WEBVTT 00:00:00.000 --> 00:00:00.000 00:00:48.667 --> 00:00:50.667 YOU CAN ATTEND THE MEETING BY CALLING AND SELECTING 00:00:57.000 --> 00:00:59.000 OPTION TWO. THE MEETING IS AIRED LIVE ON BH TV CHANNEL 10 00:01:02.000 --> 00:01:04.000 AND STREAMED LIVE ON THE CITY'S 00:01:05.833 --> 00:01:07.833 WEBSITE AT BEVERLYHILLS.ORG/LIVE. 00:01:10.833 --> 00:01:12.833 MEMBERS OF THE PUBLIC MAY PROVIDE WRITTEN PUBLIC 00:01:16.767 --> 00:01:18.767 COMMENTS BY SENDING AN EMAIL 00:01:20.767 --> 00:01:22.767 TO COMMENT AC AT BEVERLYHILLS.ORG. 00:01:23.767 --> 00:01:25.767 ALL PUBLIC COMMENTS CAN BE 00:01:29.767 --> 00:01:31.767 OFFERED DURING THE MEETING AT 310-288-2288 AND 00:01:35.767 --> 00:01:37.767 SELECTIONING OPTION ONE 00:01:41.767 --> 00:01:43.767 OR VIDEO AT BEVERLYHILLS-ORG.U.S./MY/BVLIC 00:01:48.767 --> 00:01:50.767 WITH THE PASS CODE 90210. 00:01:54.767 --> 00:01:56.767 MAY I ASK EVAN TO DO THE PLEDGE 00:01:58.767 --> 00:02:00.767 OF ALLEGIANCE TODAY? THANK YOU. >> I PLEDGE ALLEGIANCE TO THE FLAG OF THE UNITED STATES OF AMERICA 00:02:04.767 --> 00:02:06.767 AND TO THE REPUBLIC FOR WHICH IT STANDS, ONE NATION UNDER 00:02:10.767 --> 00:02:12.767 GOD, INDIVISIBLE WITH LIBERTY 00:02:16.700 --> 00:02:18.700 AND JUSTICE FOR ALL. 00:02:20.700 --> 00:02:22.700 >> THANK YOU, EVAN. ROLL CALL, 00:02:23.600 --> 00:02:25.333 PLEASE? >> COMMISSIONER PYNOOS. 00:02:25.867 --> 00:02:27.533 >> YES. >> COMMISSIONER MEYER. 00:02:28.700 --> 00:02:31.700 >> YES. >> COMMISSIONER MATSON? 00:02:31.700 --> 00:02:34.700 >> HERE >> VICE CHAIR DEVLIN? 00:02:37.700 --> 00:02:39.700 >> PRESENT. >> ARE THERE ANY COMMENTS FROM ANYONE IN THE ROOM THAT IS NOT ON THE AGENDA? 00:02:43.700 --> 00:02:45.700 NONE. THANK YOU. ANY COMMENTS 00:02:48.700 --> 00:02:51.700 VIA PHONE OR VIDEO? >> NO AGENDA COMMENTS. 00:02:52.700 --> 00:02:55.700 >> THANK YOU. >> KAREN, WOULD YOU PLEASE READ THE REGISTRATION REMINDER. 00:02:56.700 --> 00:02:58.700 >> THANK YOU, CHAIR. THE CITY HAS AN ORDINANCE THAT 00:03:00.700 --> 00:03:02.700 REQUIRES THE REGISTRATION OF LOBBYISTS OR ADVOCATES WHO ARE PAID OR EXPECT 00:03:05.700 --> 00:03:07.700 TO BE PAID $50 OR MORE TO REPRESENT A PROJECT OR INFLUENCE 00:03:09.700 --> 00:03:12.700 CITY OFFICIALS. PROFESSIONALS SUCH AS ATTORNEYS, ARCHITECTS, EXPEDITERS OR DESIGN 00:03:15.633 --> 00:03:17.633 PROFESSIONALS OR DESIGN OR RESEARCH SHOULD VISIT THE 00:03:23.633 --> 00:03:25.633 CITY'S WEBSITE AT BEVERLYHILLS.ORG/LEGISLATIVEADVO CHALETS. ADDITIONAL INFORMATION 00:03:27.633 --> 00:03:30.633 IS AVAILABLE ON THE SAME WEB PAGE. >> THANK YOU, KAREN. ANY REQUESTED CHANGES TO 00:03:34.633 --> 00:03:37.633 THE ORDER OF THE AGENDA? NO CHANGES. BY THE ORDER OF THE CHAIR, 00:03:42.633 --> 00:03:44.633 THE AGENDA IS APPROVED AS PRESENTED. 00:03:48.633 --> 00:03:50.633 ON THE CONSENT SCHEDULED WE HAVE THE JULY 00:03:54.633 --> 00:03:56.633 20th, 2022 ARCHITECTURAL COMMISSION REGULAR MEETING MINUTES, AND 00:04:00.633 --> 00:04:02.633 THE RESOLUTION CONTINUING TO AUTHORIZE PUBLIC MEETINGS VIA TELECONFERENCE. 00:04:04.633 --> 00:04:06.633 ANY OF QUESTIONS OR CHANGES ON ANOTHER ITEM? 00:04:09.633 --> 00:04:11.633 NO CHANGES. 00:04:12.633 --> 00:04:14.633 THEN MAY WE HAVE 00:04:16.567 --> 00:04:18.567 A MOTION TO VOTE? 00:04:19.567 --> 00:04:22.567 >> CHAIR, I MOVE TO ADOPT THE CONSENT CALENDAR AS PRESENTED. >> THANK YOU. AND A SECOND? 00:04:24.567 --> 00:04:27.567 >> I'LL SECOND. >> THANK YOU. THE ROLL CALL FOR THE VOTE. 00:04:29.567 --> 00:04:31.600 >> COMMISSIONER PYNOOS. >> YES. 00:04:31.600 --> 00:04:34.567 >> COMMISSIONER MEYER? >> YES. >> COMMISSIONER MATSON? 00:04:35.567 --> 00:04:38.567 >> YES. >> VICE CHAIR DEVLIN. 00:04:38.567 --> 00:04:40.567 YES. 00:04:41.567 --> 00:04:43.567 >> CHAIR SCHREIBER? 00:04:44.567 --> 00:04:46.567 >> YES. 00:04:47.567 --> 00:04:49.567 ANY REPORTS FROM 00:04:52.567 --> 00:04:54.567 AGENCIES? NONE. 00:04:55.567 --> 00:04:57.567 AND EVAN WE HAVE A STATEMENT. 00:04:58.567 --> 00:05:00.567 >> ITEM NUMBER 3, 409 NORTH BEVERLY DRIVE, FOR THIS PROJECT I WILL NEED 00:05:02.567 --> 00:05:04.567 TO RECUSE MYSELF BECAUSE I HAVE FINANCIAL INTEREST IN REAL PROPERTY 00:05:07.567 --> 00:05:09.567 LOCATED LESS THAN 300 FEET FROM THE 00:05:13.567 --> 00:05:15.567 PROJECT SITE. 00:05:19.500 --> 00:05:21.500 >> THANK YOU, EVAN. MAY WE 00:05:24.500 --> 00:05:27.500 HAVE A STAFF REPORT, PLEASE? >> GOOD AFTERNOON, CHAIR AND MEMBERS OF THE COMMISSION. I WILL 00:05:30.500 --> 00:05:32.500 BE PRESENTING THE 00:05:36.500 --> 00:05:38.500 APPLICANT'S REQUEST FOR FACADE MODIFICATION TO ALLOW 00:05:42.500 --> 00:05:44.500 MULTIPLE BUSINESS IDENTIFICATION SIGNS AND 00:05:47.500 --> 00:05:49.500 MINOR LANDSCAPING AND CONSTRUCTION CADE AT 409 NORTH BEVERLY DRIVE 00:05:51.500 --> 00:05:53.500 LOCATED NORTH OF BRIGHTON WAY ALONG NORTH BEVERLY DRIVE AS HIGHLIGHTED 00:05:56.500 --> 00:05:58.500 HERE IN THE SITE PLAN OR AERIAL SHOT. AND THIS 00:06:01.500 --> 00:06:03.500 IS THE EXISTING CONDITION 00:06:07.500 --> 00:06:09.500 OF THE PROJECT SITE. 00:06:11.500 --> 00:06:13.500 THE PREVIOUS TENANT WAS 00:06:20.433 --> 00:06:22.433 KNOWN AS TENANT BLUE. 00:06:25.433 --> 00:06:27.433 >> WE'RE JUST HAVING A LITTLE TECHNICAL DIFFICULTY IN GETTING 00:06:34.433 --> 00:06:36.433 THESE IMAGES 00:06:40.433 --> 00:06:43.433 ON THE SCREEN FOR YOU. THERE WE GO. 00:06:44.433 --> 00:06:46.433 >> ALL RIGHT. AND THE PROPOSED MODIFICATIONS WILL BE FOR 00:06:48.433 --> 00:06:50.433 THE NEW TENANT KNOWN AS REFORMATION INCLUDING THE IF A 00:06:54.433 --> 00:06:56.433 CAST MODIFICATIONS AND MINORS 00:07:00.433 --> 00:07:02.433 LANDSCAPING WITH STUCCO AND NEW STOREFRONT GLAZING, AND 00:07:05.433 --> 00:07:07.433 ACCENT FRAMING AND L.E.D. STRIP LIGHTING AND RECESSED ACCENT WINDOW 00:07:11.433 --> 00:07:13.433 AND AN IN-GRADE PLANTER WITH LIGHTING AND A VARIETY OF SPECIES. 00:07:15.367 --> 00:07:17.367 AND SO HERE IS THE ELEVATION IN 00:07:19.367 --> 00:07:21.367 COMPARISON TO WHAT WAS PREVIOUSLY THERE OR WHAT IS EXISTING. 00:07:23.367 --> 00:07:25.367 AND HERE 00:07:29.367 --> 00:07:31.367 IS THE ELEVATION WITH THE MATERIAL CALL OUT AS I JUST SHARED. 00:07:33.367 --> 00:07:35.367 THERE WILL BE A SIGN ACCOMMODATION NEEDED FOR 00:07:36.367 --> 00:07:38.367 THE BUSINESS IDENTIFICATION SIGNS. 00:07:39.367 --> 00:07:41.367 ONE WILL BE ON THE MAIN ENTRANCE THAT IS 6.1 SQUARE 00:07:43.367 --> 00:07:45.367 FEET AND ONE ON THE FRONT FACADE THAT IS RECESSED ALONG THE WINDOW 00:07:48.367 --> 00:07:50.367 AT ONE SQUARE FEET. BOTH SIGNS 00:07:54.367 --> 00:07:56.367 ARE NON-ILLUMINATED WITH METAL LETTERS IN SATIN BRONZE OR -- EXCUSE ME. 00:07:59.367 --> 00:08:01.367 THE MAIN ENTRANCE SIGN IS IN METAL LETTERS IN BRONZE 00:08:03.367 --> 00:08:05.367 AND THE RECESSED SIGN IS ENGRAVED IN THE RECESSED STUCCO FINISH. 00:08:09.367 --> 00:08:11.367 THE TWO PROPOSED BUSINESS IDENTIFICATION 00:08:14.300 --> 00:08:16.300 SIGNS TOTAL 7.1 SQUARE FEET WHICH COMPLY AND 00:08:18.300 --> 00:08:20.300 ARE BELOW THE MAXIMUM ALLOWABLE SIGN AREA IN THE STANDARDS 00:08:23.300 --> 00:08:25.300 OF THEUP CODE. AND, AGAIN, HERE IS THE LANDSCAPE PLAN, THE 00:08:27.300 --> 00:08:29.300 MINOR LANDSCAPING THAT WILL TAKE PLACE ALONG THE FRONT FACADE. 00:08:32.300 --> 00:08:34.300 THERE IS A VARIETY OF SUCCULENTS 00:08:38.300 --> 00:08:40.300 THAT WILL BE PLACED. 00:08:41.300 --> 00:08:43.300 AND HERE IS THE PROPOSED 00:08:45.300 --> 00:08:47.300 CONSTRUCTION BARRICADE AS PROPOSED INITIALLY, THE PROPOSED BARRICADE 00:08:49.300 --> 00:08:51.300 EXCEEDS THE MAXIMUM ALLOWABLE SIGN AREA WITH 12 SQUARE FEET. 00:08:53.300 --> 00:08:55.300 RIGHT NOW, 57.37 SQUARE FEET FOR THE FOUR SIGNS. 00:08:59.300 --> 00:09:01.300 THE APPLICANT IS AWARE OF THE CHANGES THAT NEED TO BE HAD IN ORDER 00:09:04.300 --> 00:09:06.300 FOR THEM TO COMPLY. THEY HAVE 00:09:08.300 --> 00:09:10.300 SHARED REVISIONS. THE REVISION DOES NOT INCLUDE 00:09:12.300 --> 00:09:14.300 THE SIGN DIMENSIONS. SO STAFF RECOMMENDS THAT A CONDITION 00:09:17.300 --> 00:09:19.300 OF APPROVAL BE INCLUDED IN THE RESOLUTION HAVING 00:09:21.300 --> 00:09:23.300 AND REQUIRING THE CONSTRUCTION BARRICADE TO COMPLY WITH THE STANDARDS IN 00:09:25.300 --> 00:09:27.300 THE CODE. >> JUST NOTE, COMMISSIONERS, THIS GRAPHIC WAS NOT INCLUDED IN YOUR 00:09:30.300 --> 00:09:32.300 PACT. IT WAS DELIVERED AFTER THE PACKET HAD GONE OUT TO 00:09:35.300 --> 00:09:37.300 COMMISSIONERS. SO THIS IS THE GRAPHIC NOW 00:09:41.300 --> 00:09:43.300 PROPOSED FOR YOUR DISCRETION AND REVIEW. 00:09:46.300 --> 00:09:48.300 >> YES, AND HERE IS THE REVISED CONSTRUCTION BARRICADES. 00:09:49.300 --> 00:09:51.300 AND HERE IS THE MATERIAL BOARD 00:09:55.300 --> 00:09:57.300 AND I BELIEVE THE PHYSICAL MATERIAL BOARD. SO THE PROPOSAL 00:09:59.300 --> 00:10:01.300 REPRESENTS A NEW FACADE TREATMENT AND SIGNAGE 00:10:05.300 --> 00:10:07.300 FOR THE NEW TENANT, REFORMATION 00:10:11.300 --> 00:10:13.300 AND DETAILS INTEGRATED WITH THE DESIGN ILLUMINATION THAT SHOULD 00:10:16.233 --> 00:10:18.233 BE PRESENTED FOR FURTHER REVIEW AND PROPOSED DURING 00:10:21.233 --> 00:10:23.233 THE PROJECT'S CONSTRUCTION PHASE AND REVISIONS MAY BE REQUIRED 00:10:25.233 --> 00:10:27.233 IN COMPLIANCE WITH THE CITY'S CODE, AND I WILL BE HAPPY TO 00:10:31.233 --> 00:10:33.233 ANSWER ANY QUESTIONS. 00:10:39.233 --> 00:10:42.233 THANK YOU. >> IS THERE ANY PUBLIC COMMENT? 00:10:43.267 --> 00:10:45.667 >> NO EARLY COMMENT. >> THANK YOU. WOULD THE APPLICANT LIKE TO 00:10:49.233 --> 00:10:51.233 COME FORWARD AND 00:10:58.233 --> 00:11:00.233 MAKE A 00:11:04.233 --> 00:11:06.233 PRESENTATION? WOULD YOU LIKE TO INTRODUCE YOURSELF? 00:11:07.233 --> 00:11:09.233 WELCOME. >> GOOD AFTERNOON. MY NAME IS MICHAEL JONES. 00:11:12.233 --> 00:11:14.233 WE ARE THE DESIGN AND 00:11:16.167 --> 00:11:19.167 EXECUTIVE ARCHITECTS OF THE PROJECT. >> DO YOU HAVE ANY FURTHER COMMENTS YOU WOULD LIKE TO ADD 00:11:21.167 --> 00:11:23.167 TO THE STAFF PRESENTATION? >> I DON'T BELIEVE SO. 00:11:25.167 --> 00:11:27.167 I THINK IT WAS A 00:11:29.167 --> 00:11:31.167 FAIRLY COMPLETE APPLICATION. 00:11:32.167 --> 00:11:34.167 WE WERE TRYING TO BE AS DESCRIPTIVE AS WE COULD WITH 00:11:37.167 --> 00:11:40.167 THE SITE OF THE COMCT BEING RATHER SMALL. >> ANY REMAINING PUBLIC COMMENTS? 00:11:41.167 --> 00:11:43.167 >> NO PUBLIC COMMENTS. 00:11:44.167 --> 00:11:46.167 >> THANK YOU. 00:11:47.167 --> 00:11:49.167 AND I GUESS WE WILL MOVE ON THEN AND HAVE COMMISSIONERS MAKE 00:11:50.167 --> 00:11:52.167 COMMENTS. COMMISSIONER PYNOOS, WOULD YOU 00:11:55.167 --> 00:11:57.167 LIKE TO START FOR US? 00:11:58.167 --> 00:12:00.167 ALL RIGHT. THANK YOU. 00:12:01.167 --> 00:12:03.167 THAT'S JUST FINE. COMMISSIONER DEVLIN? 00:12:05.167 --> 00:12:08.167 >> THANK YOU. I THINK THE OVERALL, THE IMPROVEMENTS ARE REALLY WELL DONE AND OVERALL 00:12:11.167 --> 00:12:13.167 A MODERN UPDATE. I DID HAVE A QUESTION ABOUT THE REAR OF 00:12:15.100 --> 00:12:17.100 THE BUILDING. ARE THERE EXISTING PALM TREES THAT 00:12:22.100 --> 00:12:24.100 WILL BE REMOVED OR -- THERE IS A --. 00:12:27.100 --> 00:12:29.100 >> AS I RECALL, THERE IS A PLANTING AREA THAT STRADDLES THE 00:12:31.100 --> 00:12:33.100 NORTHWEST AREA OF THE BUILDING AND THE ADJACENT BUILDING. 00:12:37.100 --> 00:12:39.100 THERE ARE EXISTING PALMS IN THE SWITCH GEAR. WE 00:12:42.100 --> 00:12:44.100 HAVE NO INTENTION OF TOUCHING ANY OF THAT 00:12:47.100 --> 00:12:49.100 IF IT'S NOT REQUIRED. 00:12:50.100 --> 00:12:52.100 >> GREAT SO THEY WILL REMAIN IN PLACE. I THINK 00:12:56.100 --> 00:12:58.100 THE PLANT MATERIAL IS APPROPRIATE AS SELECTED AND KEEPING 00:12:59.100 --> 00:13:01.100 LOW WATER SPECIES IN MIND. 00:13:02.100 --> 00:13:04.100 I HAD A QUESTION ABOUT ANY IRRIGATION SYSTEM PROPOSED? 00:13:06.100 --> 00:13:08.100 >> I BELIEVE IT WAS PART OF THE PACKAGE IN THERE. 00:13:10.100 --> 00:13:12.100 >> OKAY AND THEN I THINK 00:13:16.330 --> 00:13:18.330 ON L 1.00 IN THE PLANTING PLAN, 00:13:21.330 --> 00:13:23.330 I THINK ADDITIONAL INFORMATION JUST REGARDING LIKE A MULCH LAYER ON 00:13:27.330 --> 00:13:29.330 TOP AND KIND OF SOME MORE SOIL -- PROPOSED SOIL INFORMATION AND 00:13:31.330 --> 00:13:33.330 I THINK THINGS LIKE THAT WILL HELP KIND OF JUST FLUSH IT OUT A LITTLE 00:13:36.330 --> 00:13:38.330 MORE BUT I THINK THE PLANT 00:13:41.330 --> 00:13:43.330 MATERIAL ITSELF LOOKS GREAT. 00:13:44.330 --> 00:13:46.330 I HAD SOME QUESTIONS ON THE 00:13:50.330 --> 00:13:52.330 LIGHTING ON L 5.00. JUST LOOKING AT 00:13:55.330 --> 00:13:57.330 THE LIGHT THAT IS SELECTED, WONDERING IF MAYBE 00:13:59.330 --> 00:14:01.330 SOME OF THE LIGHTS COULD BE REDUCED, MAYBE THE TWO IN THE BACK OF THE 00:14:05.330 --> 00:14:07.330 PLANTING BED THAT MIGHT NOT BE NEEDED. AND I WAS 00:14:10.330 --> 00:14:12.330 WONDERING IF YOU COULD CLARIFY THE HEIGHT OF THE LIGHT. JUST 00:14:14.967 --> 00:14:16.967 LOOK AT THE ASK -- SCHEDULE, I WASN'T 00:14:20.967 --> 00:14:23.967 SURE IF IT WAS 12 OR 18 INCHES. >> IN THE PLANTING, IT WOULD BE VERY LOW. WE ARE PROPOSING 00:14:25.967 --> 00:14:27.967 A LOW PLANTING MATERIAL. 00:14:28.967 --> 00:14:30.967 IT WASN'T INTENTIONAL TO BRING THE LIGHTING HIGHER THAN THAT. 00:14:32.967 --> 00:14:34.967 WE WANTED TO KEEP IT VERY LOW, AND JUST A CAVEAT TO THAT. 00:14:36.967 --> 00:14:38.967 WE ACTUALLY HAVE A VERY THOROUGH DESIGNING TOMORROW WITH 00:14:39.967 --> 00:14:41.967 THE LIGHTING DESIGNER TO GO THROUGH WITH ALL OF THE ITEMS BASED ON COMMENTS 00:14:44.967 --> 00:14:46.967 TODAY AS WELL AS WHAT WE HAVE DEVELOPED THROUGHOUT 00:14:47.967 --> 00:14:49.967 THE DESIGN PROCESS. ALL OF THAT WILL BE REFINED. 00:14:51.967 --> 00:14:53.967 >> OKAY. GOOD. 00:14:54.967 --> 00:14:56.967 GOOD. AND THEN MY LAST COMMENT JUST 00:15:00.967 --> 00:15:02.967 LOOK AT THE ELEVATION ON A3.10, I THINK 00:15:05.967 --> 00:15:07.967 ON THIS, ON THE MAIN -- THE FACADE WITH THE GLASS, IT WOULD 00:15:11.967 --> 00:15:13.967 BE GREAT TO SEE MAYBE JUST LOGO INFORMATION ALONG THE ITEM OR SOMETHING 00:15:15.900 --> 00:15:17.900 KIND OF MORE SUBTLE. WE LIKE TO HAVE SOME KIND 00:15:20.900 --> 00:15:22.900 OF INDICATION WITH ALL THE GLASS THERE, JUST SO 00:15:24.900 --> 00:15:26.900 PEOPLE ARE AWARE. 00:15:27.900 --> 00:15:29.900 >> SO ARE YOU SAYING SOME FORM OF -- CAN YOU CLARIFY 00:15:31.900 --> 00:15:33.900 THAT? YOU MENTIONED AT THE VERY BOTTOM -- 00:15:35.900 --> 00:15:37.900 >> SOMETHING ON ALL OF THIS GLASS AREA, LIKE IT CAN BE ALONG THE BOTTOM 00:15:41.900 --> 00:15:43.900 OR SOMETHING VERY SUBTLE LIKE THAT BUT JUST -- THAT'S SOMETHING 00:15:44.900 --> 00:15:46.900 THAT WE ASK FOR TYPICALLY WHEN WE HAVE A LOT OF OPEN GLASS. 00:15:49.900 --> 00:15:51.900 >> OKAY. 00:15:52.900 --> 00:15:55.900 IT'S A SAFETY ISSUE? >> YEAH. >> OKAY. 00:15:56.900 --> 00:15:58.900 >> AND THOSE ARE MY COMMENTS. THANK YOU. 00:16:00.900 --> 00:16:02.900 >> THANK YOU. AND WE'LL ASK COMMISSIONER MATSON 00:16:05.900 --> 00:16:07.900 NEXT FOR COMMENT. 00:16:08.900 --> 00:16:11.900 >> THANK YOU. JENNIFER, CAN YOU HEAR ME? >> YES. WE CAN HEAR YOU. 00:16:13.833 --> 00:16:16.833 >> YES, I CAN. IT'S GOOD. THANK YOU, JAMES. 00:16:17.833 --> 00:16:19.833 >> OKAY. I ALSO WANT TO COMMEND THE ARCHITECT 00:16:23.833 --> 00:16:25.833 FOR A VERY NICE DESIGN AND VERY PLEASED WITH THE SIMPLICITY OF THE 00:16:27.833 --> 00:16:30.833 DESIGN. I ACTUALLY THINK IT'S QUITE ELEGANT. I HAVE A FEW COMMENTS IN THE DRAWINGS. 00:16:31.833 --> 00:16:34.833 I DIDN'T SEE THE ADDRESS. OR MAYBE I MISSED IT. 00:16:35.833 --> 00:16:37.833 >> NO. YOU DIDN'T MISS IT. WE DON'T HAVE ANY 00:16:39.833 --> 00:16:41.833 SIGNAGE TO THAT EFFECT. 00:16:42.833 --> 00:16:44.833 AND PERHAPS THAT'S SOMETHING WE DO NEED TO ADDRESS AND TAKE CARE 00:16:48.833 --> 00:16:50.833 OF THE GLADESSING ASPECT THAT COUNCILMAN DEVLIN JUST 00:16:52.833 --> 00:16:54.833 BRAWFT UP, ADDING SOMETHING TO THAT GLASS 00:16:55.833 --> 00:16:57.833 TO GIVE IT A MEASURE OF SAFETY. 00:17:00.833 --> 00:17:02.833 >> THEN ON THE RECESSED WINDOW WITH 00:17:06.833 --> 00:17:08.833 THE CANTED OR SLOPES SILL, I THOUGHT IT WAS PLASTER. 00:17:11.833 --> 00:17:13.833 WHAT CAN WE DO TO MAKE SURE IT WILL BE DURABLE AND NOT GET 00:17:16.767 --> 00:17:18.767 TOO DIRTY? I CAN SEE KIDS CLIMBING ON IT AND 00:17:21.767 --> 00:17:23.767 IT WILL GET SORT OF BATTERED. 00:17:25.767 --> 00:17:28.767 >> WELL, IT'S A TEXTRON PRODUCT. IT'S AN APPLIED -- IT'S A -- HOW SHOULD I SAY? 00:17:32.767 --> 00:17:34.767 IT'S A MODEL-TYPE OF STUCCO. IT'S A HARD, 00:17:36.767 --> 00:17:38.767 WASHABLE SURFACE, OBVIOUSLY. 00:17:39.767 --> 00:17:41.767 IN TERMS OF DETERRING PEOPLE FROM UTILIZING IT TO CRAWL ON OR 00:17:45.767 --> 00:17:47.767 SIT ON, AT THIS POINT WE HAVEN'T 00:17:51.767 --> 00:17:53.767 NECESSARILY DISCUSSED THAT AS A PROBLEM. WE 00:17:56.767 --> 00:17:58.767 COULD TAKE THAT INTEREST CONSIDERATION AND MAKE IT MORE 00:18:02.767 --> 00:18:04.767 OF A STEEPER ANGLE SO IT WOULDN'T, YOU KNOW, PAN OUT VERY WELL IF YOU 00:18:05.767 --> 00:18:07.767 TRY AND CLIMB ON IT. 00:18:08.767 --> 00:18:10.767 >> AND MAYBE THERE IS SOME SORT OF CLEAR COATING THAT MIGHT 00:18:14.700 --> 00:18:16.700 HELP MAKE IT MUCH MORE WASHABLE AND DIRT RESISTANT 00:18:17.700 --> 00:18:20.700 OR -- >> IT'S SMOOTH. THERE IS NO REAL TEXTURE TO IT. 00:18:23.700 --> 00:18:25.700 IT'S A VERY SMOOTH MATERIAL. 00:18:26.700 --> 00:18:28.700 BUT IT PROBABLY WOULD REQUIRE SOME SORT OF A SEALER. 00:18:29.100 --> 00:18:30.633 >> OKAY. ALL RIGHT. THAT SOUNDS GOOD. ON THE L.E.D. LIGHTING 00:18:35.700 --> 00:18:37.700 UP AT THE TOP, IT LOOKS LIKE FROM UNDERNEATH YOU WILL BE ABLE 00:18:41.700 --> 00:18:43.700 TO SEE IT. WILL THIS BE A CONTINUOUS LIGHT STRIP 00:18:45.700 --> 00:18:48.700 OR LIKE A SERIES OF DO THES AND DASHES? >> NO. THE IDEA IS IT WOULD HAVE THE EFFECT OF A CONTINUOUS 00:18:53.700 --> 00:18:55.700 LIGHT, NO COLD SPOTS BUT THAT THAT 00:18:58.700 --> 00:19:00.700 WE WERE USING A DEFUSER EITHER ACRYLIC OR GLASS BELOW IT TO HELP SO YOU 00:19:04.700 --> 00:19:07.700 DON'T SEE THE FIXTURE OR LIGHT OR DARK SPOTS. >> OKAY. GOOD, AND I THINK IT WOULD HELP IF YOU HAD THE 00:19:09.700 --> 00:19:11.700 DETAIL AT THE TOP OF THE CURVED PORTION OF THE FACADE, TO HAVE THAT 00:19:14.700 --> 00:19:16.700 HANDLED. I HOPE OF IT WON'T ACCUMULATE TOO MUCH DIRT. 00:19:17.700 --> 00:19:19.700 BUT I THINK SOME OF THE DETAIL SHOWING HOW IT'S IN EFFECT 00:19:22.700 --> 00:19:24.700 WITH THE FLAT ROOF. I ASSUME THAT'S 00:19:31.700 --> 00:19:33.700 ALL PLASTER. 00:19:40.700 --> 00:19:42.700 CORRECT? >> THEY PARAPET? 00:19:44.700 --> 00:19:47.700 >> THE CURVED PORTION OF THE SIGN. THAT'S PLASTER; RIGHT? 00:19:49.700 --> 00:19:51.700 >> CORRECT. 00:19:52.700 --> 00:19:54.700 >> AND ON THE SIGN, I DON'T SEE ANY LIGHTING ON THE SIGN 00:19:57.700 --> 00:19:59.700 EXCEPT FOR THE L.E.D. 00:20:00.700 --> 00:20:02.700 STRIP LIGHT ABOVE AND BECAUSE THE SIGN IS FROM THE LONG 00:20:04.700 --> 00:20:07.700 L.E.D. LIGHT, THAT WILL CATCH IT FROM THE PINS HOLDING THE SIGN. YOU THINK THAT COULD BE AN ISSUE. 00:20:08.700 --> 00:20:10.700 >> I THINK THAT'S A GOOD QUESTION FOR THE DESIGNER TOMORROW. 00:20:12.700 --> 00:20:14.633 WE COULD CERTAINLY BRING UP. THE IDEA, HOWEVER, WAS REALLY TO WASH THE WALLS SO THAT THE 00:20:19.633 --> 00:20:21.633 LETTERS WOULD STAND OUT AGAINST IT. 00:20:25.633 --> 00:20:27.633 >> OKAY. ALL RIGHT. 00:20:28.633 --> 00:20:30.633 AND I THINK YOU SOLVED THE PROBLEM WITH THE CONSTRUCTION 00:20:32.633 --> 00:20:34.633 BARRICADE. THAT'S ALL THE COMMENTS I HAVE. 00:20:37.633 --> 00:20:39.567 THANK YOU. >> THANK YOU. 00:20:39.733 --> 00:20:41.733 >> COMMISSIONER PYNOOS? 00:20:42.633 --> 00:20:45.633 >> THANK YOU. I DID HAVE SIMILAR QUESTIONS TO ASK AS WELL. SO 00:20:50.633 --> 00:20:52.633 I'M GLAD THAT TIM IS THE LANDSCAPE ARCHITECT INSTEAD 00:20:53.633 --> 00:20:55.633 OF ME WHICH IS WHY I WANTED HIM TO GO FIRST. I DO ALSO 00:20:56.633 --> 00:20:58.633 LIKE THE PLANT MATERIAL. 00:20:59.633 --> 00:21:01.633 I THINK TO MY EYE IT LOOKS BARE AND LIKE THERE IS AN OPPORTUNITY 00:21:04.633 --> 00:21:07.633 TO DO SOMETHING A LITTLE LESSER. YOU HAVE AN ELEGANT DESIGN BACKGROUND. WOULD LOVE 00:21:09.633 --> 00:21:11.633 TO SEE SOMETHING FULLER THERE. 00:21:12.633 --> 00:21:14.633 I ALSO LIKE THE PLANT MATERIAL THAT WAS SELECTED. 00:21:18.567 --> 00:21:21.567 ALONG WITH THE PREVIOUS COMMENTS, THE RECESSED WINDOW, I ALSO LIKE. I DON'T KNOW IF THIS IS 00:21:26.567 --> 00:21:28.567 INTENTIONAL AT ALL, BUT THE POSSIBLE USE OF SEATING BUT I 00:21:30.567 --> 00:21:32.567 THINK IT'S THE POTENTIAL -- A NICE POTENTIAL USE OF IT AND ACTIVATION 00:21:35.567 --> 00:21:37.567 OF THE SPACE. I THINK OF 00:21:40.567 --> 00:21:42.567 IT AS SIMILAR TO THE JAMES PURSE 00:21:46.567 --> 00:21:48.567 SHOT ON CANON, WHICH I THOUGHT WAS AN UNINTENTIONAL LAYER OF SEATING 00:21:49.567 --> 00:21:51.567 BUT I SEE IT'S A POTENTIAL OPPORTUNITY TO DO SOMETHING WITH THE WINDOW 00:21:54.567 --> 00:21:56.567 AND THE SPACE. SO MANY PEOPLE WHO ARE TOURISTS COMING INTO 00:21:59.567 --> 00:22:01.567 THE CITY ARE USING OUR ARCHITECTURAL BACKDROPS TO TAKE 00:22:02.567 --> 00:22:04.567 SELFIE WHICH IS THEN BECOME MARKETING FOR THE BUSINESS AS WELL. 00:22:07.567 --> 00:22:09.567 SO I THINK I SEE THAT AS AN OPPORTUNITY AND AGREE WITH THE COMMENTS ABOUT 00:22:12.567 --> 00:22:14.567 MAKING SURE THAT IT'S DURABLE, ANTICIPATING THAT PEOPLE ARE GOING TO SIT ON 00:22:15.500 --> 00:22:17.500 THIS. OTHERWISE, I THINK IT'S A REALLY CLEAN, ELEGANT DESIGN 00:22:20.500 --> 00:22:23.500 AND MODERNIZATION OF THE STOREFRONT AND LOOK FORWARD TO SEEING IT IN THE CITY. 00:22:24.500 --> 00:22:26.500 >> THANK YOU. >> THANK YOU VERY MUCH. 00:22:28.500 --> 00:22:31.500 I AGREE WITH ALL THE COMMENTS. I, TOO, LIKE THIS. THIS IS A VERY CLEAN 00:22:34.500 --> 00:22:36.500 AND ATTRACTIVE NEW FACADE. 00:22:37.500 --> 00:22:40.500 I WAS CURIOUS ABOUT THE VENETIAN-TYPE PLASTER. BUT I'VE SEEN THE SAMPLE, AND I LIKE IS VERY MUCH 00:22:43.500 --> 00:22:45.500 AND TURNING WITH THE DOOR. 00:22:46.500 --> 00:22:48.500 I THINK THE IDEA OF THE PLANT MATERIAL BEING 00:22:51.500 --> 00:22:53.500 QUITE DENSE AND QUITE CONTROLLED. 00:22:54.500 --> 00:22:56.500 I ALSO REALLY LIKE THE APPLICANT'S 00:22:58.500 --> 00:23:00.500 COMMENT JUST NOW ABOUT THE -- WASHING THE AREA WITH THE LIGHT FROM ABOVE 00:23:02.500 --> 00:23:04.500 TO COME DOWN. I LIKE THAT, AND IT GIVES 00:23:08.500 --> 00:23:10.500 DEFINITION TO THE WHOLE EXTERIOR. LIGHTING IS SO IMPORTANT AND LIGHTING IN A SMALL AREA THAT 00:23:14.433 --> 00:23:16.433 GOES INWARD, YOU ARE GOING TO SEE QUITE A LOT FROM THE INSIDE OF THE 00:23:18.433 --> 00:23:21.433 STORE. I THINK THAT WILL BE LOVELY, TOO. IT WILL BALANCE A LITTLE BIT. 00:23:23.433 --> 00:23:25.433 I DON'T THINK I HAD ANY OTHER MAJOR COMMENTS. 00:23:28.433 --> 00:23:30.433 DOOR HANDLES, THE DESIGN OF THE DOOR HANDLES ON THE NEW DOORS? 00:23:32.433 --> 00:23:34.433 >> WE'VE BEEN DEBATING ALL OF THAT. I DON'T THINK WE HAVE A FINAL SOLUTION. I'M 00:23:36.433 --> 00:23:38.433 MORE THAN HAPPY TO FORWARD THAT TO YOU ONCE WE DO. BUT 00:23:41.433 --> 00:23:43.433 WE ARE LOOKING AT TO BELIEVE HAS TO BE ADA COMPLIANT. SO 00:23:45.433 --> 00:23:47.433 WE HAVE BEEN LOOKING AT WOOD AND METAL. 00:23:51.433 --> 00:23:54.433 >> YOU CAN HAVE THE STAFF REVIEW PERHAPS. >> OKAY. 00:23:55.433 --> 00:23:58.433 >> BUT I WAS INTERESTED. I LIKE THE DESIGN A LOT. 00:23:59.433 --> 00:24:01.433 I THINK IT'S VERY CLEAN. 00:24:02.433 --> 00:24:04.433 I LIKE CLEAN. I THINK IT'S 00:24:06.433 --> 00:24:08.433 ATTRACTIVE, AND THE BARRICADE, I HAVE NO PROBLEM 00:24:10.433 --> 00:24:12.433 OTHER THAN REDUCING THE SIGNAGE TO CODE. I THINK THAT'S 00:24:14.367 --> 00:24:16.367 MY COMMENT. SO IF WE COULD HAVE A VOTE. 00:24:19.367 --> 00:24:21.367 >> WOULD YOU LIKE THE STAFF TO READ OVER? 00:24:23.367 --> 00:24:26.367 >> OH, IF YOU LIKE. I ALWAYS FORGET SOMETHING. 00:24:28.367 --> 00:24:30.367 >> I KNOW HAPPY TO READ OVER OF THE CONDITIONS, APPROVED SUBJECT 00:24:31.367 --> 00:24:33.367 TO THE FOLLOWING CONSCIOUS OF THE CITY'S URBAN DESIGNER, THE SIGNAGE 00:24:35.367 --> 00:24:37.367 FOR THE CONSTRUCTION BARRICADE SHALL COMPLY WITH THE REQUIREMENTS SET 00:24:41.367 --> 00:24:43.367 FORTH IN THE CITY'S MUNICIPAL CODE AND THE GRAPHIC AT 00:24:45.367 --> 00:24:47.367 THIS HEARING THIS AFTERNOON SHALL BE APPROVED; PROVIDE DETAILS 00:24:48.367 --> 00:24:50.367 FOR THE SOIL PROVIDED FOR THE PLANTER IN THE FRONT AREA OF 00:24:53.367 --> 00:24:55.367 THE STOREFRONT AND CONSIDER ADDITIONAL PLANTS AS WELL 00:24:57.367 --> 00:24:59.367 FOR LUSH PLANTINGS BEDS; CONSIDER REDUCING THE NUMBER OF LIGHTING 00:25:01.367 --> 00:25:03.367 ELEMENTS UNDER ARREST PLANTER BEDS AND SIGNAGE AT THE GLAZING ON THE 00:25:06.367 --> 00:25:08.367 BOTTOM OF THE GLASS AREA AND THE ADDITION PROVIDE THE ADDRESS NUMERALS 00:25:11.367 --> 00:25:13.367 ON THE FACADE AND CONSIDER THE DURABILITY OF THE BASE OR SILL AREA 00:25:16.300 --> 00:25:18.300 AND A SEALER MAY CONSIDERED AT THAT LOCATION; 00:25:19.300 --> 00:25:21.300 PROVIDE DETAILS FOR THE DEFUSER FOR THE L.E.D. LIGHTING FOR 00:25:24.300 --> 00:25:26.300 THE ILLUMINATION ON THE FACADE AND PROVIDE DETAIL FOR THE CURVED PORTION 00:25:30.300 --> 00:25:32.300 OF THE FACADE ABOVE THE SIGN AND FINALLY PROVIDE THE 00:25:33.300 --> 00:25:35.300 DETAILS FOR THE DOOR HANDLES. 