Bernadette Burcham read the land acknowledgment. 

Abbey Buckham: Section 6A says the business has an assigned contractor, but "hasn't been unable" to get their full matching funds. Section 6B needs to be corrected to "eaves" instead of "eves." Question 6C states that mark noted that the property is outside the boundary of the National "start" Landmark District, is that correct?

Mark Reavis: Indicated that the minutes should say "historic" instead of "start."

Duffie Westheimer: Section 6C, in number 4, the "A" should be "a." "and" should be removed after "siding." On the line above, "than" should be changed to "in." Section 7A, on the second to last line, it says stained glass is being "resorted" but should say "restored." C on the second to last line states "1940" but should state "World War II."

Moved by Duffie Westheimer, seconded by Shelli Dea to approve the minutes of the April 17, 2024, Heritage Preservation Commission upon corrections outlined by Abbey Buckham and Duffie Westheimer.

Vote: 6 - 0 - Unanimously

Mark Reavis: This should be pretty familiar with you because we did review 601 W Cherry Avenue, the little CMU building that they are making more compatible and more energy efficient. The Heritage Preservation Commission approved the Certificate of Appropriateness. Additionally, they heard about the Signs and Facades grant and are applying for level 1 funding of $10,000 to help with improvements to the home.

Emily Dale: Have there been any changes to the plan since last month?

Mark Reavis: No.

Aude Stang: We didn't change anything on the plan, we just didn't want to go for the grant the first time. We wanted to make sure that what we proposed was adequate and the certificate of appropriateness was approved.Now that it is approved, we are requesting the facade grant. 

Emily Dale: Have you decided on colors yet? Was that something that you were still considering last week or last month?

Aude Stang: We had some sample names for finishes, but it is not 100% finalized. I think a lot of that is going to be decided once they have the opportunity to apply samples on the walls. They want to start the construction process prior to finalizing the color.

Mark Reavis: It is presented conceptually with a body color that is light and a trim color that is dark. That should be consistent.

Emily Dale: Is that something you will be monitoring?

Mark Reavis: Yes.

Duffie Westheimer: I was looking at the budget page. Is this grant request based on the total construction budget or on specific portions? It is not clear with the paperwork.

Aude Stang: Right now we don't have concrete numbers because there is not a set plan. We cannot get an estimate until there is a set plan. The client has a budget of roughly $250,000. Doing the stucco, the paint, the trim, and the stone, will be well over $20,000.

Moved by Abbey Buckham, seconded by Alycia Hayes To approve a grant match request for Level 1 funding for previously submitted plans for improvements to 601 W Cherry Ave.

Vote: 6 - 0 - Unanimously

Mark Reavis: This is 101 North Leroux Street. Its on the west side of Leroux. Its that whole block of restaurants and businesses. It is a Spanish revival. It’s that Spanish revival that was popular in Downtown Flagstaff, such as for the Hotel Monte Vista. It's a pretty significant building in that block that forms that essential corner. I have some older pictures of when JCPenney’s company was there. The building has gone through some changes. It's gone through some positive changes on uncovering some of the architectural details on the south. There are some closed off arched forms that were uncovered with the last rehab, re-stuccoing and painting a lighter color.

The east facing facade on Leroux has had windows changed out. So, they were basic metal storefront windows. This project proposes to modify those replaced windows with similar type of window, but they're going to be operable. This is that trend to make dining spaces connect with the outside. This project is foldable storefront windows that open up the interior to the exterior, and then, like the restaurant next door, also do the street type dining with some new fence work and some planters that are out there.

Those operable windows have a little bit of a small base plate that's obscure, that isn't all glass, but it's not very big at all. That's really the only principal change that's there. The architect did submit and make part of the submission, a lot of light fixtures. I wasn't confident if all of them had met dark sky standards or not, but they were part of the submission. You can see those, but I believe there's going to be changes on those, and we usually don't go to that level of detail on approving light fixtures. Something that's compatible would be totally appropriate. I went through the typical things that we look at. The Downtown Historic Overlay design guidelines, I listed those. I felt that there were some aspects of historic buildings that should be noted as well, and then I looked at the US Secretary of Interior Standards for compliance.

