* This transcript was created by voice-to-text technology. The transcript has not been edited for errors or omissions, it is for reference only and is not the official minutes of the meeting. [00:00:01] SO THIS IS FOR THE MEETING OF MARCH 26TH, 2024. CULTURAL HERITAGE COMMISSION. MADAM CLERK, CAN WE PLEASE [ROLL CALL] HAVE THE ROLL CALL? COMMISSIONER IRVINE. EXCUSE ME. CHAIR IRVINE. PRESENT. THANK YOU. VICE CHAIRMAN GUAN PRESENT. COMMISSIONER BODA PRESENT. COMMISSIONER GFE. STAY ON HERE. THANK YOU. COMMISSIONER HUNTER, PRESENT. COMMISSIONER PIZO PRESENT. COMMISSIONER PRYOR. PRESENT. WE HAVE QUORUM. THANK YOU. UH, COMMISSIONER HUNTER, [PLEDGE OF ALLEGIANCE] CAN YOU PLEASE LEAD US IN PLEDGE OF ALLEGIANCE? YES, PLEASE STAND. ALL RIGHTY. PLEDGE ALLEGIANCE TO THE FLAG TO FLAG OF THE UNITED STATES OF AMERICA AND TO THE REPUBLIC FOR WHICH IT STANDS, A NATION UNDER GOD IN LIBERTY. I JUSTICE FOR ALL. THANK YOU. THANK YOU. UM, IT'S NOW TIME FOR SWEARING OF WITNESSES. IF YOU'RE GOING TO BE GIVING TESTIMONY, PLEASE STAND AND RAISE YOUR RIGHT HAND. OKAY. DO YOU SOLEMNLY SWEAR OR AFFIRM THAT THE EVIDENCE YOU SHALL GIVE IN THIS CULTURAL HERITAGE COMMISSION MEETING SHALL BE THE TRUTH, THE WHOLE TRUTH, AND NOTHING BUT THE TRUTH? THANK YOU. OKAY. UM, WE HAVE A [1. 24-52702 Recommendation to receive and file Director’s Report.       Suggested Action: Approve recommendation. ] RECOMMENDATION TO RECEIVE AND FILE THE DIRECTOR'S REPORT. MAY I HAVE A MOTION ON THIS ITEM, PLEASE? I'LL MAKE THE MOTION. AMY BODAK. COMMISSIONER HUNTER. WE'LL, SECOND. THANK YOU. UM, THANK YOU. UM, CHAIR, VICE CHAIR COMMISSIONERS. UM, UM, THIS IS ALEJANDRO PLACENCIA. I'M GONNA BE GIVING A QUICK DIRECTOR'S REPORT HERE. THERE ARE A FEW ITEMS ON HERE, BUT I'LL TRY TO GO THROUGH THESE, UH, PRETTY QUICKLY HERE. UH, I JUST WANTED TO INFORM THE COMMISSION THAT THE CHCS RECOMMENDATION TO DESIGNATE FIRE STATION NUMBER NINE, UH, WAS APPROVED BY THE CITY COUNCIL. UH, IT WAS A MODIFIED VERSION OF THE CHC RECOMMENDATION, BUT IT WAS ULTIMATELY MOVED FORWARD AND MOVED ALONG. SO THAT IS, UH, GREAT NEWS FOR, UH, THE WORK THIS COMMISSION DOES. UH, THE OTHER ITEM TO BRING UP HERE IS, UM, THE CITY COUNCIL RECENTLY APPROVED SUBSTANTIAL CHANGES, UH, TO THE LONG BEACH MUNICIPAL CODE. UM, BUT SPECIFICALLY REGARDING, UH, COMMISSIONS AND, UH, TRANSPARENCY ISSUES. SO I THINK THIS COMMISSION VERY RECENTLY HAD A PRESENTATION, UH, FROM THE CITY ETHICS OFFICER. UH, SO THIS IS JUST ADVANCING A LOT OF THE EFFORTS THAT THEY'RE DOING, UH, THROUGH THAT OFFICE AND THROUGH THE CITY ATTORNEY'S OFFICE. UM, WHAT THOSE CHANGES, I'LL JUST GIVE A QUICK SUMMARY ON THOSE. THAT MEANS THAT, UM, THERE ARE, THERE'S CODIFIED REQUIREMENTS NOW FOR COMMISSIONS OF ALL, UH, TYPES. UH, SO IT REGULATES, UH, YOU KNOW, HOW MANY COMMISSIONERS YOU SHOULD HAVE, WHAT TRAININGS YOU SHOULD HAVE, UH, ATTENDANCE, EXCUSE THE ABSENCES, AND HOW, UM, COMMISSIONS SHOULD BASICALLY FUNCTION, UH, AS A CITY. AND IT ALSO CALL CALLS OUT FOR TRANSPARENCY AS WELL, UH, THROUGH THIS PROCESS AS EVERYTHING WILL BE PUBLIC. UH, ONE OF THE OTHER REQUIREMENTS IS THAT, UH, THERE'S A REQUIREMENT TO FILE AN ANNUAL REPORT, UH, ALL CHC ACTIVITIES. UH, SO THAT IS SOMETHING THAT, UH, WILL HAVE TO COME, UH, DOWN THE PIPELINE. AND THERE'S A DEADLINE FOR THAT, UH, IN JUNE. UH, WITH REGARDS TO, UM, SPECIFIC TRAINING REQUIREMENTS, UH, THERE IS, UM, A COUPLE OF YOU THAT WE'RE STILL, UH, DO NEED, UM, ETHICS TRAINING AND FORM 700, UM, FORMS FROM. SO I JUST WANTED TO JUST POINT OUT THAT THERE IS A DEADLINE, UH, OF, UH, APRIL 2ND. UH, SO THAT IS NEXT WEEK. UH, SO AS SOON AS YOU GUYS CAN GET THAT BACK, IT'S GREATLY APPRECIATED. UH, THE LAST ITEM ON THE DIRECTOR'S REPORT IS, UH, REGARDING THE, UM, THE NAVY TRUST RECEPTION. UH, SO, UH, THIS COMMISSION, UM, HAS, UM, AN APPOINTEE TO THE CHC, UH, TO THE NAVY TRUST. UH, THE NAVY TRUST AWARDS, UH, PROJECTS FOR HISTORIC PRESERVATION IN THE CITY OF LONG BEACH, UH, EVERY YEAR. UH, FOUR OF 'EM WERE AWARDED THIS YEAR IN INCLUDING, UH, RANCHO ALAMITOS, UH, FOR THE FINAL RESTORATION OF THE RANCH OFFICE. UH, A SECOND PROJECT AT THE COOPER ARMS BUILDING ON OCEAN BOULEVARD, UH, WAS RESTORATION, UH, AND PRESERVATION OF EXTERIOR SURFACES AS THE SCOPE THERE, UH, INCLUDING SOME OF THE BAR RELIEF ON THE SECOND FLOOR. UH, THE RANCHO LOS CERRITOS, UH, IS PRESERVATION OF ADOBE WALLS. THAT'S, UH, WAS APPROVED FOR WORK THERE. AND THE LAST ONE IS THE FRIENDS OF THE RECREATION PARK BAND SHELL. UH, THIS IS THE RESTORATION AND IMPROVEMENT OF THE STAGE TO HELP ACTIVATE THE BAND SHELL, UH, AS PART OF A ONGOING PROCESS THERE. SO I JUST WANTED TO POINT THOSE OUT. I KNOW SOME OF THE, UM, ONE OF THE COMMISSIONERS WAS THERE. UM, [00:05:01] SO I JUST WANTED TO SAY THAT THAT'S, UH, GREAT WORK AND SHARE THAT WITH THE COMMISSION. THANK YOU. AND AS WE'RE, UH, CLOSING THE DIRECTOR'S REPORT, JUST WANTED TO SHARE ONE OTHER UPDATE. I KNOW YOU ALL HAVE HEARD ABOUT OUR CHALLENGES RELATED TO STAFFING AND VACANCIES, AND I WANTED TO JUST WELCOME. WE HAVE A, A FEW NEW PLANNERS HERE. AS PART OF THE AUDIENCE TODAY WHO HAVE RECENTLY JOINED OUR, OUR BUREAU AND GROUP ARE GONNA JOIN AND, UH, LEARN, UH, FROM YOU ALL TODAY THROUGH THIS PRESENTATION AND TRAINING THAT WE'RE GONNA BE HAVING LATER IN THE AGENDA. SO, WELCOME TO OUR NEW STAFF, AND GLAD TO HAVE YOU ALL ABOARD. AND THE COMMISSION WELCOMES THE NEW STAFF AS WELL. UM, EXCUSE ME, UH, COMMISSIONERS, DO YOU HAVE ANY QUESTIONS FOR STAFF ON THE STAFF REPORT? COULD WE GET A COPY OF THE MUNICIPAL CODE CHANGES OR ARE THEY ALREADY ONLINE? UH, THEY ARE ALREADY ONLINE, I BELIEVE, BUT WE CAN FORWARD YOU OVER THE, UH, UPDATES. GREAT, THANK YOU. ANY OTHER QUESTIONS, COMMISSIONERS? NO. OKAY. WE'LL NOW TAKE PUBLIC COMMENT. ANYONE WHO WOULD LIKE TO SPEAK, SPEAK, PLEASE COME TO THE PODIUM. AND THIS IS SPECIFICALLY ON ITEM ONE. I'M SORRY, THE OPPORTUNITY FOR PUBLIC COMMENT IS FOR SPECIFICALLY FOR ITEM ONE. OH, YES. SPECIFICALLY FOR ITEM ONE. THANK YOU. AND SEEING NONE, ARE THERE ANY VIRTUAL COMMENTER COMMENTATORS, IF YOU ARE JOINING US VIRTUALLY, VIRTUALLY, AND WOULD LIKE TO MAKE PUBLIC COMMENT ON THIS ITEM, PLEASE USE THE RAISE HAND FUNCTION AT THIS TIME. IF YOU ARE JOINING TELEPHONICALLY AND WOULD LIKE TO MAKE PUBLIC COMMENT, PLEASE PRESS STAR NINE AT THIS TIME. THERE APPEARS, THERE APPEARS TO BE NO PUBLIC COMMENT ON THIS. OKAY. THANK YOU. UM, ADAM KIRK, WILL YOU PLEASE CALL FOR A VOTE ON THIS ITEM? COMMISSIONER BODAK, IT'S WAITING FOR VOTES. UH, SO I'M A YES. THANK YOU. COMMISSIONER HUNTER? YES. THANK YOU. COMMISSIONER PRYOR? YES. THANK YOU. MOTION CARRIES. THANK YOU. PLEASE READ THE NEXT ITEM. MADAM CLERK, I SEE THAT THERE'S SIX VOTES. WE HAVE SEVEN COMMISSIONERS. YEAH, THANK YOU. I'LL GO AHEAD AND, AND ADJUST TO HAVE EV EVERYONE ALL SEVEN AS AYE. THANK YOU. THANK YOU. THANK YOU. ITEM TWO [2. 