00:25:36.300 --> 00:25:38.300 >> THANK YOU. 00:25:39.300 --> 00:25:41.300 AND NOW MAY WE HAVE A MOTION TO VOTE? 00:25:43.300 --> 00:25:45.300 >> I MOVE TO ADOPT A RESOLUTION OF THE ARCHITECTAL COMMISSION OF 00:25:49.300 --> 00:25:51.300 THE CITY OF BEVERLY HILLS CONDITIONALLY APPROVING 00:25:53.300 --> 00:25:55.300 AN ARCHITECTURAL REDUE FOR A FACADE MODEIFICATION AND SIGN 00:25:57.300 --> 00:25:59.300 MODIFICATION, MINOR LANDSCAPING AND A CONSTRUCTION BARRICADE 00:26:02.300 --> 00:26:04.300 FOR THE PROPERTY LOCATED AT 409 NORTH BEVERLY DRIVE AS AMENDED. 00:26:06.300 --> 00:26:09.300 >> THANK YOU. MAY WE HAVE A SECOND? >> I'LL SECOND. 00:26:09.300 --> 00:26:11.300 >> THANK YOU. AND THE ROLL 00:26:15.233 --> 00:26:18.233 CALL VOTE. >> COMMISSIONER PI FLUES? 00:26:18.667 --> 00:26:20.300 >> YES. >> COMMISSIONER MATSON. >> YES. 00:26:20.800 --> 00:26:23.233 >> COMMISSIONER MEYER? >> YES. 00:26:23.233 --> 00:26:26.233 >> VICE CHAIR DEVLIN? >> YES. 00:26:26.233 --> 00:26:29.233 >> CHAIR SCHREIBER? >> YES. THANK YOU VERY MUCH. WE LOOK 00:26:33.233 --> 00:26:35.233 FORWARD TO IT. >> THANK YOU. ALL RIGHT. 00:26:37.233 --> 00:26:39.233 EVAN IS 00:26:43.233 --> 00:26:45.233 BACK TO JOIN US. 00:26:59.233 --> 00:27:01.233 >> WELCOME BACK. THE NEXT PROJECT IS 00:27:12.233 --> 00:27:15.167 9540 BRIGHTON WAY, PARFUMS DE MARLY. I HOPE I GOT THAT CORRECT. 00:27:17.167 --> 00:27:19.167 MAY WE HAVE A STAFF REPORT, PLEASE? 00:27:22.167 --> 00:27:24.167 >> YES. I'M SORRY, CHAIR, BEFORE WE BEGIN THIS ITEM, I BELIEVE 00:27:27.167 --> 00:27:29.167 COMMISSIONER MEYER NEEDS TO MAKE A STATEMENT. 00:27:32.167 --> 00:27:35.167 >> YES. OKAY. SO ITEM NUMBER FOUR, 9540 BRIGHTON WAY, ALTHOUGH I HAVE A FINANCIAL 00:27:38.167 --> 00:27:40.167 INTEREST WITHIN PROPERTY WITHIN 500 FEET OF THE PROPERTY SITE, 00:27:42.167 --> 00:27:44.167 THE PROPERTIES FACE BEVERLY DRIVE AND RODEO DRIVE AND THE PROJECT 00:27:45.167 --> 00:27:48.167 SITE FACES BRIGHTON WAY. BECAUSE THE PROJECT IS NOT VISIBLE IN THE PROPERTIES IN WHICH I HAVE 00:27:51.167 --> 00:27:53.167 FINANCIAL INTEREST, I DO NOT BELIEVE IT WILL HAVE A MEASURABLE IMPACT 00:27:54.167 --> 00:27:56.167 ON MY PROPERTY AND IN ADDITION I HAVE FINANCIAL INTEREST IN A REAL 00:27:59.167 --> 00:28:01.167 PROPERTY LOCATED MORE THAN 500 FEET BUT LESS THAN 1000 FEET FROM 00:28:05.167 --> 00:28:07.167 THE PROHIBIT SITE AND CONSIDERED WHETHERRED PROPOSED 00:28:11.167 --> 00:28:13.167 PROJECT WILL CHANGE BY SUBSTANTIALLY ALTERING 00:28:15.100 --> 00:28:17.100 TRAFFIC LEVELS, INTENSE OF UPS AND PRIVACY, NOISE LEVEL OR MARKET VALUE 00:28:18.100 --> 00:28:20.100 OF THE PROPERTY IN WHICH I HAVE FINANCIAL INTEREST, AND BASED ON 00:28:23.100 --> 00:28:25.100 THE NATURE OF THE PROPOSED PROJECT I FOUND IT 00:28:28.100 --> 00:28:30.100 WOULD NOT CHANGE ANY PREVIOUSLY STATED FACTORS AND I WILL PARTICIPATE 00:28:32.100 --> 00:28:34.100 IN THIS MATTER. >> THANK YOU. AND NOW MAY WE HAVE A STAFF RAPT, PLEASE? 00:28:38.100 --> 00:28:40.100 >> CHAIR AND MEMBERS OF THE COMMISSION I WILL BE PRESENTING THE APPLICANT'S 00:28:42.100 --> 00:28:44.100 REQUEST FOR THE MODIFICATION FOR SIGN MODIFICATION TO ALLOW MORE 00:28:47.100 --> 00:28:49.100 BUSINESS MODIFICATION SIGNS AND A CONSTRUCTION BARRICADE WITH GRAPHICS 00:28:52.100 --> 00:28:54.100 FOR THE TENANT KNOWN AS PARFUMS DE MARLY LOCATED AT 9540 BRIGHTON 00:28:56.100 --> 00:28:58.100 WAY. SO THIS PROPERTY SITS NORTH OF BRIGHTON WAY 00:29:02.100 --> 00:29:04.100 ALONG NORTH CAMDEN DRIVE AS SHOWN HERE. AND 00:29:08.100 --> 00:29:10.100 SO THE EXISTING RETAIL SITE IS 00:29:14.100 --> 00:29:16.100 AT THE BEAUMONT BUILDING AND 00:29:20.100 --> 00:29:22.100 CONSIDERED AN HISTORIC RESOURCE IN THE SPANISH 00:29:27.100 --> 00:29:29.100 COLONIAL REVIVAL ARCHITECTURAL DESYL BY 00:29:31.100 --> 00:29:33.100 ARCHITECT HARRY WAPPLER ERNER IN 1927, AND IN THE 00:29:36.100 --> 00:29:38.100 VIOLENT IT CREATES A UNIQUE AND INVITING STREETSCAPE IN THE CITY 00:29:39.100 --> 00:29:41.100 AND THAT'S A LITTLE BACKGROUND. 00:29:42.100 --> 00:29:44.100 SO, THE PROPOSED CHANGES AND 00:29:46.100 --> 00:29:48.100 MODIFICATIONS ARE INTENDED TO RENOVATE THE COMMERCIAL 00:29:51.100 --> 00:29:53.100 RETAIL SPACE FOR THE TENANT KNOWN AS PARFUMS 00:29:57.100 --> 00:29:59.100 DE MARLY WITH AN ALUMINUM POWDER COAT STOREFRONT 00:30:03.100 --> 00:30:05.100 AND GRAZING AND TWO STOREFRONT WINDOWS. HERE IS THE COMPARISON 00:30:08.100 --> 00:30:10.100 BETWEEN THE EXISTING AND PROPOSED ELEVATIONS. 00:30:13.330 --> 00:30:15.330 ADDITIONALLY, A SIGN ACCOMMODATION IS REQUESTED 00:30:17.330 --> 00:30:19.330 FOR MULTIPLE BUSINESS SIGNS. 00:30:20.330 --> 00:30:22.330 THERE IS A FRONT FACADE SIGN ALONG THE MAIN ENTRANCE WHICH IS 00:30:26.330 --> 00:30:28.330 THE SIGN AREA OF 13.1 SQUARE FEET AS ILLUMINATED 00:30:30.330 --> 00:30:32.330 WITH POWDER COAT AND WHITE ACRYLIC RETURN, AND ALONG THE 00:30:36.330 --> 00:30:38.330 FRONT FACADE, THERE WILL BE PLAQUES AND THEY WILL BE 6.25 00:30:42.330 --> 00:30:44.330 SQUARE FEET OR IT'S 625 SQUARE FEET AND NON-ILLUMINATED WITH THE 00:30:46.330 --> 00:30:48.330 GLASS LOGO PLAQUE. THERE IS A TOTAL OF TWO SIGNS 00:30:52.330 --> 00:30:54.330 WITH A MAXIMUM SIGN AREA OF 19.35 SQUARE FEET, THEREFORE, THE PROPOSED 00:30:57.330 --> 00:30:59.330 BUSINESS IDENTIFICATION SIGNS ARE BELOW THE MAXIMUM ALLOWABLE SIGN 00:31:01.330 --> 00:31:03.330 AREA AND SET FORTH IN THE MUNICIPAL CODE. LASTLY, THERE WILL 00:31:07.330 --> 00:31:09.330 BE A CONSTRUCTION BARRICADE PROPOSED. 00:31:10.330 --> 00:31:12.330 THE CONSTRUCTION BARRICADE BUSINESS IDENTIFICATION SIGN IS 00:31:13.967 --> 00:31:15.967 10.54 SQUARE FEET WITH VINYL GRAPHICS ON THE CONSTRUCTION BARRICADE. 00:31:17.967 --> 00:31:19.967 THIS DOES COMPLY WITH THE 00:31:21.967 --> 00:31:23.967 MAXIMUM ALLOWABLE SIGN AREA FOR THE CONSTRUCTION BARRICADE WHICH 00:31:25.967 --> 00:31:27.967 IS 12 SQUARE FEET. 00:31:28.967 --> 00:31:30.967 HOWEVER, STAFF RECOMMENDS THE CONDITION OF APPROVAL BE INCLUDED 00:31:31.967 --> 00:31:33.967 REQUIRING THAT THE BARRICADE RETURN INCLUDE THE MAXIMUM 00:31:37.967 --> 00:31:39.967 SIGN AREA OF TWO SQUARE FEET OF TENANTS. 00:31:41.967 --> 00:31:43.967 HERE IS THE PROPOSED MATERIAL BOARD. 00:31:44.967 --> 00:31:46.967 THERE IS A PHYSICAL SAMPLE BOARD AVAILABLE. 00:31:49.967 --> 00:31:51.967 AND SO, THE CURRENT PROPOSAL INCLUDES MINOR 00:31:53.967 --> 00:31:55.967 RESTORATION AT THE FACADE AND OVERALL, KEEPING WITH THE NATURE OF THE EXISTING 00:31:59.967 --> 00:32:01.967 FACADE AND THE IMPROVEMENTS 00:32:08.967 --> 00:32:10.967 AND SIGNAGE COMPLIMENT THE FACADE TREAT AND I AM HAPPY TO ANSWER 00:32:13.900 --> 00:32:16.900 QUESTIONS FROM THE BOARD. THANK YOU. >> ANY EARLY PUBLIC COMMENT? 00:32:17.900 --> 00:32:20.900 >> NO EARLY COMMENT. >> THANK YOU. WOULD THE APPLICANT LIKE 00:32:25.900 --> 00:32:27.900 TO INTRODUCE YOURSELF? 00:32:30.900 --> 00:32:32.900 >> I AM ARTHUR. 00:32:33.900 --> 00:32:35.900 >> AND I THINK THE PRESENTATION BY CHRISTINE SEEMS 00:32:38.900 --> 00:32:40.900 TO BE IN LINE WITH WHAT WE HAVE TO SAY IN THE COMMISSION. 00:32:44.900 --> 00:32:46.900 >> IS THERE ANY REMAINING PUBLIC COMMENT? 00:32:48.900 --> 00:32:50.900 >> NO ADDITIONAL COMMENTS. 00:32:54.900 --> 00:32:56.900 >> THANK YOU. WE'LL MOVE ON TO COMMISSIONER QUESTIONS FROM 00:32:59.900 --> 00:33:01.900 OUR APPLICANT TEAM AND WE'LL START WITH EVAN THIS TIME. 00:33:07.900 --> 00:33:09.900 >> ALL RIGHT. THANK YOU. 00:33:10.900 --> 00:33:12.900 OVERALL, I THINK THIS IS A REALLY NICE IMPROVEMENT 00:33:16.833 --> 00:33:18.833 TO THE STOREFRONT. I WAS REALLY HAPPY TO SEE THOSE TWO COLUMNS 00:33:19.833 --> 00:33:21.833 GO. I THINK THIS WILL OPEN THE SPACE UP AND MAKE 00:33:23.833 --> 00:33:25.833 A BIG IMPROVEMENT. OVERALL, I 00:33:29.833 --> 00:33:31.833 THINK IT'S CRISP AND BRIGHT AND CLEAN. MY -- REALLY, MY 00:33:32.833 --> 00:33:34.833 ONLY QUESTION WAS -- IT HAD TO DO WITH THE FLOORING OF THE TRANSITION 00:33:37.833 --> 00:33:39.833 FROM THE SIDEWALK INTO THE SPACE ON A3 IT. NOTES NEW FINISH 00:33:42.833 --> 00:33:44.833 FLOORING. I WAS JUST CURIOUS WHAT MATERIAL THAT WILL BE AND IF 00:33:46.833 --> 00:33:48.833 THAT CARRIES INTO THE SPACE OR HOW YOU ARE GOING TO DO THAT. 00:33:51.833 --> 00:33:53.833 >> BASICALLY AT THAT POINT WE ARE JUST GOING TO HAVE A BLACK GRANITE 00:33:55.833 --> 00:33:57.833 FINISH. ONCE WE GET TO THE DOOR FROM THE DOOR INSIDE, IT'S 00:34:00.833 --> 00:34:02.833 A PARQUET FLOOR. 00:34:03.833 --> 00:34:05.833 THE OUTSIDE, JUST A BLACK GRANITE FINISH. 00:34:06.833 --> 00:34:09.833 >> JUST TO TIE WITH THE METAL WORK? >> YES. 00:34:09.833 --> 00:34:11.833 >> OKAY. GOT IT. 00:34:12.767 --> 00:34:14.767 OTHER THAN THAT, THIS IS ALMOST A SEMI SILLY 00:34:18.767 --> 00:34:20.767 COMMENT, BUT THE -- ALL THE STOREFRONT IS GOING TO BE GLASS. 00:34:23.767 --> 00:34:25.767 THE DOOR HANDLE WILL BE A RELATIVELY SMALL DOOR HANDLE. 00:34:26.767 --> 00:34:28.767 THERE IS NO REAL FRAME TO FRAME THE DOOR. I WAS 00:34:31.767 --> 00:34:33.767 JUST CURIOUS AND LOOKING AT THE INTERIOR OR BASE PLAN AS WELL. 00:34:34.767 --> 00:34:36.767 DO YOU PLAN FOR ANY WINDOW FRONT GRAPHICS OR INTERIOR 00:34:38.767 --> 00:34:40.767 SPACE PLAN TO SUGGEST WHERE THE FRONT DOOR WILL BE? I 00:34:42.767 --> 00:34:45.767 KNOW IT'S NOT A VERY WIDE SPACE. >> NO. THAT'S NOT THE INTENT. THE DOOR 00:34:49.767 --> 00:34:52.767 WOULD BE MADE FRAMELESS TO LOOK VERY OPEN. >> WHICH I LIKE, YEAH. 00:34:53.767 --> 00:34:55.767 >> AND THEY WANTED THE NATURAL LIGHT AND CEILING IN THE SPACE. 00:34:58.767 --> 00:35:00.767 SO NO AREA. THAT WAS THE MAIN REASON FOR TAKING THE PILLAR 00:35:01.767 --> 00:35:03.767 OUT, TOO. THE PILLAR WAS TAKING OUT THE SPACE, AND ALSO, 00:35:07.767 --> 00:35:09.767 I DID THE LOCKS BASED ON THE OTHER SIDE. IT BALANCES 00:35:12.700 --> 00:35:14.700 IT OFF, AND YOU WILL NOTICE IN THE MIDDLE, IT'S THE SAME COLOR AS 00:35:16.700 --> 00:35:18.700 THE BUILDING ABOVE. IT'S BROWN IN COLOR. AND WE 00:35:21.700 --> 00:35:23.700 MADE THAT THE SAME COLOR AS THE WHITE OR THE CREAM COLOR SO IT CONTINUES 00:35:26.700 --> 00:35:28.700 AT THE BOTTOM. I THINK THE OPENNESS OF THE 00:35:31.700 --> 00:35:33.700 WINDOWS WILL BRING IN NATURAL LIGHT AND INVITING INTO THE SPACE. 00:35:35.700 --> 00:35:37.700 >> I AGREE AND I LIKE IT. 00:35:39.700 --> 00:35:42.700 THANK YOU VERY MUCH. >> THANK YOU. 00:35:43.700 --> 00:35:45.700 >> THANK YOU. AND COMMISSIONER PYNOOS NOW? 00:35:46.700 --> 00:35:48.700 >> THANK YOU. I ALSO THINK IT'S AN ELEGANT CLEAN UPDATE 00:35:51.700 --> 00:35:53.700 TO THE SPACE. THE ONLY QUESTIONS I THINK I 00:35:57.700 --> 00:35:59.700 REALLY HAD WAS ABOUT SIGNAGE, SIMILAR TO TIM'S QUESTION ON THE 00:36:02.700 --> 00:36:04.700 PREVIOUS PROPERTY WITH A DEMARCATION ON A 00:36:07.700 --> 00:36:09.700 WINDOW OF THE BUSINESS NAME IN ADDITION TO THE NAME ON 00:36:13.633 --> 00:36:15.633 THE MAIN SIGNAGE AND FOR THE CONSTRUCTION BARRICADE 00:36:17.633 --> 00:36:19.633 THAT IS ON G5. I THINK IT DOESN'T HAVE THE NAME 00:36:23.633 --> 00:36:25.633 OF THE BUSINESS NOR AN OPENING OR A POTENTIAL OPENING DATE AS WELL. 00:36:29.633 --> 00:36:31.633 I WOULD LOVE TO SEE 00:36:33.633 --> 00:36:36.633 THAT INCLUDED. I'M FINISHED. >> AND JAMES, WOULD YOU LIKE TO ADD TO THIS? 00:36:39.633 --> 00:36:42.633 >> YES. THANK YOU. I AGREE OTHER COMMISSIONERS. THIS IS 00:36:44.633 --> 00:36:46.633 A VERY NICE REFRESH AND VERY APPROPRIATE TO THE 00:36:48.633 --> 00:36:50.633 BUILDING AND CLEAN AND CONTEMPORARY. 00:36:51.633 --> 00:36:53.633 I JUST HAVE A COUPLE OF QUESTIONS. 00:36:56.633 --> 00:36:58.633 I AM CURIOUS. AT THE METAL BOTTOM OF THE GLASS DOOR, THAT 00:37:02.633 --> 00:37:04.633 IS MEETING WITH THE ADA CODE 00:37:06.633 --> 00:37:08.633 IN TERMS OF TYPE? 00:37:09.633 --> 00:37:11.633 >> YES. WE CAN HAVE A RAIL THAT IS SMALLER, 00:37:16.567 --> 00:37:18.567 AND I DON'T HAVE ANY VERTICAL STYLE, NO DOOR 00:37:20.567 --> 00:37:22.567 THAT ALLOWS US TO BE LOWER THAN 10. >> OKAY. GOOD. 00:37:24.567 --> 00:37:26.567 AND THEN MY OTHER COMMENT WAS I 00:37:29.567 --> 00:37:31.567 THINK THE SQUARE PLAQUE WITH THE LOGO IS A LITTLE BIT SMALLER THAN 00:37:32.567 --> 00:37:34.567 THE EXISTING ONE. I WANT TO MAKE SURE YOU ARE REPAIRING ANY 00:37:37.567 --> 00:37:39.567 DAMAGE OR HOLES THAT MIGHT BE VISIBLE FROM THE OLD SIGN. THOSE 00:37:40.567 --> 00:37:43.567 ARE MY COMMENTS. >> WE'LL BE PATCHING THOSE BECAUSE THAT HAS TO BE PAINTED ANYWAY. 00:37:48.567 --> 00:37:51.567 >> OKAY. THANK YOU. >> THANK YOU. TIM? 00:37:52.567 --> 00:37:54.567 >> THANK YOU. I AGREE WITH THE COMMISSIONER 00:37:56.567 --> 00:37:58.567 COMMENTS SO FAR. I THINK IT'S A VERY NICE UPDATE AND IN LINE 00:37:59.567 --> 00:38:01.567 WITH THE OTHER BUILDINGS. 00:38:02.567 --> 00:38:04.567 THE ONLY QUESTION I HAVE THAT HASN'T BEEN ASKED SO FAR IS ABOUT 00:38:05.567 --> 00:38:07.567 THE WINDOW BOXES. I AM WONDERING IF THOSE ARE IN THE SCOPE 00:38:08.567 --> 00:38:10.567 OF THIS PROJECT OR NOT. 00:38:11.567 --> 00:38:14.500 >> THE WINDOW BOXES EXISTING ARE GOING TO REMAIN. >> REMAIN? 00:38:16.500 --> 00:38:18.500 >> I KNOW THAT THE PHOTOSHOP IN THE RENDERING, SOMEONE DECIDED 00:38:19.500 --> 00:38:21.500 TO ADD TO IT. [ LAUGHTER ] THAT 00:38:25.500 --> 00:38:27.500 WAS NOT THE INTENT. SO THE EXISTING 00:38:28.500 --> 00:38:30.500 LANDSCAPE -- 00:38:31.500 --> 00:38:33.500 >> OKAY. 00:38:34.500 --> 00:38:36.500 AND THOSE ARE MY COMMENTS. 00:38:37.500 --> 00:38:39.500 >> THANK YOU. THANK YOU, TIM. AND 00:38:43.500 --> 00:38:45.500 THIS IS VERY ELEGANT, AND I THINK IT'S A BEAUTIFUL BUILDING, 00:38:47.500 --> 00:38:49.500 REALLY, AN ELEGANT BUILDING. 00:38:50.500 --> 00:38:52.500 I WONDERED ABOUT THE MAIN NAME, PARFUMES 00:38:55.500 --> 00:38:57.500 DE MARLY. IT SEEMS A LITTLE CROWDED AT THE TOP BUT I AM NOT 00:38:58.500 --> 00:39:00.500 SURE IF YOU CAN DO ANYTHING WITH IT BECAUSE YOU HAVE PARIS UNDERNEATH 00:39:02.500 --> 00:39:04.500 IT. IF YOU TRIED TO MOVE IT YOU REALLY DON'T HAVE SPACE. 00:39:07.500 --> 00:39:09.500 >> WE DID TRY DIFFERENT WAYS BUT BECAUSE OF THE TWO LINES -- 00:39:13.500 --> 00:39:15.500 >> I'M GLAD I WASN'T THE ONLY ONE THAT WONDERED, 00:39:19.500 --> 00:39:21.500 AND I TOO, REMEMBER THE PLANTING AND I REMEMBER THE SAME 00:39:22.500 --> 00:39:25.500 DISCUSSION ABOUT JOHN LOVE. I THINK THAT'S THE END OF MY COMMENTS. 00:39:27.500 --> 00:39:30.500 IT'S GOING TO BE A VERY PRETTY LOCATION. AND I LOVE ALL THE GLASS. 00:39:32.500 --> 00:39:34.500 I LOVE THE WAY IT LIGHTENS UP THE BUILDING MORE AT 00:39:35.500 --> 00:39:37.500 STREET LEVEL. >> THANK YOU. 00:39:38.500 --> 00:39:40.500 >> VERY, VERY NICE INDEED. 00:39:41.500 --> 00:39:43.500 THANK YOU. AND DO WE HAVE STAFF COMMENTS? 00:39:45.500 --> 00:39:47.500 >> THIS PROJECT WOULD BE APPROVED BY THE COMMISSION AND SUBJECT TO 00:39:49.500 --> 00:39:51.500 FINAL REVIEW AND APPROVAL OF THE FOLLOWING CONDITIONS BY THE CITY'S 00:39:53.500 --> 00:39:55.500 URBAN DESIGNER. OF THE CONSTRUCTION BARRICADE PROPOSED 00:39:56.500 --> 00:39:58.500 SHALL INCLUDE SIGNAGE FOR THE NEIGHBORING TENANT AS REQUIRED BY THE 00:40:00.500 --> 00:40:02.500 CODE; PROVIDE DETAILS FOR THE FINISHED TREATMENT FOR THE TRANSITION FROM 00:40:04.500 --> 00:40:06.500 THE PUBLIC SIDEWALK TO THE ENTRY AND GRANITE ELEMENT THAT YOU DESCRIBED 00:40:09.500 --> 00:40:11.500 MORE CLEARLY FOR US IN THE FINAL PLANS; CONSIDER 00:40:14.433 --> 00:40:16.433 SIGNAGE ON THE GLAZING ALLOWED BY CODE. 00:40:20.433 --> 00:40:22.433 >>>, AND THE OPENING COMBAT, ET CETERA ON THE GRAPHIC; AND 00:40:25.433 --> 00:40:27.433 REPAIR DAMAGE FROM THE PREVIOUS SIGNAGE ON THE FACADE. 00:40:31.433 --> 00:40:34.433 THOSE ARE THE CONDITIONS. >> THE SUBTLE SIGN FOR THE GLASS, YOU CAN BE -- THE SUBTLE 00:40:38.433 --> 00:40:41.433 SIGNING ON THE GLASS, WHAT -- >> SO WHEN I CONSIDERED IS FOR THEM TO CONSIDER THAT IN 00:40:45.433 --> 00:40:47.433 UNDERSTANDING THAT THE APPLICANT WANTS A VERY CLEAN LOOK FOR THE 00:40:49.433 --> 00:40:51.433 STOREFRONT, THAT THEY CAN CONSIDER THAT AND LOOK AT HOW 00:40:53.433 --> 00:40:55.433 ADDITIONAL SIGNAGE CAN BE INAPPROPRIATED ON THE GLAZING AT THE BASE POTENTIALLY, 00:40:59.433 --> 00:41:01.433 AND YOU CAN REVIEW THAT WITH STAFF AS 00:41:01.667 --> 00:41:03.700 YOU MOVE FORWARD. >> THANK YOU. 00:41:06.433 --> 00:41:08.433 >> WE HAVE A ROLL CALL VOTE AT THIS POINT, PLEASE. 00:41:11.433 --> 00:41:13.433 >> WE NEED A MOTION. 00:41:14.367 --> 00:41:17.367 >> MAKE A MOTION. >> SORRY. WE MISSED THE MOTION. >> I'LL MAKE THE MOTION. 00:41:18.367 --> 00:41:20.367 >> OKAY. THANK YOU. 00:41:21.367 --> 00:41:23.367 >> I MOVE TO ADOPT 00:41:27.367 --> 00:41:29.367 THE RESOLUTION OF THE ARCHITECTAL COMMISSION APPROVING THE 00:41:31.367 --> 00:41:33.367 REVIEW FOR FACADE MODIFICATION AND SIGNAGE AROUND 00:41:35.367 --> 00:41:37.367 THE BUSINESS IDENTIFICATION SIGNS AND 00:41:39.367 --> 00:41:41.367 CONSTRUCTION BARRICADES WITH GRAPHICS LOCATED 00:41:45.367 --> 00:41:48.367 AT 9540 BRIGHTON WAY AS AMENDED. >> THANK YOU. A SECOND? 00:41:48.367 --> 00:41:50.367 >> I'LL SECOND. 00:41:51.367 --> 00:41:53.367 >> THANK YOU, AND NOW A ROLL CALL VOTE 00:41:54.367 --> 00:41:56.900 >> COMMISSIONER PYNOOS? >> YES. 00:41:56.900 --> 00:41:59.100 >> COMMISSIONER MEYER? >> YES. 00:41:59.100 --> 00:42:01.100 >> COMMISSIONER MATSON? 00:42:01.367 --> 00:42:04.367 >> YES. >> VICE CHAIR DEVLIN? >> YES. 00:42:04.500 --> 00:42:06.500 >> CHAIR SCHREIBER? 00:42:07.367 --> 00:42:09.367 >> YES. THANK YOU VERY MUCH. YOUR PROJECT IS 00:42:12.300 --> 00:42:15.300 APPROVED. ALL RIGHT. WE WILL MOVE ON TO THE NEXT PROJECT. 00:42:16.300 --> 00:42:18.300 >> WE HAVE VERY LARGE MATERIALS FOR THIS PROJECT. THERE 00:42:21.300 --> 00:42:23.300 IS A VERY LODGER LARGE BOARD 00:42:27.300 --> 00:42:29.300 WITH THE SAMPLES AND THERE IS A GIGANTIC AND VERY 00:42:32.300 --> 00:42:34.300 HEAVY GLASS ROSETTE DESIGN THAT WE BROUGHT FROM 00:42:35.300 --> 00:42:37.300 DOWNSTAIRS WITH GREAT EFFORT. 00:42:38.300 --> 00:42:40.300 >> THAT'S APPROVED. 00:42:42.300 --> 00:42:44.300 THE MODEL I DIDN'T BRING. 00:42:45.300 --> 00:42:47.300 >> WE WOULD LIKE EVAN TO MAKE A 00:42:49.300 --> 00:42:51.300 STATEMENT REGARDING THIS PROJECT SWRUR FOR 1 NORTH RODEO DRIVE. 00:42:53.300 --> 00:42:55.300 >> ALTHOUGH I HAVE FINANCIAL INTEREST WITH PROPERTY 00:42:57.300 --> 00:42:59.300 WITHIN 500 FEET OF THIS PROJECT SITE THOSE PROPERTIES FACE BEVERLY 00:43:02.300 --> 00:43:04.300 AND RODEO DRIVE. AND THE PROJECT SITE FACES BRIGHTON -- EXCUSE 00:43:08.300 --> 00:43:10.300 ME S NOT -- I HAVE THE WRONG DISCLOSURE. BECAUSE THE PROJECT IS NOT VISIBLE IN THE PROPERTIES HAD 00:43:12.233 --> 00:43:14.233 IN WHICH I HAVE FINANCIAL INTEREST I DO NOT BELIEVE IT WILL HAVE A 00:43:18.233 --> 00:43:20.233 MEASURABLE IMPACT ON MY PROPERTY AND WILL PARTICIPATE IN THIS MATTER. 00:43:21.233 --> 00:43:24.233 >> THANK YOU, EVAN. >> MAY WE HAVE A STAFF REPORT? 00:43:26.233 --> 00:43:28.233 >> CHAIR, MEMBERS OF THE COMMISSION, I WILL BE PRESENTING THE APPLICANT'S 00:43:31.233 --> 00:43:33.233 REQUEST FOR THE CONSTRUCTION OF A FLEW THREE-STORY BUILDING WITH 00:43:36.233 --> 00:43:38.233 AN OUTDOOR ROOFTOP AREA AND SIGN ACCOMMODATION FOR BUSINESS 00:43:39.233 --> 00:43:41.233 IDENTIFICATION SIGNS. 00:43:45.233 --> 00:43:47.233 THE PLANNING COMMISSION ADOPTED THE PROJECT IN 00:43:49.233 --> 00:43:51.233 DECEMBER 2020. THERE IS NO FURTHER ENVIRONMENTAL REVIEWS 00:43:55.233 --> 00:43:57.233 REQUIRED AT THIS TIME FOR 00:43:59.233 --> 00:44:01.233 THE ARCHITECTURAL COMMISSION. 00:44:02.233 --> 00:44:04.233 THE PROPERTY IS LOCATED ON BRIGHTON 00:44:08.233 --> 00:44:10.233 WAY AT NORTH RODEO DRIVE, AND HERE IS THE BUILDING PROJECT SITE. 00:44:13.167 --> 00:44:15.167 ON DECEMBER 10, 2020, THE PLANNING COMMISSION 00:44:17.167 --> 00:44:19.167 REVIEWED AND APPROVED THE PLANNING REVIEW AND PARKING FOR THE SITE. 00:44:21.167 --> 00:44:23.167 THE PROJECT SCOPE IS TO DEMOLISH 00:44:26.167 --> 00:44:28.167 THE EXISTING BUILDING AND CONSTRUCT A NEW THREE-STORY BUILDING FOR 00:44:33.167 --> 00:44:35.167 BULGARI AT A HEIGHT OF 45 00:44:42.167 --> 00:44:44.167 FEET AND INCLUDE TWO NEW PARKING SPACES AND THE PROJECT 00:44:47.167 --> 00:44:49.167 WILL INCLUDE THE FOLLOWING ELEMENTS WHICH IS 00:44:53.167 --> 00:44:55.167 A ROSETTE MARBLE BASE AND 00:44:59.167 --> 00:45:01.167 PORTAL LOOKED STOREFRONT GLAZED WINDOWS, TRAVERTINE 00:45:05.167 --> 00:45:07.167 COLUMNS, AND MARBLE FLOORING, AND A STONE 00:45:10.167 --> 00:45:12.167 FLOORING AND EXTERIOR LIGHTING HIGHLIGHTING THE ENTRYWAY AND PENDANT 00:45:15.100 --> 00:45:17.100 LIGHT FIXTURES, SHOWCASE AND DISPLAY WINDOWS AND AN OUTDOOR 00:45:20.100 --> 00:45:22.100 ROOFTOP AREA FOR PRIVATE TENANT USE. HERE IS 00:45:26.100 --> 00:45:28.100 THE ELEVATION FOR THE PROPOSED NEW BUILDING AND THE 00:45:32.100 --> 00:45:34.100 SOUTH ELEVATION AND HERE IS THE DETAIL OF HOW THE PROPOSAL IS WORKING 00:45:38.100 --> 00:45:40.100 AND WOULD BE PUT TOGETHER. 00:45:42.100 --> 00:45:45.100 THAT IS THE LIGHT, A SAMPLE OF IT. YOU CAN SEE IT. 00:45:47.100 --> 00:45:49.100 AND HERE IS THE PROPOSED AREA FOR THE PRIVATE USE FOR 00:45:52.100 --> 00:45:54.100 THE TENANTS. THERE IS NO PROPOSAL FOR A RESTAURANT 00:45:58.100 --> 00:46:00.100 USE OR ANYTHING LIKE THAT. SO 00:46:03.100 --> 00:46:05.100 THIS IS A GENERAL ROOFTOP AREA 00:46:08.100 --> 00:46:10.100 FOR THE TENANTS AND SIGN ACCOMMODATION WITH THE TOTAL SIGN TO BE PROPOSED 00:46:14.330 --> 00:46:16.330 AS FIXED WITH A SIGN AREA OF 64.8 SQUARE FEET. 00:46:18.330 --> 00:46:20.330 THE TWO SIGNS WILL BE ILLUMINATED WITH 00:46:23.330 --> 00:46:25.330 32.3 SQUARE FEET, ONE FACING BRIGHTON WAY AND ONE FACING RODEO 00:46:29.330 --> 00:46:31.330 DRIVE, AND THERE WILL BE FOUR SIGNS ALONG THE DISPLAY WINDOWS 00:46:35.330 --> 00:46:37.330 THAT WILL BE SPOT LIT WITH THE BRONZE LOGO. 00:46:39.330 --> 00:46:41.330 AND SO THE PROPOSED BUSINESSIFICATION SIGNS 00:46:43.330 --> 00:46:45.330 ARE BELOW THE MAXIMUM ALLOWABLE SIGN AREA AND ARE IN COMPLIANCE 00:46:47.330 --> 00:46:49.330 WITH THE MUNICIPAL CODE. 00:46:50.330 --> 00:46:52.330 HERE IS THE NIGHT RENDERING 00:46:54.330 --> 00:46:56.330 OF THE PROPOSED BUILDING. 00:46:57.330 --> 00:46:59.330 SO THE CONTEMPORARY DESIGN 00:47:02.330 --> 00:47:04.330 HARKENS BACK TO THE ARCHITECTURAL PRECEPT AND INCLUDING A JEWEL 00:47:07.330 --> 00:47:09.330 BOX AT THE SITE AND OVERALL, IT'S A COMPLEX MIX OF DESIGN 00:47:11.967 --> 00:47:13.967 CONCEPTS MELDED TOGETHER TO REPRESENTATIVE THE BRAND AND A CONSTRUCTION BARRICADE 00:47:16.967 --> 00:47:18.967 THAT REPRESENTS THE COMPANY'S BRANDING WITH GRAPHICS RETURNED TO 00:47:22.967 --> 00:47:24.967 THE COMMISSION FOR FURTHER REVIEW AND APPROVAL AT A FUTURE 00:47:26.967 --> 00:47:28.967 DATE AND THAT INCLUDES THE REPORT AND 00:47:32.967 --> 00:47:34.967 HAPPY TO ANSWER ANY QUESTIONS FOR THE APPLICANT. THANK YOU. 00:47:37.967 --> 00:47:39.967 >> THANK YOU. ANY EARLY PUBLIC COMMENTS? >> NO EARLY COMMENTS. 00:47:41.967 --> 00:47:43.967 >> THANK YOU. 00:47:44.967 --> 00:47:46.967 WOULD THE APPLICANT LIKE TO INTRODUCE HIMSELF AGAIN AND ADD 00:47:47.967 --> 00:47:49.967 ANYTHING TO THE PRESENTATION OF THIS SIGNIFICANT BUILDING THAT 00:47:51.967 --> 00:47:53.967 YOU ARE PROPOSING? 00:47:54.967 --> 00:47:56.967 >> I AM THE PRINCIPLE WORKING ON THIS PROJECT THAT WE 00:47:58.967 --> 00:48:00.967 STARTED WORKING ON AT COVID TIME. 00:48:04.967 --> 00:48:06.967 IT WAS PUT ON HOLD BECAUSE OF COVID AND 00:48:08.967 --> 00:48:10.967 NOW IT'S BACK ON TRACK, AND IT'S CHALLENGING ON THAT CORNER, BUT 00:48:11.900 --> 00:48:13.900 WE ARE VERY EXCITED. AND IF ANYONE OF YOU HAVE 00:48:17.900 --> 00:48:19.900 VISITED NEW YORK, IT'S THE SAME DESIGN 00:48:23.900 --> 00:48:25.900 ON THE NEW 00:48:32.900 --> 00:48:34.900 YORK CONCEPT. 00:48:37.900 --> 00:48:39.900 >> THANK YOU. 00:48:49.900 --> 00:48:51.900 >> WHAT ARE YOU GOING TO DO THIS SNIPE YOU GOING TO DO THE 00:48:52.900 --> 00:48:55.900 SAME THING HERE? >> IT DEPENDS ON THE CLIENT. 00:49:00.900 --> 00:49:02.900 I DON'T 00:49:06.900 --> 00:49:08.900 COMPLAIN ABOUT THAT. 00:49:12.900 --> 00:49:14.900 >> SO IF YOU HAVE NO FURTHER 00:49:17.900 --> 00:49:19.900 COMMENTS AT THE MOMENT, WE WILL MOVE ON. DO I ASK FOR 00:49:21.900 --> 00:49:23.900 ANY MORE PUBLIC COMMENT AT THIS POINT? 00:49:24.900 --> 00:49:26.900 >> THERE IS NO REMAINING COMMENT. 00:49:27.900 --> 00:49:29.900 >> OKAY. THEN WE WILL MOVE ON TO COMMISSIONER QUESTIONS. 00:49:32.900 --> 00:49:34.900 WE'LL START THIS ONE WITH TIM. 00:49:36.900 --> 00:49:38.900 >> THANK YOU. THIS IS AN INCREDIBLY BEAUTIFUL PROJECT. 