There wasn't an inventory form for this building, so I don't know the exact date, but it certainly is post-World War II, working toward the late '40s or early '50s. They are looking for a Certificate of Appropriateness. I believe since the change is relatively small, there weren't that many issues associated with it.

Emily Dale: Is there anything you would like to add or comment on for context?

Ben Meyer: I don't believe so. We were just trying to make the property more inviting. It's the same chef as the restaurant next door. This is her second concept there. And yeah, just wanted to bring a bit of activity to the front facade and having that kind of bistro feel with the ability to open up some of that storefront.

Alycia Hayes: I have a question about night sky for mark. So, if we don't approve that, which we don't know the standards, does any business downtown need to go to the city for night sky standards?

Mark Reavis: Yes. For any changes to lighting, all commercial properties. And it's primarily, the theory is shielded lighting and down lighting, and color is another option as well that sometimes has to be considered. We're serious about that and we have a person that handles that directly within code compliance.

Duffie Westheimer: Mark, I know you said we don't usually get into the design of fixtures, but that's a craftsman design, and it really doesn't go with a Mediterranean Spanish revival style building. It would make sense to me to do something that fits the character better of the building than a craftsman design.

Mark Reavis: I can review whatever is proposed that meets dark sky standards, and if you want to put that in a motion on compatibility, I can do that.

Emily Dale: One of the sconces says it was matching existing. Is there already lighting in there that you guys are trying to replicate? Or are these going to be all brand-new designs?

Layne Wilson: There are existing lights there. We just did a photo match, and it looks like the ones that we could propose would be identical to what's currently there if we can't go forward with another fixture.

Alycia Hayes: The existing light fixture that's there is probably from a previous remodel, I would assume.

Mark Reavis: Yes. That's why I always cautioned people to go beyond me because some things must be coordinated with other staff people.

Alycia Hayes: Looking at what was submitted, it looks like their proposed fixture does look an awful lot like the existing. But I’m not sure that the existing for the last remodel of the building was exactly appropriate for its construction style.

Ben Meyer: Yeah, we're more than happy to change out the light fitting to be more appropriate. That's not a sticking point for us at all.

Duffie Westheimer: I’m not clear on if the openings are going to be changed at all or just what's in there will be changed?

Mark Reavis: the opening stays the same. The divisions stay the same. The window ends up being an accordion type of fold that will come into the inside slightly and outside, and then those railings go in there. It's not a walk-through type of situation. The corner opening will still be there, and the fence will go around there. They're pretty much matching that simple pattern of the fencing next door. That exists. And the interior model is extensive, so I think people will enjoy that. This is certainly a small portion of a bigger rehab.

Duffie Westheimer: Well, the entry is moving.

Mark Reavis: They're just moving a door from one side and taking out a window. There was a door entering from one direction. Now there's a door entering another direction. It is a standard store front type of metal door.

Duffie Westheimer: So, the entry into the restaurant from the sidewalk will be in the original?

Mark Reavis: Inset.

Duffie Westheimer: Okay. That's not going to be enclosed now?

Mark Reavis: It's not going to be enclosed or glazed. There was some discussion about doing enclosure, but it's essential in that architectural form to have that opening that's welcoming.

Duffie Westheimer: So, no changes to the building? It could all be reversed easily without changing the building?

Mark Reavis: Correct. And then everything on second story stays the same.

Shelli Dea: This is in reference to the east facing windows, not the south?

Mark Reavis: yeah. Then I think another great thing that happened here is operable awnings. I think that's a positive thing for most people to do here. That really kicks us back to what western storefronts were like with operable awnings. So, when sun's out, when the rain comes, and the snow comes, they go back in. I think they're very appropriate form instead of some of these solid frames that are slapped on the face. But some of those will still stay on the south. But again, those forms are hemispherical, and they match the arches that are there. So, they're still appropriate, and they're going to stay there. They're just going to do a simple charcoal color. There was a submission that showed striped awnings, but they're doing solid. So, not to worry.

Emily Dale: Mark, I remember a couple years ago now, when they first were redoing the stucco, they uncovered an old advertisement. And then they just re-stuccoed over it. Is that going to be impacted at all?