24-52703 Recommendation to approve the minutes for the Cultural Heritage Commission meeting of Tuesday, January 30, 2024.       Suggested Action: Approve recommendation.  ] IS RECOMMENDATION TO APPROVE THE MINUTES FOR THE CULTURAL HERITAGE COMMISSION MEETING OF TUESDAY, JANUARY 30TH, 2024. MAY I HAVE A MOTION ON THIS ITEM, PLEASE? COMMISSIONER GFI. I MOVE TO ACCEPT. THANK YOU. AND I SEE A SECOND FROM COMMISSIONER PIZZA. THANK YOU. UH, COMMISSIONERS, DO YOU HAVE ANY QUESTIONS ON THE MINUTES? NO. UM, WE'LL NOW TAKE PUBLIC COMMENT. ANYONE WHO WOULD LIKE TO SPEAK ON THIS ITEM, PLEASE COME TO THE PODIUM. IT SEEMS THERE IS NO ONE WHO WISHES TO SPEAK. ARE THERE ANY VIRTUAL COMMENTS? IF YOU ARE JOINING US VIRTUALLY AND WOULD LIKE TO MAKE PUBLIC COMMENT ON THIS ITEM, PLEASE USE THE RAISE HAND FUNCTION AT THIS TIME. IF YOU ARE JOINING TELEPHONICALLY AND WOULD LIKE TO MAKE PUBLIC COMMENT, PLEASE PRESS STAR NINE AT THIS TIME. THERE APPEARS TO BE NO PUBLIC COMMENT AT THIS TIME. OKAY, MADAM CLERK, CAN WE PLEASE HAVE A VOTE? COMMISSIONER, PRIOR? COMMISSIONER HUNTER? YES. THANK YOU. COMMISSIONER PER YES. THANK YOU. MOTION CARRIES. THANK YOU MADAM CLERK, CAN WE PLEASE HAVE THE NEXT ITEM? [3. 24-52704 Recommendation to conduct a training on the Secretary of the Interior’s Standards, and Historic Preservation Fundamentals. The presentation will review fundamental concepts in historic preservation, such as integrity, character-defining features, and the Secretary Of the Interior’s Standards, and why they matter to project reviews.       Suggested Action: Approve recommendation. ] ITEM THREE IS RECOMMENDATION TO CONDUCT A TRAINING ON THE SECRETARY OF THE INTERIOR STANDARDS AND HISTORIC PRESERVATION FUNDAMENTALS. THE PRESENTATION WILL, WILL REVIEW FUNDAMENTAL CONCEPTS IN HISTORIC PRESERVATION, PRESERVATION SUCH AS INTEGRITY, CHARACTER DEFINING FEATURES, AND THE SECRETARY OF THE INTERIOR STANDARDS. AND WHY THE MATTER, [00:10:01] UM, WHY THEY MATTER TO PROJECT REVIEWS. THANK YOU. MAY I HAVE A MOTION ON THIS ITEM, PLEASE? WE HAVE A MOTION FROM COMMISSIONER HUNTER, SECONDED BY COMMISSIONER BODAK. THANK YOU. UH, DO WE HAVE THE PRESENTATION, PLEASE? YES. THANK YOU. UM, SO I JUST WANTED TO GIVE A, A QUICK, UM, INTRODUCTION. MAYBE, UM, HELP FRAME IT, UM, FOR THE COMMISSION. UH, SO TONIGHT'S, UH, PRESENTATION, UH, IS SOMETHING THAT, UM, YOU KNOW, WE AS CITY STAFF, UM, WANT TO ENSURE THAT THE COMMISSION HAS, UH, REGULAR ACCESS TO, UH, AS A CERTIFIED LOCAL GOVERNMENT. IT IS ONE OF THE THINGS THAT, UH, WE NEED TO REPORT EVERY YEAR TO THE STATE, UH, THAT, UH, THE COMMISSION DOES GET SOME, SOME TRAINING. UM, THIS ONE IS, UM, SORT OF A BROADER ONE, UH, BASED ON FUNDAMENTALS OF HISTORIC PRESERVATION, UH, WHAT IT IS, HOW TO IDENTIFY BUILDINGS, HOW TO IDENTIFY ANY TYPE OF HISTORIC RESOURCE, WHETHER IT BE A BUILDING, A BOAT, A TREE, UH, AN ART PIECE. UH, ANYTHING CAN REALLY BE A, AN HISTORIC FEATURE. UM, BUT WHAT THIS DOES IS IT GIVES A BROAD IDEA OF, UM, OF HOW TO LOOK AT THINGS, HOW TO LOOK AT WHAT ARE CHARACTER DEFINING FEATURES, WHAT MAKES A BUILDING, WHAT MAKES SOMETHING IMPORTANT. UM, AND SO FOR THAT TONIGHT, UM, WE HAVE, UM, UH, CHRISTINA CUS, UH, AND HANNAH SIMONSON, UH, FROM PAGE IN TURNBULL TO MY RIGHT OVER HERE. UH, THEY'RE CONSULTANTS IN DOWNTOWN LA AND ANOTHER PARTS OF THE, UH, STATE. UM, SO I'LL LET 'EM GIVE A LITTLE BIT MORE ABOUT THEMSELVES AND, UM, ALSO, UM, WE'LL GO AHEAD AND START THE TRAINING. THANK YOU. GOOD EVENING. UH, MY NAME IS CHRISTINA D***S. UH, WE ARE VERY HAPPY TO BE HERE TONIGHT WITH YOU. UM, JUST A LITTLE INTRODUCTION ABOUT OURSELVES AND PAIGE AND TURNBULL BEFORE WE REALLY GET STARTED. UH, I'M A PRINCIPAL AND DIRECTOR OF THE CULTURAL RESOURCES PLANNING STUDIO AT PAIGE AND TURNBULL. I'VE BEEN AT THE COMPANY FOR 17 YEARS. UM, I'VE ALSO BEEN ON THE BOARD OF TRUSTEES FOR THE CALIFORNIA PRESERVATION FOUNDATION FOR THE LAST SIX YEARS. UH, AND I HAVE GIVEN SEVERAL OF, UH, RENDITIONS OF THIS PRESENTATION TO, UH, TO CITY, UM, CULTURAL COMMISSIONS AND, AND BOARDS THROUGHOUT THE STATE, INCLUDING, UM, SAN LUIS OBISPO, THE CITY OF SAN JOSE, UH, AND OTHERS. SO WE'RE HAPPY TO BE HERE TONIGHT. I'M GONNA LET HANNAH INTRODUCE HERSELF AS WELL. HI, I AM HANNAH SIMONSON. I AM A CULTURAL RESOURCES PLANNER. UM, I'VE BEEN WITH PAIGE AND TURNBULL FOR ABOUT SEVEN YEARS. AND, UM, I'M BASED HERE IN THE LOS ANGELES OFFICE. UM, AND YEAH, EXCITED TO BE HERE TO GIVE THIS PRESENTATION. AND, UM, PAIGE AND TURNBULL IS ONE OF THE OLDEST PRESERVATION ARCHITECTURE AND PLANNING FIRMS IN CALIFORNIA. WE JUST CELEBRATED OUR 50TH ANNIVERSARY LAST YEAR, AND WE HAVE, UM, FOUR OFFICES. UH, SAN FRANCISCO IS OUR ORIGINAL OFFICE, LOS ANGELES, SACRAMENTO, AND SAN JOSE. AND WE HAVE THREE STUDIOS OR DEPARTMENTS THAT CONSIST OF, UH, ARCHITECTS WHO WORK ON PRESERVATION RELATED PROJECTS SUCH AS ADAPTIVE REUSE PROJECTS, MATERIALS CONSERVATION SPECIALISTS WHO REALLY FOCUS ON TREATMENT RECOMMENDATIONS AND CONDITIONS, ANALYSIS OF OLDER BUILDINGS. AND THEN OUR DEPARTMENT, WHICH IS THE CULTURAL RESOURCES PLANNERS. AND WE CONDUCT HISTORIC RESOURCE EVALUATIONS, PROJECT ANALYSES, AND, UM, MANY, MANY OTHER TYPES OF, UH, STUDIES AND DELIVERABLES. SO THIS IS, UH, A SNAPSHOT OF OUR AGENDA FOR TONIGHT. WE'RE GOING TO PROVIDE AN OVERVIEW OF LONG BEACH'S PROJECT, UH, REVIEW PROCESS FOR YOUR HISTORIC RESOURCES AND WHAT THE CULTURAL HERITAGE COMMISSION'S ROLE IS IN THAT PROCESS. WE'LL REVIEW THE TRAINING OBJECTIVES FOR THIS PRESENTATION WORKSHOP, AS WELL AS THE ONE THAT WILL BE COMING, UM, IN THE NEXT COUPLE OF MONTHS. UH, AND THEN, UH, PRIMARILY FOR THIS ONE, WE'LL COVER THE FUNDAMENTAL PRESERVATION CONCEPTS. SO YOU ALL HAVE THE BASIS FOR MAKING YOUR REVIEW DECISIONS. SO THAT INCLUDES, UM, AS ALEJANDRO MENTIONED, UH, WHAT ARE HISTORIC RESOURCES? WHAT MAKES A PROPERTY A HISTORIC RESOURCE, CHARACTER DEFINING FEATURES, WHAT ARE THOSE AND WHY DO THEY MATTER? AND THEN THE SECRETARY OF THE INTERIOR STANDARDS, UM, EACH OF THESE CONCEPTS IS KIND OF INTERRELATED AND BUILD ON EACH OTHER. SO THAT'S JUST SOMETHING TO KEEP IN MIND AS WE GO THROUGH THAT. YOU MAY HAVE A QUESTION THAT ENDS UP