00:49:39.900 --> 00:49:41.900 I THINK THAT IT'S VERY UNIQUE AND REPRESENTS THE BRAND 00:49:42.900 --> 00:49:44.900 VERY WELL. I HAVE A COUPLE OF QUESTIONS 00:49:48.900 --> 00:49:50.900 ABOUT THE GLASS ROSETTES, PARTICULARLY HOW EASY ARE THEY TO BREAK, YOU 00:49:53.900 --> 00:49:55.900 KNOW F A CAR RUNS INTO THEM OR SOMEONE TAKES A -- 00:49:59.900 --> 00:50:01.900 >> YOU ARE WELCOME TO TRY. THEY ARE PRETTY 00:50:03.900 --> 00:50:05.900 HEFTY. MARK WILL TELL THAT YOU IT'S PRETTY HEAVY AND WELL 00:50:08.900 --> 00:50:10.900 CAST. THE GOOD THING IS IF IT GETS DAMAGED, WE HAVE ENOUGH 00:50:12.833 --> 00:50:15.833 SURPLUS STORED TO REPLACE THEM. IT HAS A SPECIAL CONNECTION ON THE OUTSIDE, AND EVEN THE 00:50:20.833 --> 00:50:22.833 LIGHTING THAT IS INSIDE THE ROSETTE, ALL THE LIGHTING CAN BE ATTEMPTED 00:50:25.833 --> 00:50:28.833 FROM THE OUTSIDE, NOT FROM THE INSIDE. SO IT'S EASY TO MAINTAIN. 00:50:28.833 --> 00:50:30.833 THAT WAS PART OF THE THOUGHT PROCESS. THE ONE IN NEW 00:50:32.833 --> 00:50:34.833 YORK, THEY DIDN'T THINK OF ALL OF THOSE, AND THIS WAS AN IMPROVEMENT 00:50:36.833 --> 00:50:38.833 ON WHAT WAS DONE IN NEW YORK, AND IN NEW YORK, 00:50:42.833 --> 00:50:44.833 THE ARMS THAT CONNECT THE ROSETTES OVER THERE IS GLASS 00:50:48.833 --> 00:50:50.833 AND HERE IT'S IT'S ACRYLIC, AND OVER 00:50:53.833 --> 00:50:55.833 HERE THE LIGHTING IS IN THE ARMS, AND THE LIGHTING CAN BE DIMMED IF 00:50:57.833 --> 00:51:00.833 NEEDED. AND THE L.E.D. -- THE ARM GOES OUT AND DOESN'T MEAN THAT THE REST OF THE 00:51:05.833 --> 00:51:07.833 EMPLACES GOES OUT. THEY CAN INDIVIDUALLY 00:51:11.767 --> 00:51:13.767 FIX THOSE AS WE GO. 00:51:14.767 --> 00:51:16.767 >> OKAY. 00:51:17.767 --> 00:51:19.767 MY NEXT COMMENT ON WAS ON THE NIGHT RENDERING. I 00:51:21.767 --> 00:51:23.767 THINK THE GLOW FROM THE FACADE IS VERY NICE BUT JUST FROM THE RENDERING, 00:51:27.767 --> 00:51:29.767 IT LOOKS VERY DARK ON THE UPPER TERRACE LEVEL. I 00:51:31.767 --> 00:51:33.767 WAS WONDERING IF THAT IS INTENTIONAL AND THERE 00:51:36.767 --> 00:51:38.767 WILL BE EVENING USE ON THE TERRACE. 00:51:40.767 --> 00:51:42.767 >> IT LOOKS DARKER BECAUSE IT DOESN'T ACCOUNT FOR THE MATERIAL 00:51:44.767 --> 00:51:47.767 LIGHT THAT REFLECTS OFF THE TRAVERTINE. YOU WILL SEE THE BOX STANDING OUT IN THE EVENING LIGHT. 00:51:50.767 --> 00:51:52.767 THE UPSTAIRS TERRACE, THERE WILL BE SOME LIGHT BUT FOR MOST PART 00:51:54.767 --> 00:51:56.767 IT WILL WHB WE HAVE EVENTS BUT OTHER THAN THAT, IT WILL BE DIMMED DOWN. 00:51:58.767 --> 00:52:00.767 THE MOST IMPORTANT IS THE FIRST AND SECOND FLOOR TO MAKE 00:52:01.767 --> 00:52:03.767 THAT STAND OUT. THE LIGHT THAT YOU SEE IN THE RENDERING 00:52:06.767 --> 00:52:09.767 IS NOT OFF THE ROSETTE. IT'S THE STORE LIGHTING COMING THROUGH THE GLASS. WHEN YOU LIGHT 00:52:12.700 --> 00:52:14.700 UP OF THE ROSETTE YOU WILL SEE MORE LIGHTING 00:52:15.000 --> 00:52:16.867 ON THE OUTSIDE. >> LIKE THE LAYERED LOOK? 00:52:20.700 --> 00:52:22.700 >> NO CONTRAST. AND NOW IN THE BOOKLET THAT I SENT TO YOU, 00:52:25.700 --> 00:52:27.700 THOSE WERE IN THE MARKUP. 00:52:28.700 --> 00:52:30.700 WE DID THOSE -- I WENT TO 00:52:33.700 --> 00:52:36.700 THE FABRICATOR IN ROME AND LIT UP THOSE. SO THOSE ARE LIT UP. 00:52:36.700 --> 00:52:38.700 >> IT'S VERY, VERY BEAUTIFUL. 00:52:40.700 --> 00:52:42.700 I THINK THE TERRACE LEVEL, I THINK 00:52:44.700 --> 00:52:46.700 THE PAVING MATERIAL AND FURNITURE IS VERY NICE. IT WOULD 00:52:48.700 --> 00:52:50.700 BE NICE TO SEE SOME PLANT MATERIAL UP THERE, NOTHING TOO CRAZY. 00:52:53.700 --> 00:52:55.700 BUT I THINK THAT IS MAYBE WHAT WOULD HELP TO PULL 00:52:57.700 --> 00:52:59.700 IT TOGETHER. AND THEN I'LL BE 00:53:03.700 --> 00:53:05.700 CURIOUS TO HEAR OTHER COMMISSIONER COMMENTS ON THE FABRIC WHICH WAS 00:53:08.700 --> 00:53:10.700 KIND OF THE ONLY PART THAT JUMPS OUT COLOR WISE, AND IT LOOKS IN 00:53:14.633 --> 00:53:16.633 THE GRAPHIC TO BE A LITTLE MORE YELLOW THAN THE ACTUAL SAMPLE. 00:53:18.633 --> 00:53:20.633 IT MIGHT BE NICE TO SEE SOMETHING THERE THAT IS MAYBE MORE 00:53:23.633 --> 00:53:25.633 IN LINE WITH THE STYLE OF THE BUILDING. 00:53:26.633 --> 00:53:28.633 THAT'S THE ONLY PART THAT JUMPS OUT THAT IS NOT RELATING TO 00:53:31.633 --> 00:53:33.633 THE REST OF THE BUILDING. THOSE ARE MY COMMENTS. 00:53:34.633 --> 00:53:37.633 THANK YOU. >> THANK YOU. JAMES, WOULD YOU LIKE TO SPEAK NEXT ABOUT THIS 00:53:39.633 --> 00:53:42.633 PROJECT? >> YES. THANK YOU VERY MUCH. I HAVE A NUMBER 00:53:44.633 --> 00:53:46.633 OF GENERAL COMMENTS THAT I WOULD LIKE TO MAKE FIRST. THEN 00:53:49.633 --> 00:53:51.633 I HAVE SEVERAL SPECIFIC COMMENTS ABOUT SOME OF THE DRAWINGS AND QUESTIONS. 00:53:53.633 --> 00:53:56.633 WE'LL GET TO THOSE LATER. FIRST OF ALL, I WANT TO SAY THAT I 00:54:01.633 --> 00:54:03.633 THINK THE ARCHITECTS ON THIS PROJECT HAVE DONE SOME 00:54:05.633 --> 00:54:07.633 VERY HIGH-QUALITY PROJECTS WITHIN THE CITY OF BEVERLY HILLS 00:54:11.567 --> 00:54:13.567 AND ARE CONTRIBUTING TO THE ARCHITECTURAL DESIGN IN THE 00:54:14.567 --> 00:54:17.567 CITY WITH MINIMAL DESIGN. UNFORTUNATELY I DO NOT FEEL THAT THIS PROJECT IS ONE OF 00:54:20.567 --> 00:54:22.567 THOSE HIGH-QUALITY DESIGNS. 00:54:23.567 --> 00:54:25.567 I FIND THE TRAFFICKING ELEMENT VERY HEAVY. I THINK 00:54:29.567 --> 00:54:31.567 THE COLUMNS ON THE CORNER, 00:54:33.567 --> 00:54:35.567 THE TRAVERTINE RAILING IS HEAVY AND THE WHOLE TOP OF 00:54:38.567 --> 00:54:40.567 THE BUILDING SEEMS VERY OVER DONE. 00:54:41.567 --> 00:54:43.567 THE MARBLE ON THE FIRST FLOORING RENDERING, I THINK THEY 00:54:44.567 --> 00:54:46.567 ARE TOO FIXED. AND THE NOTCHES AT THE 00:54:49.567 --> 00:54:51.567 CORNER ARE INAPPROPRIATE FOR THE DESIGN. THERE WAS A 00:54:54.567 --> 00:54:56.567 COMMENT ON THE TRADITIONAL ELEMENTS OF CONTEMPORARY DESIGN BUT I WOULD 00:54:59.567 --> 00:55:01.567 URGE YOU TO ERR MORE ON THE CONTEMPORARY SIDE. 00:55:03.567 --> 00:55:05.567 I AGREE WITH TIM. I WOULD 00:55:08.567 --> 00:55:10.567 PREFER TO SEE AN OFF-WHITE AWNING, SOMETHING TO BLEND WITH 00:55:12.500 --> 00:55:14.500 THE BUILDING BETTER. THE MARBLE MATERIALS, IN THE PHOTO OF 00:55:17.500 --> 00:55:19.500 THE SAMPLES, IT'S A LITTLE MURKY, AND I AM UNCERTAIN BUT THEY 00:55:23.500 --> 00:55:25.500 LOOK LIKE THEY WERE YELLOWING A LITTLE BIT, NOT 00:55:29.500 --> 00:55:31.500 VERY CRISP. 00:55:32.500 --> 00:55:34.500 AND THE GLASS ROSETTES I FIND SOMEWHAT INTERESTING. 00:55:36.500 --> 00:55:38.500 IT COULD BE A VERY INTERESTING DESIGN. 00:55:39.500 --> 00:55:41.500 I WOULD 00:55:44.500 --> 00:55:46.500 PREFER A RECTANGULAR PATTERN OR A DIAMOND SCAPE. I THINK 00:55:48.500 --> 00:55:50.500 THAT WOULD WORK BETTER THAN WITH 00:55:54.500 --> 00:55:56.500 A TRAVERTINE STRUCTURE AND 00:56:00.500 --> 00:56:02.500 GRID. I CAN EVEN SEE EXPOSED METAL THAT WOULD WORK BUT 00:56:04.500 --> 00:56:06.500 THAT'S UP TO YOU AND THE QUESTIONS ON THE TERRACE, I AGREE WITH TIM 00:56:09.500 --> 00:56:11.500 THAT THE FURNITURE LOOKS INTERESTING. 00:56:12.433 --> 00:56:14.433 BUT YOU NEEDS TO SUBMIT MATERIALS AND COLORS. I CAN'T TELL 00:56:17.433 --> 00:56:19.433 IF THEY ARE FABRIC 00:56:22.433 --> 00:56:24.433 OR PLASTIC OR WHAT. AND THE SITE 00:56:28.433 --> 00:56:30.433 PLAN, WAS THAT TWO BUILDINGS? 00:56:31.433 --> 00:56:33.433 >> THIS -- THIS IS A PRETTY LARGE BUILDING. 00:56:36.433 --> 00:56:38.433 I THINK RIGHT NEXT CHANEL IS NEXT 00:56:42.433 --> 00:56:44.433 TO THE STORE. BUT IT'S JUST A PORTION OF A 00:56:45.433 --> 00:56:47.433 MUCH LARGER BUILDING. 00:56:48.433 --> 00:56:50.433 >> SO ARE YOU DEMOLISHING A PORTION OF AN EXISTING BUILDING? 00:56:55.433 --> 00:56:58.433 >> THE CORNER THAT IS PORTION FOR BULGARIY. >> AND THE ROOF IS THE REMAINING PORTION OF THE BUILDING? 00:57:00.433 --> 00:57:02.433 >> YEAH. THAT'S AN EXIT FOR THIS BUILDING. WE 00:57:05.433 --> 00:57:07.433 WORK WITH BUILDING AND EXIST ABOUT THE EXIST BECAUSE WE NEED 00:57:09.433 --> 00:57:11.433 TWO EXITS, AND THAT'S HOW WE WERE ABLE TO GET 00:57:15.367 --> 00:57:17.367 THE EXIT OUT INTO THE BACK PARKING AREA. 00:57:22.367 --> 00:57:24.367 >> OKAY. 00:57:25.367 --> 00:57:27.367 LET'S SEE. 00:57:28.367 --> 00:57:30.367 HANG ON. 00:57:31.367 --> 00:57:33.367 OKAY. I'M GLAD YOU BROUGHT UP THE EXITING AND THE DEPARTMENT 00:57:37.367 --> 00:57:39.367 OF SAFETY BECAUSE ON THE SECOND FLOOR, IT LOOKS LIKE 00:57:41.367 --> 00:57:44.367 YOU HAVE ONE EXIT. >> THE MEZZANINE -- 00:57:45.367 --> 00:57:48.367 >> THE SECOND FLOOR IS THE MEZZANINE? >> NO. IT HAS A BACK EXIT, AND THEN IF YOU 00:57:52.367 --> 00:57:54.367 LOOK ON THE SECOND FLOOR A-13, YOU HAVE THE STAIR AT THE BACK 00:57:57.367 --> 00:57:59.367 AND YOU WILL SEE THAT THE EXIT STAIR GOES UP AND EXITS ON TO THE ROOF, 00:58:02.367 --> 00:58:04.367 AND THEN THE THIRD FLOOR COMES DOWN AND EXITS ON TO THE ROOF. 00:58:10.367 --> 00:58:12.367 >> SO HOW DOES THE SECOND EXIT ENTER ON THE ROOF? 00:58:16.300 --> 00:58:18.300 >> YOU LOOK AT 33 AND 00:58:22.300 --> 00:58:24.300 YOU CAN SEE -- LOOK AT SHEET A-33, THERE IS AN 00:58:25.300 --> 00:58:27.300 ELEVATION OF THE DOORS, ONE ON THE SECOND FLOOR AND 00:58:31.300 --> 00:58:33.300 THE OTHER ON THE THIRD FLOOR. 00:58:34.300 --> 00:58:36.300 >> YES. BUT HOW DO YOU GET TO THE GROUND FROM THAT ROOF? 00:58:41.300 --> 00:58:43.300 >> SO THERE IS 00:58:47.300 --> 00:58:49.300 A ROOF PLAN. 00:58:50.300 --> 00:58:52.300 >> YOU ARE EXITING PEOPLE OUT FROM THE ROOF. RIGHT? 00:58:54.300 --> 00:58:57.300 >> YES. WE HAVE THE EXIT ON THE SECOND FLOOR. >> WELL, AGAIN, THIS IS SOMETHING WE NEED TO RESOLVE WITH BUILDING 00:59:00.300 --> 00:59:02.300 AND SAFETY. 00:59:03.300 --> 00:59:05.300 >> SO IF YOU GO TO G-11, YOU CAN 00:59:08.300 --> 00:59:10.300 SEE THAT THE PATH THAT DELINEATED ON TO THE ROOF AND GOES ACROSS AND 00:59:13.300 --> 00:59:15.300 A STAIR THAT TAKES IT 00:59:18.300 --> 00:59:21.300 DOWN FROM THE ROOF INTO THE BACKPACKERRING AREA. >> OKAY. FINE. 00:59:23.300 --> 00:59:25.300 MAKE SURE THAT BUILDING AND SAFETY APPROVES IT. 00:59:27.300 --> 00:59:29.300 >> YES. I HAVE TALKED WITH 00:59:33.300 --> 00:59:36.300 THEM ALREADY. >> OKAY. OKAY. 00:59:38.300 --> 00:59:40.300 ON THE ROOF PLAN, YOU HAVE AN EQUIPMENT AREA WITH A PERIMETER 00:59:43.300 --> 00:59:45.300 FENCE. I DIDN'T SEE ANYTHING ABOUT THE HEIGHT OF THAT. 00:59:48.300 --> 00:59:50.300 >> WE DON'T HAVE -- THE EQUIPMENT THAT YOU SEE IS NOT PART THIS SPACE. 00:59:51.300 --> 00:59:53.300 THE EQUIPMENT FOR OUR SPACE ON THE THIRD FLOOR. 00:59:55.300 --> 00:59:57.300 SORRY. LOOK AT THE SECOND FLOOR, THERE 01:00:01.300 --> 01:00:03.300 IS A CARVE OUT SPACE. ON THE SECOND FLOOR, 01:00:04.300 --> 01:00:07.300 SHEET A 13. >> YES. >> THERE IS A MECHANICAL ROOM. 01:00:09.300 --> 01:00:11.300 THAT IS ALL WITHIN THE SECOND FLOOR SPACE AND THE THIRD FLOOR 01:00:12.233 --> 01:00:14.233 GOES OVER. IT'S NOT ON THE ROOF BUT THE 01:00:19.233 --> 01:00:21.233 SECOND FLOOR. 01:00:22.233 --> 01:00:24.233 >> SO ON A-15, IS THAT A MISTAKE 01:00:27.233 --> 01:00:30.233 ON THE EQUIPMENT AREA? >> THERE IS A ROOF AND I THINK THERE MIGHT BE ONE OR TWO PIECES OF EQUIPMENT 01:00:33.233 --> 01:00:36.233 THERE BUT MOST IS DOWN HERE. THIS IS ONLY EQUIPMENT FOR THE THIRD FLOOR. EVERYTHING ELSE 01:00:39.233 --> 01:00:42.233 IS ON THE LOWER LEVEL. >> OKAY. BUT YOU HAVE A PERIMETER FENCE WITH THE MATERIALS 01:00:46.233 --> 01:00:48.233 AND THE LIGHT, PLEASE? 01:00:49.233 --> 01:00:51.233 >> OKAY. WE'LL ADD THAT. 01:00:54.233 --> 01:00:57.233 >> AND, OKAY. LET'S TALK ABOUT THE GLASS ROSETTE. 01:00:57.233 --> 01:00:59.233 I AM TRYING VERY HARD TO FIGURE OUT HOW YOU ARE SUPPORTING 01:01:00.233 --> 01:01:03.233 ALL THIS AND WHAT'S HAPPENING. IT LOOKS LIKE THE GLASS ROSETTES ARE ON THE GRID ON THE 01:01:11.167 --> 01:01:13.167 OUTSIDE AND IT LOOKS LIKE THEY ARE GLUED TO METAL. 01:01:15.167 --> 01:01:17.167 >> NO. IT'S A VERY COMPLICATED SYSTEM. I DO UNDERSTAND 01:01:19.167 --> 01:01:21.167 THAT. AND IT TOOK US A WHILE FABRICATING IT ON SITE. 01:01:25.167 --> 01:01:27.167 IT'S BASICALLY, I TRIED TO ADD TWO ELEVATIONS HERE AND THE 01:01:30.167 --> 01:01:32.167 SAMPLE SHOWS IT A BIT. 01:01:35.167 --> 01:01:37.167 >> I SEE THE TWO ELEVATIONS 01:01:39.167 --> 01:01:41.167 WITH THE DIAMOND PATTERN -- >> YES. 01:01:43.167 --> 01:01:45.167 >> THAT'S ON THE INSIDE BEHIND THE ROSETTES. 01:01:46.167 --> 01:01:48.167 >> THE DIAMOND PATTERN THAT HOLD UP THE GLASS SYSTEM, IT'S PRETTY 01:01:50.167 --> 01:01:52.167 THICK AND SOME OF THE IMAGES, YOU WILL SEE THEM, AND UNFORTUNATELY 01:01:53.167 --> 01:01:56.167 IN THE BOOK THAT I BROUGHT IN. WE DON'T HAVE A FEW OF THAT. 01:01:58.167 --> 01:02:00.167 BUT THE BOOK SHOWS 01:02:02.167 --> 01:02:05.167 THE INSIDE THICKNESS. SO THE GLAZING SYSTEM IS DESIGNED TO BE THE MAIN FACADE OF 01:02:08.167 --> 01:02:10.167 THE BUILDING. THE ROSETTES ARE BASICALLY 01:02:14.100 --> 01:02:16.100 APPLIED TO THAT. AND THE ROSETTES 01:02:19.100 --> 01:02:21.100 ARE SUPPLIED TO THAT FOR THE OPENING. 01:02:22.100 --> 01:02:24.100 >> I WOULD PREFER THE RECTANGULAR GRID TO THE DIAMOND GRID BUT WHEN 01:02:28.100 --> 01:02:30.100 I LOOK AT SOME OF THE DETAILS, IT LOOKS LIKE THE 01:02:31.100 --> 01:02:33.100 PINS THAT REPORTING THE ROSETTES GO BACK TO THE GLASS. 01:02:40.100 --> 01:02:42.100 >> NO. SO WITHIN THE DIAMOND PATTERN -- THE DIAMOND 01:02:45.100 --> 01:02:47.100 PATTERN PICKS UP ON THE DIMANNED 01:02:50.100 --> 01:02:53.100 DIAMOND SHAPE ROSETTE LAYOUT. YOU WILL HAVE THE ONES IN BETWEEN ARE THE ONES WITH THE STUDS. 01:02:57.100 --> 01:02:59.100 AND THOSE STUDS ARE GLUED ON TO THE GLASS. THE STUD KEEPS 01:03:03.100 --> 01:03:05.100 THE DISTANCE BETWEEN THE GLASS AND MULLION ALIGNED. THERE 01:03:07.100 --> 01:03:10.100 IS NO GAP BETWEEN THE TWO. >> THEY ARE NOT STRUCTURAL? 01:03:10.100 --> 01:03:12.100 THEY ARE JUST SPACERS? 01:03:13.330 --> 01:03:15.330 >> THEY ARE KIND OF SPACERS. 01:03:16.330 --> 01:03:19.330 YEAH. >> HOW DO YOU REGLAZE IF THE GLASS BREAKS? 01:03:21.330 --> 01:03:23.330 >> YOU HAVE TO TAKE THE ROSETTES OFF. LIKE I SAID, THEY 01:03:25.330 --> 01:03:27.330 COME OFF. YOU GET THE GLASS IN FIRST AND START APPLYING 01:03:29.330 --> 01:03:31.330 THESE ON TOP. YOU TAKE THE ROSETTES OUT AND ARMS OUT 01:03:33.330 --> 01:03:35.330 AND YOU HAVE FULL EXPOSURE TO THE GLAZE. 01:03:37.330 --> 01:03:39.330 >> AND IT LOOKS LIKE THE GLASS 01:03:43.330 --> 01:03:45.330 ON THE CURTAIN WALL IS FIVE 01:03:49.330 --> 01:03:51.330 LAYERS OF GLASS. IS THAT TRUE? 01:03:53.330 --> 01:03:55.330 >> NO. 01:03:56.330 --> 01:03:59.330 IT'S 3/4 OR HALF AN INCH OF GLASS. >> BUT IT'S DOUBLE GLAZING? 01:04:01.330 --> 01:04:03.330 >> RIGHT NOW, SINGLE GLAZE, LAMINATED. 01:04:06.330 --> 01:04:08.330 >> I ASSUME YOU ARE WORKING WITH THE BUILDING DEPARTMENT ON THE ENERGY 01:04:09.330 --> 01:04:11.967 CODE FOR THAT. >> YES. 01:04:13.967 --> 01:04:15.967 >> BUT I REITERATE THEY MUCH PREFER A RECTANGULAR 01:04:19.967 --> 01:04:21.967 GRID FOR THE CURTAIN WALL. I'M LOOKING 01:04:24.967 --> 01:04:26.967 AT A-39. UP AT THE TOP, I THINK 01:04:30.967 --> 01:04:32.967 IT'S ON THE THIRD FLOOR, IT LOOKS LIKE 01:04:36.967 --> 01:04:38.967 IT'S ON THE EXTERIOR OF THE BUILDING. 01:04:41.967 --> 01:04:43.967 I HOPE 01:04:45.967 --> 01:04:47.967 I'M READING THAT WRONG. 01:04:48.967 --> 01:04:50.967 WALL SECTION 01:04:57.967 --> 01:04:59.967 2. 01:05:01.967 --> 01:05:03.967 >> OH, THAT'S JUST A MISTAKE, 01:05:07.967 --> 01:05:09.967 THE OUTSIDE OF THE BUILDING THAT'S JUST 01:05:13.900 --> 01:05:15.900 THE PLASTIC OVER THE ROOF. 01:05:16.900 --> 01:05:18.900 >> HOW DO YOU PROPOSE TO KEEP THE CURTAIN WALL CLEAN? 01:05:21.900 --> 01:05:23.900 DO THEY WASH AROUND THE ROSETTES? 01:05:24.900 --> 01:05:26.900 >> THEY WASH AROUND THE ROSETTES. THAT'S WHAT THEY DO IN NEW YORK. THEY HAVE A 01:05:29.900 --> 01:05:31.900 COMPANY THAT WILL DO IT FOR THEM 01:05:35.900 --> 01:05:38.900 EVERY SO OFTEN. >> OKAY. DO YOU HAVE A DETAIL 01:05:46.900 --> 01:05:48.900 IN THE PACKAGE 01:05:52.900 --> 01:05:54.900 YOU SUBMITTED HOW THE ROSETTES ARE ATTACHED TO THE MULION? 01:05:57.900 --> 01:05:59.900 IF YOU DON'T, MAYBE YOU CAN INCLUDE IT IN THE RESUBMISSION? 01:06:01.900 --> 01:06:03.900 >> YEAH. I CAN. 01:06:04.900 --> 01:06:06.900 I HAVE QUITE A FEW DETAILS ON THAT BECAUSE WE HAVE BEEN WORKING ON 01:06:07.900 --> 01:06:09.900 IT FOR A WHILE. WE HAVE DETAILS ON HOW THEY ARE ATTACHED 01:06:12.833 --> 01:06:14.833 TO THE MULLIONS AND HOW THE ROSETTES ARE ATTACHED. THERE IS 01:06:15.833 --> 01:06:17.833 A WHOLE SEQUENCE OF ATTACHMENTS. 01:06:18.833 --> 01:06:20.833 >> DO YOU HAVE MULLIONS ATTACHED? 01:06:22.833 --> 01:06:24.833 >> YES, ON THE INSIDE AND OUTSIDE. THE INSIDE IS BASICALLY COVERING THE MULLIONS WITH A 01:06:27.833 --> 01:06:29.833 STAINLESS STEEL FINISH. 01:06:30.833 --> 01:06:32.833 ON THE OUTSIDE, A CAP AND WE CAP IT OVER. 01:06:33.833 --> 01:06:35.833 >> SO DO THEY START AND STOP WITH 01:06:39.833 --> 01:06:41.833 THE ATTACHMENTS ON THE ROSETTES? 01:06:45.833 --> 01:06:47.833 >> YES. 01:06:48.833 --> 01:06:50.833 OKAY. A-52 DETAIL 11, ALTERNATING METAL MESH SCREEN SLIDING 01:06:52.833 --> 01:06:54.833 PANELS ON THE TRACK BELOW. 01:06:55.833 --> 01:06:57.833 I COULD NOT FIND WHERE THOSE WERE LOCATED AND 01:06:59.833 --> 01:07:01.833 WHAT THEY LOOK LIKE. 01:07:02.833 --> 01:07:04.833 >> WHICH ARE WE LOOKING AT, SIR? 01:07:09.833 --> 01:07:11.833 >> 11. A-52. I 01:07:13.767 --> 01:07:16.767 THINK IT'S AROUND THE UPPER LEFT. >> OKAY. THIS DETAIL IS SPECIFICALLY WHERE, IF YOU LOOK 01:07:19.767 --> 01:07:21.767 AT THE RENDERING, YOU WILL NOTICE WE 01:07:24.767 --> 01:07:26.767 HAVE THREE PANELS. IF YOU LOOK, YOU CAN SEE THE STAIR 01:07:27.767 --> 01:07:29.767 ON THE EXTREME LEFT SIDE. 01:07:30.767 --> 01:07:32.767 SO THE IDEA OF THE SCREEN IS A 01:07:38.767 --> 01:07:40.767 STAINLESS STEEL MESH WE ARE PUTTING -- THE REST OF THE STORE YOU ARE 01:07:43.767 --> 01:07:46.767 LOOKING INTO THE RETAIL AND THE OPEN AREAS BUT AT THE STAIR IT HAS A DIFFERENT LIGHTING. 01:07:48.767 --> 01:07:50.767 SO WHAT WE ARE TRYING TO DO IS DIFFUSE THAT 01:07:53.767 --> 01:07:55.767 SO IT DOESN'T STAND OUT FROM THE REST. BECAUSE 01:07:58.767 --> 01:08:00.767 IT'S A STAIR YOU WOULD HAVE SOMETHING THAT IS NOT CONBUSTABLE. 01:08:04.767 --> 01:08:06.767 SO YOU ARE USING THE METAL MESH, AND IT'S LETTING ALL THE LIGHTS 01:08:09.767 --> 01:08:11.767 THROUGH. WE HAVEN'T, YOU KNOW, FIGURED OUT THE EXACT MESH. 01:08:12.700 --> 01:08:14.700 WE ARE WORKING WITH TRIAL AND ERROR ON THAT. 01:08:16.700 --> 01:08:18.700 >> OKAY. IS THE MESH ON THE EXTERIOR OF THE BUILDING? 01:08:21.700 --> 01:08:23.700 >> NO, BETWEEN THE STAIR AND INSIDE WELL. 01:08:27.700 --> 01:08:30.700 >> SO THAT DETAIL DOESN'T SHOW -- DETAIL 11 IS NOT THE EXTERIOR OF THE COLUMN? 01:08:31.700 --> 01:08:33.700 >> NO. IT'S A -- >> OH, I SEE. THERE IS A WINDOW IN FRONT OF IT. 01:08:35.700 --> 01:08:38.700 THAT'S IT. OKAY. NEVER MIND. COULD YOU SUBMIT A SAMPLE OF 01:08:43.700 --> 01:08:45.700 THE METAL MESH? >> AS SOON AS WE FIGURE OUT THE ONE THAT WORKS FOR US, WE WILL SUBMIT 01:08:49.700 --> 01:08:51.700 IT. WE HAVE NOT DETERMINED WHICH WILL 01:08:55.700 --> 01:08:58.700 WORK THE BEST. >> OKAY. A-53 THE TOP FLOOR WITH THE GLASS, HOW DO YOU 01:09:02.700 --> 01:09:04.700 GET THE GLAZING IN THERE AND HOW DO YOU REGLAZE? 01:09:07.700 --> 01:09:09.700 >> THE GLAZING, THERE WOULD BE A GAP ON EACH SIDE, SO 01:09:12.700 --> 01:09:14.700 TOP TRACK AND BOTTOM TRACK -- NOT TRACK BUT THE TOP TWO AND BOTTOM 01:09:17.700 --> 01:09:19.700 TWO AND THEY WILL SLIDE UP AND LOCKDOWN 01:09:20.700 --> 01:09:22.700 LIKE THE STOREFRONT GLAZING. 01:09:23.700 --> 01:09:25.700 >> BUT AT THE TOP AND BOTTOM IT HAS TO BE THERE AND ON THE SIDE? 01:09:28.700 --> 01:09:30.700 >> NO IT DOESN'T HAVE TO BE ON THE SIDE. IT'S A VERY SMALL 01:09:33.700 --> 01:09:35.700 PIECE OF GLASS. OKAY. 01:09:36.700 --> 01:09:38.700 YOU ARE VERY CLEVER WITH YOUR DETAILS. 01:09:41.700 --> 01:09:43.700 OKAY. BUT I STILL -- OH, WAIT. 01:09:47.700 --> 01:09:49.700 SORRY. 01:09:50.700 --> 01:09:52.700 A COUPLE MORE. A-56 I THINK WE ARE GETTING 01:09:56.700 --> 01:09:58.700 A LITTLE BAROQUE THERE, SO ASKING FOR A SIMPLIFICATION 01:10:02.700 --> 01:10:04.700 OF IT, A SIMPLER LIGHT FIXTURE. 01:10:06.700 --> 01:10:08.700 I DON'T KNOW. IT'S GETTING TOO ORNATE. 01:10:09.700 --> 01:10:11.700 >> IT IS. BUT THIS IS THE STYLE 01:10:14.633 --> 01:10:16.633 THAT THE BULGARI IS LOOKING FOR. 01:10:17.633 --> 01:10:19.633 IT'S TIDE INTO HISTORICALLY. 01:10:21.633 --> 01:10:23.633 WHEN THEY FIRST STARTED IT, IT'S TAKING THE JEWELRY THAT MADE IT 01:10:24.633 --> 01:10:26.633 SO FAMOUS AND THE DESIGN AND BRINGING BACK THE STYLE WHICH IS THE ATTEMPT, 01:10:30.633 --> 01:10:32.633 AND THAT'S WHERE THIS CAME FROM. THE DIAMOND 01:10:34.633 --> 01:10:36.633 LOOK, THE ROSETTES, ALL OF THAT HAS HISTORY TO 01:10:40.633 --> 01:10:42.633 THE FINE JEWELRY THAT MADE BULGARI WHAT THEY ARE 01:10:43.633 --> 01:10:45.633 TODAY. IT STARTED WITH THE NEW YORK STORE AND 01:10:48.633 --> 01:10:50.633 IT BECAME A SUCCESS FOR THEM. 01:10:52.633 --> 01:10:54.633 >> OKAY. YOU HAVE BEEN HELPFUL IN ANSWERING MY QUESTIONS. 01:10:55.633 --> 01:10:57.633 THANK YOU. I WANT TO REITERATE THAT I AM STILL 01:10:58.633 --> 01:11:00.633 NOT PLEASED WITH THE DESIGN. 01:11:01.633 --> 01:11:03.633 I THINK IT NEEDS TO GO THROUGH A REDESIGN EFFORT FOR A 01:11:05.633 --> 01:11:07.633 NUMBER OF REASONS THAT I 01:11:10.567 --> 01:11:12.567 CITED AND NEEDS TO COME BACK TO THE FULL COMMISSION. THANK 01:11:13.567 --> 01:11:16.567 YOU. NEXT. >> THANK YOU VERY MUCH, AND REBECCA, WOULD YOU 01:11:20.567 --> 01:11:23.567 LIKE TO ADD COMMENTS? >> THANK YOU. A SOMEWHAT ELEGANT REDESIGN AND I HAPPEN TO 01:11:27.567 --> 01:11:29.567 LOVE THE OLD DESIGN. AND MY FIRST QUESTION -- AND YOU MAY 01:11:32.567 --> 01:11:34.567 NOT KNOW THE ANSWER TO THIS -- BUT THE MATERIAL USED 01:11:38.567 --> 01:11:40.567 IN THE PREVIOUS BUILDING, THE BRUSHED METAL 01:11:42.567 --> 01:11:44.567 PANELS THAT LOOK LIKE THEY WOULD BE EASILY SCREWED IN AND OUT. 01:11:47.567 --> 01:11:50.567 WOULD THEY BE USED IN ANY OTHER PROJECT? >> NO. ARE YOU TALKING ABOUT THE -- 01:11:55.567 --> 01:11:57.567 >> ANY EXISTING. 01:11:58.567 --> 01:12:00.567 >> THE PREVIOUS STYLE, PRIOR TO BULGARI TAKING THE SPACE IT WAS 01:12:03.567 --> 01:12:05.567 DE BEERS, AND THEY HAD A TWO GLAZED SYSTEM. WHEN 01:12:08.567 --> 01:12:10.567 AT A TOOK OVER, THEY WERE ON WILSHIRE AND RODEO, BUT 01:12:11.500 --> 01:12:13.500 WHEN THEY TOOK OVER THE SPACE, IT WAS THE FIRST 01:12:17.500 --> 01:12:19.500 TIME THAT LOUIS VUITTON BROUGHT BULGARI 01:12:22.500 --> 01:12:24.500 OVER AND IT EXISTED IN ITALY AND TO MINIMIZE IT, WE TOOK 01:12:26.500 --> 01:12:28.500 THE DOUBLE-GLAZED PANELS, WE TOOK THEM OFF AND REDID 01:12:32.500 --> 01:12:34.500 IT SO THAT -- DE BEERS HAD ETCHED GLASS AND WE TOOK THAT OUT AND 01:12:37.500 --> 01:12:39.500 PUT ON THE PANELS TO CREATE THAT LOOK. THIS WAS SPECIFIC 01:12:42.500 --> 01:12:44.500 TO THAT TIME AND BEFORE THE WHOLE REDESIGN, AND REUSING 01:12:45.500 --> 01:12:47.500 THAT ON THIS PROJECT IS NOT SOMETHING THAT WE WOULD LOOK AT. 01:12:50.500 --> 01:12:52.500 IF THEY ARE GOING TO RECYCLE IT, I AM NOT SURE BUT NOT FOR THIS PROJECT. 01:12:56.500 --> 01:12:58.500 >> I WOULD HOPE THAT THEY COULD BE REUSED SOMEHOW, 01:13:01.500 --> 01:13:03.500 SOMEWHERE IN ANOTHER STORE OR ANOTHER PROJECT. I THINK THEY 01:13:05.500 --> 01:13:07.500 ARE BEAUTIFUL AND A WASTE TO JUST DEMOLISH AND SCRAP 01:13:09.500 --> 01:13:11.500 THIS SORT OF BEAUTIFUL DESIGN THAT I THINK IT APPEARS THAT IT 01:13:15.433 --> 01:13:17.433 CAN BE SCREWED OUT AND PLACED OR PROPERLY AND MORE EASILY INTO ANOTHER 01:13:18.433 --> 01:13:20.433 PROJECT. >> JUST GETTING INTO THOSE PANELS -- WE WOULD HAVE TO TAKE THE GLASS 01:13:22.433 --> 01:13:24.433 TO GET IT OUT. >> YEAH. SO THAT WAS SORT OF MY FIRST QUESTION. 01:13:27.433 --> 01:13:29.433 AND THEN I HAVE A NUMBER OF QUESTIONS LIKE THE OTHER 01:13:31.433 --> 01:13:33.433 COMMISSIONERS ABOUT THE ROSETTE DESIGN. I HAPPEN 01:13:37.433 --> 01:13:39.433 TO LIKE THOSE SORT OF DIAMOND PANEL THAT I THINK GOES WITH 01:13:43.433 --> 01:13:45.433 THE BRANDING OF BULGARI BUT I HAVE A 01:13:48.433 --> 01:13:50.433 NUMBER OF QUESTION ABOUT THE STRUCTURE AND ONE IS HAS THIS BEEN EMPLOYED 01:13:51.433 --> 01:13:53.433 IN ANOTHER PROJECT? YOU MENTIONED --- >> NEW YORK. 01:13:55.433 --> 01:13:57.433 >> NEW YORK, BUT THERE WERE ISSUES, POTENTIAL ISSUES WITH 01:13:59.433 --> 01:14:01.433 IT, AND I AM WONDERING WHAT WAS CHANGED FOR THE -- FOR THE ONE ON 01:14:03.433 --> 01:14:05.433 RODEO DRIVE. 01:14:06.433 --> 01:14:08.433 >> IT WASN'T SO MUCH AS THE -- THE NEW YORK ONE HAS ALL THE ARMS YOU 01:14:10.367 --> 01:14:12.367 SEE BETWEEN THE ROSETTES. 01:14:13.367 --> 01:14:15.367 THEY WERE BRASS AND BECAME VERY BRASSY, AND THEY WANTED TO LIGHTEN 01:14:18.367 --> 01:14:20.367 IT UP. INSTEAD OF BRASSY, THEY ARE USING ACRYLIC. 