make it up the purpose we'll have support locating the staff on the break and then other than I actually would like to see the first question it's gonna have the blue for yeah let's simply file that's supposed to be sorry to hear me exactly personal approval as if they come back with the it would be we like to get it in the screen project which is approval of everything uh except for um the final finish of the screen and then we let the applicant to come back with that final finish at later.

This is gonna be the field that does it of course because you're getting all the mortar things I the way I have is that when you give staff a lot of leverage, oftentimes we turn things on the work with staff, but I'm not quite sure it's at that stage.

Um but um given an advocate and their willingness to do the right thing, uh I'm comfortable that we had a set of having you all work with staff.

Um not that I don't have faith in the team, but I think I would feel better if we actually solve this to see what we're actually getting.

And then you have you can look partial to build where we basically everything except for you know the final finish on the brick or thing three and the problem today.

Lots of details.

I don't think this one goes to the right come back or good.

Um so do I have a motion to have uh uh marching to the topic?

Yes, obviously one of them.

Speak slowly so I can I I think we do have a motion I can come over to motion, but I think I'm gonna need some uh modifications to my motion because everybody had little tidbits that they need to add.

So I approve that we I recommend make a motion to approve this project for staff recommendations, and with the applicant coming back to uh present the break colors to us, the just to make sure it doesn't really need the original paint if the police can't break colors unless they change that microphone.

So um are you can make intervention?

Yes, okay, and then so I'm expecting some from the event so if you have some on the C for something and also that they explore the design of the extensions on the back.

Some of them need to be reduced, some of them and some of them the seal of the recess windows in the back needs to be pronounced that actually needs all by the bay as it comes down.

So I think that's a good work with staff on that and that's a two from you guys.

Um I was wanted to include the work with staff on coordinating all the um bounce votes and stuffers.

Um so that's it are through design to working with staff on an option if it works out to reduce the soft overhead number building number seven and the interviews of can be over the the doors there, another thoughts working with staff on this other thing.

Um just in the shoulders, um okay.

I believe your your suggestion is that they come back or the color to have the bread.

Just the main clip at all.

So we need the painting cell.

But no, we want to see the break the final finish color in that day point.

I again will finish the proposed to be okay.

And they'll come back.

They'll come back to another board meeting in the future.

That's the motion on the paper.

And we didn't review the this evening when happens in the motion is tied and in bugs, or it's doesn't does the motion fail if the motion if two of us do not should have motion fails in.

All right.

Um I'd love to find that.

And I think that the next time we do not have any amendments, but I was trying to say I do not I'm not interested in having changes to Queen Street, then my change is residential presence because it used to be more of a commercial field.

And I asked well to first one and two five separate years if you look at more of a residential family line from the energy.

But I don't I always know that this um suggestions and still means asking you to consider are not going to change the integrity of that being residential.

I don't know if that needs to be a motion or not, but I'm just making that statement.

Okay.

So I guess my motion would be for it to retain this residential.

You can't bring it down to the screen, even though the things are just a definitive problem.

Do I have an assignment on this motion?

Sorry, the second week would be done with this.

No, we didn't know that this is all right.

I will thank you.

Thank you very much.

All right, well, that's good this morning.

Um that's obviously the last meeting before we have August.

Um guess the number of working with me during uh just bring it here.

And our course is a little bit better.

Slow channel, everybody take those um to meeting.

I was thinking about the one you guys look about.

You guys are just temperature of the members' attention, I'll send something out um to everybody uh about the community if you'd like to come.

And you want to say uh without that all this is smooth, so it's like this we're gonna show you.

So we should also make it thank you.