GETTING ANSWERED LATER IN THE PRESENTATION, BUT WE'LL HAVE, UM, UH, UM, POINTS WHERE WE [00:15:01] CAN, UM, HAVE QUESTIONS AND ANSWERS AT THE END OF EACH OF THESE SEGMENTS. SO, THE CITY OF LONG BEACH PROJECT REVIEW PROCESS FOR LANDMARK PROPERTIES, UM, THERE ARE CERTIFICATES OF APPROPRIATENESS REQUIRED WHEN MODIFICATIONS ARE PROPOSED FOR INDIVIDUAL LANDMARKS AND FOR PROPERTIES IN LANDMARK DISTRICTS PER THE ORDINANCE. AND THERE ARE TWO LEVELS OF REVIEW FOR MINOR PROJECTS. UH, THESE ARE REVIEWED BY CITY STAFF, SO THAT INCLUDES REPAIRS OR IN KIND OR SIMILAR REPLACEMENTS. AND FOR MAJOR PROJECTS, THESE ONES ARE CONSIDERED SUBSTANTIAL ALTERATIONS THAT COULD JEOPARDIZE INDIVIDUAL LISTING OR LISTING AS A CONTRIBUTOR TO A HISTORIC DISTRICT. UH, THESE COULD BE EXTERIOR CHANGES TO CLADDING, ROOF FORM OPENINGS. UM, THEY COULD RELATE TO A COMPATIBILITY OF ADDITIONS, CHANGES TO THE SETTING AND SO ON. THIS MEANS THAT THE HARDER PROJECTS COME TO THE CHC, THOSE THAT MAY REQUIRE DIFFICULT DECISIONS ABOUT BALANCING THE HISTORIC CHARACTER OF THE BUILDING OR THE HISTORIC DISTRICT WITH CHANGE. THUS, IT'S IMPORTANT TO KNOW THE KEY PRESERVATION CONCEPTS WHEN THEY'RE IMPORTANT AND HOW TO APPLY THEM, BUT ALSO HOW TO BE FLEXIBLE TO ALLOW FOR CHANGE. THAT'S REASONABLE. YOUR ROLE IS TO MANAGE CHANGE. SO THE RESOURCE REMAINS EXISTING AND REMAINS A HISTORIC RESOURCE. UH, BUT AT THE SAME TIME, TWO STRICT. AND YOU MAY, UM, THIS COULD RESULT IN EITHER THE WORK NOT BEING DONE BY THE PROPERTY OWNER OR, UM, POTENTIALLY LOSING THE RESOURCE, UM, THROUGH DEMOLITION IF SOMEBODY DOESN'T WANT TO GO THROUGH THE PROCESS OF THE RECOMMENDATIONS AT THE SAME TIME TO LOOSE. AND YOU COULD ALSO, UH, THAT COULD ALSO RESULT IN LOSING THE RESOURCE. SO IT'S DEFINITELY A FINE BALANCE. SO, UM, TODAY WE'LL BE LOOKING AT THE COMMON BASIS FOR ENABLING INFORMED DISCUSSION AND DESIGN AND PRESERVATION ISSUES AND LEARNING TECHNIQUES TO ASSIST IN THE REVIEW OF PROJECTS WITHIN HISTORIC DISTRICTS ON PROPERTIES WITH HISTORIC RESOURCES AND ADJACENT TO HISTORIC RESOURCES. SO TO GET STARTED, UM, THERE ARE DIFFERENT TYPES OF, OF RESOURCES THAT ARE CONSIDERED HISTORIC RESOURCES BY THE NATIONAL PARK SERVICE AS RELATED TO THE NATIONAL, UH, REGISTER OF HISTORIC PLACES. AND THAT REALLY SETS THE STAGE FOR PRESERVATION THROUGHOUT THE COUNTRY. UM, THE NATIONAL PARK SERVICES WITHIN THE SECRETARY, THE INTERIOR. SO THAT'S ALSO HOW WE GET TO THE SECRETARY OF THE INTERIOR'S STANDARDS THAT WE'LL BE TALKING ABOUT LATER. SO THE ONE THAT WE MOST THINK ABOUT AND, UH, OUR BUILDINGS, UM, AND THESE ARE PRIMARILY TO SHELTER HUMAN ACTIVITY. UM, THIS PARTICULAR BUILDING IS A HISTORIC COURTHOUSE IN SAN FRANCISCO, AND THAT IS NOT TO BE CONFUSED WITH A STRUCTURE. A LOT OF TIMES, UM, THESE WORDS ARE CONFLATED IN EVERYDAY USE, BUT IN HISTORIC PRESERVATION FIELD, THEY ACTUALLY HAVE TWO DIFFERENT DEFINITIONS. UM, A STRUCTURE HAS A PURPOSE OTHER THAN FOR HUMAN SHELTER. SO IT COULD INCLUDE A SHIP. UH, WE HAVE THE QUEEN MARY HERE. IT COULD ALSO INCLUDE BRIDGES OR GRAIN SILOS, OR, UM, GOSH, THOSE ARE THE, THOSE ARE THE OTHER EXAMPLES I HAVE AT THE TOP OF MY HEAD AT THE MOMENT, BUT HOPEFULLY YOU GOT THE IDEA. OH, GAZEBO, THAT WAS ANOTHER ONE I HAD IN MIND. UH, ANOTHER HISTORIC RESOURCE IS AN OBJECT. SO THESE ARE PRIMARILY ARTISTIC IN NATURE OR SMALL IN SCALE, SO IT DOESN'T HAVE TO BE SOME KIND OF, YOU KNOW, SCULPTURE OR STATUE OR SOMETHING, BUT IT COULD, UM, OR IT COULD BE SOME OTHER KIND OF SMALL OBJECT IN THE LANDSCAPE. ANOTHER IS A, A SITE. THIS INCLUDES DESIGNED AND CULTURAL LANDSCAPES. THIS IS THE DESERT VIEW WATCHTOWER IN AT THE GRAND CANYON. AND SITES CAN INCLUDE, UM, A NUMBER OF COMPONENTS THAT MAY BE BUILT, OR THEY MAY BE LANDSCAPE FEATURES. UM, THEY COULD INCLUDE, UM, SOME, UH, LANDSCAPE PLANT ELEMENTS, BUT ALSO CIRCULATION AND, UM, OTHER SMALL, SMALL SCALE FEATURES. AND THEN DISTRICTS, WHICH I'M SURE YOU'RE FAMILIAR WITH AS WELL. [00:20:01] UM, THESE ARE CONCENTRATIONS OF PROPERTIES THAT INDIVIDUALLY DON'T RISE TO A LEVEL OF SIGNIFICANCE, BUT AS A GROUPING, THEY DO. SO THEY ALL AS TOGETHER, THEY TELL A STORY AND CONVEY A PARTICULAR, UH, REASON FOR SIGNIFICANCE, AND THAT'S WHY THEY'RE IDENTIFIED AS SUCH. AND THEN WITHIN THE HISTORIC DISTRICT, YOU HAVE CONTRIBUTING PROPERTIES AND NON-CONTRIBUTING PROPERTIES. UH, THOSE THAT ARE CONTRIBUTING, UM, CONVEY HELP TO CONVEY THAT SIGNIFICANCE OF THE HISTORIC DISTRICT. AND THE NON CONTRIBUTORS TYPICALLY, UM, EITHER HAVE BEEN BUILT OUTSIDE OF THE PERIOD OF SIGNIFICANCE, OR THEY HAVE SUSTAINED SO MANY ALTERATIONS THAT THEY DON'T REPRESENT THAT SIGNIFICANCE ANYMORE. AND WE'LL TALK ABOUT SOME OF THESE CONCEPTS THROUGHOUT THIS, UH, PRESENTATION. UH, SO FOR PROJECT REVIEW CONSIDERATION, THE PROPERTY OR RESOURCE TYPE CAN AFFECT THE FOCUS OF THE REVIEW. SO THIS IS IMPORTANT TO KEEP IN MIND IF YOU'RE PRIMARILY THINKING ABOUT BUILDINGS, BUT IF YOU DO END UP HAVING A PROJECT THAT RELATES TO A DIFFERENT KIND OF HISTORIC RESOURCE, UM, THEN IT'S IMPORTANT TO NOTE THAT, FOR EXAMPLE, WITH A SITE, PLANTINGS AND VEGETATION ARE ONLY ONE PART OF THE LANDSCAPE, UM, THAT YOU MAY NEED TO CONSIDER THE SPATIAL ORGANIZATION, HARDSCAPE VERSUS SOFTSCAPE, CIRCULATION PATHS, FENCES, EDGES, LIGHTING, AND SO ON. UM, AND THEN IF YOU HAVE A HISTORIC DISTRICT, THE DISTRICT AS A WHOLE IS THE HISTORIC RESOURCE. SO, UH, IF THERE'S A PROJECT THAT YOU ARE REVIEWING, YOU NEED TO CONSIDER THE EFFECT ON THE CONTRIBUTOR AND WHAT THE ALTERATIONS TO THE INDIVIDUAL CONTRIBUTOR MEAN, BUT, UM, MAYBE EVEN MORE IMPORTANTLY, WHAT THEY MEAN TO THE WHOLE DISTRICT AND HOW THEY MAY AFFECT THE CHARACTER OF THE ENTIRE DISTRICT. UM, SO THAT MEANS THAT A PROJECT MAY IMPACT THE CONTRIBUTOR, BUT NOT THE DISTRICT, UH, OR POTENTIALLY VICE VERSA. UM, VICE VERSA MAY BE THAT THE PROPERTIES ON A PARTICULARLY, UM, PROMINENT, UH, LOCATION, LIKE ON A CORNER LOT AND, UM, THAT THE CHANGES MAY SOMEHOW AFFECT THE ENTIRETY OF THE, OF THE CHARACTER OF THE DISTRICT. SO I THINK BEFORE WE MOVE ON TO OUR NEXT PART OF OUR PRESENTATION, ARE THERE ANY QUESTIONS FROM THE COMMISSION AT THIS TIME? WOULD A STREET IN A AN HISTORIC DISTRICT BE A SITE? OR IS THAT, IF IT HAS NOT BEEN LISTED AS PART OF THE DISTRICT, THE STREET ITSELF? UM, TYPICALLY, UH, THAT WOULD BE A COMPONENT OF THE HISTORIC DISTRICT. UM, SO IT WOULDN'T BE A RESOURCE SEPARATE FROM THE DISTRICT IF IT CONTRIBUTES TO THE CHARACTER OF THE DISTRICT. AND USUALLY WE'RE NOT FOCUSING ON THE STREET, LIKE THE PAVED PORTION, BUT