01:14:22.367 --> 01:14:24.367 SO WHEN YOU ARE LOOKING FROM THE INSIDE OUT YOU ARE NOT BLOCKING 01:14:25.367 --> 01:14:27.367 THE VIEW. SO THAT WAS AN IMPROVEMENT RATHER THAN THERE 01:14:29.367 --> 01:14:31.367 WAS A PROBLEM. >> OKAY. OKAY. 01:14:33.367 --> 01:14:35.367 GREAT. AND THEN JUST GENERAL QUESTIONS. I THINK 01:14:38.367 --> 01:14:40.367 THAT I READ THAT IT HAD 01:14:44.367 --> 01:14:46.367 BEEN PERMITTED FOR THERMAL MOVEMENT BETWEEN THE 01:14:50.367 --> 01:14:52.367 FLOOR AND I WONDER IF THERE WERE CONDITIONS 01:14:54.367 --> 01:14:56.367 THAT YOU PREVIOUSLY TESTED AND IN SOUTHERN CALIFORNIA, 01:14:58.367 --> 01:15:01.367 IT'S HEAT AND SIZEMENT ISSUES. >> THAT IS AN ENGINEERING PART OF IT, AND WE TELL THEM WHEN THE THERMAL 01:15:06.367 --> 01:15:08.367 MOVEMENT TPHAOEFDS MOVEMENT NEEDS 01:15:11.300 --> 01:15:14.300 TO BE BETWEEN THE COLUMNS. AND THIS WHOLE STRUCTURE CONCRETE, IT'S NOT STEEL SO IT WILL HAVE LESS 01:15:17.300 --> 01:15:19.300 MOVEMENT THAN STEEL WOULD, AND THAT WAS TAKEN INTO CONSIDERATION 01:15:20.300 --> 01:15:22.300 AND THE ENERGY THAT WE WERE TALKING ABOUT, ALL OF THAT HAS BEEN CALCULATED 01:15:24.300 --> 01:15:26.300 BECAUSE BEING SOUTHERN CALIFORNIA WE HAVE TO THINK ABOUT ALL OF THAT. 01:15:29.300 --> 01:15:31.300 SO ALL OF THAT HAS, AND THE ENGINEERING PORTION OF THE 01:15:33.300 --> 01:15:35.300 SYSTEM, THAT'S PART OF THE FACADE MANUFACTURER. WE WOULD 01:15:38.300 --> 01:15:40.300 HAVE TO GO BACK TO BUILDING AND SAFETY TO SHOW HOW 01:15:42.300 --> 01:15:44.300 THE ENGINEERING WORKS. 01:15:45.300 --> 01:15:47.300 SO THAT'S PART OF THE PHASE OF CONSTRUCTION. 01:15:50.300 --> 01:15:52.300 AND IT'S ALL ENGINEERED TO MEET THE REQUIREMENTS FOR THE 01:15:53.300 --> 01:15:56.300 STRUCTURAL ENGINEERS. >> AND A FUNCTIONAL QUESTION FOR THE L.E.D.ES. I AM SURE 01:15:59.300 --> 01:16:01.300 IT'S IN HERE AND I PROBABLY MISSED IT. BUT WONDERING ARE 01:16:03.300 --> 01:16:05.300 THEY ONE OR RGB? >> THEY ARE ALL WHITE. 01:16:07.300 --> 01:16:09.300 BUT TODAY, ALL L.E.D.ES YOU CAN -- THEY CAN BE WHITE AND CHANGED 01:16:11.233 --> 01:16:13.233 COLORS IF YOU WANTED TO WITHOUT ANY CHANGING OF 01:16:16.233 --> 01:16:18.233 THE L.E.D. THEY HAVE A BUILT-IN COLOR RENDITION BUT RIGHT 01:16:20.233 --> 01:16:22.233 NOW THEY ARE LOOKING AT IT AS WHITE. 01:16:24.233 --> 01:16:26.233 >> AND I THINK YOU ANSWERED THIS BUT LET'S SAY ONE GOES OUT, AN L.E.D. 01:16:28.233 --> 01:16:30.233 GOES OUT OF AND YOU NEED TO REPLACE IT, YOU JUST UNSCREW THE ROSETTE, 01:16:34.233 --> 01:16:36.233 THE SINGLE ROSETTE 01:16:38.233 --> 01:16:40.233 AND REPLACE IT? 01:16:41.233 --> 01:16:43.233 >> RIGHT. 01:16:44.233 --> 01:16:46.233 >> I HAVE SIMILAR QUESTIONS AS 01:16:48.233 --> 01:16:50.233 OTHER COMMISSIONERS ABOUT CLEANING AROUND THE CURTAIN WALL AND YOU 01:16:53.233 --> 01:16:55.233 CAN DESCRIBE HOW THAT WORKED IN THE 01:16:58.233 --> 01:17:01.233 NEW YORK PROJECT. >> AGAIN, IT'S A SPECIALTY CLEANING CREW THAT DOES THIS AND THEY GO 01:17:06.233 --> 01:17:08.233 THROUGH THE PROCESS OF CLEANING THEM. IT'S 01:17:11.167 --> 01:17:13.167 NOT LIKE YOU SPRAY WATER BUT TAKING YOUR HANDS AND 01:17:17.167 --> 01:17:19.167 WIPING DOWN THE GLASS STRUCTURE. 01:17:20.167 --> 01:17:22.167 BUT IT CAN BE DONE. 01:17:23.167 --> 01:17:25.167 AND THEY ARE VERY KIFERL, SO THEY DON'T LET ANY BUILDING 01:17:28.167 --> 01:17:30.167 RUN DOWN. THERE IS A CONSTANT MAINTAINING OF THE PROGRAM. 01:17:32.167 --> 01:17:34.167 YOU WILL NOT SEE A BUILDING WHERE IT IS DIRTY. THEY 01:17:38.167 --> 01:17:40.167 WON'T DO THAT. 01:17:41.167 --> 01:17:43.167 >> AND OTHER COMMENTS, I KNOW THAT COMMISSIONER MATSON DIDN'T 01:17:46.167 --> 01:17:49.167 LIKE THE ORNATE ENTRANCE. I LIKE THE ORNATE ENTRANCE. 01:17:51.167 --> 01:17:53.167 I THINK IT GIVES SOMETHING TO THE STREET BUT I AGREE IT SEEMS 01:17:54.167 --> 01:17:56.167 LIKE A TOTALLY DIFFERENT DESIGN OF THE BUILDING THAN THE ROOFTOP. 01:17:59.167 --> 01:18:01.167 I DO LIKE THE TILE AND THE LEVEL OF THE FLOORING OF 01:18:05.167 --> 01:18:07.167 THE ROOFTOP WHICH SORT OF IS A COPACABANA FEEL 01:18:10.100 --> 01:18:12.100 OF THE TILE AND THE ORANGE 01:18:16.100 --> 01:18:18.100 IN LINE WITH THE BULGARI BRANDING WITH A POP OF COLOR 01:18:20.100 --> 01:18:22.100 BUT A SEPARATE SPACE THAT DOESN'T MARRY THE REST 01:18:25.100 --> 01:18:27.100 OF THE BUILDING. FOR MY DESIGN AESTHETICS, THAT'S OKAY, 01:18:29.100 --> 01:18:31.100 A COMPLETELY SEPARATE SPACE WITH A SEPARATE FUNCTION FOR EVENTS. 01:18:32.100 --> 01:18:34.100 I DON'T KNOW IF YOU ARE GOING 01:18:38.100 --> 01:18:41.100 TO HAVE SHOWS UP THERE, PRESENTATIONS, DINING, PARTIES EVENTUALLY, AND I LIKE THE POP OF ORANGE ON THERE. 01:18:44.100 --> 01:18:46.100 I DON'T THINK IT WILL BE SO VISIBLE FROM THE STREET THAT 01:18:49.100 --> 01:18:51.100 IT'S GOING TO BE A 01:18:53.100 --> 01:18:55.100 TOTAL MISMATCH WITH THE STREET-FACING FACADE. THESE ARE -- A 01:18:57.100 --> 01:18:59.100 LOT OF QUESTIONS, BUT I THINK PEOPLE ASKED A LOT OF THEM AS WELL. 01:19:03.100 --> 01:19:06.000 I THINK THAT'S IT FOR A MOMENT. >> THANK YOU. 01:19:06.000 --> 01:19:08.000 THANK YOU. EVAN? 01:19:12.100 --> 01:19:14.100 >> THANK YOU. YEAH, THANK YOU. YEAH, NO DOUBT THIS 01:19:16.100 --> 01:19:18.100 IS A REALLY SIGNIFICANT PROJECT ON, YOU KNOW, 01:19:21.100 --> 01:19:23.100 A REALLY IMPORTANT CORNER. 01:19:24.100 --> 01:19:26.100 AND I -- I -- TO ME I THINK IT'S 01:19:30.100 --> 01:19:32.100 A REALLY, REALLY BOLD DESIGN, AND I THINK REALLY 01:19:34.100 --> 01:19:36.100 SUCCESSFULLY REPRESENTS THE BRAND. 01:19:37.100 --> 01:19:39.100 JUST THE DETAILING, THE MATERIALS, AND, 01:19:42.100 --> 01:19:44.100 YOU KNOW, I LIKE IT A LOT. I HAVE SEEN 01:19:46.100 --> 01:19:48.100 THE NEW YORK FLAGSHIP THAT YOU ITSELF, AND I THOUGHT THAT 01:19:50.100 --> 01:19:52.100 WAS REALLY SUCCESSFUL. 01:19:53.100 --> 01:19:55.100 AND I AM EXCITED TO SEE HOW THIS GLASS PLAYS. YOU 01:19:56.100 --> 01:19:58.100 KNOW, THIS IS REALLY GOING TO MAKE IT FEEL LIKE A JEWEL BOX. 01:20:00.100 --> 01:20:02.100 THAT WORD GETS THROWN AROUND QUITE A BIT. BUT THIS REALLY 01:20:05.100 --> 01:20:07.100 DOES, AND I THINK WILL FEEL LIKE A REAL JEWEL BOX. 01:20:11.330 --> 01:20:13.330 AND, YOU KNOW, IT'S -- THERE'S A LOT GOING ON HERE, 01:20:16.330 --> 01:20:18.330 BUT, YOU KNOW, TO ME, THAT'S WHAT MAKES THIS REALLY KIND OF INTERESTING 01:20:22.330 --> 01:20:24.330 AND JUST GENERALLY SPEAKING, YOU KNOW N RETAIL 01:20:26.330 --> 01:20:29.330 IT'S ABOUT CREATING EXPERIENCES. IT'S IMPORTANT FOR SHOPPERS AND STREETS. I MEAN, THIS 01:20:32.330 --> 01:20:34.330 IS NO DOUBT GOING TO BE AN EXPERIENCE WHETHER YOU ARE IN 01:20:38.330 --> 01:20:40.330 THE BUILDING OR WALKING BY. 01:20:42.330 --> 01:20:44.330 AND, YOU KNOW, I THINK IT'S EXACTLY THE KIND OF BUILDING 01:20:47.330 --> 01:20:49.330 THAT, YOU KNOW, WILL BE A GREAT ADDITION TO RODEO AND FRANKLY, 01:20:52.330 --> 01:20:54.330 WHY PEOPLE COME TO VISIT RODEO 01:20:58.330 --> 01:21:00.330 DRIVE. THAT SAID, I HAVE SIMILAR COMMENTS. 01:21:03.330 --> 01:21:05.330 MY BIGGEST CONCERN WAS 01:21:07.330 --> 01:21:09.330 MAINTAINING THE GLASS BEHIND AND MAINTAINING THE ROSETTES. 01:21:10.967 --> 01:21:12.967 IT SOUNDS LIKE THIS WAS ADDRESSED AND YOU HANDLED THAT IN 01:21:15.967 --> 01:21:17.967 NEW YORK, AND YOU USED THE WORD TEDIOUS. I CAN'T IMAGINE 01:21:18.967 --> 01:21:20.967 CLEANING THAT. AND TIM ADDRESSED THE ISSUE OF THAT. 01:21:24.967 --> 01:21:26.967 HAVING ADDITIONAL ROSETTES 01:21:29.967 --> 01:21:31.967 ON HAND IN CASE OF ANY DAMAGE I THINK WILL BE REALLY IMPORTANT. 01:21:34.967 --> 01:21:36.967 AND -- LET'S SEE HERE. THE ORANGE 01:21:38.967 --> 01:21:40.967 FABRIC, WHERE DID THE ORANGE FABRIC COME FROM UP ON THE ROOF? 01:21:42.967 --> 01:21:44.967 >> WELL, WE ARE LOOKING AT HOW -- I MEAN, WE STARTED WITH LOOK AT 01:21:48.967 --> 01:21:50.967 THE TERRACE AND SAY, SHOULD WE PUT JUST UMBRELLAS? AND 01:21:53.967 --> 01:21:56.967 IT ADJUST LOOKED LIKE -- NO. WE CREATED THESE SHADES UP THERE BECAUSE IT WILL GET HOT ON SUMMER 01:22:01.967 --> 01:22:03.967 DAYS TO SIT UP THERE. THE COLOR 01:22:07.967 --> 01:22:09.967 IS SOMETHING THAT BULGARI WAS WORKING 01:22:10.900 --> 01:22:12.900 WITH. STANDING ON THE CORNER, IT WILL CATCH YOUR EYE. 01:22:15.900 --> 01:22:17.900 WE CAN LOOK AT OTHER COLORS, BUT IT 01:22:21.900 --> 01:22:23.900 CAME FROM BASICALLY 01:22:27.900 --> 01:22:29.900 THE BULGARI PEOPLE, THE MERCHANDISING PEOPLE, 01:22:32.900 --> 01:22:34.900 THE COLOR, AND THAT'S WHAT IT'S FOR. IT'S NOT 01:22:37.900 --> 01:22:39.900 A PARTY PER SE WHERE THEY WILL HAVE HUGE EVENTS. 01:22:41.900 --> 01:22:43.900 IT'S A SMALL PRIVATE FUNCTION SPACE. 01:22:44.900 --> 01:22:46.900 SO WE'LL LOOK AT THE COLORS, YOU KNOW, BUT I THINK THE BEIGE 01:22:48.900 --> 01:22:50.900 WILL JUST BLEND IN. YOU WON'T SEE IT. IT JUST 01:22:53.900 --> 01:22:55.900 DISAPPEARS. SO BEIGE OR SOMETHING TIED TO 01:22:58.900 --> 01:23:00.900 THE STONE COLOR, THE TRAVERTINE WILL NOT PUNCH IT OUT. 01:23:03.900 --> 01:23:05.900 WE WILL WORK WITH PETER'S OFFICE AND COME UP WITH SOMETHING, 01:23:07.900 --> 01:23:09.900 AND IF IT'S NOT THE COLOR TO GO WITH, WE WILL COME BACK AND TALK 01:23:12.833 --> 01:23:14.833 TO YOU ABOUT IT, AND TALKING ABOUT 01:23:18.833 --> 01:23:20.833 CLEANING, THE VUITTON STORE, YOU HAVE THE 01:23:22.833 --> 01:23:24.833 RIBBONS IN FRONT OF THE GLASS AND NO ONE HAS SEEN IT DIRTY. 01:23:27.833 --> 01:23:29.833 >> ARE THE RIBBONS REMOVABLE? 01:23:30.833 --> 01:23:32.833 >> THEY ARE HUGE PANELS THAT COME UP. YOU GO UNDERNEATH, 01:23:34.833 --> 01:23:36.833 AND THEY OPEN LIKE THIS AND THEY GO UNDERNEATH AND CLEAN IT. 01:23:39.833 --> 01:23:41.833 BUT IT'S A LENGTHY CLEANING PROCESS. 01:23:42.833 --> 01:23:44.833 WHERE I'M GOING WITH THIS IS THEY, TOO, TAKE 01:23:46.833 --> 01:23:48.833 CARE OF CLEANING THEIR BUILDING. 01:23:49.833 --> 01:23:52.833 >> YEAH. I DON'T DISAGREE. YEAH. I JUST -- MY BIGGEST CONCERN 01:23:57.833 --> 01:23:59.833 IS THE COMPLEXITY OF THAT LATTICE STRUCTURE BUT I THINK 01:24:03.833 --> 01:24:05.833 THE TEAM IN PLACE AND, YOU KNOW, JUST -- 01:24:07.833 --> 01:24:09.833 >> THAT MAKES 01:24:11.767 --> 01:24:13.767 TWO OF US. >> YEAH. 01:24:15.767 --> 01:24:17.767 >> IT IS COMPLEX. AND I DREW MARKUPS. 01:24:18.767 --> 01:24:21.767 >> YEAH. >> SO THERE IS A LOT OF TIME OF AND ENERGY AND MONEY SPENT IN GETTING 01:24:23.767 --> 01:24:25.767 IT RIGHT. >> YEAH. IF THERE WERE A DIFFERENT TEAM IN PLACE BEHIND 01:24:29.767 --> 01:24:31.767 THIS PROJECT, I WOULD PROBABLY HAVE SOME SERIOUS RESERVATIONS. 01:24:32.767 --> 01:24:34.767 BUT, YOU KNOW, OVERALL, I THINK IT'S GOING TO BE JUST A 01:24:37.767 --> 01:24:39.767 STUNNING ADDITION TO THE STREET AND I'M EXCITED TO SEE IT 01:24:43.767 --> 01:24:45.767 COME TO BE. 01:24:48.767 --> 01:24:50.767 >> THANK YOU. 01:24:51.767 --> 01:24:53.767 >> OKAY. I HAVE ENJOYED 01:24:57.767 --> 01:24:59.767 HEARING THE COMMISSIONER COMMENTS AND THANK 01:25:02.767 --> 01:25:04.767 YOU FOR YOUR WONDERFUL RESPONSES AND EXPLAINING 01:25:11.700 --> 01:25:13.700 THEM SO CLEARLY. AND MY INITIAL REACTION IS 01:25:17.700 --> 01:25:19.700 IT'S A LITTLE MESSY. 01:25:20.700 --> 01:25:22.700 THE COLUMNS GOING UP, TO ME IT DOMINATES. 01:25:25.700 --> 01:25:27.700 I THINK I LIKE THE LATTICE WORK, AND I'M INTRIGUED WITH THE DIAMOND 01:25:29.700 --> 01:25:31.700 DESIGN AND I LIKE IT BETTER WHEN I SEE A 01:25:35.700 --> 01:25:37.700 PICTURE LIKE THIS AND IT EXPLAINS IT 01:25:39.700 --> 01:25:41.700 BETTER THAN THE LITTLE PICTURE, AND I DON'T CARE FOR THE SIGNAGE. 01:25:43.700 --> 01:25:46.700 I THINK IT'S BUSY. I SAW IT OVER THERE. IT DIDN'T BOTHER ME THERE, BUT 01:25:51.700 --> 01:25:53.700 IT BOTHERS ME HERE. 01:25:57.700 --> 01:25:59.700 SO THE SELECTION OF THE SIGN, YOU DON'T 01:26:03.700 --> 01:26:05.700 IT WANT TO DOMINATE WHEN THE COLOR IS THE DOMINANT PORTION. 01:26:07.700 --> 01:26:09.700 AND YOU HAVE A LOT OF DIMENSION GOING ON WITH THE DESIGN, 01:26:13.633 --> 01:26:15.633 AND THAT WILL 01:26:18.633 --> 01:26:20.633 DOMINATE AND THE COLUMN PORTION WILL RECEDE. THE ISSUE 01:26:21.633 --> 01:26:23.633 WITH THE ORANGE CANOPY AT THE TOP I REALLY DIDN'T LIKE EITHER. 01:26:26.633 --> 01:26:28.633 AGAIN, I THINK THINGS THAT COME OUT IN VISUALS TO LOOK 01:26:31.633 --> 01:26:33.633 AT LIKE THIS -- SORRY. 01:26:34.633 --> 01:26:36.633 IT DOES PICK UP ON THE COLOR 01:26:40.633 --> 01:26:42.633 BEHIND THE BULGARI SIGN AND PICKS UP ON THE VIGNETTES 01:26:45.633 --> 01:26:48.633 AT THE BOTTOM OF THE DISPLAY. THE EXAMPLE IS A SOFTER COLOR. 01:26:50.633 --> 01:26:52.633 I WOULD LIKE TO SUGGEST THAT YOU LOOK INTO GRAY AND TO PICK UP 01:26:55.633 --> 01:26:57.633 FROM WHAT I 01:27:01.633 --> 01:27:03.633 AM READING OUT OF THE GLASS AND WHAT I'M READING 01:27:05.633 --> 01:27:07.633 WITH THE BUSIER STONE, THERE MAY BE SOMETHING YOU CAN DO, AND IF 01:27:09.567 --> 01:27:11.567 INDEED THE CLIENT WANTS TO STAY WITH THE 01:27:15.567 --> 01:27:17.567 ORANGE, THE SAMPLE 01:27:21.567 --> 01:27:23.567 IS BETTER AND COULD BE SOFTENED DOWN. 01:27:27.567 --> 01:27:29.567 THE EXAMPLE, I THINK WHAT HAPPENS 01:27:36.567 --> 01:27:38.567 WHEN YOU LOOK AT THE VISUAL, FROM THE GROUND, 01:27:44.567 --> 01:27:46.567 YOUR EYE GUESS UP THERE, AND I DON'T LIKE THAT. 01:27:48.567 --> 01:27:50.567 >> AND EVEN IF THE ONE YOU PICK TOMORROW, AND SOMEONE DOESN'T LIKE 01:27:51.567 --> 01:27:53.567 IT, YOU CAN GO BACK AND CHANGE IT. 01:27:55.567 --> 01:27:57.567 >> IT'S NOT A LOT COMPARED TO THE VALUE OF THE REST OF THE SITE. 01:28:01.567 --> 01:28:03.567 >> FOR THREE ME, THAT'S THE EASIEST SOLUTION. 01:28:06.567 --> 01:28:08.567 IF YOU DON'T LIKE IT, WE'LL CHANGE IT. 01:28:09.500 --> 01:28:12.500 >> THAT ONE WILL WORK OUT ALL RIGHT. LET'S SEE WHAT ELSE I HAVE. THE VIGNETTES WHEN 01:28:16.500 --> 01:28:18.500 THE DISPLAYS ARE GROUND LEVEL AND ARE SURROUNDED BY THE TRELLIS 01:28:21.500 --> 01:28:23.500 IF HERE, WHAT'S THE BACKGROUND MATERIAL IN THERE? BECAUSE I CAN'T 01:28:24.500 --> 01:28:27.500 QUITE -- >> YOU MEAN, THE SCREENS THAT YOU SEE THERE? 01:28:27.500 --> 01:28:30.500 >> YES. >> THOSE ARE LIKE A MATERIAL, A VERY LIGHT MATERIAL 01:28:35.500 --> 01:28:37.500 SIMILAR TO THE TRAVERTINE FINISH. 01:28:38.500 --> 01:28:40.500 IT'S A VERY LIGHT FINISH AND THEY HAVE THE DESIGNS IN THE WINDOWS 01:28:43.500 --> 01:28:45.500 AND THE SCREENS CREATE BACKDROP BETWEEN THE INSIDE AND OUTSIDE. 01:28:46.500 --> 01:28:48.500 >> AND YOU WILL SEE THE LIGHT FROM THE INTERIOR OF THE STORE THROUGH 01:28:49.500 --> 01:28:51.500 THEM? >> NOT THROUGH THEM BUT BETWEEN THEM. WHERE YOU SEE THE 01:28:54.500 --> 01:28:56.500 GLASS OPEN, BUT NOT IN BETWEEN. THE SCREENS WILL BLOCK THE LIGHT. YOU WANT TO 01:28:58.500 --> 01:29:00.500 SEE PRODUCTS. YOU DON'T WANT 01:29:03.500 --> 01:29:06.500 TO BE FIGHTING THE PRODUCT. >> THE ACTUAL AREA OF THE DISPLAY IS QUITE SMALL BUT THAT IS TYPICAL. 01:29:09.500 --> 01:29:11.500 >> THE JEWELRY IS SO SMALL, SO YOU HAVE A FEW LARGER SCREENS 01:29:15.500 --> 01:29:17.500 AND SMALLER ONES TO DISPLAY THE DIFFERENT SIZED JEWELRY IN THEM, 01:29:18.500 --> 01:29:20.500 AND YOU CAN SEE THAT, TOO. 01:29:21.500 --> 01:29:23.500 THE JEWELRY BOXES, THE SMALLER ONES 01:29:27.500 --> 01:29:29.500 ON THE CORNER AND THE TWO ENTRANCES. 01:29:31.500 --> 01:29:33.500 >> I LIKE THE SCALE. I LIKE 01:29:34.500 --> 01:29:36.500 THE DIVISION IN SCALE. 01:29:37.500 --> 01:29:39.500 I LIKE THE ENTRY, TOO BUT I DON'T LIKE 01:29:41.500 --> 01:29:43.500 THE LIGHT FIXTURE. I THINK WE CAN DO 01:29:47.500 --> 01:29:49.500 BETTER AND SOMETHING CLEANER WITH THE BEVELED GLASS. I AM 01:29:51.500 --> 01:29:53.500 NOT DOING WELL 01:29:56.500 --> 01:29:58.500 WITH THAT ONE. 01:29:59.500 --> 01:30:01.500 >> WE CAN LOOK 01:30:03.500 --> 01:30:05.500 AT AN ALTERNATE LIGHT FIXTURE. 01:30:09.433 --> 01:30:11.433 >> I THINK THE PARAPET I THINK YOU WANT IT TO GO 01:30:15.433 --> 01:30:17.433 AWAY AND CAP OFF THE BUILDING. >> YES. 01:30:19.433 --> 01:30:21.433 >> I DON'T MIND ANY OF 01:30:25.433 --> 01:30:27.433 THAT CONSTRUCTION BUT I'M HOPING THAT THE TRELLIS 01:30:31.433 --> 01:30:33.433 WILL DOM INA 01:30:40.433 --> 01:30:42.433 NTE. 01:30:43.433 --> 01:30:45.433 >> SAY THE VIP CLIENTS 01:30:48.433 --> 01:30:50.433 ARE COMING OVER BUT IT'S NOT FOR BIG PARTIES. 01:30:53.433 --> 01:30:55.433 >> NO. I WONDERED ABOUT THAT. 01:30:56.433 --> 01:30:58.433 >> BUT IT'S KIND OF IMPORTANT WHAT YOU ARE SAYING. 01:31:01.433 --> 01:31:03.433 YOU LOOK AT THE RENDERING. 01:31:04.433 --> 01:31:06.433 IT'S VERY HARD -- THIS DESIGN AND ROSETTE SYSTEM IS 01:31:07.433 --> 01:31:09.433 VERY HARD TO GET A TRUE LOOK. 01:31:10.367 --> 01:31:12.367 WHEN YOU SEE THE PHOTO YOU GET A BETTER IDEA OF HOW IT GLOWS. 01:31:15.367 --> 01:31:17.367 WHEN I SEE IT AS NIGHT EXPERIMENTING WITH THEM 01:31:21.367 --> 01:31:23.367 IN ROME AND THE 01:31:26.367 --> 01:31:28.367 L.E.D.ES COME ON. AND IT'S VERY EXCITING. AND 01:31:31.367 --> 01:31:33.367 THE PARKING STRUCTURE NEXT DOOR T BALANCES 01:31:36.367 --> 01:31:38.367 BECAUSE THAT'S A HUGE, MONSTEROUS STRUCTURE NEXT DOOR. SO 01:31:40.367 --> 01:31:42.367 WHEN YOU LOOK AT THIS VIEW IT LOOKS BIG AND THEN TO THE OTHER ONE IT 01:31:45.367 --> 01:31:47.367 TIES, AND YOU HAVE CHANEL ACROSS THE STREET AND CARTIER IS 01:31:49.367 --> 01:31:51.367 DOING SOMETHING DIFFERENT. 01:31:52.367 --> 01:31:55.367 SO ALL FOUR CORNERS ARE LOOKING SUBSTANTIALLY TALL. 01:31:56.367 --> 01:31:58.367 >> IT'S GOING TO BE A VERY BEAUTIFUL CORNER WHEN IT'S ALL DONE AND WE 01:32:00.367 --> 01:32:02.367 DON'T HAVE TO LOOK AT THE PARKING STRUCTURES TO THE SAME DEGREE. 01:32:03.367 --> 01:32:05.367 THAT'S HOPEFUL. BUT ANYWAY I WISH YOU AND THE CLIENTS WELL 01:32:09.300 --> 01:32:11.300 WITH THIS AND I THANK YOU FOR THE PRESENTATION TODAY AND IT WAS 01:32:12.300 --> 01:32:14.300 VERY INTERESTING. AND I -- 01:32:16.300 --> 01:32:18.300 >> I WAS HOPING TO BRING A LIGHTED VERSION OF THIS BUT 01:32:22.300 --> 01:32:24.300 THEY DIDN'T SEND ME ONE. 01:32:27.300 --> 01:32:29.300 >> WELL, I'M EXCITED ABOUT IT BUT I HAD MY RESERVATIONS. 01:32:32.300 --> 01:32:34.300 OVERALL I WOULD SAY IF I HAD TO 01:32:36.300 --> 01:32:39.300 PUT AN ADJECTIVE, FUSSY. AND UNDERSTANDING THIS TODAY HAS BEEN HELPFUL TO ME. THANK 01:32:39.300 --> 01:32:42.300 YOU. >> THAT'S WHY I BROUGHT THE PROJECTS. 01:32:43.300 --> 01:32:46.300 THE RENDERINGS ARE NOT ENOUGH. >> YOU ARE ABSOLUTELY RIGHT. 01:32:48.300 --> 01:32:50.300 IT MAKES A BIG DIFFERENCE. 01:32:51.300 --> 01:32:53.300 ANYWAY, THANK YOU AND WE'LL HAVE STAFF CLARIFICATION. 01:32:54.300 --> 01:32:56.300 >> VERY GOOD, COMMISSIONERS. 01:32:57.300 --> 01:32:59.300 I HAVE A FEW COMMENTS WHICH I DON'T THINK THERE 01:33:02.300 --> 01:33:05.300 IS CONSENSUS ON SO I WILL READ THOSE SO THE COMMISSIONERS CAN DISCUSS FURTHER. COMMISSIONER MATSON BROUGHT UP CONCERNS ABOUT 01:33:10.233 --> 01:33:12.233 RECONSIDERATION OF THE GRID DESIGN TO BE MORE RECTANGULAR FOR 01:33:16.233 --> 01:33:18.233 THE ROSETTE PATTERN AND ALSO TO CONSIDER FURTHER 01:33:22.233 --> 01:33:24.233 SIMPLIFICATION OF THE ENTRYWAY TO BE LESS ORNATE AND SCALE 01:33:26.233 --> 01:33:28.233 FOR THE HANGING LIGHT FIXTURE AT ENTRY BUT I ONLY HEARD THOSE COMMENTS 01:33:29.233 --> 01:33:31.233 FROM ONE COMMISSIONER EACH. 01:33:32.233 --> 01:33:34.233 I DON'T KNOW IF WE HAVE CONSENSUS 01:33:36.233 --> 01:33:38.233 ON THOSE THREE. 01:33:39.233 --> 01:33:42.233 >> I WILL SAY THOSE DON'T CONCERN ME. >> OKAY. 01:33:42.233 --> 01:33:44.233 >> THEY DON'T CONCERN ME, EITHER. >> OKAY. 01:33:46.233 --> 01:33:48.233 >> THE SAME. >> OKAY. VERY GOOD. 01:33:49.233 --> 01:33:51.233 >> SORRY. I WOULD CONCUR ON THE COMMENT 01:33:54.233 --> 01:33:56.233 ABOUT THE LIGHT FIXTURE. 01:33:57.233 --> 01:33:59.233 I THINK IT'S TOO ORNATE. 01:34:00.233 --> 01:34:03.233 >> SO TWO COMMISSIONERS HAVE CONCERNS ABOUT THE ENTRY LIGHT FIXTURE. 01:34:04.233 --> 01:34:07.167 >> I WOULD LIKE TO COUNTER THREE OR FOUR COMMISSIONERS. >> BECAUSE YOU ARE THE CHAIR, YES. 01:34:07.467 --> 01:34:09.467 YOU SHOULD. 01:34:10.167 --> 01:34:12.167 I DON'T KNOW IF THAT'S THE RIGHT WORD. DOES ANYONE ELSE 01:34:14.167 --> 01:34:16.167 HAVE A CONCERN 01:34:18.167 --> 01:34:20.167 ABOUT THE ENTRYWAY FIXTURE? 01:34:21.167 --> 01:34:23.167 >> I DO NOT. I THINK IT'S AN 01:34:26.167 --> 01:34:29.167 ACCURATE REFLECTION OF THE BRAND. >> SO NO SPHRGT STUDY. 01:34:32.167 --> 01:34:34.167 THE PROJECT REVIEWED FINAL TO SUBJECT REVIEW AND APPROVAL BY THE FOLLOWING CONDITIONS. 01:34:36.167 --> 01:34:38.167 CONSIDER PLANT MATERIALS ON THE UPPER TERRACE LEVEL AND PROPOSED 01:34:41.167 --> 01:34:43.167 FURNISHINGS AT THIS LOCATION SHALL BE PROVIDED. THE APPLICANT 01:34:47.167 --> 01:34:49.167 SHALL REVIEW CLOSELY THE FINAL COLOR SPECIFICATIONS FOR 01:34:50.167 --> 01:34:52.167 THE AWNING ELEMENT ON THE UPPER TERRACE AREA AND CONSIDER MORE MUTED 01:34:54.167 --> 01:34:56.167 TONES AT THAT LOCATION. 01:34:57.167 --> 01:34:59.167 ALSO, THE APPLICANT SHALL PROVIDE DETAILS AND 01:35:01.167 --> 01:35:03.167 SPECIFICATIONS FOR THE EQUIPMENT ENCLOSURE ON THE THIRD FLOOR ROOF 01:35:06.167 --> 01:35:08.167 AREA AND THE APPLICANT SHALL CORRECT THE WALL DETAIL SHOWN ON YOUR 01:35:12.100 --> 01:35:14.100 PLAN WITH THE GYPSUM RATHER THAN PLASTER ON A-39 AND 01:35:17.100 --> 01:35:19.100 ENSURE DETAILS FOR THE ROSETTES GRAZING MULLIONS ARE INCLUDED IN 01:35:21.100 --> 01:35:23.100 FINAL DRAWINGS; PROVIDE SAMPLES OF THE METAL MESH AND INTERIOR OF 01:35:25.100 --> 01:35:27.100 THE GLASS AREA AT THE STAIRCASE, THE 01:35:31.100 --> 01:35:33.100 FINAL SPECIFICATION FOR THE MATERIAL; AND PROVIDE SPECIFICATION FOR THE 01:35:37.100 --> 01:35:39.100 BACKING OF THE EXTERNAL LATRINE ON THE FACADE. 01:35:40.100 --> 01:35:42.100 >> JUST -- CAN I MAKE A QUICK CLARIFICATION 01:35:47.100 --> 01:35:49.100 ON THE PLANS ON A-33? IF YOU 01:35:52.100 --> 01:35:54.100 CAN PULL IT UP 01:35:58.100 --> 01:36:00.100 ON THE SCREEN, 01:36:04.100 --> 01:36:06.100 I THINK. 01:36:07.100 --> 01:36:09.100 SO THE WEST ELEVATION -- THIS IS 01:36:13.330 --> 01:36:15.330 THE ROOF STRUCTURE OVERLOOKING RODEO, AND FROM 01:36:17.330 --> 01:36:19.330 THERE, THAT WOULD NOT BE STONE. 01:36:20.330 --> 01:36:22.330 THAT WOULD BE -- SO IF YOU ARE LOOKING AT THIS ELEVATION 01:36:25.330 --> 01:36:27.330 ONE, THE WEST ELEVATION, YOU NOTICE THERE IS A GRID LINE 01:36:30.330 --> 01:36:32.330 A ON THE RIGHT SIDE. GRID LINE A, AND JUST TO THE LEFT OF 01:36:35.330 --> 01:36:37.330 IT, THERE IS A HEAVIER LINE LINING UP WITH 01:36:39.330 --> 01:36:41.330 THE ROOF ENCLOSURE. EVERYTHING FROM THERE THAT LOOKS 01:36:45.330 --> 01:36:47.330 HASHED, THAT'S A PLASTER TO MATCH THE STONE FINISH. 01:36:50.330 --> 01:36:52.330 SO THAT -- AT LEAST FROM THE STREET YOU WILL SEE A PORTION OF THE STONE 01:36:54.330 --> 01:36:56.330 AND THEN IT BECOMES PLASTER AS IT GOES OVER THE ROOF. AND 01:36:59.330 --> 01:37:01.330 THE SAME THING WITH THE 01:37:04.330 --> 01:37:06.330 NORTH ELEVATION WHERE THE BOTTOM DOOR 207 IS STONE AND FROM THERE 01:37:08.967 --> 01:37:10.967 PLASTICKING TO THE ROOF AND 01:37:14.967 --> 01:37:16.967 THE TRAVERTINE AROUND THE ENTIRE ROOF. I APOLOGIZE 01:37:20.967 --> 01:37:22.967 IT DIDN'T GET CORRECTED BECAUSE WE SUBMITTED. 01:37:23.967 --> 01:37:25.967 >> THE COMMISSIONERS CAN ASK FOR FURTHER DETAILS REGARDING THE TRANSITION 01:37:28.967 --> 01:37:30.967 FROM TRAVERTINE TO PLASTER ON THE ELEVATION IF YOU'D LIKE. 01:37:35.967 --> 01:37:37.967 >> I WOULD BE CONTENT 01:37:39.967 --> 01:37:41.967 WITH STAFF MAKING THAT DECISION. 01:37:43.967 --> 01:37:45.967 >> OKAY. WE ADDED 01:37:47.967 --> 01:37:49.967 THAT ONE CONDITION. THANK YOU SO MUCH. 01:37:51.967 --> 01:37:54.967 >> NOW I THINK WE ARE READY FOR A MOTION. >> OKAY. 01:37:54.967 --> 01:37:56.967 >> I WILL MAKE A MOTION. 01:37:57.967 --> 01:37:59.967 I MOVE TO ADOPT A RESOLUTION OF THE ARCHITECTURAL 01:38:02.967 --> 01:38:04.967 COMMISSION OF THE CITY OF BEVERLY HILLS APPROVING THE ARCHITECTURAL 01:38:07.967 --> 01:38:09.967 REVIEW FOR CONSTRUCTION OF A THREE-STORY BUILDING AND OUTDOOR 01:38:11.900 --> 01:38:13.900 ROOFTOP AREA ANDIFICATION SIGNS FOR THE PROPERTY LOCATED AT 01:38:17.900 --> 01:38:19.900 401 NORTH RODEO DRIVE AS AMENDED. 01:38:21.900 --> 01:38:23.900 >> I'LL SECOND IT. >> COMMISSIONER PYNOOS? 01:38:25.900 --> 01:38:28.900 >> YES. >> COMMISSIONER MEYER? >> YES. 01:38:28.900 --> 01:38:30.900 >> COMMISSIONER MATSON? 01:38:31.900 --> 01:38:33.900 >> NO. 01:38:34.900 --> 01:38:37.467 >> VICE CHAIR DEVLIN? >> YES. 01:38:37.467 --> 01:38:40.267 >> CHAIR SCHREIBER? >> YES. >> THANK YOU. 01:38:41.900 --> 01:38:44.900 >> SHALL WE TAKE A BREAK NOW? A FIVE MINUTE BREAK, EVERYBODY. 01:38:44.900 --> 01:38:46.900 THANK YOU VERY MUCH. 01:46:52.433 --> 01:46:54.433 >>> THIS IS THE MEETING OF THE ARCHITECTURAL COMMISSION 01:46:57.433 --> 01:46:59.433 OF BEVERLY HILLS, AUGUST 17, 2022, AND 01:47:03.433 --> 01:47:05.433 WE'LL MOVE ON TO THE TO 01:47:09.367 --> 01:47:11.367 THE NEXT PROJECT, 8501 WILSHIRE BOULEVARD, NEW SIGNAGE 01:47:12.367 --> 01:47:14.367 FOR CEDARS-SINAI. 01:47:15.367 --> 01:47:17.367 >> STAFF, I WILL BE PRESENTING THE APPLICANT'S REQUEST 01:47:20.367 --> 01:47:22.367 FOR MORE IDENTIFICATION SIGNS 01:47:26.367 --> 01:47:28.367 FOR THE BUILDING AT 01:47:32.367 --> 01:47:34.367 8501 WILSHIRE BOULEVARD, CEDARS-SINAI 01:47:36.367 --> 01:47:38.367 AT LA CIENEGA BOULEVARD, AND HERE IS THE CONDITION OF THE BUILDING. 