Mark Reavis: I don't know that for sure. I don't recall those go signs being uncovered.

Emily Dale: If they're under there, i would like to make sure that they're not impacted. If they're going to drill awnings into new places, so maybe we could check back in the paperwork to see if I’m thinking about a different building.

Layne Wilson: I do believe that our awnings are going to be mounted to the existing steel and not affect any of the brick or stucco area.

Moved by Shelli Dea, seconded by Abbey Buckham To approve a certificate of appropriateness for window and door placements at 101 North Leroux Street with the conditions that the replacement windows are divided in a manner that replicates the current windows and are operable in the manner described in the submission, and that light fixtures should be modified to meet dark sky requirements and preference for a more appropriate style.

Vote: 6 - 0 - Unanimously

Mark Reavis: the England House on Santa Fe is certainly one of our premier buildings and just an amazing stone structure that is individually listed on the national register is part of the town site district and is also in the overlay. I just took from their website a description of the building, and how it was unique. The matter at hand is actually the sunroom at the back of the building. You can actually see the structural failure of the stonework from Santa Fe. Somewhere along the line, I believe the sunroom was an addition, and then they put another room on top of the sunroom. The sunroom was rather fragile and ended up crushing the stone foundation and shooting it out the sides. If you're in the sunroom, it has a certain slope to the floor. The appearance certainly detracts from this unique bed and breakfast and all the interior work that exists there.

The applicant is the contractor with the owner's permission. It has slightly changed ownership with the former owner. It's in a trust now. If that didn't make sense, that's some of the information in the application, that there's a trustee that oversees the building now. The contractor has been looking at this building for a long time. The architect also designed preliminary work regarding meeting building codes, proposing a cement block foundation. I did look at those drawings and found that there needs to be some adjustment to the way they are shown. It's a sandstone foundation that needs to match. If we're going with the highest level of review, we want to make sure that it matches the detailing where it lines up with the woodwork, and the architect's drawing also showed the stone going up the wood phase. But the contractor and Vanessa that's here doing the application have really put together how they're going to meet the US Secretary of Interior standards on this project. Being very careful about putting the foundation back in, so it matches the appearance, taking out all the windows because all the framing is warped, saving those adjusting, and making sure those all go back in. In the writing, they've made quite clear that they're going to follow the Secretary of Interior standards on this project.

I quoted the Townsite design standards and the US Secretary of Interior standards and noted the masonry in the guidelines on how you should treat that and be very accurate about how you do masonry repairs on a historic structure. The proposed changes are certainly compatible with the Townsite design standards. Again, the write-up meets the Secretary of Interior standards. The drawing again identified Malpais stone, we know it's sandstone. We know that it needs to be adjusted, and I’ll certainly work with the contractor to make sure that we meet those subtle details that are important when you're following the US Secretary of Interior standards. I think it's really important that the sunroom ends up being restored, not looking like it does with the stone falling out into the neighbor's property, and that we end up with a really high-quality building for the city and for our guests.

Vanessa Miller: There you have the England House. This is the front of the England House that faces Santa Fe. I also pulled this from the website of the property owners. This extraordinary England House, built in 1902 by the master stone cutter William England and Barbara Michael Bach England, has been carefully preserved for your family to enjoy. But the red and white stone is locally quarried, and hand cut, and the design of the home itself is unique. Barbara, a hardworking woman who was part of several societies and worked as a nurse, lived in the home for over 30 years and built it as a family home. The reason this is important is that it is still used essentially as a family home, and none of that is going to change in our proposal. TRS architect is the one who put together these plans for us. These show basically the foundation and how it's going to be secured and stabilized. You should all have a copy of those already. You can see that this is the sunroom actually in the back that you couldn't see in the front picture, but you can see that it's slanting here already.
 
The purpose of this project is to restore the building to working order and prevent it from collapsing. As you can see, the addition foundation is beginning to fail. In order to prevent this from happening, we will be removing the rear deck that is behind there, carefully removing the existing glass and all the windows and doors on the porch addition, removing the current stem wall, jacking up the porch to level, installing a new footing in cinder block stem wall, installing a red stone facade to match the house that will go on top of that wood underneath there, repairing the floor connections, reinstalling the existing windows and doors, refinishing the interior floor, reinstalling the interior trim is needed, painting the interior and exterior, and rebuilding the back deck to code with similar materials to what are currently there.