PERHAPS THE STREET SCAPE, LIKE THE, UM, THE, UH, LET'S, LET'S SAY IT'S JUST A, A STREET THAT HAS INTERESTING PAVEMENT THAT'S UNIQUE, OR A PAVING PATTERN THAT'S UNIQUE PLUS LANDSCAPING AND SITE FEATURES AND WIDE SIDEWALKS, BUT IT'S NOT BEEN, UM, LISTED AS PART OF THE DISTRICT. HOW WOULD THAT BE HANDLED GENERALLY? UM, IF THE PAVING AND ALL OF THOSE FEATURES DATE TO THE PERIOD OF SIGNIFICANCE FOR THE HISTORIC DISTRICT, THEN THEY COULD BE ELEMENTS THAT, UM, COULD BE IDENTIFIED AS CONTRIBUTING. UM, SO, UH, YOU KNOW, I THINK TRADITIONALLY WE'VE ALWAYS FOCUSED ON THE BUILDINGS AS THE CONTRIBUTORS TO DISTRICTS, BUT THERE COULD BE A MORE EXPANSIVE UNDERSTANDING OF DISTRICTS, UM, THAT COULD INCLUDE OTHER TYPES OF FEATURES. AND I WAS JUST GONNA ADD FROM OUR LOCAL CONTEXT, I THINK, UM, IN SOME RECENT HISTORY, WE'VE LOOKED AT STREETS, BUT THE, THE FEATURES FROM THE PERIOD OF SIGNIFICANCE AREN'T ALL THERE ANYMORE. SO THAT, UM, POINT ABOUT INTEGRITY DOES GET CHALLENGING WHEN IT RELATES TO, YOU KNOW, MAINTENANCE AND IMPROVEMENTS. AND SO YOU, IT WOULD BE, IT WOULD FALL UNDER A DISTRICT AS OPPOSED TO A SITE. THANK YOU. CORRECT. ALL RIGHT. IF THERE AREN'T ANY MORE QUESTIONS, I WILL CONTINUE ON. WE'LL KEEP PAUSING FOR QUESTIONS THROUGHOUT THE PRESENTATION. SO, UM, WE ARE GONNA SHIFT GEARS INTO REALLY WHAT MAKES A PLACE HISTORIC. NOW, I THINK THE, YOU KNOW, KEY STARTING POINT HERE IS [00:25:01] THAT JUST, UM, BECAUSE A BUILDING OR A PROPERTY IS OLD DOESN'T NECESSARILY MEAN THAT IT'S HISTORIC. THERE'S A NUMBER OF CRITERIA THAT WE LOOK AT WHEN WE'RE EVALUATING WHETHER OR NOT A PROPERTY IS HISTORIC. UM, SO A PROPERTY NEEDS TO BE SIGNIFICANT WITHIN A SPECIFIC HISTORIC CONTEXT. OH, THINGS ARE MOVING WITHOUT ME. OKAY. UM, AND HAVE THE PHYSICAL INTEGRITY TO CONVEY THAT SIGNIFICANCE. SO THESE ARE THREE KIND OF INTERRELATED CONCEPTS. UM, SO A PROPERTY CAN BE SIGNIFICANT WITHIN THE CONTEXT OF HISTORY THAT REALLY GROUNDS IT IN, UM, PHYSICAL DEVELOPMENT IN, UH, A PLACE DURING A SPECIFIC TIME. AND THESE ARE USUALLY ORGANIZED BY THEMES AND PATTERNS. SO IT MAY BE SOMETHING LIKE RESIDENTIAL DEVELOPMENT OR COMMERCIAL DEVELOPMENT, OR, UM, SOMETHING RELATED TO, YOU KNOW, IN LONG BEACH THERE'S A TRADITION OF, UH, THE PORT AND SHIPPING, YOU KNOW, THAT COULD BE A THEME WITHIN A HISTORIC CONTEXT. SO A PROPERTY NEEDS TO BE SPECIFICALLY LINKED TO THAT THEME AND HAVE, UH, SIGNIFICANCE WITHIN THAT THEME AND RETAIN HISTORIC INTEGRITY. SO WE'LL TOUCH ON EACH OF THESE IN A LITTLE MORE DETAIL. UM, SO THIS IS AN EXAMPLE, UM, OF, OF WHAT MAKES A PLACE HISTORIC. THIS IS A PROPERTY IN SANTA MONICA. UM, THE PHILAN HALL IN SANTA MONICA. THIS WAS AN AFRICAN AMERICAN WOMEN'S CLUB THAT WAS ESTABLISHED IN THE TEENS. AND THIS BUILDING WAS BUILT IN THE 1950S. UM, THE, THIS IS A PRETTY MODEST LOOKING BUILDING THAT IF YOU DIDN'T KNOW THE HISTORY, YOU MIGHT NOT KNOW THAT IT WAS SIGNIFICANT. UM, BUT WHEN WE LEARN AND UNDERSTAND THE HISTORIC CONTEXT, WE CAN UNDERSTAND WHY THIS PROPERTY IS SIGNIFICANT. IT'S RELATED IN A HISTORICALLY AFRICAN AMERICAN NEIGHBORHOOD IN SANTA MONICA, UM, THAT HAS BEEN AFFECTED BY VARIOUS REDLINING AND SEGREGATION OVER THE YEARS. UM, SO THIS IS WHERE, UH, THE, THERE WAS A KIND OF A, A CONCENTRATION OF, UM, THE AFRICAN AMERICAN COMMUNITY DUE DUE TO THOSE FORCES. AND THIS PROPERTY WAS REALLY SIGNIFICANT WITHIN THAT COMMUNITY AND CONTRIBUTED TO THE CULTURAL LIFE OF, OF THIS COMMUNITY IN SANTA MONICA. AND SO WE CAN UNDERSTAND THAT THIS IS A HISTORIC PROPERTY, UM, RELATED TO THAT SIGNIFICANCE. AND BASED ON CERTAIN EVIDENCE, LIKE THIS PHOTOGRAPH, IT, YOU KNOW, HELPS US UNDERSTAND WHAT THE HISTORIC INTEGRITY MIGHT BE THAT THE, THE BUILDING DOES STILL LOOK LIKE IT WAS WHEN IT WAS FIRST BUILT. UM, SO A QUESTION MAY BE, YOU KNOW, HOW DO, HOW DO WE UNDERSTAND LONG BEACH'S HISTORIC CONTEXT? UM, LONG BEACH HAS A HISTORIC CONTEXT STATEMENT THAT WAS DEVELOPED IN 2009. SO THIS IS A CITYWIDE HISTORIC CONTEXT STATEMENT THAT, UM, TOUCHES ON A NUMBER OF DIFFERENT CONTEXTS, INCLUDING ECONOMIC DEVELOPMENT, RESIDENTIAL DEVELOPMENT, INSTITUTIONAL DEVELOPMENT, UM, ETHNOGRAPHIC CONTEXT, UM, SO DIFFERENT COMMUNITIES WITHIN LONG BEACH AS WELL AS DIFFERENT ARCHITECTURAL STYLES. AND, UM, THIS HISTORIC CONTEXT STATEMENT IS ALSO IN THE PROCESS OF BEING UPDATED. SO THERE'LL BE MORE AND ADDITIONAL INFORMATION, UM, FOR, FOR FOLKS TO DIVE INTO. ONE OF THE MORE RECENT UPDATES TO THE HISTORIC CONTEXT STATEMENT WAS THIS, UH, 2022 SUBURBANIZATION AND RACE, UM, HISTORIC CONTEXT. SO THIS SUPPLEMENTS THE EXISTING CITYWIDE CONTEXT AND DISCUSSED SEVERAL DIFFERENT THEMES, INCLUDING SEGREGATION AND DISCRIMINATION, CIVIL RIGHTS, UM, AND RACIAL AND ETHNIC GROUPS IN LONG BEACH. AND SOMETHING TO NOTE ABOUT THESE HISTORIC CONTEXT STATEMENTS IS THEY ALSO PROVIDE, IN ADDITION TO TELLING THE STORY OF A HISTORIC CONTEXT, THEY PROVIDE GUIDELINES, UM, WHICH ARE ALSO KNOWN AS REGISTRATION REQUIREMENTS THAT HELP, UM, EVALUATORS UNDERSTAND WHICH PROPERTIES MIGHT BE SIGNIFICANT WITHIN A SPECIFIC CONTEXT. SO, UM, THE, THE NATIONAL AND CALIFORNIA REGISTER, AS WELL AS LONG BEACH, UM, EACH HAVE DIFFERENT CRITERIA FOR HISTORIC SIGNIFICANCE. UM, CONVENIENTLY THEY ARE ALL PRETTY WELL ALIGNED, SO WE'LL JUST TALK ABOUT THEM IN A GROUP. UM, SO CRITERION A, UM, UNDER LONG BEACH, UM, UH, IS TYPICALLY ASSOCIATED WITH EVENTS AND, UM, BROAD PATTERNS OF HISTORY. SO IN THIS CASE, COMING BACK TO THAT EXAMPLE IN SANTA MONICA, THIS IS THE PHILAN HALL AS IT LOOKS TODAY. UM, SO THIS IS A PROPERTY THAT'S BEEN IDENTIFIED AS SIGNIFICANT UNDER THIS CRITERIA FOR ITS ASSOCIATION WITH THIS AFRICAN AMERICAN, UH, WOMEN'S CLUB AND FOR THE, THE BROADER ASSOCIATION WITH THAT COMMUNITY IN SANTA MONICA. [00:30:01] UM, AND AS YOU CAN SEE, THIS IS A, A FAIRLY MODEST BUILDING. UM, SO A PROPERTY DOESN'T NEED TO BE SPECIAL ARCHITECTURALLY TO BE SIGNIFICANT UNDER, UH, THESE OTHER CRITERIA. UM, CRITERION B IS RELATED TO PROPERTIES THAT ARE ASSOCIATED WITH THE LIVES OF SIGNIFICANT PERSONS IN OUR PAST. UM, SO THIS IS GEORGE WASHINGTON'S HOUSE AT MOUNT VERNON. IT IS A PRETTY NICE LOOKING HOUSE ARCHITECTURALLY, BUT IF, UM, YOU KNOW, PROPERTIES CAN BE SIGNIFICANT UNDER THIS CRITERIA, UM, THAT MAY BE MORE MODEST LOOKING. AND I THINK IT IS IMPORTANT TO NOTE, THERE'S KIND OF A JOKE SOMETIMES, LIKE GEORGE WASHINGTON SLEPT HERE, SO IT MUST BE HISTORIC. AND, YOU KNOW, THAT CERTAINLY CAN BE AN INTERESTING STORY TO TELL ABOUT A SITE. BUT TO BE ELIGIBLE FOR HISTORIC LISTING UNDER THE NATIONAL OR