01:47:40.367 --> 01:47:42.367 THE PROPOSED BUILDING IDENTIFICATION SIGNS ARE INTENDED 01:47:43.367 --> 01:47:45.367 TO REPLACE THE EXISTING SIGNAGE AS WE SEE HERE FOR 01:47:49.367 --> 01:47:51.367 THE TENANTS' NEW BRANDING LOGO 01:47:54.367 --> 01:47:56.367 AND SIGNAGE AND STYLE. 01:47:57.367 --> 01:47:59.367 YOU HAD PREVIOUSLY REVIEWED SIMILAR LOGOS AND SIGNAGE LOCATED 01:48:02.367 --> 01:48:04.367 THROUGHOUT THE CITY. 01:48:05.367 --> 01:48:07.367 SO THERE WILL BE FEWER BUILDING IDENTIFICATION SIGNS, BOTH 01:48:09.300 --> 01:48:11.300 SIMILAR IN SIZE, 101.2 SQUARE FEET. 01:48:12.300 --> 01:48:14.300 THAT IS BELOW THE MAXIMUM ALLOWABLE PERCENTAGE 01:48:17.300 --> 01:48:19.300 OF THE VERTICAL SURFACE AREA OF 2%. 01:48:22.300 --> 01:48:24.300 SO IT'S 1.03%. AND IT IS SPACE ILLUMINATED WITH A 4-INCH 01:48:28.300 --> 01:48:30.300 DEEP LOGO IN CHANNEL LETTERS WITH AN 01:48:32.300 --> 01:48:34.300 ALUMINUM RETURN PAINTED IN SEMI-GLOSS BLACK AND WILL BE 01:48:38.300 --> 01:48:40.300 IN WHITE ACRYLIC FACE WITH VINYL AND THERE WILL 01:48:44.300 --> 01:48:46.300 BE FACING LA CIENEGA BOULEVARD AND ONE FACING WILSHIRE BOULEVARD. 01:48:48.300 --> 01:48:50.300 AND YOU CAN SEE THE SIDE BY SIDE COMPARISON BETWEEN 01:48:54.300 --> 01:48:56.300 THE USE ELEVATION OF THE EXISTING AND THE PROPOSED. 01:49:01.300 --> 01:49:03.300 AGAIN, HERE IS THE WEST ELEVATION, AND SO THE SIGNAGE PROPOSED 01:49:05.300 --> 01:49:07.300 IS FOR THE BRANDING OF THE COMPANY AS PREVIOUSLY REVIEWED BY THE COMMISSION 01:49:09.300 --> 01:49:11.300 AT OTHER COMMERCIAL LOCATIONS IN THE CITY. OVER ALL, THE 01:49:14.300 --> 01:49:16.300 SIGNAGE IS GENERALLY LIKE FOR LIKE AND REPLACEMENT SIGNAGE 01:49:20.300 --> 01:49:22.300 IS ONLY PROPOSED TO MEET CURRENT APPROPRIATE STANDARDS 01:49:24.300 --> 01:49:26.300 KNOWN AS CEDARS SINAI, AND THAT IS THE REPORT AND 01:49:30.300 --> 01:49:32.300 HAPPY TO ANSWER ANY QUESTIONS. 01:49:33.300 --> 01:49:36.300 >> THANK YOU. ANY EARLY PUBLIC COMMENT? >> NO EARLY COMMENT. 01:49:38.300 --> 01:49:40.300 >> THANK YOU, AND WOULD THE APPLICANT LIKE TO COME FORWARD 01:49:43.300 --> 01:49:45.300 AND PRESENT ANY ADDITIONAL INFORMATION THAT 01:49:49.300 --> 01:49:51.300 WOULD BE HELPFUL? INTRODUCE YOURSELVES AND ADD ANYTHING THAT 01:49:52.300 --> 01:49:54.300 YOU WOULD LIKE TO THE PRESENTATION. 01:49:56.300 --> 01:49:58.300 >> GOOD AFTERNOON. I AM STEVE. 01:50:00.300 --> 01:50:02.300 >> AND I AM AMY. 01:50:03.300 --> 01:50:06.300 I AM THE PROJECT MANAGER AT CEDARS SINAI. >> THANK YOU. 01:50:08.233 --> 01:50:10.233 >> I THINK THE STAFF REPORT PRETTY MUCH COVERS IT. 01:50:12.233 --> 01:50:15.233 >> OKAY. THANK YOU. ANY REMAINING PUBLIC COMMENT? 01:50:18.233 --> 01:50:20.233 >> NO PUBLIC COMMENT. 01:50:22.233 --> 01:50:24.233 >> THANK YOU. WE'LL HAVE COMMISSIONER QUESTIONS NEXT. 01:50:26.233 --> 01:50:28.233 JAMES, WOULD YOU LIKE TO START? >> OKAY. THANK YOU. 01:50:30.233 --> 01:50:32.233 I OF THE TO SAY AGAIN THAT I THINK THE NEW LOGO IS A BIG IMPROVEMENT 01:50:34.233 --> 01:50:36.233 ON THE OLD ONE. THANK YOU. I HAVE A COMMENT 01:50:38.233 --> 01:50:40.233 THAT I THINK BOTH SIGNS WOULD BE LOWER. I THINK THEY 01:50:43.233 --> 01:50:45.233 ARE TIGHT WITH THE PARAPET AND I WOULD MOVE THEM DOWN FIVE OR SIX 01:50:47.233 --> 01:50:49.233 INCHES. THAT'S MY ONLY COMMENT. THANK YOU. 01:50:50.233 --> 01:50:52.233 >> THANK YOU. REBECCA? 01:50:55.233 --> 01:50:57.233 >> I DON'T 01:51:00.233 --> 01:51:02.233 HAVE ANY COMMENTS. MY ONLY THOUGHT ON THE LA CIENEGA SIGN. 01:51:05.233 --> 01:51:07.233 I THINK THE TREE BLOCKS THE CEDARS BUT I AM NOT SURE IT 01:51:10.167 --> 01:51:12.167 MAKES SENSE TO MOVE TO FLUSH LEFT BECAUSE IT WOULD BE IN LINE WITH 01:51:15.167 --> 01:51:17.167 THE SIGN ON THE OPPOSITE SIDE, 01:51:20.167 --> 01:51:22.167 BUT THAT WAS MY ONLY THINKING OF THE POTENTIAL MOVING IT FLUSH LEFT. 01:51:25.167 --> 01:51:28.167 OTHERWISE, I AM TOTALLY FINE WITH IT. >> THANK YOU. TIM? 01:51:31.167 --> 01:51:33.167 >> THANK YOU. I THINK WE ARE EXCITED TO SEE THE NEW LOGO 01:51:36.167 --> 01:51:38.167 MOVED OUT TO THE BUILDINGS, AND I THINK LOOKS GREAT AND LEGIBILITY 01:51:41.167 --> 01:51:43.167 IS IMPROVED, AND I THINK I HAVE THE SAME THOUGHT AS JIMS TO BRING 01:51:44.167 --> 01:51:46.433 THE SIGN DOWN A COUPLE OF INCHES. THAT'S ALL I HAVE. THANK YOU. 01:51:46.433 --> 01:51:48.433 >> THANK YOU. EVAN? 01:51:49.167 --> 01:51:51.167 >> THANK YOU. AND YES, AGREE 01:51:53.167 --> 01:51:55.167 IT'S CLEAN AND MUCH EASIER TO READ AND THE SAME COMMENT ABOUT TIM AND 01:51:58.167 --> 01:52:00.167 JAMES ABOUT BRINGING THE SIGN DOWN TO CENTER IT 01:52:02.167 --> 01:52:05.167 IN THAT HORIZONTAL BAND. ONE OTHER VERY, YOU KNOW, MINOR COMMENT. ON THE COLUMN 01:52:07.167 --> 01:52:09.167 THAT ACTUALLY SITS ON THE HARD CORNER WHERE THE ADDRESS IS, JUST ABOVE 01:52:11.100 --> 01:52:13.100 THAT, IT LOOKS LIKE THERE USED TO BE A LEASING SIGN AND JUST WHILE 01:52:15.100 --> 01:52:17.100 YOU'RE THERE PATCHING AND TOUCHING UP PAINT, IT WOULD BE NICE JUST 01:52:19.100 --> 01:52:21.100 TO ADDRESS THAT ONE LITTLE PIECE JUST ABOVE BECAUSE THAT SIGN IN 01:52:23.100 --> 01:52:25.100 THE PHOTOGRAPH IS NO LONGER THERE, AND IT NEEDS 01:52:28.100 --> 01:52:31.100 TO BE CLEANED. AND NO OTHER COMMENTS. >> THANK YOU. MY COMMENT IS JUST THE SAME. I WOULD 01:52:33.100 --> 01:52:35.100 LOVE TO SEE IT LOWERED DOWN BUT I WAS 01:52:39.100 --> 01:52:41.100 NOT SURE IF THE PRECEDING ATTACHMENT LOCATION IS WHY IT IS WHERE IT IS. 01:52:42.100 --> 01:52:45.100 AND IT LOOK CROWDED BUT SOMETIMES, YOU CAN'T DO ANYTHING ABOUT THAT. 01:52:45.100 --> 01:52:47.100 >> THAT'S THE PROBLEM. 01:52:48.100 --> 01:52:50.100 IF YOU LOOK AT THE EXISTING SIGN, WHAT'S GOING ON THERE IS THAT IT'S 01:52:53.100 --> 01:52:55.100 A SMALL PARAPET. THERE IS NO ACCESS BEHIND THE WALL 01:52:58.100 --> 01:53:00.100 THAT IS LOWER. SO WHAT THEY'VE DONE IS IT'S 01:53:02.100 --> 01:53:04.100 EXPOSED BEHIND THE PARAPET THAT ENCLOSES THE SECONDARY LINING AND 01:53:06.100 --> 01:53:08.100 COMPONENTS TO THE SIGN, AND SO WHAT WE TRIED TO DO IS WE TRIED 01:53:12.330 --> 01:53:14.330 TO LOW ER IT AS MUCH AS WE COULD AND GOING 01:53:16.330 --> 01:53:18.330 FURTHER LEFT WHERE THE STREE, THERE IS NO ACCESS IN THE AREA. 01:53:20.330 --> 01:53:22.330 WE LOOKED INTO THAT. AND UNFORTUNATELY THIS IS WHY WE PLACED 01:53:25.330 --> 01:53:27.330 THE SIGN WHERE IT'S AT, ONLY BECAUSE OF THE BUILDING CONDITION. 01:53:30.330 --> 01:53:32.330 >> THE VISIBILITY, YOU NEVER REALLY SEE IT THIS WAY, 01:53:36.330 --> 01:53:38.330 AND YOU CAN SEE IT SO. 01:53:40.330 --> 01:53:42.330 >> WELL, THANK YOU. I DIDN'T IT WAS GOING TO BE VERY 01:53:45.330 --> 01:53:48.330 MUCH THAT YOU CAN DO. YOU LOOKED INTO THE RACEWAY ISSUE, AND I WAS PRETTY SURE THAT WAS THE 01:53:51.330 --> 01:53:53.330 ISSUE. BUT IT'S A SHAME BECAUSE I LIKE THE SIGNAGE A LOT. 01:53:55.330 --> 01:53:57.330 >> I DO, TOO. I REALLY DO, AND THE ONLY OTHER WAY WE COULD 01:54:00.330 --> 01:54:02.330 DO THAT AND MOST CITIES DON'T LIKE THE LOOK BUT IT 01:54:04.330 --> 01:54:07.330 WE WERE TO HAVE IT EXPOSED OUTSIDE AND HAVE THAT MOUNTED. YOU CAN ACTUALLY SEE THE BLOCKS. 01:54:08.967 --> 01:54:10.967 SO THE CLEANEST LOOK IS WHAT WE'RE PROPOSING AND AGAIN, 01:54:13.967 --> 01:54:15.967 IT'S BECAUSE OF THE CONDITION OF THE BUILDING. 01:54:20.967 --> 01:54:22.967 I MEAN, CONSIDER THAT. 01:54:23.967 --> 01:54:26.967 >> I UNDERSTAND. ALL RIGHT. WELL, I THINK THAT. 01:54:27.967 --> 01:54:29.967 >> THIS IS JAMES. I HAVE ONE QUESTION. WOULD IT 01:54:31.967 --> 01:54:33.967 BE POSSIBLE TO LOWER THE LOGO A LITTLE BIT? OR 01:54:35.967 --> 01:54:37.967 DOES THAT RUIN THE BRANDING? 01:54:39.967 --> 01:54:41.967 >> DOES THAT RUIN THE BRANDING? 01:54:42.967 --> 01:54:44.967 >> UNFORTUNATELY, THAT'S ABOVE MY PAY GRADE BUT, YEAH. 01:54:48.967 --> 01:54:50.967 THERE IS A MOCK UP 01:54:52.967 --> 01:54:54.967 THAT IS CONSISTENT IN OTHER OPERATIONS. >> THANK YOU. 01:54:55.967 --> 01:54:58.967 >> MAY WE HAVE A STAFF SNRPT. >> COMMISSIONERS WILL ASK THEM TO STILL STUDY THE ISSUE OF REDUCING 01:55:00.967 --> 01:55:02.967 THE HEIGHT OF THE SIGN ANNUAL OR NOT? >> YES. 01:55:03.967 --> 01:55:05.967 >> OKAY. IF THEY CAN WHEN THEY GET INTO 01:55:09.900 --> 01:55:11.900 THE TECH OFIT, IT MAY BE POSSIBLE AND WE'LL LOOK TO YOU, 01:55:13.900 --> 01:55:15.900 SO THE PROJECT IS APPROVED SUBJECT TO THE FINAL 01:55:19.900 --> 01:55:21.900 REVIEW AND APPROVAL OF THE CONDITIONS OF 01:55:23.900 --> 01:55:25.900 STUDYING SHIFTING DOWN THE SIGNAGE TO BETTER FIT AT THIS LOCATION AND 01:55:27.900 --> 01:55:29.900 TO BE CENTERED ON THAT PORTION OF THE BUILDING WITHOUT AN EXTERNAL 01:55:32.900 --> 01:55:34.900 RACEWAY, AND ALSO, REVIEW AREAS FOR PAINT TOUCH UP UNDER THE PREVIOUS 01:55:37.900 --> 01:55:39.900 SIGNAGE ET CETERA. THANK YOU. 01:55:41.900 --> 01:55:43.900 >> AND THANK YOU. MAY WE HAVE A MOTION. 01:55:45.900 --> 01:55:47.900 >> YES. I MOVE TO ADOPT THE RESOLUTION OF THE ARCHITECTURAL 01:55:49.900 --> 01:55:51.900 COMMISSION OF THE CITY OF BEVERLY HILLS CONDITIONALLY APPROVING 01:55:54.900 --> 01:55:56.900 AN ARCHITECTURAL REVIEW TO ALLOW THE 01:56:00.900 --> 01:56:02.900 SIGN A COMPLICATION FOR MULTIPLE BUILDING IDENTIFICATION SIGNS FOR 01:56:04.900 --> 01:56:07.833 THE BUILDING AT 8501 WILSHIRE BOULEVARD AS AMENDED. >> THANK YOU. SECOND? 01:56:07.833 --> 01:56:09.833 >> SECOND. 01:56:10.833 --> 01:56:12.833 >> THANK YOU AND MAY WE HAVE A ROLL CALL? 01:56:14.833 --> 01:56:16.867 >> COMMISSIONER PYNOOS? >> YES. 01:56:16.867 --> 01:56:19.333 >> COMMISSIONER MEYER? >> YES. >> COMMISSIONER MATSON? 01:56:19.833 --> 01:56:22.700 >> YES. >> VICE CHAIR DEVLIN? >> YES. >> CHAIR SCHREIBER? 01:56:23.833 --> 01:56:25.833 >> YES. AND THANK YOU VERY MUCH. WE'LL LOOK 01:56:28.833 --> 01:56:30.833 FORWARD TO SEEING THE NEW SIGNAGE. 01:56:31.833 --> 01:56:33.833 IT'S QUITE AN IMPORTANT CORNER, THAT ONE. 01:56:36.833 --> 01:56:38.833 THANK YOU VERY MUCH, AND WE ARE MOVING ON TO 9701 WILSHIRE. 01:56:41.833 --> 01:56:43.833 WE SEEM TO BE GIVING WILSHIRE A LOT OF ATTENTION. MAY 01:56:46.833 --> 01:56:48.833 WE HAVE A STAFF REPORT, PLEASE 01:56:50.833 --> 01:56:52.833 >> CHAIRS AND MEMBERS OF THE COMMISSION I WILL BE PRESENTING 01:56:55.833 --> 01:56:57.833 THE ARCHITECTURAL REVIEW WITH THE BUSINESS IDENTIFICATION SIGN 01:57:01.833 --> 01:57:03.833 FOR POLESTAR LOCATED 01:57:07.767 --> 01:57:09.767 AT 9701 WILSHIRE BOULEVARD LOCATED AS HIGHLIGHTED HERE IN ORANGE. 01:57:11.767 --> 01:57:13.767 SO THIS BUILDING IS 01:57:17.767 --> 01:57:19.767 DESIGNED BY A 01:57:23.767 --> 01:57:25.767 MASTER ARCHITECT ANTHONY LUNSDEN IN 1973 AND IS ELIGIBLE FOR THE 01:57:27.767 --> 01:57:29.767 NATIONAL REGISTER AND THE POST WORLD WAR II MODERN OFFICE BUILDINGS IN 01:57:32.767 --> 01:57:34.767 THE CITY'S SWEPT 06 HISTORIC SURVEY, AND THAT'S THE FUN FACT OF THAT, 01:57:37.767 --> 01:57:39.767 AND THE APPLICANT IS REQUESTING THE REVIEW OF THE BUSINESS IDENTIFICATION 01:57:41.767 --> 01:57:43.767 SIGN. THE SIGN IS GREATER IN SIGN AREA AND HEIGHT 01:57:47.767 --> 01:57:49.767 THAN WHAT IS TYPICALLY APPROVED ADMINISTRATIVELY 01:57:51.767 --> 01:57:53.767 BY STAFF, 25 FEET AND 12 INCHES IN LETTER HEIGHT AND LOCATED 01:57:57.767 --> 01:57:59.767 ADJACENT TO THE MAIN ENTRANCE FACING WILSHIRE 01:58:02.767 --> 01:58:04.767 BOULEVARD AND ADHERED TO THE 01:58:08.700 --> 01:58:10.700 FOREFRONT WINDOW WITH 429 SQUARE FEET 01:58:14.700 --> 01:58:16.700 OF THE TOTAL WINDOW AREA. THE TOTAL 01:58:18.700 --> 01:58:20.700 SIGN IS 83 SQUARE FEET AND 01:58:24.700 --> 01:58:26.700 IS ORANGE AND WHITE FOULED AND WITH STREET FRONTAGE THAT MAY 01:58:29.700 --> 01:58:31.700 ERECT A BUSINESS IDENTIFICATION SIGN LOCATED AT THE 01:58:34.700 --> 01:58:36.700 ENTRANCE AT TWO SQUARE FEET PER ONE FOOT AND SO, 01:58:39.700 --> 01:58:41.700 THE PROPOSED BUSINESS IDENTIFICATION SIGN COMPLIED WITH THIS WITH THE 01:58:45.700 --> 01:58:47.700 MAXIMUM SIGN AREA OF 81.32 AND 01:58:50.700 --> 01:58:52.700 BELOW THE 100 SQUARE FEET MAXIMUM ALLOWABLE SIGN AREA. 01:58:54.700 --> 01:58:56.700 SO THAT IS THE RENDERING. 01:58:57.700 --> 01:58:59.700 AND HERE IS THE DIMENSIONS LAID OUT FOR YOU. 01:59:02.700 --> 01:59:04.700 AND SO THE SIGNAGE IS UNIQUE AND CONTEMPORARY IN NATURE 01:59:06.767 --> 01:59:08.767 AS IT IS PLACED ON THE INTERIOR 01:59:11.700 --> 01:59:13.700 BEHIND THE GLAZING OF THE BUILDING AT THIS LEVEL. THAT CONCLUDES 01:59:14.700 --> 01:59:16.700 THE STAFF REPORT. I AM MORE THAN HAPPY TO 01:59:17.700 --> 01:59:20.700 ANSWER ANY QUESTIONS. THANK YOU. 01:59:21.700 --> 01:59:23.700 >> THANK YOU. ANY EARLY PUBLIC COMMENTS? >> NO EARLY COMMENTS. 01:59:25.700 --> 01:59:27.700 >> THANK YOU. WOULD THE APPLICANT LIKE TO COME FORWARD AND 01:59:28.700 --> 01:59:30.700 INTRODUCE YOURSELF? >> YES. THE APPLICANT IS ON YOUR TELEVISION. 01:59:31.700 --> 01:59:33.700 >> OKAY. THANK YOU. 01:59:37.700 --> 01:59:39.700 >> HELLO. I AM TOM LEVIN AND REPRESENT THE 01:59:42.700 --> 01:59:44.700 APPLICANT WHICH IS GALPIN MOTORS. 01:59:45.700 --> 01:59:47.700 GALPIN MOTORS IS ONE OF THE LARGEST AUTO DEALERSHIPS IN 01:59:51.700 --> 01:59:53.700 THE WORLD, AND POLESTAR IS THE LUXURY ELECTRIC CAR OF VOLVO. 01:59:57.700 --> 01:59:59.700 AND GALPIN FOR MOTORS WILL BE 02:00:04.700 --> 02:00:07.700 THE EXCLUSIVE DISTRIBUTOR FOR POLESTAR AND THE FIRST DEALERSHIP IN SOUTHERN CALIFORNIA TO DO THAT. 02:00:09.633 --> 02:00:11.633 SO WHAT WE HAVE PROPOSED ON THE BUILDING IS 02:00:14.633 --> 02:00:16.633 A SIGN TO -- A BUSINESS IDENTIFICATION SIGN TO IDENTIFY POLESTAR WHICH 02:00:18.633 --> 02:00:20.633 IS VERY IMPORTANT BECAUSE THIS USED TO BE THE LEXUS SHOWROOM UNTIL 02:00:23.633 --> 02:00:25.633 LEXUS MOVED INTO THE CURRENT LOCATION AT BEVERLY AND 02:00:32.633 --> 02:00:34.633 -- AT WILSHIRE AND MABEL. 02:00:35.633 --> 02:00:37.633 >> THANK YOU. ANY REMAINING PUBLIC COMMENT? 02:00:38.633 --> 02:00:41.633 >> NO PUBLIC COMMENTS. >> THANK YOU. WE'LL MOVE ON TO COMMISSIONER QUESTIONS, THEN. 02:00:45.633 --> 02:00:48.633 REBECCA, WOULD YOU LIKE TO START THIS ONE? >> SURE. I ACTUALLY DON'T HAVE -- I DON'T HAVE ANY QUESTIONS. 02:00:51.633 --> 02:00:54.633 I JUST HAVE COMMENTS. IF I GO AHEAD AND MAKE A COMMENT OR SAVE THOSE? 02:00:57.633 --> 02:00:59.633 I HAPPEN TO LIKE IT. I THINK THAT 02:01:01.633 --> 02:01:03.633 TO ME THE ORANGE COLOR POPS OUT. 02:01:04.633 --> 02:01:06.633 TO ME, THIS IS NOT THE MOST HEAVILY LIKE FOOT 02:01:10.567 --> 02:01:12.567 TRAFFICKED AREA OF THE CITY BUT IT'S 02:01:14.567 --> 02:01:16.567 A HEAVY VEHICLE TRAFFIC AREA AND IT WILL BE EYE CATCHING 02:01:20.567 --> 02:01:22.567 FOR THE VEHICLES DRIVING BY TO NOTICE THIS, 02:01:26.567 --> 02:01:28.567 AND I THINK IT'S ATTRACTIVE AND HOPE IT WILL BRING BUSINESS TO POLESTAR. 02:01:33.567 --> 02:01:35.567 >> OKAY. 02:01:36.567 --> 02:01:38.567 THANK YOU. EVAN? 02:01:40.567 --> 02:01:42.567 >> SURE. 02:01:43.567 --> 02:01:46.567 THANK YOU. AND THIS IS WHAT I STRUGGLE WITH. 02:01:48.567 --> 02:01:50.567 AT FIRST GLANCE, IT WAS MORE 02:01:54.567 --> 02:01:56.567 OF A TEMPORARY SIGN WHEN THE 02:01:59.567 --> 02:02:01.567 STORES ARE BEING CONSTRUCTED. 02:02:02.567 --> 02:02:04.567 THE MORE I LOOKED AT IT, I COULDN'T 02:02:08.500 --> 02:02:10.500 COME UP WITH A BETTER SOLUTION WITH A 02:02:12.500 --> 02:02:14.500 CURVED FACADE AND HISTORIC NATURE AND SETBACK FROM THE 02:02:18.500 --> 02:02:20.500 STREET, THERE IS REALLY IS NO OTHER WAY TO 02:02:21.500 --> 02:02:24.500 CREATEIFICATION. CREATE IDENTITY. I AM IN SUPPORT OF THIS. 02:02:25.500 --> 02:02:27.500 AND ONE THING I ASK IS MAYBE THEY CONTINUE TO STUDY AND 02:02:30.500 --> 02:02:33.500 COME UP WITH A MORE PERMANENT SOLUTION, WHETHER A MONUMENT SIGN AT SOME POINT IN THE FUTURE BUT OTHER THAN THAT, 02:02:38.500 --> 02:02:40.500 I'M IN SUPPORT, AND NO FURTHER COMMENTS OR QUESTIONS. 02:02:41.500 --> 02:02:43.500 >> OKAY. THANK YOU VERY MUCH, EVAN. TIM? 02:02:44.500 --> 02:02:46.500 >> THANK YOU. I THINK IT'S QUITE A 02:02:50.500 --> 02:02:52.500 CHANGE FROM THE -- WHEN LEXUS OCCUPIED THIS SPACE. I HAD TROUBLE 02:02:53.500 --> 02:02:55.500 WITH THE COLOR BUT I THINK AFTER KIND OF LOOKING AT IT IN CONTEXT, 02:02:58.500 --> 02:03:00.500 I AM OKAY WITH IT. 02:03:01.500 --> 02:03:03.500 MY ONLY COMMENT IS TO CONSIDER MAYBE ADJUSTING THE 02:03:05.500 --> 02:03:07.500 SIGN'S LETTERS SO THAT THE MULLION CUTS LETTERS 02:03:11.433 --> 02:03:13.433 AT A MORE EVEN SPACING. 02:03:14.433 --> 02:03:16.433 IT'S A LITTLE DISTRACTING TO SEE THE CUTS 02:03:17.433 --> 02:03:19.433 HAPPENING IN DIFFERENT POINTS IN THE LETTERS. I AM NOT 02:03:20.433 --> 02:03:22.433 SURE IF THAT'S POSSIBLE BUT I WOULD LIKE TO SEE THAT. THANK 02:03:23.533 --> 02:03:25.533 YOU. >> THANK YOU. JIMS? 02:03:26.433 --> 02:03:28.433 >> YES. THANK YOU. 02:03:29.433 --> 02:03:31.433 I THINK IT'S CONTEMPORARY AND BOLD, AND MY 02:03:35.433 --> 02:03:37.433 ONLY COMMENT, ON THE RENDERING IT LOOKS LIKE IT'S BISECTING BUT ON 02:03:39.433 --> 02:03:41.433 THE DRAWINGS, IT LOOKS LIKE IT'S BETWEEN THE LETTERS, AND I WANT 02:03:42.433 --> 02:03:45.167 TO MAKE SURE THAT THE DRAWINGS ARE CORRECT AND NOT THE RENDERING. >> YES. >> OKAY. GOOD. 02:03:45.433 --> 02:03:47.433 THANK YOU. 02:03:48.433 --> 02:03:50.433 >> THANK YOU, AND I AGREE WITH THE EARLIER COMMENTS. 02:03:51.433 --> 02:03:53.433 I LIKE THIS. I THINK IT'S DIFFERENT. 02:03:55.433 --> 02:03:57.433 THE BUILDING IS VERY ELEGANT, A VERY INTERESTING BUILDING. 02:04:00.433 --> 02:04:02.433 I THINK 02:04:04.433 --> 02:04:06.433 THIS IS COMPLEMENTARY. STAFF CONDITIONS, PLEASE? 02:04:09.367 --> 02:04:11.367 >> APPROVED SUBJECT TO FINAL REVIEW AND APPROVAL OF THE 02:04:12.367 --> 02:04:15.367 FOLLOWING CONDITIONS. THE APPLICANT SHALL STUDY IN THE FUTURE A MORE PERMANENT SIGN PROGRAM 02:04:19.367 --> 02:04:21.367 TO RETURN TO THE ARCHITECTURAL COMMISSION FOR A REVIEW 02:04:25.367 --> 02:04:27.367 AND THE SIGNAGE FOR OPTIMUM ALIGNMENT. 02:04:28.367 --> 02:04:30.367 THOSE ARE THE CONDITIONS. 02:04:31.367 --> 02:04:34.367 >> THANK YOU. MAY WE HAVE A MOTION? >> I CAN MAKE A MOTION. 02:04:38.367 --> 02:04:41.367 >> SORRY TO INTERRUPT YOU, JAMES. I WANT TO MAKE SURE THAT THE STUDY OF FUTURE SIGNAGE IS JUST 02:04:42.800 --> 02:04:44.433 A SUGGESTION. >> THAT'S CORRECT. NO. 02:04:46.367 --> 02:04:48.367 THEY DON'T HAVE TO DO IT BUT SOMETHING 02:04:50.367 --> 02:04:52.367 FOR THEM TO CONSIDER, YES. >> JIMS? 02:04:53.367 --> 02:04:55.367 >> I MOVE TO ADOPT THE RESOLUTION OF THE ARCHITECTURAL COMMISSION 02:04:57.367 --> 02:04:59.367 OF THE CITY OF BEVERLY HILL, APPROVING AN ARC 02:05:02.367 --> 02:05:04.367 TEREK RAIL REVIEW FOR THE BUSINESS SIGN 02:05:11.300 --> 02:05:13.300 LOCATED AT 9701 WILSHIRE BOULEVARD. 02:05:13.900 --> 02:05:15.933 >> SECONDED. >> COMMISSIONER PYNOOS? 02:05:16.833 --> 02:05:18.667 >> YES. >> COMMISSIONER MEYER? 02:05:19.267 --> 02:05:20.967 >> YES. >> COMMISSIONER MATSON? 02:05:22.300 --> 02:05:24.567 >> YES. >> VICE CHAIR DEVLIN? >> YES. >> CHAIR SCHREIBER? 02:05:26.300 --> 02:05:28.300 >> YES. THANK YOU VERY MUCH. 02:05:30.300 --> 02:05:32.300 >> THANK YOU VERY MUCH. 02:05:33.300 --> 02:05:35.300 >> AND WE WILL NOW MOVE ON TO 02:05:39.300 --> 02:05:41.300 THE NEXT PROJECT ACCUSED 139 SOUTH BEVERLY DRIVE, THE 02:05:44.300 --> 02:05:46.300 DEAN TO STOCKTON MURAL. >> CHAIR AND MEMBERS. 02:05:48.300 --> 02:05:50.300 COMMISSION I WILL BE PRESENTING THE APPLICANT'S REQUEST 02:05:51.300 --> 02:05:53.300 FOR THE INSTALLATION OF A MURAL LOCATED AT 139 SOUTH BEVERLY 02:05:56.300 --> 02:05:58.300 DRIVE. THIS PROJECT SITE IS LOCATED JUST SOUTH OF WILSHIRE 02:06:02.300 --> 02:06:04.300 BOULEVARD ALONG SOUTH 02:06:07.233 --> 02:06:09.233 BEVERLY DRIVE HIGHLIGHTED HERE. 02:06:10.233 --> 02:06:12.233 THIS WAS THE PREVIOUSLY EXISTING SITE. 02:06:14.233 --> 02:06:17.233 IT WAS A BARE BRICK BUILDING. THIS IS THE ELEVATION FACING 02:06:22.233 --> 02:06:24.233 THE PARKING LOT OF THE BUILDING. SO ON JULY 02:06:25.233 --> 02:06:27.233 27, 2022, THE APPLICANT WAS ISSUED A SPECIAL EVENTS PERMIT FOR 02:06:34.233 --> 02:06:36.233 THE INSTAYLATION OF A MURAL BYARTIST DEAN STOCKTON WITH A RIBBON CUTTING 02:06:40.233 --> 02:06:42.233 EVENT, THEREFORE, IT'S UNDER A SPECIAL EVENTS PERMIT WHICH EXPIRES 02:06:43.233 --> 02:06:45.233 AUGUST 25, 2022. IF YOU GO TO THE SITE, IT'S EXISTING, AND 02:06:48.233 --> 02:06:51.233 IT HAPPENED HAS BEEN INSTALLED. THE APPLICANT IS REQUESTING THAT THE MURAL BE APPROVED BY THE 02:06:55.233 --> 02:06:57.233 ARCHITECTAL COMMISSION IN ORDER TO MAINTAIN THE LARGE 02:07:01.233 --> 02:07:03.233 GRAPHIC DESIGN BEYOND THE PERMIT EXPIRATION. SHOULD THE 02:07:05.233 --> 02:07:07.233 COMMISSION DECLINE TO APPROVE THE EXTENSION IT WILL BE REMOVED UPON 02:07:10.167 --> 02:07:12.167 THE EXPIRATION OF THE SPECIAL EVENTS PERMIT. THIS 02:07:14.167 --> 02:07:16.167 IS TO HAVE THE ARCHITECTURAL COMMISSION REVIEW WHAT IS EXISTING. 02:07:18.167 --> 02:07:20.167 THE MURAL IS LOCATED ON THE NORTH ELEVATION OF THE COMMERCIAL 02:07:22.167 --> 02:07:24.167 BUILDING LOCATED ON SOUTH BEVERLY DRIVE. THE MURAL SPANS 02:07:27.167 --> 02:07:29.167 THE ENTIRETY OF THE NORTH ELEVATION AND FACES 02:07:32.167 --> 02:07:34.167 THE PARKING LOT AREA. 02:07:38.167 --> 02:07:40.167 THE MURAL IS BY DEAN STOCKTON 02:07:44.167 --> 02:07:46.167 AND NO BUSINESS OR IDENTIFICATION SIGNAGE OR LOGOS ARE PLACED 02:07:50.167 --> 02:07:52.167 WITHIN THE MURAL. THE ARCHITECTURAL COMMISSION MAY 02:07:56.167 --> 02:07:58.167 GRANT THE SIGN ACCOMMODATION OR CONTINUOUS OF 02:08:01.167 --> 02:08:03.167 THIS MURAL. SO, AGAIN, THIS PROPOSAL IS UP FOR REVIEW FOR 02:08:05.167 --> 02:08:07.167 THE COMMISSION AS THE PROJECT WAS APPROVED WITH A SPECIAL EVENT PERMIT 02:08:10.100 --> 02:08:12.100 FOR A LIMITED 02:08:16.100 --> 02:08:18.100 TIME. THE COMMISSIONERS WILL RENDER A DECISION AND COMMENTS 02:08:21.100 --> 02:08:23.100 ON THE MAINTENANCE OF THE ART 02:08:27.100 --> 02:08:29.100 PIECE AND SHOULD THE ARCHITECTURAL COMMISSION 02:08:33.100 --> 02:08:35.100 DECLINE THE APPROVAL, THE MURAL WILL BE 02:08:39.100 --> 02:08:41.100 REMOVED UPON THE EXPIRATION OF THE PERMIT. 02:08:43.100 --> 02:08:46.100 >> THANK YOU. DO WE HAVE EARLY COMMENTS? >> WE DO NOT HAVE EARLY COMMENTS ON THIS ITEM. 02:08:48.100 --> 02:08:50.100 >> WOULD THE APPLICANT LIKE TO COME FORWARD AND SPEAK TO 02:08:51.100 --> 02:08:54.100 US FURTHER ABOUT THIS? >> SURE. 02:08:56.100 --> 02:08:58.100 >> THANK YOU AND INTRODUCE YOURSELF. 02:09:01.100 --> 02:09:03.100 >> I'LL START. HI, EVERYONE. 02:09:04.100 --> 02:09:06.100 I'M WARN -- WARREN BRAND. 02:09:10.100 --> 02:09:12.100 I HAVE A COMPANY CALLED BRANDED ART. FOR 13 YEARS WE HAVE 02:09:14.100 --> 02:09:16.100 OVER SEEN 600 PUBLIC ART PROJECTS IN 60 CITIES AROUND THE WORLD AND 02:09:18.100 --> 02:09:20.100 I HAVE BEEN SO FORTUNATE TO WORK WITH INCREDIBLE ARTISTS FROM AROUND 02:09:22.100 --> 02:09:24.100 THE WORLD. BUT WE HAVE A SPECIFIC DEDICATION TOWARDS 02:09:28.100 --> 02:09:30.100 GIVING BACK IN ART AT SCHOOLS AND YOUTH CENTERS AND BOYS 02:09:32.100 --> 02:09:34.100 AND GIRLS CLUB, AND BORN AND RAISED IN SANTA MONICA, BUT A LOT OF MY 02:09:38.100 --> 02:09:40.100 FRIENDS AND COLLEAGUES ARE HERE IN 02:09:43.100 --> 02:09:45.100 BEVERLY HILLS. I GOT INVITED TO DO A PRESENTATION AT 02:09:49.100 --> 02:09:51.100 THE ROTARY CLUB AND I HAVE BEEN INVITED BACK AT SIX INSTALLATIONS, 02:09:55.100 --> 02:09:57.100 AND WE DID AN INSTALLATION AT 02:10:00.100 --> 02:10:03.100 A SCHOOL WITH A CONTEMPORARY PAINTING. AND DURING MY TIME WITH THE ROTARY CLUB WE DECIDED 02:10:08.330 --> 02:10:10.330 LET'S CREATE A LEGACY MURAL IN BEVERLY HILLS TO ENGAGE COMMUNITY 02:10:14.330 --> 02:10:16.330 MEMBERS AND BRING IN A WORLD FAMOUS ARTIST TO ENGAGE 02:10:18.330 --> 02:10:20.330 COMMUNITY MEMBERS TO ENGAGE AND STAY UP IN PERPETUITY AND 02:10:22.330 --> 02:10:24.330 HOPEFULLY ENRICH THE COMMUNITY FOR MANY YEARS TO COME, AND 02:10:28.330 --> 02:10:30.330 I WAS WORKING WITH THE THEN-PRESIDENT AND SEASONED PRESSMAN AND I DON'T 02:10:32.330 --> 02:10:34.330 KNOW IF YOU HAVE SEEN THE LETTERS 02:10:37.330 --> 02:10:39.330 BUT I MET MR. HAKIM HERE AND HE SAID I HAVE A BUILDING, MY FAMILY 02:10:43.330 --> 02:10:45.330 AND MY BROTHER ON SOUTH BEVERLY DRIVE 02:10:50.330 --> 02:10:52.330 COULD BE A GOOD LOCATION FOR YOUR LEGACY PROJECT. 02:10:55.330 --> 02:10:57.330 HE DID MENTION THAT HEY, YOU KNOW WHAT? WE MIGHT BE 02:11:00.330 --> 02:11:02.330 REDEVELOPING THE PARKING LOT AND DOING SOMETHING THERE AND 02:11:05.330 --> 02:11:07.330 LEADING US TO THE LOCATION WOULD NOT BE GOOD ENOUGH FOR THE 02:11:08.967 --> 02:11:10.967 LEGACY PROJECT BECAUSE WE COULD NOT GUARANTEE IT WOULD 02:11:12.967 --> 02:11:14.967 BE HERE IN PERPETUITY OR WOULD BE TAKEN DOWN. SHE'S NOT 02:11:16.967 --> 02:11:18.967 SURE WHAT HE WILL TAKEN DOWN THE LOT YET BUT 02:11:22.967 --> 02:11:24.967 PRETTY SOON. 02:11:26.967 --> 02:11:28.967 AND THEN SOMETHING MAGICAL HAPPENED. PEOPLE SAY, HEY, WARREN, WE HAVE A WORLD FAMOUS 02:11:33.967 --> 02:11:35.967 ARTIST COMING TO THE THE AREA AND DEAN STOCKTON IS WORLD FAMOUS 02:11:37.967 --> 02:11:39.967 AND FROM LONDON -- I WILL BE RESPECTFUL OF YOUR 02:11:43.967 --> 02:11:46.967 YOUR TIME AND NOT TALK ALL DAY. >> YOU ARE DOING GREAT. 