This page shows how we are following the guidelines of the heritage preservation division. I can go through all of that with you, or we can keep that for further reference. Essentially, this states that in Subsection C of 10-30.30.050, the historic physical features that represent the significance of a property must remain and must be visible enough to convey their significance. However, it is not necessary for a property to retain all its historical physical features or characteristics. The property must retain sufficient physical features, historic character, and appearance that enable it to convey its historic identity and the reasons for its significance. I went further to show Subsection 3D, materials, and workmanship. This will be done to meet the standards of that criteria. Essentially, when we reestablish the stone facade on the outside, that will retain Subsection 3F, feeling a property's expression of the aesthetic or historic sense of a particular period. It results from the presence of physical features that taken together, convey the property's historic character. That is absolutely going to be done. As you can see, there is Subsections 5, E, and F that we will follow as well. I don't want to take up your precious time going through all of those, but you're welcome to read through those at your leisure. Then we also follow the Department of the Interior rehabilitation treatment and standards for rehabilitation. Only 8, 9, and 10 are not applicable to this property, but all of these standards for rehabilitation will also be met in what we are attempting to do here, as Mark has already stated.

Again, this is the side of the building. You can see where the foundation is beginning to fail. This is historic in its own right. We need to make sure that this does not affect any of the home. This here is some of the red stone that has fallen off the building. We are going to be creating a new stem wall. I've taken this from the architect's drawings to make it a little bit clearer to both the council members and to Mr. Reavis that the stem wall will be appropriately built to support the building that is on top of it using materials that are necessary to do that. However, as you can see here, this is the existing footing right now, this is sandstone that is crumbling and there's a natural stone wall on top of that. We are going to put in this new footing. The porch will be held up by a cinder block here, and this is basically the floor. Then we are going to put the red sandstone facade on the outside of the cinder block to maintain that look and feel that will match the front of the house, so it will be seamless. Therefore, we will have both an appropriate foundation for the building and the historical sense will be maintained.

This is material that is on-site that is that red stone. We will be using what is on site. We also have a beat on where to acquire more of this stone. We know where there are people in town who can supply and do the masonry work itself in the same manner so that it will be historically accurate. As was stated previously, the windows are original glass, and every precaution is going to be taken to make sure that those are preserved during the work we'll be removing those, storing them, and then replacing them exactly. The rear deck was built sometime. It is not to code. We are going to be removing this deck to get to be able to do the work, and then we will rebuild the deck to code at the completion of the project.

Thomas Phelan: Next, we'll be completely demolishing the existing footing and stem wall we'll be pouring a new footing. It will have vertical and horizontal rebar and it will be solid routed all the way up to a bottom plate. It will sit underneath the existing porch framing. We're going to have to beef up the porch framing also, but that won't be visible at all. Then when we install the red sandstone facade, it will plane out with the rest of the house, so it won't look like anything was done other than the fact that there's that red sandstone on the stem wall all the way around the house.

Mark Reavis: That was the one detail, and it was explained that I found needed to be adjusted, which is that subtle change of it, not being, stuck out, but actually looking as if it was supporting the wall. Again, the structure has to be adequate to CMU and has to be reinforced, but there's a way to attach that stonework, so it looks just as they've said that it was the supporting structure. It's subtle, but they are asking for meeting secretary interior standards and they are asking for level 2 funding when we get to that aspect.

Abbey Buckham: Mark, I think you said that it happened sometime in the past. We don't know when this weird structure was added?

Mark Reavis: I don't know if the sunroom was original or not, but adding the room on the top was definitely an add-on, which overloaded the foundation, in my opinion. You can pretty much tell when you go to the second floor and you look at some of the detailing, the second-floor room is not as high level as the sunroom itself or the rest of the building. Somebody just decided to make another room, out the back there, which overloaded the foundation and caused a lot of problems. It's pretty important that this gets cleared up so we don't have a massive failure, which we'd lose the sunroom. That would be unfortunate, so it's a really positive project.