CALIFORNIA REGISTER, OR UNDER THE LONG BEACH CRITERIA, A PROPERTY DOES REALLY NEED TO BE CLOSELY ASSOCIATED WITH THE PRODUCTIVE LIFE OF A SIGNIFICANT PERSON. SO, UM, GEORGE WASHINGTON'S HOUSE DOES ACTUALLY CONVEY HIS SIGNIFICANCE. HE, YOU KNOW, SPENT MANY PRODUCTIVE YEARS OF HIS LIFE HERE AS OPPOSED TO SOMEWHERE THAT HE SLEPT ALONG THE WAY. UM, AND OF COURSE, CRITERION C DESIGN OR ARCHITECTURE, I THINK IS ONE THAT PEOPLE ARE LIKELY MOST FAMILIAR WITH. UM, THESE ARE PROPERTIES THAT EMBODY DISTINCTIVE CHARACTERISTICS OF A TYPE A PERIOD OR METHOD OF CONSTRUCTION, OR THEY CAN BE REPRESENTATIVE OF THE WORK OF A MASTER ARCHITECT OR BUILDER OR POSSESS HIGH ARTISTIC VALUE. UM, THEN THIS EXAMPLE, THIS IS A, UM, CAPITAL RECORDS. PEOPLE MAY, MAY RECOGNIZE THIS ONE AS VERY DISTINCTIVE OF POST-WAR ARCHITECTURE AND IS ALSO ASSOCIATED WITH WELTON BECKETT, WHO WAS A REALLY SIGNIFICANT, UH, MODERNIST ARCHITECT IN SOUTHERN CALIFORNIA. AND THE FOURTH CRITERIA, CRITERION D, IS ABOUT INFORMATION POTENTIAL TYPICALLY RELATED TO ARCHEOLOGICAL SITES. UM, OFTEN THESE ARE BELOW GROUND RESOURCES AND PROBABLY ARE LESS COMMONLY ADDRESSED BY THIS COMMISSION. SO WE PROBABLY WON'T DISCUSS, UM, THIS CRITERIA TOO MUCH. AND THEN, OF COURSE, UM, HISTORIC DISTRICTS ARE NOT UNDER A SEPARATE CAT, UH, CRITERION. THEY CAN BE DESIGNATED FOR CRITERION A, B, OR C. I THINK C AND A ARE VERY TYPICAL, UM, FOR HISTORIC DISTRICTS. UM, BUT THEY, LIKE CHRISTINA MENTIONED, ARE GROUPINGS, UM, USUALLY QUITE GEOGRAPHICALLY DISTINCT. UM, AND FOR LONG BEACH THEY MUST HAVE 60% OR MORE PROPERTIES THAT QUALIFY AS CONTRIBUTING TO THAT DISTRICT TO BE ELIGIBLE. SO THE PERIOD OF SIGNIFICANCE, UM, CHRISTINA MENTIONED ALREADY, THIS IS THE LENGTH OF TIME, UH, WHEN A PROPERTY OR RESOURCE WAS ASSOCIATED WITH THE, THE IMPORTANT EVENT ACTIVITY OR PERSON OR ARCHITECTURE, UM, AND ATTAINED THE ITS SIGNIFICANCE. SO THIS, THE PERIOD OF SIGNIFICANCE WILL BE DIFFERENT DEPENDING ON WHICH CRITERIA THE PROPERTY IS SIGNIFICANT UNDER. THIS CAN BE ONE YEAR OR A RANGE OF YEARS. IF A PROPERTY IS SIGNIFICANT FOR MULTIPLE THINGS UNDER MULTIPLE DIFFERENT CRITERIA, THERE CAN BE MULTIPLE PERIODS OF SIGNIFICANCE. UM, FOR A PROPERTY THAT'S SIGNIFICANT FOR ARCHITECTURE, IT'S TYPICALLY THE YEAR OF CONSTRUCTION. UM, BUT A PROPERTY THAT'S SIGNIFICANT FOR AN EVENT OR A PERSON, THERE MIGHT BE A LONGER PERIOD OF SIGNIFICANCE. AND LIKEWISE, FOR, FOR DISTRICTS, THERE MAY BE A LONGER PERIOD OF SIGNIFICANCE THAT ENCAPTURE ENCAPSULATES THE, YOU KNOW, THE, THE OLDEST AND EARLIEST BUILDINGS WITHIN THAT SIGNIFICANCE. UM, SO TYPICALLY BUILDING FABRIC AND FEATURES THAT DATE TO THE PERIOD OF SIGNIFICANCE ARE CONSIDERED CHARACTER DEFINING TO THE RESOURCE. UM, THERE COULD BE SOME EXCEPTIONS, BUT OVERALL THAT'S TYPICAL. UM, THIS EXAMPLE IS A COMMERCIAL BUILDING IN SAN FRANCISCO AND THE BUILDING IN THE CENTER, YOU KNOW, BEAUTIFUL HISTORIC BUILDING. AND ACTUALLY THE BUILDING ON THE RIGHT WAS BUILT IN THE 1960S DESIGNED BY CHARLES MOORE. AND THIS, UM, IS AN ADDITION TO THE PROPERTY AND HAS ACTUALLY GAINED SIGNIFICANCE OF ITS OWN. UM, IT WAS A REALLY IMPORTANT EARLY EXAMPLE OF HISTORIC PRESERVATION AND, UM, THINKING ABOUT MODERN ARCHITECTURE THAT COULD BE COMPATIBLE WITH HISTORIC RESOURCES AND DESIGNED BY A VERY PROMINENT, UH, LOCAL ARCHITECT. [00:35:01] SO YOU, YOU MAY OR MAY NOT LIKE IT, BUT THIS IS, UM, INTERESTING IN THINKING ABOUT HOW LATER ADDITIONS CAN ALSO ACQUIRE SIGNIFICANCE IN THEIR OWN RIGHT OVER TIME. UM, AND THEN THE BUILDING TO THE LEFT IS A SEPARATE PROPERTY, UM, BUT WAS, YOU KNOW, AGAIN, THINKING ABOUT COMPATIBILITY ON AN ADJACENT PROPERTY, I THINK IT'S ACTUALLY AN ADDITION. OH, OKAY. IT MIGHT ALSO BE IN ADDITION. I DON'T THINK THAT IT'S BEEN FOUND SIGNIFICANT YET. IT WAS BUILT IN THE TWO THOUSANDS, BUT MAYBE IT WILL IN THE FUTURE. I DON'T KNOW. OKAY. SO WE'RE GOING TO BREAK THIS UP A LITTLE BIT BY TRYING TO DO A LITTLE ACTIVITY WITH THE COMMISSION. SO IF YOU'LL INDULGE US, UM, SO WE HAVE UP HERE, UM, AN EXCERPT FROM ONE OF YOUR, UM, ORDINANCES FOR A LANDMARK DISTRICT. SO THIS IS ALSO A GOOD, UM, POINT TO MAKE THAT THERE'S A LOT OF HISTORIC INFORMATION AND INFORMATION ABOUT, UM, WHAT CRITERIA A PROPERTY IS SIGNIFICANT UNDER ITS PERIOD OF SIGNIFICANCE AND ITS CHARACTER DEFINING FEATURES IN THE DESIGNATING ORDINANCE. ALSO FOR YOUR HISTORIC DISTRICTS, THERE ARE DESIGN GUIDELINES THAT DO INCLUDE, UM, SOME INFORMATION AS WELL, UH, RELATED TO THESE TOPICS. SO WE PUT THIS EXAMPLE UP HERE, THESE ORDINANCES, ESPECIALLY ONES THAT ARE OLDER, DON'T ALWAYS JUST SAY IN A SENTENCE, THIS PROPERTY IS ELIGIBLE UNDER CRITERION A, WHICH IS MAYBE SOMETHING THAT WE WOULD DO NOW. SO THIS IS A LITTLE BIT MORE OF A, AN EXERCISE IN, IN READING, CLOSE READING. SO, UM, IF YOU ALL HAVE HAD A, A MOMENT TO TAKE A LOOK AT THIS, IF YOU WANNA JUST FEEL FREE TO SHOUT OUT WHAT CRITERIA YOU THINK THIS HISTORIC DISTRICT MIGHT BE SIGNIFICANT UNDER, AND IF IT'S HELPFUL, I KNOW YOU HAVE THE SLIDES, BUT, UH, A IS RELATED TO EVENTS, B PERSONS C DESIGN, AND D UM, INFORMATION POTENTIAL. WELL, IT'S KIND OF CHEATING, BUT THAT LOOKS LIKE, UH, DID YOU SKIP AHEAD ? YOU GAVE US A HARD COPY, BUT IT, BUT, BUT YEAH, THE, IT MAKES SENSE THAT THE, THE TIME, THE A CRITERIA WOULD BE HISTORICAL EVENT, RIGHT? AND THAT WAS THE, THE FINDING OF OIL. AND THEN THE, I DUNNO, WHAT IS, WAS THIS FIRST ONE? CALIFORNIA HEIGHTS IS TYPICAL SUBDIVISION DEVELOPED. OH, OKAY. SO WE CAN'T, WE CAN'T HEAR YOU. OH, I'M SORRY. IT'S, I'M SORRY. SO, UM, I, I, I, I APOLOGIZE. I FORGOT YOU GUYS WERE , SO, SO ANYWAY, YES. SO, UM, THE CRITERIA A IS HISTORIC, HISTORIC SIGNIFICANCE. AND THE, UH, CALIFORNIA HEIGHTS IS A TYPICAL SUBDIVISION OF THE 1920S DEVELOPED DURING A TIME OF TREMENDOUS ECONOMIC GROWTH IN THE CITY. AND THAT CITY WAS MOSTLY, I GUESS, HAD TO DO WITH OIL. I MEAN, THAT, THAT, THAT GROWTH HAD TO DO WITH OIL. SO THAT WOULD'VE BEEN THE CRITERIA. A YEAH, EXACTLY. ANY OTHER DISTRICTS CAN BE SIGNIFICANT FOR MORE THAN ONE REASON. DOES ANYONE HAVE ANY THOUGHTS ABOUT OTHER CRITERIA THIS MIGHT BE SIGNIFICANT UNDER, WITHOUT LOOKING AHEAD? , WE HAVE A FEW OF THESE ACTIVITIES. SO , KEEP YOUR EYE ON THE SCREEN. . OKAY, I'M GONNA MOVE US ALONG. SO, YOU KNOW, LIKE I SAID, MO MOST DESIGNATIONS NOW WOULD BE SORT OF WRITTEN IN A SLIGHTLY MORE CLEAR MANNER, BUT YOU CAN DIG THROUGH THESE AND KIND OF UNDERSTAND WHERE, UM, THE SIGNIFICANCE LIES. SO THIS SECTION OF THE SUMMARY OF SIGNIFICANCE CALLS OUT THE DIFFERENT ARCHITECTURAL STYLES