02:11:47.967 --> 02:11:49.967 >> I ASKED MICHAEL, WHAT DO YOU THINK OF THE WORK? HE 02:11:51.967 --> 02:11:53.967 SAID I THINK IT'S AMAZING BUT HE IS COMING NEXT MONTH AND WE WON'T 02:11:55.967 --> 02:11:57.967 HAVE THE TIME TO GO THROUGH THE FORMAL PROCESS, AND I WANT TO APOLOGIZE 02:11:59.967 --> 02:12:01.967 TO EVERYONE HERE BECAUSE WE WERE NOT ABLE TO GO THROUGH THE PROCESS 02:12:05.967 --> 02:12:07.967 FORMALLY, AND WE HAD SUCH A GREAT OPPORTUNITY TO BRING THIS 02:12:10.900 --> 02:12:12.900 INCREDIBLE PAINTER TO THE COMMUNITY ON A TEMPORARY BASIS. 02:12:14.900 --> 02:12:16.900 AND GOING FORWARD ON THE LEGACY PROJECT WHICH I AM HOPING TO DO 02:12:18.900 --> 02:12:20.900 WE WOULD GO THROUGH THE FORMAL PROCESS WITH THE PROPER TIMELINE TO HAVE 02:12:22.900 --> 02:12:24.900 EVERYONE PROVIDE FEEDBACK ON THE DESIGN WHEN IT COMES IN. 02:12:25.900 --> 02:12:27.900 IN THIS CASE WE WENT BACK AND FORTH ON THE DESIGN, AND WE WANTED TO 02:12:29.900 --> 02:12:31.900 MAKE SURE THAT THE COLORS ARE LUXURIOUS. THERE IS A DESCRIPTION, AND I AM NOT SURE IF EVERYONE HAD 02:12:36.900 --> 02:12:38.900 A CHANCE TO READ THE RATIONALE, BUT IT'S ABOUT ROMANTIC 02:12:39.900 --> 02:12:41.900 LONGING AND IT HAS A MYSTERIOUS ELEMENT. IT'S POP ART. 02:12:42.900 --> 02:12:44.900 WE ARE HERE TO TALK ABOUT DIVERSITY AND ART, AND THERE IS 02:12:45.900 --> 02:12:47.900 SO MUCH ART IN THE COMMUNITY. 02:12:48.900 --> 02:12:50.900 IT'S INCREDIBLE THE ALL RIGHT 02:12:52.900 --> 02:12:54.900 DISPLAY IN BEVERLY HILLS WHETHER SCULPTURAL THAT I REALLY ENJOY, 02:12:57.900 --> 02:12:59.900 AND I HOPE I WILL BE PART OF THIS FOR 02:13:02.900 --> 02:13:05.900 THE TEMPORARILY -- WHAT DO YOU THINK? A COUPLE OF YEARS? 02:13:05.900 --> 02:13:07.900 >> SURE. A COUPLE OF YEARS. 02:13:08.833 --> 02:13:10.833 >> WE'RE NOT TALKING ABOUT A DECADE, BUT A FEW YEARS OF DISPLAY. 02:13:12.833 --> 02:13:14.833 WHAT ELSE CAN I TELL YOU? 02:13:15.833 --> 02:13:17.833 WE RAISED THE IMAGE SO WHEN CARS ARE PARKED IN FRONT, IT DOES NOT 02:13:19.833 --> 02:13:21.833 OBSTRUCT HER FACE IN ANY WAY. 02:13:22.833 --> 02:13:24.833 SO THAT WAS IMPORTANT. 02:13:25.833 --> 02:13:27.833 YEAH. IT'S JUST A REALLY BEAUTIFUL IMAGE. 02:13:28.833 --> 02:13:30.833 EVERY DAY, HUNDREDS OF PEOPLE ARE TAKING PICTURES OF IT SINCE IT'S 02:13:32.833 --> 02:13:34.833 GONE UP. WE THINK IT'S AN EXCITING PROJECT, AND WE HOPE 02:13:35.833 --> 02:13:37.833 YOU FEEL THE SAME WAY. 02:13:38.833 --> 02:13:40.833 >> AND IT LENDS THE OPPORTUNITY TO FIND THE LEGACY SITE. 02:13:42.833 --> 02:13:44.833 WHEN SANDY SAID I NEED A PERMANENT PLACE, I AM USING 02:13:46.833 --> 02:13:48.833 MY VISUAL BEING RAISED HERE ALL MY LIFE AND THE 02:13:51.833 --> 02:13:53.833 MAIN SPOT THAT EVERYBODY GOES TO IS THAT PARKING STRUCTURE WALL AS 02:13:56.833 --> 02:13:58.833 YOU PULL IN ON THE CRESCENT -- BACKSIDE OF THE 02:14:02.833 --> 02:14:04.833 CRESCENT PARKING STRUCTURE, IT'S GOT, YOU KNOW, LEVELS, BUT 02:14:07.767 --> 02:14:10.767 THAT COULD BE A POTENTIAL SITE. >> THE LEGACY PIECE WILL HAVE A SIGNIFICANT BACK AND FORTH WITH 02:14:14.767 --> 02:14:16.767 THE ROTARY CLUB TO IDENTIFY AN ARTIST, WHETHER NATIONAL, INTERNATIONAL, 02:14:18.767 --> 02:14:20.767 AND WE WILL PULL FROM THE INTERNATIONAL ART COMMUNITY TO FIND THE BEST ART 02:14:21.767 --> 02:14:23.767 IN THE PROJECT. IN THIS CASE, WE ARE REALLY PROUD OF IT. 02:14:26.767 --> 02:14:28.767 AND THIS IS INSPIRED BY WILLIE LICHTENSTEIN, 02:14:31.767 --> 02:14:33.767 A POP ARTIST. IN THE '80s, THE PAINTINGS WERE AFFORD AND AND 02:14:36.767 --> 02:14:38.767 NOW THEY ARE WORTH MILLIONS AND MILLIONS AND THIS ARTIST IS THE 02:14:41.767 --> 02:14:43.767 CLOSEST MURALIST TO THAT STYLE OF POP CONTEMPORARY ART. 02:14:45.767 --> 02:14:48.767 IT REALLY IS BEAUTIFUL, AND WE HOPE YOU FEEL THAT WAY, TOO. >> THANK YOU VERY MUCH. 02:14:49.767 --> 02:14:52.767 THAT IS VERY INTERESTING. I THINK WE KNOW A LOT MORE ABOUT WHAT TO LOOK FOR IN 02:14:57.767 --> 02:14:59.767 OUR CITY AND WHAT LIES AHEAD. 02:15:00.767 --> 02:15:03.767 THANK YOU FOR THAT. WE HAVE ANY REMAINING PUBLIC COMMENTS? 02:15:06.700 --> 02:15:09.700 >> WE DON'T HAVE VIDEO OR PHONE COMMENTS BUT WE DID RECEIVE TWO WRITTEN COMMENTS THIS MORNING THAT I WILL READ. 02:15:14.700 --> 02:15:16.700 THESE WERE PLACED ON THE DAIS FOR THE COMMISSIONERS. 02:15:18.700 --> 02:15:20.700 DEAR BEVERLY HILLS COMMISSIONERS, THIS LETTER IS TO HAVE SUPPORT THE 02:15:23.700 --> 02:15:25.700 COMMUNITY ARTS ORGANIZATION BRANDED ART CENTER PROJECT 02:15:28.700 --> 02:15:30.700 FEATURING BRITISH ARTIST DEAN STOCKTON LOCATED AT 139 SOUTH BEVERLY DRIVE. 02:15:32.700 --> 02:15:34.700 THE ROTARY CLUB IS WORKING WITH WARREN BRAND FOR SEVERAL YEARS. 02:15:36.700 --> 02:15:39.700 WARREN AND SEVERAL CLUB MEMBERS, INCLUDING MYSELF, HAVE PROTECTED ON PROJECTS THROUGHOUT LOS ANGELES AND WOULD LOVE TO PARTNER 02:15:43.700 --> 02:15:45.700 WITH HIM IN BEVERLY HILLS. 02:15:46.700 --> 02:15:48.700 PLEASE CONSIDER THIS WONDERFUL OPPORTUNITY AND KNOW THE ROTARY 02:15:49.700 --> 02:15:51.700 HILLS BEVERLY CLUB WOULD LOVE TO PARTICIPATE AND BE AMBASSADORS. 02:15:53.700 --> 02:15:55.700 YOURS IN SERVICE TO ROTARY, THE 02:15:58.700 --> 02:16:00.700 PRESIDENT, AND THE OTHER LETTER, DEAR COMMISSIONERS OF THE BEVERLY 02:16:04.700 --> 02:16:06.700 HILLS ARCHITECTURAL COMMISSION, THIS LETTER IS TO ADVOCATE 02:16:10.633 --> 02:16:12.633 FOR THE COMMUNICATE ARTS ORGANIZATION BRANDED ARTS FEATURING 02:16:13.633 --> 02:16:15.633 BRETTISH ARTIST DEAN STOCKTON LOCATED AT 139 SOUTH BEVERLY DRIVE. 02:16:17.633 --> 02:16:19.633 OF THE FOUNDER OF BRANDED ARTS, WARREN BRAND, HAS BEEN 02:16:22.633 --> 02:16:24.633 A FREQUENT GUEST OF THE ROTARY CLUB MEETINGS AND HAS GIVEN BACK TO THE 02:16:26.633 --> 02:16:28.633 COMMUNITY THROUGH THE ARTS FOR MANY YEARS AND IS CURRENTLY LOOKING TO 02:16:31.633 --> 02:16:33.633 IDENTIFY A LOCATION WITH THE ASSISTANCE OF SEVERAL ROTARIANS 02:16:37.633 --> 02:16:39.633 TO PRODUCE A LEGACY PROJECT IN PARTNERSHIP WITH THE BEVERLY HILLS 02:16:41.633 --> 02:16:43.633 COMMUNITY. I THINK THIS TEMPORARY INSTALLATION 02:16:45.633 --> 02:16:47.633 IS WONDERFUL FOR THE COMMUNITY AND ALL VISITORS TO BEVERLY HILLS. 02:16:49.633 --> 02:16:51.633 I AM PLEASED TO OFFER MY SUPPORT FOR THIS INCREDIBLE INSTALLATION. 02:16:52.633 --> 02:16:54.633 MY HOPE IS TELL BECOME A PHOTO OPPORTUNITY FOR THE TIME 02:16:55.633 --> 02:16:57.633 IT'S ON DISPLAY. THANK YOU FOR YOUR CONSIDERATION 02:17:01.633 --> 02:17:04.633 AND SUPPORT OF THIS TEMPORARY INSTALLATION AND THAT CONCLUDES COMMENTS ON THIS ITEM. 02:17:06.567 --> 02:17:08.567 >> AND YOU HAVE A LETTER IN YOUR PACKET FROM 02:17:12.567 --> 02:17:14.567 COMMISSIONER SANDY PRESTON IN SUPPORT OF THE PROJECT. >> ANY FURTHER COMMENTS? 02:17:16.567 --> 02:17:18.567 >> I WOULD LIKE TO TALK ABOUT MAINTENANCE AS WELL. 02:17:22.567 --> 02:17:24.567 I KNOW THAT'S IMPORTANT. 02:17:25.567 --> 02:17:27.567 OUR TEAM WILL PERFORM ROUTINE INSPECTIONS 02:17:28.567 --> 02:17:30.567 AND MAINTENANCE WHEN NEEDED OF THIS ARTWORK. IT FALLS UNDER 02:17:33.567 --> 02:17:35.567 OUR UMBRELLA OF PUBLIC ART PROJECTS IN THE CITY, AND WE 02:17:39.567 --> 02:17:41.567 HAVE A WATCHFUL EYE. SO 02:17:45.567 --> 02:17:47.567 FACT OR GOD FORBID GRAFFITI, IF ANYTHING WERE TO HAPPEN, WE WERE 02:17:48.567 --> 02:17:50.567 TO TOUCH IT UP. >> WHAT ABOUT GUNSHOTS? 02:17:51.567 --> 02:17:54.567 JUST KIDDING. >> NOTHING LIKE THAT, NO. 02:17:59.567 --> 02:18:01.567 >> WELL, THANK YOU. 02:18:02.567 --> 02:18:04.567 WE'LL MOVE ON TO COMMISSIONER COMMENTS. 02:18:06.500 --> 02:18:08.500 WE WILL START WITH JIMS THIS TIME. 02:18:10.500 --> 02:18:13.500 >> OKAY. THANK YOU. I THINK IT'S A VERY NICE MURAL, AND I LIKE IT 02:18:18.500 --> 02:18:20.500 A LOT, AND I LIKE HOW IT SORT OF RECEDES INTO 02:18:21.500 --> 02:18:23.500 THE PARKING LOT THERE. 02:18:24.500 --> 02:18:26.500 MY ONLY COMMENT OR QUESTION WAS TO YOUR LAST STATEMENT. 02:18:28.500 --> 02:18:30.500 SINCE IT WAS A TEMPORARY INSTALLATION, I WAS 02:18:34.500 --> 02:18:36.500 WORRIED ABOUT THE DURABILITY 02:18:40.500 --> 02:18:42.500 OF IT. IF THE PAINT STARTS PEELING, I 02:18:45.500 --> 02:18:47.500 ASSUME YOU USE GOOD GRADE EXTERIOR PAINT? 02:18:49.500 --> 02:18:51.500 >> ONLY THE BEST, THE MARQUEE ULTRA PREMIUM, THE BEST PAINT ON THE MARKET. 02:18:52.500 --> 02:18:54.500 OF IT WON'T FADE FOR MANY, MANY YEARS BUT WE ARE 02:18:57.500 --> 02:18:59.500 ON BOARD FOR ROUTINE MAINTENANCE. >> EXCELLENT. ALL RIGHT. 02:19:01.500 --> 02:19:03.500 THANK YOU. >> THANK YOU. EVAN? 02:19:05.567 --> 02:19:07.567 >> THANK YOU. 02:19:08.500 --> 02:19:10.500 SO JUST TO CLARIFY, SO WHAT IS DISCUSSED TODAY IS EXTENDING 02:19:14.500 --> 02:19:16.500 THIS, AND IF WE VOTE YES THIS BECOMES 02:19:17.900 --> 02:19:19.900 BASICALLY A PERMANENT INSTALLATION. 02:19:21.670 --> 02:19:23.670 CORRECT? 02:19:23.500 --> 02:19:25.500 >> THAT'S RIGHT. 02:19:26.500 --> 02:19:29.500 >> SO THIS WILL BECOME THE LEGACY PROJECT OR YOU CONTINUE SEARCHING FOR -- 02:19:30.500 --> 02:19:32.500 >> NO. THIS IS JUST AN OPPORTUNITY TO DISPLAY ART. 02:19:34.500 --> 02:19:36.500 I AM SUPPORTIVE OF ART IN THE COMMUNITY AND THROUGHOUT THE WORLD FOR THAT 02:19:37.500 --> 02:19:39.500 MATTER. A LOT OF PEOPLE THAT VISIT THE CITY LOVE TO SEE 02:19:41.500 --> 02:19:43.500 A TYPE OF ART. AND WE HAVE BEEN GETTING A LOT OF PEOPLE 02:19:45.500 --> 02:19:47.500 JUST HANGING OUT ON THE SIDEWALK. 02:19:48.500 --> 02:19:50.500 PEOPLE STOP AND TAKE PHOTOS. IT 02:19:53.500 --> 02:19:55.500 ACTIVATES THAT HUNDRED BLOCK WHERE PEOPLE DON'T RUN ACROSS WILSHIRE 02:19:56.500 --> 02:19:58.500 FROM THE TRIANGLE BECAUSE THERE IS NOT MUCH LOVE 02:20:01.500 --> 02:20:03.500 QUITE THERE YET. BUT WE'RE GETTING THERE. WE ARE 02:20:04.500 --> 02:20:06.500 GETTING A LOT OF NEW RESTAURANTS AND SO ON. THE NEIGHBORHOOD 02:20:08.433 --> 02:20:10.433 IS COMING TOGETHER. WHO KNOWS? IT COULD BE THE 02:20:12.433 --> 02:20:14.433 BEVERLY HILLS ART DISTRICT FOR ALL I KNOW. BUT THIS IS A 02:20:17.433 --> 02:20:19.433 GREAT WAY FOR VISITORS TO SEE NEW LIFE IN THE NEIGHBORHOOD. 02:20:21.433 --> 02:20:23.433 >> WITHOUT A DOUBT WE WILL CONTINUE TO LOOK FOR A LEGACY PROJECT. 02:20:25.433 --> 02:20:27.433 THAT IS SNAG WE WANT TO DO, AND WE WILL FOLLOW THE PROPER TIMELINE 02:20:28.433 --> 02:20:30.433 AS WELL. YOU HAVE MY WORD ON THAT. 02:20:32.433 --> 02:20:34.433 >> NO. I LOVE THE IDEA OF BRINGING 02:20:37.433 --> 02:20:39.433 PUBLIC ART TO BEVERLY HILLS. 02:20:40.433 --> 02:20:42.433 IT BRINGS PEOPLE TO THE STREET AND BRINGS THEM TO SEE SOMETHING 02:20:46.433 --> 02:20:48.433 THEY WOULDN'T SEE SOMEWHERE ELSE. I 02:20:50.433 --> 02:20:53.433 LIKE THE IMAGE. I HAVE TO SAY WHEN I FIRST DROVE DOWN THE STREET I HAVE TO SAY IT 02:20:55.433 --> 02:20:57.433 CAUGHT ME BY SURPRISE. 02:20:58.433 --> 02:21:00.433 IT'S A VERY BIG AND BOLD 02:21:03.433 --> 02:21:05.433 PIECE, AND YOU KNOW, SOMETIMES, THESE PIECES ARE FUN TO SEE AT 02:21:08.367 --> 02:21:10.367 A DISTANCE, AND IN THIS CASE, IT'S DIFFERENT FROM WHAT I EXPERIENCED 02:21:11.367 --> 02:21:13.367 IN THE PAST WITH SOME OF THE LARGE, YOU KNOW, WALL MURALS BECAUSE YOU 02:21:17.367 --> 02:21:19.367 DO HAVE A LIMITED SPACE 02:21:21.367 --> 02:21:24.367 TO ENJOY IT. SO YEAH. I DON'T THINK I REALLY HAVE ANY 02:21:29.367 --> 02:21:31.367 OTHER COMMENTS OR QUESTIONS. THANK YOU. 02:21:32.367 --> 02:21:34.367 >> THANK YOU. THANK YOU FOR THE EXPLANATION AND KIND 02:21:37.367 --> 02:21:39.367 OF HELPING TO UNDERSTAND HOW KIND OF 02:21:43.367 --> 02:21:45.367 THE PROCESS FOR HOW THE MURAL WAS SELECTED AND HOW WE GOT TO WHERE 02:21:47.367 --> 02:21:49.367 WE ARE TODAY. YOU KNOW, I THINK THAT THE COLOR 02:21:53.367 --> 02:21:55.367 PALLET IS INCREDIBLE AND THE MURAL 02:21:59.367 --> 02:22:01.367 IS REALLY BEAUTIFUL 02:22:08.300 --> 02:22:10.300 AND IT'S EXCITING 02:22:14.300 --> 02:22:16.300 THAT THEARTIST IS IN BEVERLY HILLS AND AS 02:22:16.600 --> 02:22:18.600 LONG AS IT'S MAINTAINED, I APPROVE OF IT. 02:22:18.867 --> 02:22:20.867 >> REBECCA? 02:22:23.300 --> 02:22:25.300 >> THANK YOU. AND I LOVE THE COLLABORATION WITH THE ROTARY 02:22:26.300 --> 02:22:28.300 AND OTHER PARTNERS IN THE CITY. 02:22:29.300 --> 02:22:31.300 I THINK THAT'S GREAT AND HOPEFULLY SOMETHING RITE 02:22:35.300 --> 02:22:37.300 AID ADJACENT WOULD BE FABULOUS FOR THE FUTURE BUT FOR 02:22:39.300 --> 02:22:41.300 THE TIME BEING, I AM IN SUPPORT OF ALLOWING THIS TO STAY 02:22:42.300 --> 02:22:44.300 FOR THE FORESEEABLE FUTURE. 02:22:45.300 --> 02:22:47.300 I THINK IT'S BOLD. IT'S HEAVILY SATURATED. I THINK 02:22:51.300 --> 02:22:53.300 IT PROVIDES A UNIQUE SORT 02:22:56.300 --> 02:22:58.300 OF OPPORTUNITY TO ENGAGE IN THE PARKING LOT OF THIS BUILDING. 02:23:00.300 --> 02:23:02.300 YEAH. I AM IN SUPPORT OF IT BEING AROUND. 02:23:04.300 --> 02:23:06.300 >> THANK YOU, REBECCA. 02:23:07.233 --> 02:23:09.233 AND MY COMMENTS ARE REALLY JUST THE SAME. 02:23:13.233 --> 02:23:15.233 I KIND OF LIKE THE FACT THAT IT CATCHES YOUR EYE 02:23:16.233 --> 02:23:18.233 WHEN YOU ARE DRIVING ALONG. 02:23:19.233 --> 02:23:21.233 WHEN I FIRST WENT TO SEE IT, I DROVE AROUND THE BLOCK A COUPLE 02:23:22.233 --> 02:23:24.233 MORE TIMES TO SEE IT FROM DRIVING. 02:23:25.233 --> 02:23:27.233 I DON'T LOVE ALL MURALS IN PUBLIC SPACES, BUT I THINK THIS 02:23:30.233 --> 02:23:32.233 ONE FITS VERY WELL. IT'S VERY APPEALING BUT IT'S 02:23:36.233 --> 02:23:38.233 NOT TOO "IN YOUR FACE" AND YOU JUST FALL BACKWARDS AND OH, 02:23:39.233 --> 02:23:41.233 MY GOODNESS. WHAT DID THEY THINK THEY WERE DOING? 02:23:43.233 --> 02:23:45.233 IT'S NOT THAT WAY BUT I HAVE A QUESTION FOR YOU TWO, AND THAT 02:23:48.233 --> 02:23:50.233 IS WHAT ARE YOU ASKING OF US, INDEFINITELY OR 02:23:54.233 --> 02:23:56.233 TWO YEARS OR UNTIL THE PARKING 02:23:57.233 --> 02:23:59.233 SPACE BECOMES A BUILDING? 02:24:00.233 --> 02:24:02.233 >> WE -- I MEAN, THIS IS SOMETHING UNIQUE. OF 02:24:04.233 --> 02:24:06.233 THE OPPORTUNITY CAME TO US, AND I SAID I SUPPORT ART 02:24:10.167 --> 02:24:12.167 SO LET'S DO IT, AND THEN I'M THINKING MORE OPPORTUNITIES 02:24:14.167 --> 02:24:16.167 WHERE DO WE MAYBE BRING IN ANOTHER ARTIST IN A COUPLE OF YEARS TO 02:24:19.167 --> 02:24:21.167 BRING THEIR ART? OR DO WE HAVE PLAN IS WITHIN THE 02:24:25.167 --> 02:24:27.167 FAMILY TO DEVELOP THE SITE OR NOT? SO 02:24:31.167 --> 02:24:33.167 WE HAVE CURRENTLY AN OPEN MIND TO EXPLORE THIS. BUT AT ANY 02:24:34.167 --> 02:24:36.167 TIME, I MEAN, I THINK IN TWO YEARS IS KIND OF WHERE WE THOUGHT 02:24:40.167 --> 02:24:42.167 IT GIVES ENOUGH OF A WINDOW TO DECIDE OKAY, WHERE DO WE 02:24:44.167 --> 02:24:46.167 GO FROM THERE? I THINK THE OPPORTUNITY IF YOU WANT US TO 02:24:47.167 --> 02:24:49.167 REMOVE IT OR -- I DON'T KNOW. 02:24:50.167 --> 02:24:52.167 I DON'T WANT TO SAY TO REMOVE IT. BUT SURELY 02:24:56.167 --> 02:24:58.167 SOMETHING IN TIME WOULD TELL WHERE WE GO TO -- WITH A NEW 02:25:00.167 --> 02:25:02.167 ARTIST OR NOT. YOU KNOW WHAT I MEAN? I CAN'T REALLY 02:25:04.167 --> 02:25:07.100 -- I DON'T KNOW IF YOU WANT TO -- >> WE HAVE THE SOUTH-FACING. 02:25:09.100 --> 02:25:11.100 >> WE ALSO HAVE THE 02:25:14.100 --> 02:25:16.100 SOUTH-FACING FACADE ON THE WALTERS SIDE. THERE IS ANOTHER 02:25:18.100 --> 02:25:20.100 BANK, A PARKING LOT. AND WE CAN BRING IN ANOTHER ARTIST, 02:25:23.100 --> 02:25:25.100 MAYBE A LOCAL ARTIST SO THAT THEY CAN GET, YOU 02:25:29.100 --> 02:25:31.100 KNOW, AN INSTALLATION TO PROMOTE THEIR ART AND 02:25:35.100 --> 02:25:37.100 GIVE IT THE BEVERLY HILLINGS TOUCH. 02:25:38.100 --> 02:25:40.100 AND THERE IS AN ALLEYWAY ON THE SAME BUILDING 02:25:44.100 --> 02:25:46.100 WHICH COULD BE ANOTHER INSTALLATION. 02:25:49.100 --> 02:25:51.100 AND AGAIN, IT'S NOT REALLY IN YOUR FACE. IF YOU HAPPEN TO 02:25:54.100 --> 02:25:56.100 DRIVE BY, IT CATCHES YOUR EYE WHICH IS KIND OF WHAT MADE ME FEEL 02:26:00.100 --> 02:26:02.100 MORE COMFORTABLE ABOUT THIS PIECE. I WAS A LITTLE 02:26:03.100 --> 02:26:05.100 NERVOUS BECAUSE UNTIL YOU SEE IT YOU DON'T KNOW. 02:26:09.330 --> 02:26:11.330 WE HAVE BEEN GETTING POSITIVE FEEDBACK FROM THE VISITORS, 02:26:12.330 --> 02:26:14.330 PEOPLE WHO WALK BY. AND THEY TAKE PHOTOS AND FAMILIES, AND 02:26:16.330 --> 02:26:18.330 THE PEOPLE THAT LIVE HERE, THEY WALK BY AND THEY DON'T EVEN NOTICE 02:26:20.330 --> 02:26:22.330 IT SOMETIMES. I HAD TO BRING PEOPLE. HEY, DID 02:26:25.330 --> 02:26:28.330 YOU SEE THIS MURAL? AND THEY WERE HAPPY ABOUT IT. 02:26:30.330 --> 02:26:32.330 AGAIN, THIS IS A NEW VISION 02:26:36.330 --> 02:26:38.330 FOR THE COMMUNITY. 02:26:39.330 --> 02:26:41.330 WE HAVE VERY LIMITED WALLS FOR MURALS. WE ARE NOT ADVERTISING OR SELLING ANYTHING, AND OUR GOAL 02:26:45.330 --> 02:26:47.330 WAS TO PROMOTE ART AND TO BECOME AN INTERNATIONAL DESTINATION 02:26:50.330 --> 02:26:52.330 WHICH WE ARE, WE SHOULD PROMOTE MORE ART. 02:26:53.330 --> 02:26:55.330 >> ON BEHALF OF THE ARTIST, HE IS SO THRILLED TO BE IN THE COMMUNITY. 02:26:56.330 --> 02:26:58.330 HE UNDERSTANDS THE TEMPORARY NATURE OF THE ARTWORK. 02:27:00.330 --> 02:27:02.330 HE IS NOT GOING TO PUT UP A FUSS BUT HE HOPES IT WILL BE ON DISPLAY 02:27:05.967 --> 02:27:07.967 PER A PERIOD OF TIME BUT HE IS JUST THRILLED TO WORK 02:27:08.967 --> 02:27:11.967 ON THIS. THANKS, EVERYONE. >> THANK YOU FOR ALL YOUR COMMENTS. 02:27:12.967 --> 02:27:14.967 IT'S BEEN A LEARNING EXPERIENCE FOR ALL OF US, BUT 02:27:18.967 --> 02:27:20.967 I WOULD LIKE TO 02:27:23.967 --> 02:27:25.967 ASK STAFF, SOME COMMISSIONERS SUGGEST AN END POINT? 02:27:26.967 --> 02:27:28.967 >> THAT'S AT THE COMMISSIONERS' DISCRETION. 02:27:30.967 --> 02:27:32.967 >> ONE MUST UNDERSTAND AS THIS MURAL IS IN PLACE, IT WOULD HAVE TO BE 02:27:34.967 --> 02:27:36.967 MAINTAINED. IF IT WEREN'T, THE CITY WOULD 02:27:39.967 --> 02:27:41.967 CITE THE OWNER OF THE BUILDING TO MAKE SURE IT WAS MAINTAINED, AND 02:27:43.967 --> 02:27:45.967 YOU CAN HAVE THE MAINTENANCE AS WELL, SPOKEN TO THE APPLICANT. 02:27:46.967 --> 02:27:49.967 >> I THINK THAT IS IMPORTANT. >> ABOUT THE DURATION, IT WOULD GO ON IN PERPETUITY UNLESS 02:27:54.967 --> 02:27:56.967 YOU HAVE A TERMINATION POINT IN MIND. 02:27:59.967 --> 02:28:01.967 SOMEHOW, A DESIGN FOR A NEW MURAL OR A PAINTING OR A FACADE WOULD 02:28:04.967 --> 02:28:06.967 HAVE TO COME BACK FOR FURTHER REVIEW. 02:28:07.900 --> 02:28:09.900 >> AND SO WHAT WE ARE APPROVING IS 02:28:11.900 --> 02:28:13.900 THAT SPECIFIC MURAL. IF THE APPLICANT DECIDES TO BRING A 02:28:15.900 --> 02:28:17.900 NEW ARTIST OR CHANGE IT THEY WOULD HAVE TO COME BACK. 02:28:18.900 --> 02:28:20.900 >> THAT'S CORRECT, AND HOPEFULLY THEY WOULD COME 02:28:23.900 --> 02:28:25.900 BACK BEFORE THE MURAL IS PAINTED. 02:28:26.900 --> 02:28:28.900 >> A QUESTION FOR THE ASP APPLICANT. 02:28:34.900 --> 02:28:36.900 WHO CONTROLS THAT? IF THE ARTIST DECIDES HE DOESN'T IT 02:28:40.900 --> 02:28:42.900 WANT REMOVED, I HEARD ISSUES WHERE ARTISTS DON'T WANT 02:28:43.900 --> 02:28:45.900 THEIR PIECES REMOVED AND PROPERTY OWNERS OR OTHER ARTISTS DON'T HAVE 02:28:46.900 --> 02:28:48.900 THE CONTROL? >> YEAH. YOU MIGHT HAVE TO TALK TO HER 02:28:53.900 --> 02:28:55.900 ON THE WALL. NO. GO AHEAD. 02:28:56.900 --> 02:28:58.900 >> IN REGARDS TO THE OVER SIGHT OF THE PROJECT GOING FORWARD, THAT 02:29:01.900 --> 02:29:03.900 WOULD BE UNDER OUR UMBRELLA. THE ARTIST -- WE WORKED TOGETHER ON I THINK THIS IS THE FOURTH ONE, 02:29:07.900 --> 02:29:09.900 AND WE HAVE A GREAT WORKING RELATIONSHIP. HE UNDERSTANDS THAT WE WILL MAINTAIN IT FOR 02:29:14.900 --> 02:29:16.900 HIM WHILE HE IS ABROAD, AND IF IT NEEDS TO BE CHANGED, WE WILL 02:29:18.900 --> 02:29:20.900 HAVE A CONVERSATION. BUT THERE IS NO CHANCE HE WILL MAKE 02:29:22.900 --> 02:29:24.900 AS IF YOU AT THE REMOVAL BECAUSE AT THE ONSET, WE TOLD HIM, THIS 02:29:26.900 --> 02:29:28.900 IS A TEMPORARILY PROJECT. 02:29:29.900 --> 02:29:31.900 WE HOPE IT WILL BE HERE FOR 02:29:33.900 --> 02:29:35.900 THE FORESEEABLE FUTURE. BUT THAT'S THE UNDERSTANDING. 02:29:37.900 --> 02:29:39.900 >> JUST TO CLARIFY IF HE SAYS NO AND MAKES A FUSS -- 02:29:42.900 --> 02:29:44.900 >> THAT'S BETWEEN THE PROJECT MANAGER AND HIM, BUT THE ARTIST UNDERSTAND 02:29:46.900 --> 02:29:49.900 IT WILL COME DOWN. >> IN THE FORESEEABLE FUTURE. 02:29:49.900 --> 02:29:51.900 >> BUT HOPEFULLY, IT WILL STAY UP FOR A FEW YEARS. 02:29:53.900 --> 02:29:55.900 THAT'S THE INTENTION. 02:29:56.900 --> 02:29:58.900 >> WE WERE THINKING -- I MEAN, THE CITY IS GROWING IN DENSITY AND 02:30:00.900 --> 02:30:02.900 WITH THE METRO COMING, THERE IS REALLY A DEMAND. WE DON'T 02:30:05.833 --> 02:30:07.833 KNOW WHAT OUR PLANS ARE AND WHATNOT. 02:30:08.833 --> 02:30:10.833 AND EVENTUALLY WHEN WE DID, WE WOULD LIKE TO COME TO 02:30:13.833 --> 02:30:15.833 YOU GUYS AND GET THE FEED BACK ON THE NEW PROJECT OR 02:30:19.833 --> 02:30:21.833 WHATEVER COMES TO MIND BUT AT THE SAME TIME, I DON'T KNOW WHO TO REACH 02:30:24.833 --> 02:30:26.833 OUT TO ABOUT THE ART COMMUNITY DEVELOPMENT, AND IF ANY OF THAT 02:30:29.833 --> 02:30:31.833 LATER ON COULD BE PUT INTO THAT BECAUSE WE ARE DOING THE ART NOW 02:30:32.833 --> 02:30:34.833 PER SE AS OPPOSED TO -- I DON'T KNOW IF THAT IS SOMETHING THAT THE 02:30:38.833 --> 02:30:40.833 COUNCIL CAN REVIEW BECAUSE THINGS TAKE TIME FOR DEVELOPMENT. 02:30:43.833 --> 02:30:45.833 SO I JUST WANTED TO GET 02:30:48.833 --> 02:30:50.833 AN IDEA ON -- MAYBE THAT'S A STAFF QUESTION, HOW TO APPLY YOUR CREDIT 02:30:51.833 --> 02:30:54.833 FOR ART. >> WE WOULD BE HAPPY TO REVIEW THAT FOR YOU IN THE FUTURE. 02:30:56.833 --> 02:30:58.833 >> THANK YOU VERY MUCH. 02:30:59.833 --> 02:31:01.833 >> NO PROBLEM. 02:31:02.833 --> 02:31:04.833 >> ANY FURTHER COMMENTS FROM THE COMMISSIONERS ON THE LONGEVITY 02:31:07.767 --> 02:31:09.767 FOR THE ARTWORK? 02:31:10.767 --> 02:31:12.767 >> I VOTE FOR PERPETUITY. 02:31:13.767 --> 02:31:15.767 >> ALL RIGHT. CONDITION? 02:31:17.767 --> 02:31:19.767 >> THE SKPHEUGZ THIS WOULD BE APPROVED SUBJECT TO FINAL REVIEW 02:31:21.767 --> 02:31:23.767 AND APPROVAL FOLLOWING THE SINGLE CONDITION BY THE URBAN DESIGNER, 02:31:25.767 --> 02:31:27.767 THAT THE APPLICANT IS RESPONSIBLE FOR THE CONTINUED CARE AND MAINTENANCE 02:31:29.767 --> 02:31:32.767 OF THE MURAL. >> THANK YOU. >> WERE THERE ANY FURTHER SHOTS ON 02:31:40.767 --> 02:31:42.767 PUTTING A TIME PERIOD ON THAT. 02:31:50.767 --> 02:31:52.767 >> PERPETUITY, IS THAT ACCEPTABLE? 02:31:54.767 --> 02:31:56.767 >> I THINK AS LONG AS IT'S MAINTAINED UNTIL IT'S REDEVELOPED, 02:31:58.767 --> 02:32:00.767 IT'S HARD TO PUT AN EXACT TIMELINE ON THAT. WE KNOW IT IS 02:32:01.767 --> 02:32:03.767 COMING BUT WE DON'T KNOW WHEN. 02:32:04.767 --> 02:32:06.767 UNTIL THEN, THE MURAL WILL BE MAINTAINED. 02:32:09.700 --> 02:32:11.700 >> IF THE MURAL IS CHANGED, IT WILL COME BACK TO THE COMMISSION OR IF 02:32:14.700 --> 02:32:16.700 THE WALL WAS CHANGED IN SOME FASHION, IT WOULD COME BACK TO THE COMMISSION 02:32:18.700 --> 02:32:21.700 OR A NEW PROJECT WOULD COME BACK. >> RIGHT. I THINK WE COVERED IT. I 02:32:27.700 --> 02:32:29.700 THINK WE WILL HAVE A MOTION NOW 02:32:31.700 --> 02:32:33.700 FOR THE DEAN STOCKTON MURAL. 02:32:34.700 --> 02:32:36.700 COMMISSIONER LIKE IT MAKE A MOTION 02:32:40.700 --> 02:32:42.700 FOR US? WITH THE CONDITION, YES. >> OKAY. 02:32:44.700 --> 02:32:46.700 >> I MOVE TO ADOPT A RESOLUTION OF THE ARCHITECTURAL COMMISSION 02:32:49.700 --> 02:32:51.700 AND THE CITY OF BEVERLY HILLS CONDITIONALLY 02:32:55.700 --> 02:32:57.700 APPROVING AN ARCHITECTURAL REVIEW 02:33:01.700 --> 02:33:03.700 FOR THE PROPERTY LOCATED AFT 139 SOUTH BEVERLY DRIVE AS AMENDED. 02:33:04.700 --> 02:33:07.633 >> I'LL SECOND >> ROLL CALL, PLEASE. >> COMMISSIONER PYNOOS. 02:33:07.633 --> 02:33:09.633 >> YES. >> COMMISSIONER MEYER? >> YES. 02:33:10.100 --> 02:33:12.633 >> COMMISSIONER MATSON. >> YES. 02:33:12.633 --> 02:33:14.833 >> VICE CHAIR DEVLIN. >> YES. >> CHAIR SCHREIBER. 02:33:15.633 --> 02:33:18.633 >> YES. THANK YOU. WE GET TO ENJOY IT FOR A WHILE. 02:33:19.633 --> 02:33:21.633 >> THANK YOU. NICE TO MEET YOU ALL. 02:33:23.633 --> 02:33:25.633 >> THANK YOU VERY MUCH. 02:33:26.633 --> 02:33:28.633 AND I WANT TO ASK STAFF 02:33:31.633 --> 02:33:33.633 FOR CLARIFICATION. I INADVERTENTLY AND APOLOGIZE THAT I FORGOT 02:33:36.633 --> 02:33:38.633 TO HAVE EVAN MAKE A STATEMENT. 02:33:39.633 --> 02:33:41.633 SHOULD WE HAVE HIM MAKE IT NOW 02:33:44.633 --> 02:33:47.633 IN RETROSPECT OR PASS THROUGH IT? >> I WOULD AGREE JUST TO REOPEN THE ITEM TO ALLOW HIM TO MAKE THE 02:33:48.633 --> 02:33:50.633 STATEMENT. 02:33:51.633 --> 02:33:53.633 >> MAKE MY STATEMENT AND THEN WE VOTE AGAIN? IS THAT 02:33:54.633 --> 02:33:57.633 -- >> IT DOESN'T CHANGE THE COMMISSION'S ACTIONS. BUT WE CAN JUST 02:34:01.633 --> 02:34:03.633 CLARIFY THAT AFTER WE MAKE YOUR STATEMENT. 