Emily Dale: Is the plan to paint the exterior white again?

Vanessa Miller: Yes.

Duffie Westheimer: Mark, have they revised the plan so that the veneer is not sticking out beyond the building?

Mark Reavis: That's going to be done. There are ways to do that and we'll talk it through so that's correct.

Moved by Alycia Hayes, seconded by Bernadette Burcham To approve a Certificate of Appropriateness for the England House sunroom rehabilitation, conditioned upon revisions to the plan set for the foundation’s stone face rehabilitation, that meet the US Secretary of the Interior’s Standards and Guidelines. Heritage Preservation Officer may approve the modified plans to confirm rehabilitation technique and detailing of sunroom’s wood structure.

Vote: 6 - 0 - Unanimously

Mark Reavis: Again, you can see how complicated this is and that they are going the extra mile following Secretary of Interior standards on individually listed historic property. It is appropriate that they did apply for the level 2 funding and that they are going to meet Secretary of Interior standards. It is a sizable budget for doing this so the $20,000 would certainly help and have participation from the heritage preservation facade fund.

Duffie Westheimer: The budget just looks so low to me that are you prepared if it ends up costing twice that?

Vanessa Miller: In filling out the application, it was recommended to me that I only submit the $40,000 amount so that the match would be equal to, the $20,000 match. But the amount for the project is significantly more than that. We're looking at about a $360,000 project here. However, I was recommended to only put the matching grant amount on the application itself.
 

Moved by Abbey Buckham, seconded by Shelli Dea To approve a grant match request for Level 2 funding for $20,000 for modified plans approved by Flagstaff Building Safety and the Heritage Preservations Officer which meet the US Secretary of the Interior’s Standards and Guidelines for improvements to 614 W Santa Fe Ave, confirmed by Flagstaff HPO.

Vote: 6 - 0 - Unanimously

Mark Reavis: I reviewed the original submission that was part of the application. There were some things about it that we know more information about now, but i did evaluate it based on the submission that did come in on time to review.
 
This is the Loy office building. The inventory form indicates it was built in 1897, it's the oldest surviving pre-1900 office building in Flagstaff. Its uniqueness is pretty much its really conservative size and proportions. It is the former bookstore that was stuccoed in the front, a pretty simple building. It is part of the railroad addition national register district. It is in the downtown overlay. The inventory form for the railroad addition actually was done 46 years ago, which is pretty amazing, where the inventory has almost hit historic standards, and certainly, the re-stucco is more than 50 years old.
 
These early buildings were done with low-fired clay brick that does have a lot of issues when the weather hits it. Again, a lot of the time it was deteriorated to such a point that people would end up stuccoing the building to solve the issue. It does have some fairly fragile aspects to it as being this low-fired brick, which did cause some concern for me.
 
The original submission had the removal of the stucco. If we removed all the stucco, the expectation would be that you would preserve the brickwork, which would be neat, but i have a strong feeling that the way they would stucco buildings, they'd simply nail chicken wire into the brick, blow up the brick. It was probably deteriorated in the first place. I had a strong opinion on the fact that it has peeling paint and that the paint can be appropriately removed and repainted and that we don't have to go to this point of really threatening the internal structure of the building.
 
The foundation shown is more like a typical construction foundation. It's a stone foundation. We know that from the back addition on this little building as well. I had some concerns about how that would be treated, but there are extensive structural engineering drawings and studies on what the actual structure is. They're talking about major work to make the building more stable and to pour in a concrete floor and secure the foundation for the building so it can last longer. Remarkably, they were putting all aspects of this little cookie shop into the existing small footprint. It's the original rectangular building and a small addition on the back, and they've managed to fit all those things in.
 
The submission had blackout windows with a film. Again, that caused a little bit of concern about the appearance, so we want to make sure we can work toward a solution where it still looks like a window that whatever closure they need to do for equipment that goes in, that it looks appropriate, and it still has the visibility like it's a window. There are a lot of alternatives to that than just putting a blank-out film on the outside of the windows and the inside. Those windows were actually replaced at some time. That was noted in the inventory form. There are a plate glass window that fills the whole opening. Again, the assumption would be there was probably a wooden sash, an operable window of some form maybe with some divided lights. Those windows that are there, those large plate glass windows, are not original to the building, and it would be appropriate with energy codes and improving the general historic appearance to change those out in an appropriate way. We've looked at options for that as well.
 