THAT ARE ASSOCIATED WITH THIS PERIOD OF DEVELOPMENT. SO, UM, WE WOULD UNDERSTAND THIS DISTRICT ALSO TO BE ELIGIBLE UNDER CRITERION C, WHICH IS DESIGN OR ARCHITECTURE. SO THIS, UH, SUMMARIES CALLING OUT THE TYPICAL KIND OF, UM, PRE, PRE-WORLD WAR II, MOSTLY ARCHITECTURAL STYLES. SO SPANISH COLONIAL REVIVAL, TUDOR REVIVAL, UM, BUNGALOWS, THAT KIND OF THING. UM, AND SORT OF IN IMPLICIT IN THIS, WE MIGHT UNDERSTAND THAT PROPERTIES THAT ARE, YOU KNOW, BUILT AT A LATER DATE, SUCH AS THE 1970S OR 1980S LIKELY WOULD FALL OUTSIDE THE PERIOD [00:40:01] OF SIGNIFICANCE FOR THIS DISTRICT. OKAY, SO WE'RE GONNA DO ONE MORE EXERCISE HERE. SO THIS IS ANOTHER PROPERTY. THIS IS AN INDIVIDUALLY ELIGIBLE PROPERTY, UH, OR DESIGNATED PROPERTY IN LONG BEACH, THE EARNEST AND LILY MCBRIDE HOUSE. SO CALL IT OUT WHEN YOU HAVE THOUGHTS. DO YOU WANNA JUST REPEAT THE CRITERIA? YES. SO TO REPEAT, CRITERION A IS EVENTS AND BROAD PATTERNS OF HISTORY. CRITERION B IS PERSONS AND CRITERION C IS DESIGN OR ARCHITECTURE. I'M GONNA GO FOR A AND B. NICE. SHE GOT IT. AND I DID NOT LOOK AHEAD ON THIS ONE, . SO HERE WE CAN SEE THAT THIS WAS THE HOUSE OF ERNEST AND LILY MCBRIDE, WHO WERE CIVIL RIGHTS PIONEERS. UM, SO THE PROPERTY IS ASSOCIATED WITH THEM, SPECIFICALLY ERNEST MCBRIDE CO-FOUNDED THE NAACP CHAPTER HERE. AND THEN INTERESTINGLY, I'M GLAD YOU PICKED UP ON, UM, CRITERION A AS WELL, BECAUSE THE HOUSE WAS ALSO THE SITE OF MANY OF THESE EARLY NWCP MEETINGS. UM, IT HAS A CONNECTION TO THE GROUP MORE BROADLY AND TO THE CIVIL RIGHTS MOVEMENT, UM, BEYOND JUST THESE TWO INDIVIDUALS. SO IT WOULD BE ELIGIBLE UNDER BOTH CRITERIA, AND I WOULD ASSUME THAT IT HAD, IT WOULD'VE HAD A, A KIND OF LONGER PERIOD OF SIGNIFICANCE AS WELL TO ENCAPSULATE THEIR RESIDENCY IN THAT HOUSE AND SOME OF THE CIVIL RIGHTS, UM, ACTIVITIES THAT WENT ON THERE. THANKS. OH, YEAH, WE CAN, UM, PAUSE HERE IF THERE ARE ANY QUESTIONS BEFORE WE MOVE ON TO DISCUSSING INTEGRITY. ANY QUESTIONS ABOUT IDENTIFYING HISTORIC SIGNIFICANCE? OKAY, WE'LL MOVE ON. SO THIS, UH, HISTORIC INTEGRITY IS THE THIRD ITEM IN THAT, UM, CIRCLE OF THREE THAT ALL CONNECT THE HISTORIC CONTEXT, SIGNIFICANCE, AND INTEGRITY. FOR A PROPERTY TO BE ELIGIBLE FOR LISTING ON A HISTORIC REGISTER, NATIONAL, STATE, LOCAL, UM, A PROPERTY HAS TO HAVE BOTH HISTORIC SIGNIFICANCE AND HISTORIC INTEGRITY. SO THAT'S SOMETHING IMPORTANT TO KEEP IN MIND. UM, OCCASIONALLY A PROPERTY DOES HAVE AN IDENTIFIED SIGNIFICANCE, BUT IT'S BEEN ALTERED TO THE EXTENT THAT IT CAN'T REPRESENT THAT SIGNIFICANCE WHILE ANYMORE, SO IT DOESN'T HAVE ENOUGH INTEGRITY. SO THAT'S WHAT WE'LL WE'RE TALKING ABOUT HERE. INTEGRITY IS JUDGED BY WHETHER THE SIGNIFICANT FEATURES OF THE PROPERTY ARE PRESENT AND WHETHER THE PROPERTY RETAINS THE IDENTITY FOR WHICH IT IS SIGNIFICANT. AND IT'S IMPORTANT TO NOTE THAT EVEN IF YOU HAVE A PROPERTY THAT'S SIGNIFICANT UNDER EVENTS OR PEOPLE, YOU'RE STILL LOOKING AT THAT PERIOD OF SIGNIFICANCE, UM, TO UNDERSTAND, UH, WHAT THE BUILDING LOOKED LIKE AT THAT TIME. SO IT DOES STILL KIND OF COME BACK TO THE, THE PHYSICAL BUILDING. UH, SO WE HAVE A MNEMONIC THAT, UM, UH, A FRIEND IN THE HISTORIC PRESERVATION FIELD, STEVEN SCHAFER, DEVELOPED FOR, UM, SOME SIMILAR PRESENTATIONS CALLED MAD FLAWS. UM, AND THESE ARE THE SEVEN ASPECTS OF INTEGRITY THAT ARE OUTLINED BY THE NATIONAL PARK SERVICE FOR THE NATIONAL REGISTER OF HISTORIC PLACES, UM, NOMINATION PROCESS. UH, SO WE WILL, UM, GO THROUGH EACH OF THESE ASPECTS OF INTEGRITY. UM, THIS, UH, PHOTO IS AN EXAMPLE OF, UM, THIS IS A BUILDING IN EUREKA, CALIFORNIA, THE CARSON BLOCK WHERE, UH, ORIGINAL TERRACOTTA, EXTERIOR CLADDING WAS COVERED BY STUCCO AT SOME POINT. AND, UM, THAT MEANS IT LOST ITS MATERIAL INTEGRITY. SO MATERIAL IS THE FIRST THING, THE MA IS MATERIALS. UH, SO HERE YOU CAN SEE THAT, UH, THAT BUILDING WAS RESTORED, UM, PAGE AND TUR WORKED ON IT. AND SO, UH, THIS, UM, BUILDING WAS ABLE TO REGAIN ITS MATERIAL INTEGRITY. MATERIAL INTEGRITY IS THE PHYSICAL ELEMENTS THAT FORM A HISTORIC PROPERTY. DESIGN IS THE COMPOSITION OF ELEMENTS, INCLUDING THE FORM PLAN, STRUCTURE, STYLE, ORGANIZATION OF SPACES, SCALE, ET CETERA. UH, THIS EXAMPLE IS THE BROCKTON ARCADE AND RIVERSIDE. IT HAS A MID-CENTURY MODERN DESIGN WITH A ZIGZAG ROOF LINE AND TRANSOMS AND PLATE GLASS WINDOWS. AND THESE ELEMENTS TOGETHER CONVEY THAT DESIGN [00:45:05] FEELING IS A LITTLE BIT HARDER TO GRASP. SOMETIMES THE FEELING IS A PROPERTY'S EXPRESSION OF AN AESTHETIC OR HISTORIC SENSE OF A PARTICULAR PERIOD OF TIME. UM, SO THIS EXAMPLE IS, UH, THE TUSTIN HANGER, UM, I THINK NOT THE ONE THAT BURNED DOWN , UH, BUT THE TUSTIN HANGERS ARE WORLD WAR II ERA BLIMP HANGERS. AND THIS ONE HAS A VERY LARGE OPEN VOLUME IN WOOD TRUSSES. AND SO DIVIDING THIS UP INTO SMALLER SPACES OR HIDING THE TRUSSES COMPLETELY COULD CHANGE THE FEELING OF THIS SPACE. AND, UH, ITS CONNECTION TO, UM, ITS TIME PERIOD. AND, AND ORIGINAL USE LOCATION IS THE PLACE WHERE, UH, THE, THE HISTORIC PROPERTY WAS BUILT, UM, OR WHERE A HISTORIC EVENT TOOK PLACE. OFTEN MOVING A PROPERTY CAN LOSE THE INTEGRITY OF LOCATION. UM, THAT'S TYPICALLY THE CASE, BUT SOMETIMES, UH, INTEGRITY OF LOCATION CAN BE RETAINED, OR AT LEAST IN PART IF THE MOVE DOESN'T SIGNIFICANTLY CHANGE THE SPATIAL RELATIONSHIPS OR GENERAL CHARACTERISTICS THAT ARE PART OF ITS ORIGINAL LOCATION. SO, UH, THIS IS AN EXAMPLE OF THE WEDDINGTON HOUSE IN NORTH HOLLYWOOD. IT WAS MOVED JUST 80 FEET DOWN THE STREET TO ALLOW FOR A NEW HOUSING COMPLEX DEVELOPMENT. IT REMAINED ON THE SAME STREET WITH THE SAME SETBACK FROM THE STREET, AND, UH, WAS, UM, FOUND IN THE END TO RETAIN ITS INTEGRITY OF LOCATION. THE A IS FOR ASSOCIATION. THIS IS A PROPERTY'S DIRECT LINK BETWEEN AN IMPORTANT HISTORIC EVENT OR PERSON AND THE PROPERTY. UM, THIS EXAMPLE IS, UH, IT'S A PICTURE OF, UM, UH, I'M BLINKING ON THE SATELLITE DISHES. THANK YOU. UH, OUT IN THE MOJAVE DESERT AT NASA'S GOLDSTONE DEEP SPACE COMMUNICATION COMPLEX, WHICH WAS PART OF WHAT'S CALLED THE DEEP SPACE NETWORK AROUND THE WORLD, THERE'S A FEW DIFFERENT PLACES WHERE THESE, UM, SATELLITES OCCUR. THEY, UM, COMMUNICATE WITH UNMANNED SPACECRAFT UP ON MARS, LIKE THE MARS ROVER AND CURIOSITY. AND, UH, SO THE ABILITY TO IDENTIFY INTEGRITY OF ASSOCIATION IS, IS IT STILL BEING USED BY NASA? YES. IS IT STILL BEING USED FOR THIS FUNCTION? YES. UM, IF IT, EVEN IF IT ISN'T STILL IN USE AS THAT FUNCTION, CAN YOU STILL UNDERSTAND WHAT THAT HISTORIC FUNCTION WAS? SO THAT'S IMPORTANT. FOR EXAMPLE, IF YOU HAVE A