02:34:04.633 --> 02:34:06.633 >> OKAY. SO I HAVE A FINANCIAL INTEREST IN REAL PROPERTY 02:34:08.567 --> 02:34:10.567 LOCATED MORE THAN 500 FEET BUT LESS THAN 1000 FEET FROM THE PROJECT 02:34:12.567 --> 02:34:14.567 SITE AND HAVE CONSIDERED WHETHER THE PROPOSED PROJECT WOULD 02:34:16.567 --> 02:34:18.567 CHANGE THE DEVELOPMENT POTENTIAL, INCOME-PRODUCING POTENTIAL, HIGHEST 02:34:22.567 --> 02:34:24.567 AND BEST USE OR CHARACTER BY SUBSTANTIALLY ALTERING 02:34:26.567 --> 02:34:28.567 PARKING VIEWS, PRIVACY, NOISE LEVELS, AIR QUALITY OR MARKET VALUE OF THE 02:34:30.567 --> 02:34:32.567 REAL PROPERTY IN WHICH I HAVE FINANCIAL INTEREST. BASED ON THE 02:34:34.567 --> 02:34:36.567 NATURE OF THE PROPOSED PROJECT, I FOUND IT WOULD NOT CHANGE 02:34:38.567 --> 02:34:40.567 ANY OF THE PREVIOUSLY STATED FACTORS AND WOULD PARTICIPATE IN THE MATTER. 02:34:41.567 --> 02:34:43.567 >> THANK YOU, AND I APOLOGIZE AGAIN. 02:34:44.567 --> 02:34:46.567 AND NOW WE WILL MOVE ON TO OUR PROJECT AT 4449 SOUTH BEVERLY 02:34:47.567 --> 02:34:49.567 DRIVE. >> ALL RIGHT. CHAIR, MEMBERS OF THE COMMISSION I WILL BE PRESENTED 02:34:54.567 --> 02:34:56.567 THE APPLICANT'S REQUEST FOR AN 02:35:03.567 --> 02:35:05.567 ARCHITECTURAL REVIEW INCLUDING LANDSCAPING AT 449 SOUTH BEVERLY DRIVE LOCATED 02:35:08.500 --> 02:35:10.500 NORTH OF WHITWORTH DRIVE NEAR THE CROSS OF SOUTH CANON 02:35:12.500 --> 02:35:14.500 AND SOUTH BEVERLY DRIVE I HAVE HIGHLIGHTED HERE IN ORANGE. AND SO 02:35:18.500 --> 02:35:20.500 THIS BUILDING AS EXISTING IS A MID CENTURY OFFICE BUILDING AND 02:35:23.500 --> 02:35:25.500 CONSTRUCTED IN 1953 AND DESIGNED BY HERBER ALDEN 02:35:27.500 --> 02:35:29.500 NOT A MASTER ARCHITECT. 02:35:30.500 --> 02:35:32.500 THIS BUILDING IS INCLUDE IN PAINTED RUNNING BOND 02:35:35.500 --> 02:35:37.500 ELONGATED ROMAN BRICKS AT THE GROUND LEVEL 02:35:39.500 --> 02:35:41.500 WITH OPERABLE AWNING-TYPE WINDOWS AND A 02:35:44.500 --> 02:35:46.500 CLEAR GLAZE ENTRY WITH SIDELINES AND TERRAZZO PAVING AND THE ENTRY 02:35:49.500 --> 02:35:51.500 IS FLANKED BY A BRICK FORMED VENTURE ABOVE THE GRADE. 02:35:55.500 --> 02:35:57.500 AND SO, THE APPLICANT 02:36:01.500 --> 02:36:03.500 IN TIMES TO COMPTEMORIZE THE BUILDING 02:36:05.433 --> 02:36:07.433 WITH STUCCO IN CATALINA WHITE AND ACCENT PLANTERS IN GRAY 02:36:10.433 --> 02:36:12.433 AND TO REMOVE THE MIRROR AWNING AND REPLACE WITH WHITE STUCCO AND 02:36:14.433 --> 02:36:16.433 THE ENTRY AREA WITH FLOORING IN WHITE MARBLE AND OF THE INSTALLATION 02:36:19.433 --> 02:36:21.433 OF WHITE OAK DOOR HANDLES AND 02:36:25.433 --> 02:36:27.433 REMOVAL OF EXISTING LANDSCAPING AND PLANTERS 02:36:30.433 --> 02:36:32.433 AND EXISTING BUILDING IDENTIFICATION SIGNS TO REMAIN. HERE 02:36:36.433 --> 02:36:38.433 IS AN ELEVATION OF PROPOSED CHANGES AND THE EXISTING CONDITIONS 02:36:40.433 --> 02:36:42.433 FOR THE MARBLE TILE. THERE 02:36:45.433 --> 02:36:47.433 IS A SAMPLE FOR YOU TO LOOK AT IT, AND 02:36:51.433 --> 02:36:53.433 HERE ARE THE EXISTING LANDSCAPING CONDITIONS AND IMAGES 02:36:56.433 --> 02:36:58.433 OF THE PROPOSED TO BE INSTALLED 02:37:03.433 --> 02:37:05.433 IN THE PLANTERS. SO THE PROJECT SCOPE IS PAINTING ALL THE 02:37:08.367 --> 02:37:10.367 IF A SAD 02:37:14.367 --> 02:37:16.367 FACADE IN WHITE TONE 02:37:19.367 --> 02:37:21.367 AND UPGRADING THE HARDSCAPE TO MARBLE AND REPLACING THE 02:37:25.367 --> 02:37:27.367 PLANTINGS WITH A 02:37:31.367 --> 02:37:33.367 MORE CONTEMPORARY WATER-WISE PLANTING PALETTE AND A SLIP-RESISTANT 02:37:35.367 --> 02:37:37.367 QUOTIENT FOR THE AREA THAT WILL BE PROVIDED. 02:37:39.367 --> 02:37:41.367 THAT CONCLUDES THE REPORT AND I AM HAPPY TO 02:37:42.367 --> 02:37:45.367 ANSWER ANY QUESTIONS. >> THANK YOU, ANY EARLY COMMENTS? 02:37:45.367 --> 02:37:48.367 >> NO EARLY COMMENTS. >> THANK YOU. WOULD THE APPLICANT LIKE 02:37:53.367 --> 02:37:55.367 TO COME FORWARD AND INTRODUCE YOURSELF? THANK YOU FOR YOUR PATIENCE. 02:37:56.367 --> 02:37:58.367 >> OF COURSE. THIS WAS FUN, THOUGH. THIS WAS 02:38:00.367 --> 02:38:02.367 VERY INTERESTING. MY FIRST SUCH RODEO. 02:38:03.367 --> 02:38:05.367 >> I HOPE YOU HAVE LEARNED SOMETHING ABOUT ALL OF OUR 02:38:08.300 --> 02:38:11.300 OTHER APPLICANTS AND PROJECTS. YOU WILL BE KNOWLEDGEABLE NOW. 02:38:12.300 --> 02:38:14.300 >> IT WAS EYE OPENING, AND I AM GLAD THAT THE LAST 02:38:18.300 --> 02:38:20.300 PROJECT WAS APPROVED BECAUSE I DRIVE BY EVERY MORNING AND THE PICTURES 02:38:22.300 --> 02:38:25.300 DON'T DO IT JUSTICE. >> THAT'S A LOVELY COMMENT. 02:38:26.300 --> 02:38:29.300 THANK YOU. >> AND WE ARE BOTH OCCUPANTS AND RELATIVELY NEW 02:38:33.300 --> 02:38:36.300 IN THE BUILDING IN PART. >> GREAT. 02:38:38.300 --> 02:38:40.300 >> I AM THE CONTRACTOR WITH CONCOURSE. 02:38:42.300 --> 02:38:44.300 I DO ALL THE CONSTRUCTION WORK AND DESIGN WORK. 02:38:46.300 --> 02:38:48.300 >> WOULD YOU LIKE TO ADD 02:38:52.300 --> 02:38:54.300 ANY FURTHER DETAILS TO CHRISTINE'S PRESENTATION? 02:38:56.300 --> 02:38:58.300 >> I BELIEVE IT SPEAKS FOR 02:39:02.300 --> 02:39:04.300 ITSELF. WE FEEL THAT THE EXIFGHT COLOR SCHEME DOES LITTLE 02:39:05.300 --> 02:39:07.300 TO ENHANCE THE BONES AND CHARACTER OF THE BUILDING. 02:39:11.300 --> 02:39:13.300 WHAT WE HOPE TO DO IS MINIMAL CHANGES TO BRING OUT 02:39:18.300 --> 02:39:21.300 THE WARMTH. EVEN THE PRIOR OWNER, PEOPLE THOUGHT THAT THE COLOR SCHEME RETRACTED 02:39:25.300 --> 02:39:27.300 FROM IT. AND WE WANT TO MAINTAIN THE EXISTING CHARACTER 02:39:30.300 --> 02:39:32.300 AND PAINT IN LARGE PART TO SOMETHING THAT WILL ENHANCE THE WARMTH, AND 02:39:34.300 --> 02:39:36.300 IT ALSO, YOU KNOW, THANKFULLY THERE IS A LOT OF PROJECTS ON THE 02:39:40.300 --> 02:39:42.300 STREET AND I THINK IT WILL 02:39:45.300 --> 02:39:47.300 ENHANCE AND COMPLEMENT THE NEIGHBORING BUILDINGS AS WELL. 02:39:49.300 --> 02:39:51.300 >> WELL, THANK YOU. I THINK ANY REMAINING PUBLIC COMMENT, 02:39:52.300 --> 02:39:55.300 CHRISTINE? I MEAN, KAREN. >> NO PUBLIC COMMENT. >> ALL RIGHT. THANK YOU. 02:39:56.300 --> 02:39:58.300 WE'LL MOVE ON TO COMMISSIONER COMMENTS. WE WILL 02:40:01.300 --> 02:40:03.300 START WITH JAMES THIS TIME. >> OKAY. THANK YOU. 02:40:05.233 --> 02:40:07.233 I THINK GENERALLY IT'S A BIG IMPROVEMENT. I LIKE 02:40:09.233 --> 02:40:12.233 WHAT YOU ARE DOING AND THE INSPIRATION. BUT I HAVE A COUPLE OF COMMENTS. ON THE GRAY, 02:40:15.233 --> 02:40:17.233 I THINK IT'S A BIT TOO PALE ESPECIALLY WHEN YOU LOOK AT PHOTOS OF OTHER 02:40:21.233 --> 02:40:23.233 PROJECTS. I THINK MORE OF A MEDIUM GRAY OR 02:40:25.233 --> 02:40:27.233 A DARKER GRAY WOULD BE MORE IN KEEPING WITH THE 02:40:31.233 --> 02:40:33.233 MID-SNCH MID-CENTURY LOOK THAT YOU ARE AFTER. WHAT COLOR 02:40:34.233 --> 02:40:36.233 ARE YOU PAINTING THE PENTHOUSE? 02:40:37.233 --> 02:40:39.233 >> IT WOULD BE THE WHITE WITH THE LIGHT GRAY. >> OKAY. GOOD. 02:40:41.233 --> 02:40:43.233 AND THEN I ALSO HAD A QUESTION ABOUT THE SLIP RESISTANCE OF THE 02:40:47.233 --> 02:40:49.233 MARBLE THAT CHRISTINE MENTIONED. 02:40:50.233 --> 02:40:52.233 AND THE LAST, I IMPLORE YOU TO 02:40:54.233 --> 02:40:56.233 CONSIDER CHANGING THE SIGNAGE. 02:40:57.233 --> 02:40:59.233 GETTING THE SIGNAGE AND ADDRESS WOULD LOOK MUCH MORE 02:41:03.233 --> 02:41:05.233 IN CHARACTER WITH A MID-CENTURY BUILDING. 02:41:06.167 --> 02:41:08.167 AND I WONDER IF YOU COULD CONSIDER THAT. 02:41:09.167 --> 02:41:11.167 >> SURE. 02:41:12.167 --> 02:41:14.167 >> THANK YOU. 02:41:15.167 --> 02:41:17.167 >> THANK YOU, JAMES. REBECCA. 02:41:21.167 --> 02:41:23.167 >> I AGREED THAT THE PAINT WOULD BE AN IMPROVEMENT. I AGREE 02:41:25.167 --> 02:41:27.167 WITH THE PREVIOUS COMMISSIONER COMMENTS ABOUT THE GRAY BEING TOO PALE. 02:41:30.167 --> 02:41:32.167 I THINK THERE IS NOT ENOUGH CONTRAST THERE, AND FOR 02:41:34.167 --> 02:41:36.167 THE MARBLE FLOORING, LOOKING AT AESTHETICS, I THINK TO ME, IT'S 02:41:40.167 --> 02:41:42.167 TOO BASIC AND IT WASHES OUT THE REST 02:41:46.167 --> 02:41:48.167 OF THE BUILDING BUT MAYBE I'M IMPARTIAL TO THE 02:41:52.167 --> 02:41:54.167 TERRAZZO FLOOR AND I SAW 02:41:58.167 --> 02:42:00.167 THERE WERE CHIPS THERE AND LOOKING 02:42:04.167 --> 02:42:06.167 AT REPLACING IT WITH TERRAZZO INSTEAD OF MARBLE BECAUSE MARBLE 02:42:09.100 --> 02:42:11.100 IS SO OVERUSED AND WITH THE TERRAZZO, THE BUILDING 02:42:12.100 --> 02:42:14.100 POPS EVEN MORE. I DID HAVE A QUESTION HOW -- I AM NOT 02:42:15.100 --> 02:42:17.100 SURE WHAT ELEMENT TO CALL IT BUT IT'S ON THE FRONT PAGE OF OUR PACKET 02:42:21.100 --> 02:42:23.100 WHERE THERE IS SORT OF THIS ELEMENTARY BELOW 02:42:27.100 --> 02:42:29.100 THE 449 SIGNAGE, HOW THAT WILL BE PAINTED BECAUSE THERE ARE TWO SIDES 02:42:32.100 --> 02:42:34.100 TO ENTER, AND EVEN IN THE COLOR SCHEME IT'S CURRENTLY IN, 02:42:36.100 --> 02:42:38.100 TO ME THOSE WERE ELEMENTS OF THE BUILDING THAT POPPED. 02:42:40.100 --> 02:42:42.100 LOVE TO SEE THE DIFFERENT BRICK ELEMENTS NOT JUST BE PAINTED ALL 02:42:44.100 --> 02:42:46.100 IN WHITE AND WONDERING WHAT THE PLAN IS FOR 02:42:48.100 --> 02:42:50.100 THOSE TWO PIECES THAT FLANK THE ENTRANCE. 02:42:52.100 --> 02:42:54.100 >> WE WOULD DO A DETAILED ACCENT COLOR LIKE THE LIGHT GRAY OR A 02:42:58.100 --> 02:43:01.100 DARKER GRAY AND HAVE THE LINES GO ACROSS THAT ELEMENT OF ACCENT. 02:43:01.100 --> 02:43:03.100 >> OKAY. GREAT. 02:43:04.100 --> 02:43:06.100 OF BECAUSE I THINK THAT'S A NICE FEATURE IN DETAIL OF 02:43:09.330 --> 02:43:11.330 THE BUILDING. AND I HAPPEN TO -- I HAPPEN TO LIKE THE -- I 02:43:14.330 --> 02:43:16.330 KNOW IT'S NOT IN KEEPING WITH MID-CENTURY MODERN BUT 02:43:20.330 --> 02:43:22.330 I THINK THE 449 AT THE TOP ENTRANCE OF THE BUILDING, THE NUMBER AND 02:43:23.330 --> 02:43:25.330 LETTERING IS UNIQUE. I HAPPEN TO LIKE IT. AND 02:43:29.330 --> 02:43:31.330 THOSE ARE MY COMMENTS. 02:43:34.330 --> 02:43:36.330 THANK YOU. >> THANK YOU. YES, I AGREE. 02:43:38.330 --> 02:43:40.330 I THINK THE NEW COLOR PALLETTE WILL 02:43:44.330 --> 02:43:46.330 BE A BIG IMPROVEMENT, AND I THINK WITH THE BRICK, YOU 02:43:48.330 --> 02:43:50.330 KNOW, THE TEXTURED BRICK, I THINK THE WHITE COLOR WILL JUST ADD A 02:43:53.330 --> 02:43:55.330 LOT. I HAVE A QUESTION ABOUT THE STEEL WINDOWS. 02:43:57.330 --> 02:44:00.330 WILL THOSE WINDOW FRAMES BE PAINTED AS WELL? >> YES. >> THAT WILL BE THE LIGHT GRAY. 02:44:00.467 --> 02:44:02.233 IS THAT RIGHT? >> EXACTLY. 02:44:03.330 --> 02:44:05.330 >> OKAY. GOOD. 02:44:05.967 --> 02:44:07.967 AND I SAY JUST KIND OF ADD SOME 02:44:09.967 --> 02:44:11.967 PARTICULAR ATTENTION TO THE ENTRY SECTION WHERE THE STEEL IS. 02:44:12.967 --> 02:44:14.967 THAT IS A LITTLE MORE TIRED THAN IN THE UPPER WINDOWS. 02:44:17.967 --> 02:44:19.967 SO I'M SURE YOU'LL -- YOU'LL, YOU KNOW, PROPERLY PREP THAT BEFORE 02:44:21.967 --> 02:44:23.967 YOU PAINT IT. I AGREE WITH REBECCA ON THE MARBLE. 02:44:25.967 --> 02:44:27.967 YOU KNOW, I WANT TO POSE IT BUT I HATE TO SEE THE 02:44:31.967 --> 02:44:33.967 TERRAZZO GO. I THINK IT'S A UNIQUE MID-CENTURY DETAIL. 02:44:35.967 --> 02:44:37.967 THERE'S GROUPS THAT CAN COME IN AND RESTORE THAT, EVEN FIX 02:44:39.967 --> 02:44:41.967 CHIPS IN SOME CASES, SO I WOULD LOVE FOR YOU TO MAYBE RETHINK 02:44:44.967 --> 02:44:46.967 THAT MATERIAL AND KEEP THE TERRAZZO. 02:44:47.967 --> 02:44:49.967 I THINK IT ADDS A UNIQUENESS AND KEEPS THE CHARACTER 02:44:52.967 --> 02:44:54.967 OF THE BUILDING. THE DOOR HANDLE, THE OAK OR THE WHITE OAK 02:44:57.967 --> 02:44:59.967 DOOR HANDLE, IS THERE GOING TO BE -- DOES THAT TIE INTO ADDITIONAL 02:45:02.967 --> 02:45:04.967 WOOD THAT IS HAPPENING INSIDE THE BUILDING? OR 02:45:05.900 --> 02:45:07.900 IS THAT JUST A SINGLE EXTERIOR -- 02:45:09.900 --> 02:45:11.900 >> IT TIES INTO THE FRONT LANDING AND AN OFFICE ON THE FIRST 02:45:13.900 --> 02:45:16.900 FLOOR. >> ARE THERE BENCHES OR SOMETHING -- 02:45:18.900 --> 02:45:20.900 >> I'M SORRY. THERE IS JUST LIKE OAK WOOD FLOORS 02:45:24.900 --> 02:45:26.900 AT THE FIRST FLOOR. AFTER THE TERRAZZO -- 02:45:27.900 --> 02:45:30.900 >> WOOD FLOOR. >> IT'S WOOD FLOORS AND OUR WHOLE OFFICE SORT OF 02:45:32.100 --> 02:45:34.000 HAS THAT WOOD FEEL. >> LIGHT WOOD. 02:45:36.900 --> 02:45:38.900 >> GOT IT. I WANT TO MAKE SURE THAT IT'S TIED TO SOMETHING. 02:45:40.900 --> 02:45:42.900 THE FRONT DOORS HAVE SOME LARGE CHIPS IN THE GLASS. 02:45:45.900 --> 02:45:47.900 IS THAT GLASS 02:45:49.900 --> 02:45:52.900 GOING TO BE REPLACED? HOW WILL YOU ADDRESS THAT FRONT AND CENTER? 02:45:55.900 --> 02:45:57.900 >> WE WILL HAVE TO REPLACE THE WHOLE PANEL. THE FLOORS, 02:46:00.900 --> 02:46:02.900 WOULD IT BE POSSIBLY OKAY FOR A 02:46:05.833 --> 02:46:07.833 TERRAZZO WITH A -- LIKE A -- WOULD YOU WANT TO RESTORE THAT? 02:46:09.833 --> 02:46:11.833 >> I WOULD BE COMPLETELY OPEN TO THAT. I AGREE. 02:46:13.833 --> 02:46:15.833 MARBLE IS NOT MY FIRST CHOICE. I THINK 02:46:17.833 --> 02:46:19.833 TERRAZZO IS A PERIOD CORRECT DETAIL THAT YEAH. I WOULD 02:46:21.833 --> 02:46:23.833 BE COMPLETELY OPEN TO ANOTHER COLOR. >> SORRY TO INTERRUPT. 02:46:26.833 --> 02:46:28.833 WE WOULD KEEP IT BUT BECAUSE OF THE SUB-PAR CONDITIONS, 02:46:29.833 --> 02:46:31.833 WE WOULD LOOK AT REPLACEMENTS. 02:46:32.833 --> 02:46:35.833 ONE MORE QUICK NOTE. OUR FIRM FROM A MANAGEMENT STANDPOINT HAS BEEN FORTUNATE TO WORK 02:46:38.833 --> 02:46:40.833 ON RESTORATION OF HISTORIC BUILDINGS IN SAN FRANCISCO AND 02:46:43.833 --> 02:46:45.833 WEST HOLLYWOOD AND LOS ANGELES, NOTHING THAT COMES THROUGH THOSE 02:46:47.833 --> 02:46:49.833 TYPES OF BUILDINGS BUT OUR HOPE REALLY WAS 02:46:53.833 --> 02:46:55.833 TO TAKE THE THE AESTHETIC ON 02:46:58.833 --> 02:47:00.833 THE FIRST FLOOR AND LEND IT TO THE INTERIOR ESPECIALLY BECAUSE NOW 02:47:02.833 --> 02:47:04.833 PEOPLE ARE GOING BACK TO WORK, OUR STAFF AND OTHERS SPEND 02:47:06.767 --> 02:47:08.767 MORE TIME IN THE OFFICE THAN THEY DO AT HOME AT TIMES, 02:47:12.767 --> 02:47:14.767 SO WE WANTED TO GIVE A WARM SORT OF HOME-LIKE FEEL, AND 02:47:17.767 --> 02:47:19.767 THAT'S WITH THE GRAY, AND I AGREE THAT SOMETIMES, CONTRAST IS GOOD, 02:47:21.767 --> 02:47:23.767 AND I NOTICED WITH MY OWN HOME, OUR KITCHEN CABINETS MY WIFE 02:47:27.767 --> 02:47:29.767 AND I WENT THROUGH 100 COLORS OF GRAY BUT 02:47:33.767 --> 02:47:35.767 SOMETIMES, THE LIGHTER ONES ACCENTUATES THE WARM AESTHETICS BUT THAT WAS 02:47:36.767 --> 02:47:38.767 JUST THE THINKING FOR THE GRAY. 02:47:41.767 --> 02:47:43.767 >> GOT IT, AND I GUESS MY 02:47:47.767 --> 02:47:49.767 LAST COMMENT HAS TO DO WITH I AGREE WITH JAMES. I WOULD LOVE 02:47:51.767 --> 02:47:53.767 TO SEE THE MIRROR FINISH GO BUT I LIKE THE FONT THAT IS THERE. 02:47:55.767 --> 02:47:57.767 I WOULD LOVE TO SEE THAT REFINISHED WHETHER REPAINTED 02:47:59.767 --> 02:48:02.767 BECAUSE I AGREE WITH REBECCA. I THINK IT WAS AN INTERESTING FONT. 02:48:06.700 --> 02:48:08.700 >> WE HAVE IN OUR DETAILS TO REMOVE THE CHROME FRAME 02:48:11.700 --> 02:48:13.700 AROUND. SO MAYBE WE CAN TRY AND INCORPORATE THE LETTERS 02:48:16.700 --> 02:48:18.700 AND DO LIKE A -- LIKE A PLASTER. IT 02:48:20.700 --> 02:48:22.700 WOULDN'T BE SPECIAL TECHNICALLY BUT FIND A BLASTER TO COVER THE 02:48:24.700 --> 02:48:26.700 LETTERS SO IT BLENDS, MAYBE WITH AN ACCENT COLOR ON IT. 02:48:27.700 --> 02:48:29.700 >> I THINK WE ARE MOVING -- I THINK WE ARE MOVING THAT POLISHED AREA 02:48:31.700 --> 02:48:33.700 ABOVE THE STOREFRONT. 02:48:37.700 --> 02:48:39.700 THAT'S A GREAT IDEA. 02:48:40.700 --> 02:48:42.700 I DON'T MIND WHAT YOU HAVE PRESENTED FOR THE CANOPY BUT MY COMMENT WAS 02:48:43.700 --> 02:48:45.700 JUST TO THE PARTICULAR LETTERS. 02:48:46.700 --> 02:48:48.700 I WOULD LOVE TO SEE IT BE SOMETHING OTHER THAN THE HIGH 02:48:50.700 --> 02:48:52.700 POLISH. 02:48:53.700 --> 02:48:55.700 >> MAYBE METAL WORK OR SOMETHING, SATIN FINISH PERHAPS. 02:48:56.700 --> 02:48:59.700 >> I MEAN, I'LL LEAVE IT UP TO YOU. BUT OTHER THAN THAT, I HAVE NO MOTHER COMMENTS. 02:49:02.700 --> 02:49:04.700 I THINK THIS WOULD BE A 02:49:06.700 --> 02:49:08.700 REALLY NICE IMPROVEMENT TO THE BUILDING. >> OKAY. 02:49:09.700 --> 02:49:11.700 >> THANK YOU. I THINK THIS IS A REALLY GREAT UPDATE OVER 02:49:12.700 --> 02:49:14.700 ALL. I AGREE WITH THE COMMISSIONER COMMENTS SO FAR. 02:49:16.700 --> 02:49:18.700 I THINK IT WOULD BE GREAT TO SEE TERRAZZO IN 02:49:21.700 --> 02:49:23.700 SOME WAY HERE AT 02:49:27.700 --> 02:49:29.700 THE ENTRANCE AND INCLUDE ANY GRIP 02:49:32.700 --> 02:49:34.700 DOORMAT IF NEEDED. I THINK IN TERMS OF PLANTING, I'M SURE IF 02:49:36.700 --> 02:49:38.700 YOU ARE IN THE PROCESS OF RENOVATING THE PLANTERS, THE DRIP SYSTEM WILL 02:49:39.700 --> 02:49:42.700 MOST LIKELY NEED SOME KIND OF REPAIR. IT LOOKS A LITTLE OLD BUT I THINK, YOU KNOW, KEEPING A 02:49:46.700 --> 02:49:49.700 WORKING DRIP SYSTEM HERE IS IMPORTANT. I WOULD LIKE TO SEE A LITTLE MORE VARIETY IN THE PLANT 02:49:53.700 --> 02:49:55.700 MATERIAL. I THINK THERE ARE STILL PLENTY OF OPTIONS IN 02:49:59.700 --> 02:50:01.700 THIS LOW WATER DESERT FAMILY THAT HAVE 02:50:04.633 --> 02:50:06.633 THAT GREAT, GREEN, BLUE COLOR PALETTE AND MAYBE SOME OF THE 02:50:08.633 --> 02:50:10.633 DIFFERENT CACTUS SPECIES THAT STAY VERTICAL BUT DON'T GROW 02:50:14.633 --> 02:50:16.633 OUT. I THINK THAT USING THAT PATTERN AND REPETITION WOULD 02:50:18.633 --> 02:50:20.633 REALLY KIND OF GO WITH AND HIGHLIGHT 02:50:23.633 --> 02:50:25.633 THE FACADE. AND JUST ALONG THOSE LINES, IT WOULD BE 02:50:28.633 --> 02:50:30.633 GREAT TO SEE THE PLANTERS KIND OF JUST FULLY RENOVATED LIKE WITH A 02:50:33.633 --> 02:50:35.633 CACTUS OR SUCCULENT SOIL, GRAVEL OR A NATURAL MULCH LAY 02:50:40.633 --> 02:50:42.633 OR TOP, AND ALL OF THOSE THINGS THAT WILL SET THE PLANTER 02:50:44.633 --> 02:50:46.633 UP FOR SUCCESS IN THE LONG RUN AND KEEP A NICE PRESENCE. 02:50:48.633 --> 02:50:50.633 AND THOSE ARE MY COMMENTS. 02:50:54.633 --> 02:50:56.633 THANK YOU. 02:50:57.633 --> 02:50:59.633 >> THANK YOU. CHRISTINE, COULD YOU GO BACK TO 02:51:03.633 --> 02:51:05.633 THE PICTURE, THE CLOSEUP OF THE EXTERIOR? YES. 02:51:06.567 --> 02:51:08.567 THE TOP RIGHT SECTION -- THE TOP RIGHT SECTION, IS THAT GOING TO 02:51:11.567 --> 02:51:13.567 BE THE GRAY OR THE WHITE PAINT? 02:51:14.567 --> 02:51:16.567 >> IT'S GOING TO BE THE WHITE WITH THE GRAY DETAIL IN BETWEEN. 02:51:18.567 --> 02:51:20.567 >> OKAY. THAT WASN'T CLEAR TO ME 02:51:25.567 --> 02:51:28.567 AT ALL. AND IT'S KIND OF SIGNIFICANT BECAUSE IT SETS OFF THE DOOR AREA, AND 02:51:32.567 --> 02:51:34.567 THAT WAS ONE QUESTION THAT 02:51:41.567 --> 02:51:43.567 I HAD. AND I AGREED WITH TIM IN THE PLANTING AREAS, THAT 02:51:47.567 --> 02:51:49.567 WOULD BE A VARIETY IN THE PALEST TONES IN 02:51:52.567 --> 02:51:54.567 HE -- AND LEAVES, WHATEVER YOU WILL V I THINK THERE WILL BE REPAIRS 02:51:56.567 --> 02:51:58.567 PRIOR TO PAINTING. I AM SURE YOU ARE AWARE OF THAT, AND 02:52:01.567 --> 02:52:03.567 IT'S OBVIOUS WHEN YOU GO BY THE BUILDING. I THINK 02:52:05.500 --> 02:52:08.500 OVERALL, THIS WILL BE A NICE IMPROVEMENT. I UNDERSTAND THAT THE DOORS ARE STAYING THE SAME? 02:52:15.500 --> 02:52:17.500 IF SO, HOW IS THE DOOR HANDLE GOING 02:52:19.500 --> 02:52:21.500 TO FIT ON IT? 02:52:22.500 --> 02:52:24.500 >> WE ARE GOING TO CUSTOM BUILD THE HANDLES, AND OUR CARPENTER 02:52:27.500 --> 02:52:29.500 WILL CREATE IT BASED ON THE DIMENSIONS ON THE EXISTING GLASS. 02:52:31.500 --> 02:52:33.500 >> I THOUGHT HAD YOU GIVEN QUITE A BIT OF THOUGHT BECAUSE 02:52:35.500 --> 02:52:37.500 THERE IS QUITE A DIFFERENT TYPE OF HANDLE, AND THEY ARE QUITE IMPORTANT. 02:52:38.500 --> 02:52:40.500 OTHER THAN THAT, I WILL ENJOY DRIVING BY THIS ONE. 02:52:42.500 --> 02:52:44.500 IT'S GOING TO BE FRESHENED UP VERY NICELY AND IN CONTEXT FOR 02:52:47.500 --> 02:52:49.633 THE DESIGN, THE OVERALL DESIGN. SO THANK YOU. 02:52:50.100 --> 02:52:52.100 STAFF CONDITIONS. 02:52:54.500 --> 02:52:56.500 >> YES, CHAIR. I AM NOT SURE IF THE COMMISSIONERS HAVE CONSENSUS 02:52:59.500 --> 02:53:01.500 ON COMMENT FROM ONE OF THE COMMISSIONERS REGARDING CREATING 02:53:02.500 --> 02:53:04.500 A GREATEST CONTRAST WITH THE GRAY TONE MAKING IT MORE MEDIUM GRAY 02:53:06.433 --> 02:53:08.433 THAN LIGHT GRAY. DO WE HAVE A CONSENSUS ON THAT? 02:53:10.433 --> 02:53:12.433 OR DID YOU LIKE IT THE WAY THAT THEY 02:53:14.433 --> 02:53:16.433 HAVE PRESENTED IT TO YOU? 02:53:17.433 --> 02:53:19.433 >> IT IS QUITE PALE. WE HAVE THE BOARD RIGHT HERE. 02:53:22.433 --> 02:53:25.433 I COULD GO TO A MEDIUM GRAY AND BE VERY HAPPY. ANYBODY ELSE 02:53:25.433 --> 02:53:28.433 >> SAME HERE. >> VERY GOOD. OF THE PROHIBIT IS APPROVED SUBJECT TO FINAL REVIEW 02:53:31.433 --> 02:53:33.433 OF APPROVAL OF THE FOLLOWING CONDITIONS BY THE CITY OF URBAN DESIGN, 02:53:36.433 --> 02:53:38.433 PROVIDE FINAL CONTAINER SIZES AND QUANTITIES FOR ALL PLANTERS AND 02:53:41.433 --> 02:53:43.433 PLANTING BED AND PROVIDE ADDITIONAL VARIETY FOR THE PLANTING PALETTE, 02:53:47.433 --> 02:53:49.433 THE PROPER SOIL MIX AND SPECIFICATION AND MULCH TOPPINGS, 02:53:51.433 --> 02:53:53.433 AND REVIEW THE SPECIFICATION FOR THE GRAY 02:53:57.433 --> 02:53:59.433 COLOR TO BE MORE MEDIUM GRAY TONE 02:54:02.433 --> 02:54:04.433 AND THE COMMISSIONERS ASK THAT TERRAZZO PAVING REPLACEMENT OR REPAIR OF 02:54:07.367 --> 02:54:09.367 THE EXISTING PAVING RATHER THAN 02:54:12.367 --> 02:54:14.367 THE LARGER SCALE MARBLE PAVING PROPOSED SPECIFIED AT THE ENTRY. 02:54:16.367 --> 02:54:18.367 THOSE ARE THE CONDITIONS. >> THANK YOU VERY MUCH. 02:54:19.367 --> 02:54:21.367 MAY WE HAVE A MOTION? >> SURE. I'LL MAKE A MOTION. 02:54:23.367 --> 02:54:25.367 I MOVE TO ADOPT A RESOLUTION OF THE ARCHITECTURAL COMMISSION 02:54:28.367 --> 02:54:30.367 OF THE CITY OF BEVERLY HILLS CONDITIONALLY APPROVING 02:54:37.367 --> 02:54:40.367 AN ARCHITECTURAL REVIEW FOR THE LOCATION AT 449 SOUTH BEVERLY DRIVE AS AMENDED. 02:54:40.367 --> 02:54:42.367 >> I'LL SECOND. 02:54:43.367 --> 02:54:46.367 >> THANK YOU, AND ROLL CALL VOTE, PLEASE. >> COMMISSIONER PYNOOS. 02:54:48.367 --> 02:54:51.367 >> YES. >> COMMISSIONER MEYER. >> YES. 02:54:51.367 --> 02:54:54.367 >> COMMISSIONER MATSON >> YES. >> VICE CHAIR TESTIFY LYNNE. 02:54:56.367 --> 02:54:58.367 >> YES. >> CHAIR SCHREIBER? 02:54:59.367 --> 02:55:01.367 >> YES THANK YOU. THAT WILL BE A NICE ADDITION TO THE AREA 02:55:04.300 --> 02:55:06.300 AND I LIKE WHAT YOU ARE PROPOSING VERY MUCH. THANK 02:55:08.300 --> 02:55:10.300 YOU. NOW, I HAVE EVAN TO MAKE 02:55:14.300 --> 02:55:16.300 STATEMENT OF RECUSAL FOR THE 02:55:17.300 --> 02:55:19.300 NEXT PREVIEW PROJECT. 02:55:20.300 --> 02:55:22.300 >> FOR ITEM NUMBER 10, 319 NORTH RODEO DRIVE FOR THE PROJECT, 02:55:26.300 --> 02:55:28.300 I NEED TO RECUSE MYSELF AS I HAVE FINANCIAL INTEREST IN 02:55:30.300 --> 02:55:32.300 OTHER REAL PROPERTY LOCATED LESS THAN 300 FEET FROM THE PROJECT SITE. 02:55:39.300 --> 02:55:41.300 >> THANK YOU, EVAN. WE 02:56:15.233 --> 02:56:17.233 WILL SPEND SOME TIME REVIEWING ANOTHER EXCITING 02:56:18.233 --> 02:56:20.233 PROJECT ON 39 NORTH RODEO DRIVE, AND WE WILL START OFF WITH A STAFF 02:56:21.233 --> 02:56:23.233 REPORT. >> ALL RIGHT. CHAIR, MEMBERS OF THE COMMISSION, I WILL BE PRESENTING 02:56:28.233 --> 02:56:30.233 THE APPLICANTS' REQUEST FOR A PREVIEW OF 02:56:32.233 --> 02:56:34.233 THE PROPERTY LOCATED AT 319 NORTH RODEO DRIVE FOR THE CONSTRUCTION 02:56:37.233 --> 02:56:39.233 OF A NEW THREE-STORY COMMERCIAL BUILDING 02:56:42.233 --> 02:56:44.233 WITH A ROOFTOP RESTAURANT AND AN IDENTIFICATION SIGN FACING THE ALLEY 02:56:47.233 --> 02:56:49.233 AND A CONSTRUCTION BARRICADE. 02:56:50.233 --> 02:56:52.233 AND SO THIS IS ALONG NORTH RODEO DRIVE 02:56:55.233 --> 02:56:57.233 AS HIGHLIGHTED HERE. THIS PROJECT SITE WILL UP ON APPROXIMATELY 02:57:00.233 --> 02:57:02.233 FIVE TENANT SPACES AS YOU CAN SEE HERE 02:57:06.167 --> 02:57:08.167 FROM WHAT WAS THE DIOR ADJACENT LOT AS 02:57:13.167 --> 02:57:15.167 YOU CAN SEE HERE. SO THE PROJECT SCOPE IS TENTATIVELY SCHEDULED 02:57:18.167 --> 02:57:20.167 TO BE REVIEWED BY THE 02:57:23.167 --> 02:57:25.167 PLANNING COMMISSION IN SEPTEMBER OF 2022 FOR AN ADDITIONAL 02:57:28.167 --> 02:57:30.167 USE PERMIT AND PARKING AND OPEN-AIR DINING PERMIT WITH ROOFTOP USE AND 02:57:32.167 --> 02:57:35.167 AN ALTERNATIVE PARKING FACILITY. THE PROPOSED BUILDING WOULD BE A MAXIMUM HEIGHT OF 02:57:39.167 --> 02:57:41.167 6150 AND 5 INCHES AND A ROOFTOP SCREENING AND A TOTAL 02:57:44.167 --> 02:57:46.167 GROSS BUILDING AREA OF 47829 SQUARE FEET AND INCLUDE A TOTAL OF 89 PARK 02:57:48.167 --> 02:57:50.167 SPACES AND TRUCKLOADING SPACES, AND SO FOR THE NEW CONSTRUCTION, 02:57:56.167 --> 02:57:58.167 THE PROJECT INCLUDES THE FOLLOWING ELEMENTS WHICH ARE EXTERIOR 02:58:01.167 --> 02:58:03.167 FACADE AND MATERIAL MINERAL LIMESTONE, RECESSED FRONT WIND OWES AND 02:58:07.100 --> 02:58:09.100 LA PERLA LIMESTONE, 02:58:15.100 --> 02:58:17.100 AND REAR ANONDIZED ALUMINUM, AND METAL PANELS AT THE 02:58:20.100 --> 02:58:22.100 REAR AND THE RAMP ENTRANCE, SECURITY GRILL AND A 02:58:26.100 --> 02:58:28.100 VARIETY OF PLANT SPECIES WITH LIGHTING, AND LANDSCAPING 02:58:29.100 --> 02:58:31.100 PLANTERS ALONG THE FRONT AND BACK AREA OF THE OUTDOOR 02:58:34.100 --> 02:58:36.100 DINING AREA AND PENTHOUSE LANDSCAPING WITH A PLANTER ALONG 02:58:40.100 --> 02:58:42.100 THE FRONT AND REAR SETBACK AREA. SO HERE, 02:58:45.100 --> 02:58:47.100 THE FRONT ELEVATION OF THE PROPOSED NEW 02:58:51.100 --> 02:58:53.100 CONSTRUCTION AND HERE IS THE REAR ELEVATION AS 02:58:57.100 --> 02:58:59.100 WELL AS THE REAR SIGNAGE. 