I went through the downtown handbook design standards for this project. I also took a close look at the Secretary of Interior standards on this. I also noted the masonry aspects and also how fragile that internal system is of that wall that's there. I did express concerns about when we're piercing lights through that masonry and that type of stuff, that we end up not injuring the building since it's from 1897. I have had that discussed quite a bit with the architect. Again, it's progressed a lot longer than this original submission that you guys have looked at. There are additional submissions to the building safety department on what's going to be done. I'm feeling quite calm about this and I think it'd be a really great use of a very small building with no additional changes to the outside. It will still have the look and feel of this small little building.
 
Kevin Gore: We were illuminated as to the history and the significance of the building, so we made a number of design changes to try to respect the fabric of the building, including not removing the existing stucco, but working as gently as possible to remove all the paint back down to a solid substrate and patching only as required, and then repainting the building. The signage package, we worked with the sign vendor to try to come up with something that was appropriate to the building. It is a very thin dimensional letter that's being posed with a very low diameter in-mounting that would occur in the grout lines of the brick, not in the face of the brick itself. The windows, the intent at the current time is to restore the existing windows. We do need the GC when they are on-site to help evaluate them, and if they do need to be replaced, they would be replaced with an energy-efficient fiberglass unit that would perform well in the high-temperature swing environment of Flagstaff. At that time, if we do replace it, we will be looking at historic photos for a divided light pattern that was appropriate to the time of the building. We would have to, obviously, revisit that with the commission. But right now, the intent is that they remain in place. We will be removing all the metal grills on the building and to obviously improve the appearance of less of a jail-like to it.
 
Let's see, the goose-necks. We are working with the client's lighting vendor. They have a national account with a lighting vendor. Our selection of light fixtures was for design intent. They will be providing catalog cuts for dark sky-compliant goose-neck fixtures that also in their appearance are more historic rather than typical sign lighting. The goose-necks we felt were a better selection. But they are, as I said, sourcing dark sky-compliant ones. When we were on site, the floor system had some serious issues, so it's wood floor joists within anywhere from 6 to 30-inch crawl space with a dirt floor, so there's no vapor barrier, there's no vermin barrier. We're totally removing the floor system carefully in stages and installing a completely new stem wall of reinforced concrete that would help reinforce the current rubble foundation. We'll be backfilling with compacted fill, gravel, vapor barrier, and a reinforced concrete slab to give a better flooring substrate.
 
We'll be putting in new plumbing underneath. The interior walls will be insulated, the roof will be adding r30 insulation, some reinforcing work on the roof, and replacing the interior finishes completely. In effect, it will be a completely new building within the building while trying to preserve the exterior characteristics. We are taking to heart with the client how to address the window and door that we did show blackout film.
 
We've restated that on the permit set of drawings that went to the billing department, that it will be a window treatment that looks more like window shades that were appropriate to the time that looked like just someone's home, but the window shades are drawn. One of the other things we're looking at is actually some historic imagery setback from the window. It'll be one of those two, but it will no longer be a blackout film.
 
Abbey Buckham: The amount of times that we've used the word fragile and gentle is making me a little nervous. but, Mark, you seem confident that it can be done well, or do we have a plan b in case it ends up being more difficult or more delicate than we thought?
 
Mark Reavis: When I looked at the engineering drawings, they're quite clear that they're being done very carefully. It reflects the architectural set. It reflects the stone foundation, the depths that are there, and how they do it with a very systematic means of doing the new foundation. All that foundation work is actually done internally. What the architect just said about putting a building inside of a building, that's basically what's taking place. So very limited impacts, a lot of care and the fact that that new interior perimeter foundation will lock in that existing stone foundation will be very important to the long-term survival of the building. I think the engineering was done really well on that. There's just a little bit of initial miscommunication with that initial section drawing that you see in that architectural set.
 