HISTORIC HOUSE, AND IT'S BEEN CONVERTED INTO OFFICES, THAT OFTEN HAPPENS IN DIFFERENT CITIES. UM, BUT THE, THE, THE PHYSICAL ELEMENTS OF THE HOUSE STILL LOOKS LIKE A HOUSE ON THE EXTERIOR. SO YOU CAN STILL UNDERSTAND THAT IT'S A HOUSE FROM A PARTICULAR PERIOD OF TIME AND WAS ORIGINALLY A RESIDENCE. SO IT WOULD RETAIN ITS INTEGRITY OF ASSOCIATION. WORKMANSHIP IS THE PHYSICAL EVIDENCE OF THE CRAFTS OF A CULTURE. THIS EXAMPLE SHOWS AN INTRICATE DETAIL AND CARVING OF WOOD ELEMENTS, AND EVEN THE BRICK LAYING WITH A DIAGONAL PATTERN KIND OF UP IN, UP THE UPPER RIGHT THERE. UM, SOMETIMES THIS INTEGRITY, UH, UH, ASPECT IS A LITTLE BIT MORE CHALLENGING WHEN YOU HAVE, LET'S SAY, UM, A MID-CENTURY MODERN BUILDING OR, OR EVEN MORE RECENTLY, WHERE IT'S NOT EXACTLY THE KINDS OF CRAFTSMANSHIP THAT YOU WOULD THINK OF WITH, UH, A BUILDING SUCH AS THE ONE IN THE IMAGE HERE. BUT JUST PLACING THE BUILDING WITHIN ITS CONTEXT OF, UM, DESIGN AND DEVELOPMENT, UH, YOU CAN KIND OF MAKE INTERPRETATIONS OF WHAT WORKMANSHIP MEANS WITHIN THAT TIME PERIOD OF CONSTRUCTION. AND LASTLY, THE S IS FOR SETTING. THIS IS THE PHYSICAL ENVIRONMENT OF THE HISTORIC PROPERTY. UH, THIS EXAMPLE IS THE ANTELOPE VALLEY INDIAN MUSEUM IN LANCASTER. IT IS AN INTERESTING BUILDING ON ITS OWN, BUT IT IS SET AT THE BASE OF A BUTTE. SO IF THE SETTING WAS EVER CHANGED, THE, UM, INTEGRITY WOULD BE QUITE DIFFERENT. UM, ANOTHER EXAMPLE THAT WE MAY EXPERIENCE MORE COMMONLY IS, UH, IF YOU HAVE, UH, LET'S SAY, UM, A HISTORIC COMMERCIAL BUILDING ON A KIND OF TRADITIONAL MAIN STREET, AND ALL OF THE BUILDINGS AROUND IT THAT WERE OF ITS SIMILAR ERA AND SCALE, UM, ARE DEMOLISHED OVER TIME. UH, AND SO ITS SETTING HAS CHANGED. IT'S NOW BEEN REPLACED WITH NEWER DIFFERENT TYPES OF BUILDINGS, OR EVEN PARKING LOTS HAS HAPPENED A LOT IN THE, YOU KNOW, MID 20TH CENTURY. UM, SO [00:50:01] THAT COULD IMPACT THE INTEGRITY OF SETTING COMPARED TO WHEN THE BUILDING WAS CONSTRUCTED AND ITS IDENTIFIED PERIOD OF SIGNIFICANCE. SO ONE IMPORTANT NOTE ABOUT INTEGRITY IS THAT CONDITION IS NOT THE SAME AS HISTORIC INTEGRITY. BUILDINGS WITH EVIDENT SIGNS OF A DETERIORATION CAN STILL RETAIN INTEGRITY IF THEY RETAIN ENOUGH CHARACTER DEFINING FEATURES TO CONVEY THEIR SIGNIFICANCE. WE'RE GONNA BE TALKING ABOUT CHARACTER DEFINING FEATURES IN A LITTLE BIT. SO AGAIN, THIS IS ONE OF THOSE THINGS WHERE EACH OF THESE FEEDS OFF AND IS ITERATIVE OF EACH OTHER. BUT THIS IS SOMETHING TO KEEP IN MIND. YOU COULD HAVE A BUILDING IN POOR CONDITION, BUT IT HASN'T BEEN ALTERED OVER TIME. UM, AND SO IT HAS ALL OF ITS FEATURES FROM ITS PERIOD OF SIGNIFICANCE, UM, THAT MEANS THAT IT STILL RETAINS INTEGRITY. ALL RIGHT, WE HAVE ANOTHER ACTIVITY. OKAY. UM, THIS BUILDING IS A NEIGHBORHOOD BANK IN SOUTH PASADENA. IT WAS BUILT IN 1922. THIS IS WHAT IT LOOKED LIKE IN THE EARLY TWO THOUSANDS. IT HAD A FACADE MAKEOVER IN THE 1980S. THIS IS WHAT IT LOOKED LIKE ORIGINALLY IN 1922. WHAT ASPECTS OF INTEGRITY REMAIN AND WHAT HAS BEEN LOST? WE'LL KIND OF MARCH THROUGH EACH OF THE DIFFERENT ASPECTS TOGETHER FOR THIS ONE. SO DOES IT RETAIN INTEGRITY OF MATERIALS? NO. OOP, I REVEALED THEM ALL AT ONCE. , DOES IT RETAIN INTEGRITY OF DESIGN? THAT'S RIGHT. DESIGN WAS LOST. DOES IT RETAIN INTEGRITY OF FEELING? RIGHT? IT DOESN'T LOOK LIKE, IT DOESN'T FEEL LIKE A 1920S BUILDING. UM, DOES IT RETAIN INTEGRITY OF ASSOCIATION? OH, WAIT, WAIT, LOCATION. IT DOES REMAIN IN THE SAME SPACE, SAME STREET CORNER, UM, AN ASSOCIATION. IT IS STILL A BANK, SO IT ACTUALLY HAS A, STILL RETAINS ITS ASSOCIATION. UM, HOW ABOUT WORKMANSHIP? YEAH, , ALL THE, ALL THOSE LOVELY HISTORIC FEATURES ARE GONE. AND HOW ABOUT SETTING? IT'S STILL IN SOUTH PASADENA IN AN URBAN SLASH SUBURBAN SETTING THAT, UM, I HAVEN'T BEEN TO, BUT APPARENTLY THE, THE, THE GENERAL SETTING STILL, UM, IS INTACT. SO NOT MUCH HAS CHANGED AROUND IT, OR, OR AT LEAST NOT TO THE EXTENT WHERE, UM, SETTING WOULD BE CONSIDERED COMPROMISED. SO, UM, HERE'S A SUMMARY. AND OVER ALL, UH, INTEGRITY HAS BEEN LOST, WHICH IS VERY SAD, BUT THE BUILDING WAS REHABILITATED IN 2010. SO THERE IS A HAPPY ENDING WITH THIS ONE. AND, UM, I WANNA SKIP BACK TO THE ORIGINAL. SO, YOU KNOW, IT'S NOT EXACTLY THE SAME AS IT LOOKED LIKE HISTORICALLY. UH, IT LOOKS LIKE THERE'S SOME NEW WINDOWS, BUT, UM, BUT, UH, APPARENTLY THE 1922 EXTERIOR WAS UNDERNEATH THE 1980S FACADE. SO THEY WERE ABLE TO REMOVE IT AND THEN DO SOME RESTORATION WORK OR REHAB WORK. JUMPING IN HERE, CHRISTINA. I THINK AN INTERESTING POINT TO MAKE IS THAT WHEN WE'RE ASSESSING HISTORIC INTEGRITY, WE HAVE TO EVALUATE BASED ON WHAT IS EXISTING OR WHAT WE KNOW TO EXIST. SO YOU CAN'T EVALUATE FOR HISTORIC INTEGRITY BASED ON SOME HYPOTHETICAL FUTURE RESTORATION. YOU HAVE TO LOOK AT WHAT IS ACTUALLY HERE RIGHT NOW. UM, I, I THINK IF YOU KNEW THAT THIS FACADE WAS UNDERNEATH, PERHAPS YOU COULD TAKE THAT INTO ACCOUNT. BUT, UM, YOU KNOW, YOU HAVE TO, TO LOOK AT THE MATERIALS AND FEATURES AND, AND WHATNOT. THAT'S, THAT'S IN THE BUILDING TODAY TO BE ABLE TO UNDERSTAND WHETHER OR NOT IT HAS HISTORIC INTEGRITY TODAY. MM-HMM. . YEAH. SO IF WE WERE EVALUATING THIS BUILDING FOR HISTORIC SIGNIFICANCE FOR POTENTIAL DESIGNATION TO A HISTORIC REGISTER, AND WE WERE LOOKING AT THAT PICTURE AT THE TOP, WE MAY FIND IT TO HAVE SOME, UM, YOU KNOW, IMPORTANCE IN THE HISTORY OF, UH, WHAT WAS IT, SOUTH PASADENA. UM, BUT IT WOULDN'T RETAIN INTEGRITY, SO IT WOULD NOT BE ELIGIBLE, BUT IT MIGHT BE ELIGIBLE AFTER THIS. MM-HMM. INDICATION. MM-HMM. . YEAH. AND, UH, I THINK IT'S IMPORTANT ALSO TO NOTE THAT, YOU KNOW, IT WASN'T, IT WAS A REHABILITATION PROJECT. SO, UM, AND THOSE ARE REALLY WHAT WE MOSTLY LOOK AT. WE'LL BE TALKING ABOUT THAT WHEN [00:55:01] WE TALK ABOUT THE SECRETARY OF THE INTERIOR STANDARDS. SO YOU CAN SEE THAT THERE WERE SOME CHANGES IN ADDITION TO THE WINDOWS IT LOOKS LIKE. SO, YOU KNOW, THE DOORS ARE MORE OF A MODERN DOOR TYPE. UM, BUT, UH, STILL IT BROUGHT BACK A LOT OF THE HISTORIC CHARACTER OF THE BUILDING. OKAY, WE HAVE ONE MORE EXAMPLE HERE. UM, THIS IS AN EICHLER HOUSE, A GOOD EXAMPLE OF A MID-CENTURY MODERN HOUSE. AND THIS IS AN EXAMPLE FROM A HISTORIC DISTRICT. AND HERE IS A DIFFERENT EICHLER. PLEASE TELL ME THIS IS NOT IN LONG BEACH . NO, NO. . YOU CAN REST EASY TONIGHT. , WE WON'T DISCLOSE THE LOCATION. . YEAH. UH, SO, WE'LL, WALNUT CREEK . WE'LL DO A SIMILAR, UM, LITTLE EXERCISE HERE. SO, WHICH ASPECTS OF INTEGRITY REMAIN AND WHAT HAVE BEEN LOST? UH, HOW ABOUT MATERIALS? NO. . DESIGN. FEELING