02:59:00.100 --> 02:59:02.100 AND HERE ARE DETAILS ON THE BUSINESS IDENTIFICATION SIGN. 02:59:04.100 --> 02:59:06.100 THERE ARE A TOTAL OF 02:59:10.100 --> 02:59:12.100 EIGHT SIGNS PROPOSED WITH 57.2 SQUARE 02:59:14.100 --> 02:59:16.100 FEET FOR ALL AREA, AND THERE WILL BE FOUR SIGNS NOT ILLUMINATED 02:59:18.100 --> 02:59:20.100 PLACED ALONG THE WINDOW GLAZING AND 02:59:24.100 --> 02:59:26.100 AN ALLEY SIGN THAT IS 9 SQUARE FEET AND BOTH AL EVERY 02:59:30.100 --> 02:59:32.100 AND ENTRANCE SIGNS WILL 02:59:34.100 --> 02:59:36.100 BE IN MATTE BLACK POWDER COATED LETTERS, AND HERE ARE THE PROPOSED 02:59:42.100 --> 02:59:44.100 LANDSCAPING OR IS THE PROPOSED LANDSCAPING WITHIN THE 02:59:47.100 --> 02:59:49.100 FIRST FLOOR. AND HERE IS THE PROPOSED LANDSCAPING FOR 02:59:52.100 --> 02:59:54.100 THE THIRD FLOOR AND THIS, AGAIN, IS THE PLANTERS ALONG THE 02:59:58.100 --> 03:00:00.100 FRONT FACADE, AND HERE IS THE LANDSCAPING FOR THE 03:00:07.330 --> 03:00:09.330 PENTHOUSE FLOOR PLAN AND HERE IS THE PROPOSED 03:00:16.330 --> 03:00:18.330 CONSTRUCTION BARRICADE THAT HAS A PROPOSED-SQUARE-FOOTAGE THAT 03:00:19.330 --> 03:00:21.330 IS NOT UNDER THE DISCUSSION OF THE COMMISSION THAT CAN BE STAFF APPROVED. 03:00:24.330 --> 03:00:26.330 BUT AGAIN, THIS IS A PREVIEW ITEM. 03:00:28.330 --> 03:00:30.330 AND HERE IS THE FINAL 03:00:33.330 --> 03:00:35.330 RENDERING, THE COLORED RENDERING FOR THE NEW CONSTRUCTION. 03:00:37.330 --> 03:00:39.330 AND HERE IS THE REAR RENDERING 03:00:43.330 --> 03:00:45.330 AS WELL AS THE THIRD-LEVEL TERRACE AREA FOR THE 03:00:47.330 --> 03:00:49.330 FUTURE RESTAURANT USE, AND SO THIS IS A PREVIEW ITEM OF 03:00:52.330 --> 03:00:54.330 THE COMMISSION FOR COMMENTS FOR THE 03:00:58.330 --> 03:01:00.330 APPLICANT AND THE ARCHITECTURAL TEAM. 03:01:03.330 --> 03:01:05.330 OVERALL, THE AESTHETIC 03:01:14.967 --> 03:01:16.967 IS THE CURBING IN MEDIUM TONE FOR THE RETAILER DIOR, AND 03:01:19.967 --> 03:01:21.967 I AM OPEN TO AND QUESTIONS. 03:01:23.967 --> 03:01:25.967 THANK YOU. 03:01:26.967 --> 03:01:28.967 >> IS THERE ANY EARLY PUBLIC COMMENT, KAREN 03:01:29.967 --> 03:01:31.967 >> WE HAVE NO PUBLIC 03:01:38.967 --> 03:01:40.967 COMMENT ON THIS ITEM. 03:01:45.967 --> 03:01:47.967 >> I AM THINKING THIS IS A COMPLEX ONE AND THEN THE COMPLEX 03:01:49.967 --> 03:01:51.967 ONE AND THIS IS RIGHT IN 03:01:55.967 --> 03:01:57.967 BETWEEN. 03:01:58.967 --> 03:02:00.967 I AM VERY EXCITED BECAUSE THIS IS GREAT 03:02:04.900 --> 03:02:06.900 FRONTAGE AND THE DESIGN IS WAVY AND TAKEN FROM FABRIC 03:02:09.900 --> 03:02:12.900 AND IT HAS A WAVE TO IT. IT'S A VERY SIMPLE, CLEAN, WHITE FACADE WHICH IS WHAT THEY 03:02:16.900 --> 03:02:18.900 ARE LOOKING FOR. I THINK THAT VICE CHAIR DEVLIN WILL 03:02:22.900 --> 03:02:24.900 BE EXCITED WITH ALL THE LANDSCAPING. 03:02:28.900 --> 03:02:30.900 [ LAUGHTER ] AND THAT IS 03:02:33.900 --> 03:02:35.900 EVOLVING WITH A TERRACE LOOKING LANDSCAPE. IT MAY 03:02:38.900 --> 03:02:40.900 NOT WORK IN ALL CLIMATES. 03:02:41.900 --> 03:02:43.900 BUT THE DINING FACILITY ON THE THIRD FLOOR IS 03:02:47.900 --> 03:02:49.900 PRETTY MUCH ALL DINING. AND 03:02:52.900 --> 03:02:54.900 WE MEANT TO MAKE THE REAR ENTRANCE VERY EXCITING. YOU CAN 03:02:55.900 --> 03:02:57.900 SEE FROM THE ELEVATION THAT WE HAVE COLORS IN THERE AND IT'S NOT 03:03:01.900 --> 03:03:03.900 JUST A BLANK SLATE. OTHER THAN 03:03:05.833 --> 03:03:07.833 THAT, IT'S A SIMPLE AND CLEAN DESIGN. 03:03:11.833 --> 03:03:13.833 JUST WANT TO SEE THE COMMENTS THAT YOU HAVE. 03:03:15.833 --> 03:03:17.833 >> WELL, IT'S A VERY ELEGANT DESIGN. WE'LL START WITH JAMES. 03:03:19.833 --> 03:03:21.833 WOULD YOU LIKE 03:03:25.833 --> 03:03:27.833 TO LEAD US OFF? 03:03:28.833 --> 03:03:30.833 >> YES. 03:03:31.833 --> 03:03:33.833 >> ANY OTHER PUBLIC COMMENTS? >> WE DO. WE DO. 03:03:34.833 --> 03:03:36.833 >> OKAY. ALL RIGHT. 03:03:37.833 --> 03:03:40.833 FIRST OF ALL, I THINK IT'S A VERY HANDSOME BUILDING, AND VERY PLEASED WITH THIS ONE. 03:03:42.833 --> 03:03:44.833 I LIKE THAT IT'S ALL WHITE. I LIKE THE 03:03:47.833 --> 03:03:49.833 ATRIUM WITH THE TREE AND THE WIND SURROUND AND WINDOW 03:03:52.833 --> 03:03:54.833 PLACEMENT AND THE LANDSCAPING ON THE UPPER LEVEL TERRACES, 03:03:58.833 --> 03:04:00.833 AND I THINK YOU HAVE THE BEST ALLEY ELEVATION IN THE CITY. 03:04:03.767 --> 03:04:05.767 I TRUST THAT IT WILL BE VERY WELL DETAILED. I 03:04:07.767 --> 03:04:09.767 AM VERY PLEASED WITH THIS. 03:04:13.767 --> 03:04:15.767 JUST A FEW QUESTIONS, COMMENTS ON D-13, I THINK YOU 03:04:19.767 --> 03:04:21.767 HAVE AN AN AWNING ON THE THIRD-LEVEL TERRACE AND THAT 03:04:23.767 --> 03:04:25.767 IT IS A RETRACTIBLE AWNING. >> YES. THAT'S ON THE DINING LEVEL SO PEOPLE WILL BE SITTING 03:04:29.767 --> 03:04:31.767 OUT THERE WITH DRINKS OR FOOD JUST 03:04:36.767 --> 03:04:38.767 TO GIVE THEM SOME SHADE. 03:04:39.767 --> 03:04:41.767 >> WHEN IT'S OPEN IS THAT A 45-DEGREE SIGHT LINE? 03:04:43.767 --> 03:04:45.767 >> THAT'S 03:04:52.767 --> 03:04:54.767 ON THE FAULT FLOOR. 03:04:55.767 --> 03:04:57.767 >> OKAY. LET'S SEE. THE THIRD FLOOR PLAN, THE BACK ALLEY ON THE RIGHT-HAND 03:05:01.767 --> 03:05:03.767 SIDE OF THE 03:05:07.700 --> 03:05:09.700 RAMP, WHERE IS THAT? 03:05:13.700 --> 03:05:15.700 I SEE LINES. ARE THOSE FOR PARKING SPACES? 03:05:17.700 --> 03:05:20.700 >> WHERE IS THAT? THE THIRD FLOOR? >> YEAH. THE DARK LINES. 03:05:22.700 --> 03:05:24.700 >> THAT IS THE HANDICAP SPACE, THE HANDICAP DROP OFF. YOU 03:05:26.700 --> 03:05:28.700 HAVE TO KEEP THE FIVE FOOT FOR THE HANDICAP DROP OFF. 03:05:29.700 --> 03:05:31.700 >> THE BOTTOM ON THE RIGHT-HAND SIDE. 03:05:32.700 --> 03:05:35.700 >> ON THE RIGHT-HAND SIDE, ANOTHER LOADING, THE SMALLER TRUCKLOADING ON THAT SIDE. 03:05:35.700 --> 03:05:38.700 >> OH, OKAY. ALL RIGHT. >> AND WHAT YOU ARE SEEING IN THE SQUARE, THAT'S THE ACCESS TO 03:05:44.700 --> 03:05:46.700 THE TRANSFORMER 03:05:53.700 --> 03:05:56.700 BELOW GRADE. >> OKAY. A-4, WAS THIS ON THE STREET SIDE OF THE PLANTING 03:06:00.700 --> 03:06:02.700 OR THE TERRACE SIDE OF THE PLANTING? 03:06:04.633 --> 03:06:06.633 >> THE GLASS RAILING, ARE YOU TALKING ABOUT -- WHICH LEVEL ARE YOU TALKING 03:06:08.633 --> 03:06:10.633 ABOUT, THE THIRD OR THE FOURTH? 03:06:12.633 --> 03:06:15.633 >> THIRD. THE ONE ON THE SCREEN. >> SO THE GLASS FRAMING IS ON THE OTHER SIDE OF THE PLANTING. 03:06:19.633 --> 03:06:21.633 IT'S THE CURVED WALL THAT YOU SEE. 03:06:24.633 --> 03:06:26.633 THAT'S WHERE IT IS. >> AND THAT'S SIX FEET HIGH? 03:06:28.633 --> 03:06:30.633 >> YES, YES. 03:06:31.633 --> 03:06:33.633 LET ME CHECK THAT. THE LANDSCAPE 03:06:34.633 --> 03:06:36.633 IS ON THE OTHER SIDE. 03:06:40.633 --> 03:06:42.633 IT'S ON 03:06:45.633 --> 03:06:47.633 THE STREET SIDE. IF YOU LOOK AT 03:06:51.633 --> 03:06:53.633 A-10, YOU CAN SEE THE GLASS ON THE INSIDE AND ON THE THIRD 03:06:55.633 --> 03:06:57.633 FLOOR THERE IS BASICALLY A WALL. 03:06:58.633 --> 03:07:01.633 THERE IS NO GLASS RAIL THERE. >> OKAY. BUT ON THE THIRD FLOOR IT LOOKS LIKE THE PLANT IS 03:07:03.567 --> 03:07:05.567 HIGHER THAN THE PAVING? 03:07:06.567 --> 03:07:08.567 >> YES. WE ARE GOING TO HAVE A 03:07:14.567 --> 03:07:16.567 RAISED PLANTER THERE. 03:07:17.567 --> 03:07:19.567 >> BUT DO YOU HAVE 03:07:23.567 --> 03:07:26.567 THE BARRIER SO THEY DON'T FALL ON THE STREET? >> THE PLANTERS WILL BE HIGHLY PLANTED. 03:07:27.567 --> 03:07:29.567 WE'VE SAW THAT WAS GOING TO BE A PROBLEM. 03:07:31.567 --> 03:07:34.567 WE'LL LOOK AT THAT. >> OKAY. AND THEN ON THE FOURTH FLOOR, WE LOOK AT PLAN A-5? 03:07:36.567 --> 03:07:38.567 I SEE THAT THE RAILING ON THE INSIDE 03:07:42.567 --> 03:07:44.567 OF THE PLANTING IS THERE BUT YOU HAVE ANOTHER DOUBLE LANE 03:07:46.567 --> 03:07:48.567 NEXT TO THE OUTDOOR SEATING. I WASN'T SURE WHAT THAT WAS. 03:07:50.567 --> 03:07:52.567 I SEE THE GLASS RAILING IS AT THE EDGE OF 03:07:53.567 --> 03:07:56.567 THE PLANTER. >> YOU ARE SEEING A DOUBLE LINE. 03:07:56.567 --> 03:07:58.567 THE PLANTER IS ON THE OUTSIDE OF THE GLASS. 03:08:00.567 --> 03:08:02.567 YOU CAN ANY BACK TO THE FLAT SURFACE WHERE, WHEN YOU OPEN THE 03:08:04.500 --> 03:08:06.500 GLASS -- THE GLASS HAS AN OPENING TO IT AT SOME POINT WHERE YOU CAN 03:08:08.500 --> 03:08:10.500 GO OUT ON THE LEDGE WITH A SAFETY HARNESS, A RAIL ON 03:08:12.500 --> 03:08:14.500 THE PLANTER THAT YOU CAN LOOK INTO AND MAINTAIN THE PLANTS 03:08:18.500 --> 03:08:21.500 ON THE OUTSIDE. >> SO A-5 THERE IS ANOTHER DOUBLE LINE THAT IS CLOSE TO THE COLUMNS 03:08:24.500 --> 03:08:26.500 AND FURNITURE ON THE OUTSIDE TERRACE. 03:08:27.500 --> 03:08:29.500 WHAT IS 03:08:30.500 --> 03:08:32.500 THAT DOUBLE LINE? 03:08:33.500 --> 03:08:35.500 >> THE LITTLE RECTANGLE 03:08:37.500 --> 03:08:39.500 THAT YOU SEE? 03:08:40.500 --> 03:08:42.500 >> NO. IT'S THE DOUBLE LINE 03:08:45.500 --> 03:08:47.500 THAT YOU SEE WRAPPING AROUND THREE TIMES. 03:08:48.500 --> 03:08:50.500 >> THAT'S THE CANOPY ABOVE IT. 03:08:51.500 --> 03:08:53.500 SHOULDN'T BE ON THE FLOOR PLAN. 03:08:56.500 --> 03:08:58.500 >> OH, GOTCHA. OKAY. 03:08:59.500 --> 03:09:01.500 AND THEN ON A-7, THE ELEVATION OF 03:09:05.500 --> 03:09:07.500 THE FRONT, ON THE FOURTH FLOOR YOU HAVE A NOTE THERE IS AN AWNING. 03:09:10.500 --> 03:09:12.500 I THOUGHT -- YOU 03:09:13.500 --> 03:09:15.500 MEAN A RETRACTIBLE AWNING? 03:09:17.500 --> 03:09:19.500 >> NO. IF YOU GO TO A-10, THERE IS LIKE AN EYEBROW ON 03:09:20.500 --> 03:09:22.500 THE SECTION. THAT'S -- I MEAN, MAYBE IT 03:09:25.500 --> 03:09:27.500 SHOULDN'T BE CALLED AWNING. 03:09:28.500 --> 03:09:30.500 IT'S A -- IT'S A RETRACTIBLE AWNING. 03:09:31.500 --> 03:09:33.500 THAT IS THE EYEBROW. 03:09:34.500 --> 03:09:37.500 >> OKAY. HAVE YOU FOUND THE RETRACTIBLE ONE ON THE THIRD FLOOR? 03:09:39.500 --> 03:09:41.500 >> YES F YOU LOOK AT A-10. 03:09:45.500 --> 03:09:47.500 >> NO, A-7. SORRY. 03:09:51.500 --> 03:09:53.500 >> NO. 03:09:54.500 --> 03:09:56.500 THERE ARE TOO MANY LINES. OKAY. 03:10:04.433 --> 03:10:06.433 >> ALL RIGHT. AND A-13 03:10:10.433 --> 03:10:12.433 THE FACADE, AND THE ONES AT THE ENTRANCE DOOR, 03:10:15.433 --> 03:10:17.433 THE ELEVATIONS, I THINK IT'S A CANOPY ON THE SECOND 03:10:21.433 --> 03:10:24.433 FLOOR LEVEL THAT IS NOT FOUND ON THE SECTION. >> THE CANOPY ON THE SECOND FLOOR? 03:10:26.433 --> 03:10:29.433 >> THE WINDOWS HAVE A BOX FRAME AROUND THEM. >> YEAH. THEY ARE LIKE A FRAME THAT GOES AROUND THEM AND 03:10:32.433 --> 03:10:34.433 IT DEPENDS ON WHERE THE SECTION IS. BUT WE DO HAVE -- 03:10:37.433 --> 03:10:39.433 IF THE SECTION THROUGH A-12, WE DON'T HAVE -- WE HAVEN'T PUT A 03:10:43.433 --> 03:10:45.433 NUMBER ON THEM BUT DEPENDING ON WHERE THE SECTION IS, WE HAVE A 03:10:46.433 --> 03:10:48.433 FRAME AROUND THE OPENING. 03:10:49.433 --> 03:10:51.433 IT ALL DEPENDS ON WHERE THEY ARE. BUT IT 03:10:53.433 --> 03:10:56.433 IS ALL WITHIN THE PROPERTY LINE. >> AND ON SECTION THREE, IT SHOULD BE A CANOPY OVER THE DOOR. 03:11:00.433 --> 03:11:02.433 >> SECTION THREE? I THINK, YEAH. NO. 03:11:04.367 --> 03:11:06.367 THAT'S THROUGH A WINDOW. 03:11:07.367 --> 03:11:09.367 YOU CAN SEE THERE IS A PLATFORM ON THE BOTTOM. 03:11:12.367 --> 03:11:14.367 THAT'S A 03:11:19.367 --> 03:11:21.367 WINDOW IN SECTION THREE. 03:11:22.367 --> 03:11:24.367 >> THE MEN'S IS SECTION TWO AND THE WOMEN'S IS SECTION THREE. 03:11:28.367 --> 03:11:30.367 >> YEAH. THE MEN'S ENTRY IS 03:11:34.367 --> 03:11:36.367 SECTION TWO AND THE WOMEN'S IS -- 03:11:37.367 --> 03:11:39.367 >> A LITTLE CANOPY IS MISSING. 03:11:40.367 --> 03:11:42.367 >> YEAH. BUT IT DEPENDS WHERE THE DOOR IS. 03:11:44.367 --> 03:11:46.367 THERE WILL BE AN OVERHANG ON THE DOOR. 03:11:50.367 --> 03:11:52.367 >> OKAY. 03:11:53.367 --> 03:11:55.367 AND THEN A-18, DETAIL THREE, THE GLASS GUARDRAIL 03:11:58.367 --> 03:12:00.367 AT THE PENTHOUSE PLANTER, I THINK IT'S 7.5 INCHES HIGH. 03:12:02.367 --> 03:12:04.367 HOW DID YOU COME UP 03:12:08.300 --> 03:12:11.300 WITH THAT NUMBER? 3-FOOT SIX. >> YEAH. THAT SHOULD BE THREE FOOT SIX. 03:12:16.300 --> 03:12:18.300 THE TOP OF THE WALL. 03:12:22.300 --> 03:12:24.300 >> OTHERWISE I THINK THIS WILL BE AN EXCELLENT PROJECT. >> THANK YOU. 03:12:26.300 --> 03:12:29.300 >> AND TIM, WOULD YOU LIKE TO BE NEXT? >> THANK YOU. I AGREE WITH A LOT OF 03:12:32.300 --> 03:12:34.300 JAMES'S COMMENTS. I THINK THIS IS A REALLY INCREDIBLE PROJECT 03:12:37.300 --> 03:12:40.300 AND THE ALLEY FACING FACADE IS AWESOME. I LOVE THE POP OF RED. 03:12:42.300 --> 03:12:44.300 IT DOES A LOT. 03:12:45.300 --> 03:12:47.300 IT LOOKS GREAT. 03:12:48.300 --> 03:12:50.300 I THINK ON THE FRONT-FACING FACADE, SEEING 03:12:52.300 --> 03:12:54.300 THE CURVED LINEAR SHAPE, I THINK IT'S REALLY 03:12:56.300 --> 03:12:58.300 ELEGANT AND VERY SUBTLE. 03:13:02.300 --> 03:13:04.300 WONDERING IF MAYBE THE 03:13:09.233 --> 03:13:11.233 CURVED LINEAR FACADE WILL CONTINUE UP, AND I SAW YOUR PROJECT 03:13:15.233 --> 03:13:17.233 IN KOREA, AND IT WAS INCREDIBLE, LIKE ONE FLOWING SHEET OF FABRIC. 03:13:19.233 --> 03:13:21.233 JUST SOMETHING TO CONSIDER, AND I LOVE 03:13:25.233 --> 03:13:27.233 THE LANSCAPED COURTYARD FROM THE STREET AND STANDS OUT REALLY WELL 03:13:29.233 --> 03:13:31.233 TO SEE THE PLANT MATERIAL AND ALL THE COLOR. I THINK 03:13:32.233 --> 03:13:34.233 AS THE DETAILS DEVELOP, IT WILL BE GREAT TO LOOK AT HOW THE COURT 03:13:36.233 --> 03:13:38.233 YARD IS DRAINING. BUT I THINK THE SOIL DEPTH IS -- 03:13:41.233 --> 03:13:43.233 >> WE ALLOWED FOR FOUR FEET OF DEPTH. SO THAT 03:13:46.233 --> 03:13:48.233 AREA DROPS BY FOUR FEET AND ALLOWS US TO HAVE DRAINS DOWN, AND WE 03:13:51.233 --> 03:13:53.233 HAVE TO DRAIN THE PLANTERS FROM THE UPPER LEVELS, TOO. 03:13:57.233 --> 03:13:59.233 >> I THINK IT'S GOOD TO SEE A SOIL DEPTH THAT MATCHES. 03:14:00.233 --> 03:14:02.233 I THINK THAT WILL BE REALLY EXCITING. 03:14:03.167 --> 03:14:05.167 I JUST -- I CAN SEE THE CONCEPT 03:14:12.167 --> 03:14:14.167 WITH THE PLANT MATERIAL 03:14:18.167 --> 03:14:20.167 ON THE UPPER TERRACES WITH THE DIFFERENT 03:14:24.167 --> 03:14:26.167 COLORS AND LEAF STYLES, AND I THINK IF THERE ARE DWARF VARIETIES 03:14:27.167 --> 03:14:29.167 OR OTHER VARIETIES SUITED TO SOUTHERN CALIFORNIA YOU CAN STILL GET THE 03:14:33.167 --> 03:14:35.167 CONCEPT. BUT I THINK THE IDEA'S THERE. AND 03:14:37.167 --> 03:14:39.167 ALSO WITH LIGHTING, TOO, IT'S EXCITING TO SEE ALL THE 03:14:41.167 --> 03:14:43.167 DIFFERENT LIGHTING ELEMENTS. 03:14:44.167 --> 03:14:46.167 BUT I THINK KIND OF BEING MORE WHERE THEY OCCUR 03:14:50.167 --> 03:14:52.167 IN THE FACADE AND ALSO IN THE ATRIUM SPACE 03:14:55.167 --> 03:14:57.167 AS WELL SEEING HOW -- MAYBE SOME ADDITIONAL GRAPHICS WILL BE HELPFUL 03:15:01.167 --> 03:15:03.167 TO UNDERSTAND HOW, WHAT THE -- HOW THE TREE IS LIT AT NIGHT. 03:15:06.100 --> 03:15:09.100 >> TALKING ABOUT LIGHTING, THE LIGHTING IS A LITTLE -- WAITING FOR THE PLANT SELECTIONS. 03:15:11.100 --> 03:15:13.100 THE SIZE OF THE PLANT AND HOW IT OPENS UP IS HOW THE LIGHTING IS 03:15:14.100 --> 03:15:16.100 GOING TO WORK. SO THAT'S WHY WE ARE STILL PLAYING AROUND 03:15:18.100 --> 03:15:20.100 WITH THE LANDSCAPE BEFORE WE GET TO THE LIGHTING. I KNOW 03:15:22.100 --> 03:15:24.100 THE COURT YARD WILL BE LIGHTED FROM THE RIM OF THE SECOND FLOOR DOWN. 03:15:25.100 --> 03:15:27.100 THEY WANT TO LIGHT THE TREE FROM THE TOP, NOT THE BOTTOM. 03:15:29.100 --> 03:15:31.100 SO WE HAVE THE EDGES ON IT OPENING AT THE SECOND FLOOR 03:15:34.100 --> 03:15:36.100 AND WE WANT TO HAVE THE LIGHT SHOOTING DOWN. SO THE LIGHTING 03:15:38.100 --> 03:15:40.100 DESIGN IS BEHIND IN THE TENSE THAT WE ARE WAITING 03:15:43.100 --> 03:15:45.100 FOR THE FINAL PLANTING MATERIALS TO BE SELECTED AND THE LIGHTS HAVE 03:15:47.100 --> 03:15:50.100 TO FOLLOW THE LANDSCAPE, NOT THE OTHER WAY AROUND. >> YEAH. 03:15:50.100 --> 03:15:52.100 >> THAT'S WHAT WE ARE WORKING ON RIGHT NOW BUT THE BIGGER PART WAS 03:15:54.100 --> 03:15:56.100 TO GET A PREVIEW OF THE DESIGN OF THE BUILDING AS IT STANDS BECAUSE 03:15:59.100 --> 03:16:01.100 THIS HAS GONE THROUGH A LOT OF BACK 03:16:05.330 --> 03:16:07.330 AND FORTH AND DIOR IS KIND OF VERY SPECIAL 03:16:11.330 --> 03:16:13.330 TO HIM AND HE LOOKS AT THIS -- A VERY CLOSE LOOK AT THIS. 03:16:15.330 --> 03:16:17.330 SO EVERYTHING HAS BEEN APPROVED NOW, AND WE ARE 03:16:21.330 --> 03:16:23.330 JUST WAITING FOR PLANNING AND VPR APPROVAL, AND 03:16:24.330 --> 03:16:26.330 ONCE THAT IS THROUGH, WE WILL BRING IT BACK TO YOU, AND WE'LL BRING 03:16:30.330 --> 03:16:32.330 IT BACK WITH THOSE THINGS LIKE THE THIRD FLOOR, THAT'S NOT SELECTED 03:16:35.330 --> 03:16:38.330 BECAUSE IT HAS TO TIE ABOUT THE RESTAURANT FURNITURE. ALL THE DOORS OPEN UP. 03:16:39.330 --> 03:16:41.330 WHEN THEY OPEN UP, YOU WANT TO TIE THE TWO AND THE FURNITURE WILL COME 03:16:44.330 --> 03:16:46.330 BACK LATER AND IT'S BECAUSE OF THOSE -- IT HAS 03:16:47.330 --> 03:16:50.330 TO TIE INTO THE SPACE. >> EXCELLENT, AND I MIGHT HAVE MISSED IT EARLIER BUT THE THIRD 03:16:52.330 --> 03:16:54.767 ENTRANCE FROM THE STREET LEVEL UP TO THE -- >> THE RESTAURANT. 03:16:54.767 --> 03:16:56.767 >> OKAY. 03:16:58.330 --> 03:17:00.330 >> WE HAVE THE WOMEN'S ENTRY, THE MEN'S ENTRY AND THE THIRD ONE 03:17:03.967 --> 03:17:05.967 IS THE RESTAURANT. 03:17:06.967 --> 03:17:08.967 AND YOU CAN GO INTO THE RESTAURANT FROM THE RETAIL SPACE 03:17:11.967 --> 03:17:13.967 BUT THEY CLOSE IT 6:00 OR 7:00 AND THE 03:17:16.967 --> 03:17:18.967 RESTAURANT WILL BE OPENED LATER SO THEY NEEDED A THIRD ENTRANCE. 03:17:19.967 --> 03:17:21.967 AND THE ELEVATOR WILL TAKE YOU STRAIGHT 03:17:23.967 --> 03:17:25.967 UP TO THE RESTAURANT. 03:17:26.967 --> 03:17:28.967 >> OKAY. WELL, VERY EXCITING AND I'M EXCITED TO SEE IT MOVE FORWARD. 03:17:32.967 --> 03:17:34.967 >> THANK YOU, TIM. REBECCA? 03:17:36.967 --> 03:17:38.967 >> THANK YOU. I ECHO 03:17:41.967 --> 03:17:43.967 THE COMMENTS OF MY FELLOW COMMISSIONERS AND WILL ASK QUESTIONS. 03:17:45.967 --> 03:17:47.967 ONE OF THEM FOLLOW TIM'S ABOUT 03:17:51.967 --> 03:17:53.967 THE PLANNING OR THE PLANTING AND MAINTENANCE OF THE PLANTING ELEMENTS, 03:17:56.967 --> 03:17:58.967 PARTICULARLY WITH THE TREE THAT IS IN 03:18:02.900 --> 03:18:04.900 THE FRONT WINDOW. I AM WONDERING ABOUT THE BUILDING. 03:18:06.233 --> 03:18:08.000 >> IT'S OPEN >> COMPLETELY OPEN? 03:18:09.900 --> 03:18:12.900 >> YES, TO THE ELEMENTS IT'S OPEN. >> COMPLETELY OPEN AND THE STAIRCASES -- 03:18:13.900 --> 03:18:15.900 >> THE STAIRCASE IS BEHIND. 03:18:16.900 --> 03:18:18.900 >> IT'S BEHIND THE SKYLIGHT. 03:18:20.900 --> 03:18:22.900 >> THE FIRST BOX IS THE GLASS BOX ON THREE OR FOUR SIDES, AND 03:18:26.900 --> 03:18:28.900 YOU CAN SEE BEHIND THE TREE BUT IT'S ALL GLAZED AND IT'S OPEN. 03:18:30.900 --> 03:18:32.900 YOU CAN SEE THE 03:18:36.900 --> 03:18:38.900 BIG BOX THERE ON THE THIRD FLOOR. 03:18:39.900 --> 03:18:41.900 YOU CAN GO TO A3 AND 03:18:43.900 --> 03:18:46.900 THEN A4, THAT'S ALL OPEN. YOU CAN STRAND AND GET RAINED ON IN A RAINY DAY THOUGH 03:18:50.900 --> 03:18:53.900 IT DOESN'T RAIN IN CALIFORNIA. >> OKAY. >> SO OPEN TO THE ELEMENTS. 03:18:54.900 --> 03:18:56.900 >> OKAY. GREAT. 03:18:57.900 --> 03:18:59.900 I THINK SOME OF THAT 03:19:01.967 --> 03:19:03.967 VIEWPOINT, THE FRONT-FACING FACADE HINDERS LIKE ON THE VIEWPOINT 03:19:07.900 --> 03:19:09.900 OF A HEALTHY TREE BEING THERE. THEN I WAS WONDERING 03:19:11.900 --> 03:19:13.900 -- I WAS GOING TO ASK A FEW 03:19:17.900 --> 03:19:19.900 QUESTIONS ABOUT THE PARKING ELEMENT. IT'S 03:19:22.900 --> 03:19:24.900 NOT WHAT I'M USED TO WITH THE PARKING SYSTEM. I DON'T KNOW IF 03:19:27.900 --> 03:19:29.900 YOU CAN WALK THROUGH HOW THAT 03:19:31.900 --> 03:19:34.900 WORKS IN A1. >> SO, THE CITY HAS ADOPTED A PILOT PROGRAM IN WHICH THEY STARTED, I 03:19:38.900 --> 03:19:40.900 BELIEVE, TWO PROGRAMS THAT WERE ADDED TO 03:19:42.900 --> 03:19:44.900 THE PROJECT THAT WOULD ALLOW STACKED PARKING. IT'S PART OF 03:19:47.900 --> 03:19:49.900 THE OPERATIONS AND HOW MANY VALET PEOPLE WILL BE WORKING AND DRIVING 03:19:51.900 --> 03:19:53.900 UP AND DOWN AND SO FORTH. WE, AT ONE POINT 03:19:56.900 --> 03:19:58.900 LAST YEAR WE ASKED TO BE CONSIDERED AS A THIRD PILOT PROGRAM. 03:20:00.900 --> 03:20:02.900 THEY DID EXTEND IT UP TO I THINK FIVE IF I AM NOT MISTAKEN. 03:20:05.833 --> 03:20:07.833 AND SO WE FALL WITHIN THE NEW 03:20:09.833 --> 03:20:12.833 PILOT PROGRAM FOR STACKED PARKING. IT DEPENDS ON THE NUMBER OF SHIFTS AND YOU HAVE ONE VALET 03:20:16.833 --> 03:20:18.833 PERSON PICKING UP THE CAR, ONE DRIVING IT DOWN, ONE STACKING 03:20:21.833 --> 03:20:23.833 IT AND UP TO THREE OR FOUR VALET OPERATORS TO KEEP 03:20:25.833 --> 03:20:27.833 THE TRAFFIC FLOWING. 03:20:28.833 --> 03:20:30.833 >> OKAY. I THINK MOST OF MY OTHER QUESTIONS WERE 03:20:34.833 --> 03:20:36.833 ALREADY COVERED. I -- YEAH. I THINK IT'S A VERY 03:20:38.833 --> 03:20:40.833 ELEGANT DESIGN. I AGREE WITH MY FELLOW COMMISSIONERS. 03:20:42.833 --> 03:20:44.833 I THINK THE TREE IS -- THE FRONT TREE IS 03:20:46.833 --> 03:20:48.833 A BEAUTIFUL FOCAL POINT. 03:20:49.833 --> 03:20:51.833 I LIKE THE FRONT UNDULATING 03:20:58.833 --> 03:21:00.833 RIBBON, AND THE BACK IS BEAUTIFUL AND REMINDS ME OF OSCAR 03:21:02.767 --> 03:21:04.767 NIGHT WHERE THEY HAVE THE ENTRANCE SIMILAR 03:21:06.767 --> 03:21:08.767 TO WHERE THE PARKING STRUCTURE IS, IT SORT OF GOES WAY DOWN 03:21:12.767 --> 03:21:14.767 AND IT'S WHITE WITH RED, AND I THINK IT'S STUNNING. IT'S 03:21:18.567 --> 03:21:20.667 BEAUTIFUL. >> FINISHED? 03:21:21.767 --> 03:21:23.767 >> YES. 03:21:24.767 --> 03:21:26.767 >> THANK YOU. 03:21:27.767 --> 03:21:29.767 I THINK WE HAVE A CONSENSUS ON THE ELEGANT PROJECT. I LIKE 03:21:30.767 --> 03:21:32.767 THE PERSPECTIVE OF THE DIFFERENT LEVELS IN THE FRONT FROM THE CURVES 03:21:34.767 --> 03:21:36.767 AT THE TOP TO WINDOWS SET BACK 03:21:40.767 --> 03:21:43.767 AND VARIOUS THINGS HAPPENING AND THE PROPOSED SIGNAGE. I THINK IT'S SIMPLE AND ELEGANT. 03:21:43.767 --> 03:21:45.767 I'M EXCITED ABOUT THIS PROJECT. I 03:21:48.767 --> 03:21:50.767 THINK IT'S REALLY LOVELY. 03:21:51.767 --> 03:21:53.767 I DID WANT TO ASK WHERE THE KITCHEN LOCATED? 03:21:54.767 --> 03:21:56.767 I AM LOOKING ON THE MAP AND I AM 03:21:59.767 --> 03:22:01.767 A BIT CONFUSED ABOUT THIS. 03:22:02.700 --> 03:22:05.700 >> IF YOU LOOK AT THE THIRD FLOOR ON A4 -- >> YES. 03:22:06.700 --> 03:22:08.700 >> WE HAVEN'T DRAWN UP ALL THE FEATURES BUT WHAT YOU SEE CARING WHERE THE 03:22:09.700 --> 03:22:11.700 YOU SEE THE DOORS ON THE TOP CORNER, THAT'S WHERE YOU COME IN. 03:22:14.700 --> 03:22:17.700 ONE SIDE IS BRINGING THE FOOD IN. THE OTHER IS TAKING THE DISHING OUT, AND THE WHOLE BACK 03:22:19.700 --> 03:22:21.700 AREA FROM THE TOP TO THE BOTTOM, ALL OF THAT IS GOING TO BE THE BACK 03:22:24.700 --> 03:22:27.700 FOR THE KITCHEN OPERATION. SO BASICALLY, THIS FLOOR IS YOU HAVE A BAR. YOU WILL HAVE 03:22:30.700 --> 03:22:32.700 BATHROOMS FOR THE KITCHEN AND YOU HAVE DINING. THERE IS 03:22:34.700 --> 03:22:36.700 NO RETAIL ON THIS AND EVERYTHING THAT IS NOT SHOWN BEYOND 03:22:40.700 --> 03:22:42.700 THE PART AT THE BACK, WITH NOTHING SHOWN IN IT, 03:22:43.700 --> 03:22:45.700 THAT'S THE KITCHEN. 03:22:46.700 --> 03:22:49.700 >> I COULD TELL THAT THERE WAS SOME UNFINISHED AREAS. BUT ANYWAY -- 03:22:51.700 --> 03:22:54.700 >> ON THE FOURTH FLOOR, IF YOU HAVEN'T CAUGHT IT YET. IT'S HARD TO SEE ON THIS. THERE IS A DARK LINE AND THAT DARK 03:22:59.700 --> 03:23:01.700 LINE IS LIKE A POCKET SLIDING DOOR SYSTEM. ALL OF THAT WILL 03:23:04.633 --> 03:23:06.633 COME FROM THE CENTERPOINT TO THE TOP AND 03:23:10.633 --> 03:23:12.633 OVER, AND THE WHOLE INDOOR SPACE, EVERYTHING OPENS UP. 03:23:15.633 --> 03:23:18.633 THE WHOLE SEATING AREA OPENS TO THE OUTSIDE TERRACE. >> IT'S QUITE AMAZING. 03:23:21.633 --> 03:23:23.633 IT'S JUST A HUGE AMOUNT OF WORK, AND COMING BACK TO THE 03:23:27.633 --> 03:23:29.633 TREE IN THE FOREGROUND OF THE -- AT STREET LEVEL, 03:23:30.633 --> 03:23:32.633 I DON'T FIND UNDERSTAND. 03:23:33.633 --> 03:23:35.633 ARE THE WALLS AROUND WHEN IT RAINS? 03:23:37.633 --> 03:23:39.633 >> IT'S GLASS. IT'S A GLASS ATRIUM WITH NO ROOF AND A 03:23:41.633 --> 03:23:43.633 DOOR AT THE GROUND FLOOR FOR MAINTENANCE BUT IT'S BASICALLY A GLASS ATRIUM 03:23:45.633 --> 03:23:47.633 WITH NO ROOF. >> I THINK IT WILL BE LOVELY. 03:23:49.633 --> 03:23:51.633 I AM REALLY EXCITED WITH IT. 03:23:52.633 --> 03:23:54.633 AND I THINK MOST OF THE QUESTIONS THAT 03:23:58.633 --> 03:24:00.633 I HAVE ARE REALLY RELATED TO THE NEXT -- THE FORMER PRESENTATION, 03:24:02.567 --> 03:24:05.567 MORE DETAILS THAT WILL COME UP. >> WE'LL BE BRINGING A LOT MORE DETAILS. BUT THE BIG