Emily Dale: Mark, does that mean that the current starlight books is going to be preserved underneath the new?
 
Mark Reavis: No, they're going to repaint.
 
Emily Dale: Is there going to be any effort to record that in a more meaningful way than pictures on google books or google images? It looks like starlight books was opened in 1984, which means it's now 40 years old, I know it's not technically historic, but it feels like for many people in flagstaff, it's been such a mainstay of downtown that it feels like it's been there forever. It would be nice if there was some effort to officially record it.
 
Mark Reavis: I do like the progression of our historic buildings and how the uses have changed over time. Again, we could make the suggestion on how they promote the little cookie shop as being a unique aspect of Flagstaff. So, I am more than willing to work on history, interpretation, and understanding of the progression of this little building and how it fits into Flagstaff's history.
 
Duffie Westheimer: Could there be a plaque on the exterior that talks about it?
 
Kevin Gore: Is that something we would provide or is that something that the historic commission would provide? Either way, I'm sure the client is more than willing and amenable to that. Just like the neighbor across the alley, they have a, I think it's a bronze plaque that talks about the building. Either way, if you have the text, then we would have a sign vendor create something for your approval, however, you normally handle that, I'm sure on the client side that they'd be more open to that.
 
Emily Dale: How did all those plaques end up there? I'm surprised the building from 1897 doesn't already have one.
 
Mark Reavis: It is just an effort with existing businesses to celebrate their history. I wasn't here, but it was an effort more than 10 years ago to document how these buildings looked and acknowledge their history. So we keep following that interpretive aspect of things. Keeping our history alive somehow is always important.
 
Alycia Hayes: Are we talking about a plaque that would talk about the building being constructed in 1897 and then in 1984 it was starlight books?
 
Emily Dale: I think that would be very fitting with what's already downtown, and I did not know that building was that old, so I think that's pretty impressive.
Bernadette Burcham: In regards to the signage, and the look of the sign, could we make it consistent with the look of the other signs that we have on the other buildings downtown?
 
Mark Reavis: Yeah. Those are anodized aluminum signs, they work really well. They're affordable, they take text and photos very well, and they're quite durable. So that has been what we have been proposing for interpretation to be consistent.
 
Emily Dale: This is going to come back to us like next month, or some other month?
 
Mark Reavis: It's probably going to be a certificate of no effect from me on the signage package. Signage has to meet the sign ordinance standards, and my effort is pretty much not to damage historic materials. That's kind of the level of where I am in my reviews, not necessarily the aesthetics of the signage.
 
Alycia Hayes: You mentioned that they might possibly have fiberglass and then you also mentioned divided lights. Would that be possible for an overlay where it looks like divided lights on the glass?
 
Mark Reavis: I have a feeling it was divided transom up above and probably a single hung operable. But we could look at as many historic photos as we can. But certainly, that large of opening would not have had a solid piece of glass in 1897. So that plate glass is pretty obvious that that was a replacement. Again, you can do wood, but metal clad doesn't look that great. But certainly, some of the fiberglass has been accepted by the Park Service on commercial properties. Not National Park Service at the canyon, but for a tax credit, yes.
 
Alycia Hayes: I was just working on a project where we decided not to do divided lights because it would look too much like we were trying to take it back to a particular period.
 
Duffie Westheimer: Is this a federal tax credit project?
 
Mark Reavis: No. I am surprised with the amount of investment.

Moved by Bernadette Burcham, seconded by Abbey Buckham To approve a certificate of appropriateness with the following conditions:

1. Repair the stucco with the gentlest means in removing peeling paint and surface coating repair.

2. Follow best practices and historic foundation work that reflects the 1897 construction techniques and follow the recommendations of the structural engineer.

3. Submit a separate HPC application for a certificate of no effect to review signs and lighting.

4. Allow for the HPO to monitor and ensure that window modifications meet historic preservation guidelines in the current energy code.
5. Add a historic interpretive sign on the front facade of the building.

Vote: 6 - 0 - Unanimously

Mark Reavis: This is the Ice Company building, a small little metal building, pretty old. I really had a hard time finding information about it. I ended up having to reach out to a consultant to do the research on it. I had a suspicion that it was associated with the railroad. It's not. I was surprised because the rail line is right there. But it was just a small independent metal building that's been used by the Ice Company for a long time.
 
This is the last building that's in the way of building the Lone Tree Overpass. Multiple buildings have been demolished. This is the last one to be cleared for demolition. Just for curiosity's sake, you should go and look up the information we have on the Lone Tree Overpass. Pretty impressive what it will do for bicycle and pedestrian traffic. I don't know what the result will be for auto traffic, but it will give us an alternative to going over the railroad tracks. It's an interesting project that was voted on by the people. It's getting very close to being constructed.
 
Duffie Westheimer: do you have a cultural resource study on the building?
 
Mark Reavis: they simply did an inventory form that indicated that and I attached that. It just simply indicates that it's not significant and would not be listed.
 

Proposition 207 Map:
 
Michelle McNulty: We're still working on the 207 map. What exactly is this commission trying to get from that map on Prop 207?
 
Duffie Westheimer: I was curious to see if there were 207 waivers in the historic areas. Also to help the other commissioners understand what that means and how it happens because it basically undermines our zoning code. In terms of what we do here, I think that we need to know what it is in case it affects what we do. For example, if they got a 207 waiver do they need to come in for review? Or is it for only for certain things? I just think that we need to understand the implications.
 
Michelle McNulty: Most of them throughout the city are for high occupancy housing. Prop 207 waivers are for specific points in time, and it's just that one part of the code, and it doesn't exempt you from all code. It just basically grandfathers you into the old code. If there's an upgrade to a code, you can opt out of that if you feel it diminishes your property. But I do not believe that there are more than maybe two, but definitely not more than a handful in the Downtown Overlay area.
 
Duffie Westheimer: I mean, including Southside, which isn't an overlay. It would be all the historic area. To me, it might make a difference because if you have a few in a row, especially if it's high occupancy housing, you can end up with a much bigger project than if it's a single 7,000-square-foot lot. It's a big difference between the three of those next to each other.
 
Emily Dale: Maybe instead of having Michelle spend time tracking down data to make a map, we just need an overview of what this is.
 
Regional Plan Committee Clarification:
 
Michelle McNulty: The best place to go to get the updated agenda is on the website. As long as no more than two of you attend, you can pick and choose which of those that one or two of you want to attend, and just let me know so we can organize it to make sure we don't have quorum issues or open meeting issues.
 
Abbey Buckham: When would you like us to have this done?
 
Michelle McNulty: By the end of the week, if you can.
 
Public Archeology Tours:
 
Emily Dale: I have one. My archaeological field school in June, where I will be instead of at this commission meeting, runs public tours so you can come and see our historical archaeology site. It's a great depression area. Anyone listening online, you are also welcome to come. Anyway, so if people wanted to come out, just if it ends up being a quorum, I wanted to let people know, but we have a fun flyer if you are interested. Come look at cans.
 
Southside Overlay:
 
Mark Reavis: I am working with Tiffany Antol on a simplified basic version for the WC Riles Overlay. It's not the whole south side. It's the specific targeted area surrounding WC Riles Street.
 
Michelle McNulty: We've not in earnest started that project. We're still finalizing some things with the La Plaza Vieja Overlay. We are going to do the WC Riles in-house, and we will, probably in the next two months, start contacting the property owners to engage with them on how they want to proceed.
 
Fire Creek Update:
Duffie Westheimer: I was looking at the Fire Creek building that we approved, and they seem to have done the bottom under the windows, but they haven't repainted. Is that coming up now that the weather's getting better?
 
Mark Reavis: Yeah, I was just going to check in with them. So it was the upper-level repaint and doing some flashing that integrates what they did on the lower part with the upper part.
 
Peris House Cultural Resource Study Updates:
Duffie Westheimer: Have the corrections and additions been made to the Peris cultural resource study?
 
Mark Reavis: Yes. There weren't many, but yes. That's going well as far as interpretation at the Peris House site and integrating that. The payment was made to the non-profit for the Riordan Mansion. It's good to keep history alive. They have some pretty impressive photos of what that was like to the extent of what the mill was there.
 

The meeting adjourned at 5:30 PM.