LOCATION. MM-HMM. , UH, ASSOCIATION. YEAH. STILL RE SINGLE, SINGLE FAMILY RESIDENTS. UM, WORKMANSHIP, AND SETTING? I THINK THE ANSWER IS YES. I THINK IT'S STILL WITHIN A, A EICHLER HISTORIC DISTRICT. UM, SO, UH, EVEN THOUGH IT'S WITHIN A HISTORIC DISTRICT, IT'S A NON CONTRIBUTOR TO THE HISTORIC DISTRICT BECAUSE IT HAS SUSTAINED SO MANY ALTERATIONS. SO THE HISTORIC DISTRICT IS SIGNIFICANT FOR THE ARCHITECTURAL DESIGNS OF EICHLER BUILDINGS. SINCE THIS ONE HAS LOST THAT INTEGRITY OF DESIGN, IT CAN'T CONTRIBUTE. OKAY. SO FOR PROJECT REVIEW, CONSIDERATION, INTEGRITY, CONSIDERATIONS, UM, A FEW THINGS TO NOTE ARE, WHICH ASPECTS ARE IMPORTANT, DEPENDS ON WHAT THE RE WHY THE RESOURCE IS, UH, HISTORICALLY SIGNIFICANT. SO, UM, AS AN EXAMPLE, IF A BUILDING IS SIGNIFICANT FOR ITS DESIGN UNDER CRITERION C, DESIGN INTEGRITY IS VERY IMPORTANT. YOU DEFINITELY WANNA HAVE A HIGH LEVEL OF DESIGN INTEGRITY. IF YOU HAVE A BUILDING, UM, OR A DISTRICT THAT IS SIGNIFICANT FOR EVENTS OR PEOPLE DESIGN MATERIALS AND WORKMANSHIP ARE, YOU STILL NEED THIS, BUT IT'S A LITTLE BIT LESS IMPORTANT. SO IT MAY HAVE A FEW MORE, YOU KNOW, INFRACTIONS, UM, A BASIC INTEGRITY TEST IS, WOULD SOMEONE FROM THE PERIOD OF SIGNIFICANCE RECOGNIZE THE PROPERTY AS IT EXISTS? SO IF THEY'RE FROM THAT PERIOD, CAN THEY, WOULD THEY STILL UNDERSTAND THAT THAT'S THE BUILDING THEY WOULD'VE KNOWN? AND THEN WITHIN A HISTORIC DISTRICT, CONTRIBUTORS SHOULD HAVE INTEGRITY, BUT CAN HAVE SOME ALTERATIONS. THE SENSE OF THE HISTORIC, THE DISTRICT'S HISTORIC ENVIRONMENT SHOULD BE, UH, CONVEYED EVEN WITH SOME ALTERATIONS IN NEW INTRUSIONS. SO I THINK SOMETHING TO KEEP IN MIND IS THAT A HISTORIC DISTRICT MAY ALLOW FOR A LITTLE BIT MORE LENIENCY OF ALTERATIONS, UM, FOR EACH INDIVIDUAL BUILDING, BECAUSE YOU'RE LOOKING AT A MUCH LARGER COLLECTION OF BUILDINGS, AND WHETHER AS A WHOLE, AS THE COLLECTION, THEY, UM, REPRESENT THE, THE SIGNIFICANCE IN THE ERA OR THE ARCHITECTURAL STYLES OR SO ON. UM, SO, UH, THE CHC CAN ASK TO IMPROVE INTEGRITY IN PROJECT REVIEW WITHIN REASON, BUT IT'S NOT NECESSARILY REQUIRED FOR SOMEONE TO RESTORE SOMETHING THAT'S LOST. AND WE'LL TALK ABOUT THAT A LITTLE BIT MORE, I THINK, WITH CHARACTER DEFINING FEATURES. OKAY. UM, ARE THERE ANY QUESTIONS ON HISTORIC INTEGRITY OR THE COMBINATION OF CONTEXT, SIGNIFICANCE, AND INTEGRITY TO EVALUATE A HISTORIC BUILDING? OKAY, GREAT. I'LL, I'LL JUST SAY THAT, YOU KNOW, WE USE ALL OF THESE CRITERIA WHEN WE ARE IDENTIFYING AND, UM, AND NOMINATING NEW BUILDINGS OR DISTRICTS. UH, BUT IT, THEY'RE ALSO ALL IMPORTANT CONCEPTS TO UNDERSTAND, UM, WHEN YOU'RE LOOKING AT YOUR EXISTING DESIGNATED, UH, RESOURCES AND DISTRICTS, UM, LIKE THAT EXERCISE THAT WE WENT THROUGH SO THAT YOU CAN READ THE INFORMATION THAT'S IN THE ORDINANCE ABOUT EACH OF THOSE PROPERTIES, AND, UM, PULL OUT THE REASONS FOR SIGNIFICANCE, TAKE A LOOK AT THEM, UNDERSTAND THEIR LEVEL OF INTEGRITY, AND THEN THOSE ARE GOOD BASELINE UNDERSTANDINGS, UM, TO HAVE WHEN YOU ARE THEN CONSIDERING A PROJECT THAT MAY, MIGHT, MIGHT MAKE ALTERATIONS. THANK YOU. AT THIS TIME, I WANTED TO FIRST WELCOME THE PUBLIC HERE TONIGHT, PARTICULARLY THAT WE'RE ON THE HISTORICAL DISTRICT AND THE FACT THAT YOU DO REPRESENT, UH, THE HISTORICAL DISTRICTS IN [01:00:01] LONG BEACH AND DO VERY IMPORTANT ROLE IN PRESERVING THOSE DISTRICTS. AND I HOPE THAT YOU FIND THIS PRESENTATION INTERESTING TONIGHT. AGAIN, THANK YOU FOR YOUR ATTENDANCE. OKAY. AND AT THIS POINT, UM, AT THE, UH, WILL OF THE CHAIR, WE MIGHT RECOMMEND A FIVE MINUTE, UH, BIO BREAK BEFORE WE LAUNCH INTO THE SECOND HALF OF THE PRESENTATION. AND OF COURSE, AT THE END OF THE ITEM, WE WILL TAKE PUBLIC COMMENT AS WELL. THANK YOU, MADAM CLERK, IF YOU CAN GO OFF THE RECORD FOR FIVE MINUTES. THANK YOU. SO WE'LL BREAK FOR FIVE MINUTES AND WE'LL HAVE A RETURN TIME. OKAY. PRESENT. COMMISSIONER HUNTER PRESENT. COMMISSIONER PIZO PRESENT, COMMISSIONER PRYOR, PRESENT VICE CHAIR WAN, PRESENT CHAIR IRVINE PRESENT. WE HAVE CORE THANK YOU. OKAY. AND I GUESS WE'RE CONTINUING ON WITH OUR PRESENTATION. THANK YOU. THANKS. ALRIGHT, WE'RE GONNA JUMP BACK IN BY TALKING ABOUT CHARACTER DEFINING FEATURES, WHICH WE'VE BEEN KIND OF MENTIONING THROUGHOUT THE COURSE OF THE PRESENTATION, AND NOW WE'RE GONNA DISCUSS THAT A LITTLE BIT IN MORE DETAIL. UM, THESE ARE REALLY ESSENTIAL TO UNDERSTANDING WHAT ARE THE FEATURES AND MATERIALS THAT ARE KIND OF THE MOST ESSENTIAL TO KEEP WHEN WE'RE THINKING ABOUT, UM, REHABILITATION, ADAPTIVE REUSE, OR PROPOSED PROJECTS. UM, IT ALSO HELPS US UNDERSTAND WHERE THERE'S ROOM FOR CHANGE WITHIN A HISTORIC PROPERTY. UM, THIS EXAMPLE IS, UH, IN GLENDALE, IT WAS A MASONIC TEMPLE. UM, AND IT'S SORT OF, YOU KNOW, LIKE INTEGRITY WITH CHARACTER DEFINING FEATURES. WE KIND OF HAVE TO LOOK AT WHAT, WHAT DO WE HAVE RIGHT NOW? SO IN THIS CASE, UM, WHEN WE CAME TO THIS PROJECT, UM, ONLY THE WOOD TRUSSES IN, UM, THE PREVIOUS MEETING HALL SPACE REMAINED AT THE TOP OF THIS MULTI-STORY BUILDING. UM, SO THESE WOOD TRUSSES WERE REALLY A KEY, UH, CHARACTER DEFINING FEATURE, BUT THE REST OF THE BUILDING HAD BEEN STRIPPED IN THE, IN THE PAST. SO THAT WAS IMPORTANT TO UNDERSTAND. SO CHARACTER DEFINING FEATURES ARE THE ARCHITECTURAL AND SITE COMPONENTS THAT ESTABLISH THE VISUAL CHARACTER OF THE PROPERTY. UM, THEY'RE TYPICALLY THE TANGIBLE ELEMENTS THAT EMBODY, UH, HISTORIC SIGNIFICANCE. UM, SO LIKE WE TALKED ABOUT WITH PROPERTIES THAT ARE SIGNIFICANT FOR THEIR ARCHITECTURE, THESE ARE KIND OF MORE, CAN BE A LITTLE BIT MORE OBVIOUS, THE, THE ARCHITECTURAL FEATURES AND DETAILS. BUT EVEN WITH PROPERTIES THAT ARE SIGNIFICANT FOR EVENTS OR PERSONS, THERE ARE PHYSICAL ELEMENTS TO A BUILDING OR SITE OR PROPERTY THAT TIE THAT HISTORY TO THAT PLACE AND MAKE IT RECOGNIZABLE, UM, FOR THAT SIGNIFICANCE. AND THESE ARE THE, YOU KNOW, THE PHYSICAL PARTS OF THE BUILDING THAT SHOULD BE RETAINED AND PRESERVED INTO THE FUTURE. SO THIS IS, THIS BACKGROUND PHOTO IS THAT SAME SPACE. SO YOU CAN SEE THAT THERE WAS A ADAPTIVE REUSE PROJECT, UM, AND THOSE WOOD TRUSSES WERE RETAINED AND PRESERVED, AND THE SORT OF DOUBLE HEIGHT CHARACTER OF THE SPACE WAS ALSO RETAINED EVEN AS IT WAS ALTERED TO THIS NEW OFFICE USE. SO WHEN THINKING ABOUT CHARACTER DEFINING FEATURES AND IDENTIFYING CHARACTER DEFINING FEATURES, WE OFTEN LIKE TO KIND OF THINK ABOUT IT FROM THE MACRO TO THE MICRO LEVEL. SO KIND OF STARTING FROM PRETTY ZOOMED OUT AND THEN ZOOMING IN. SO SOMETHING LIKE THE SETTING AND THE SIZE AND THE SCALE OF THE PROPERTY, UM, CAN BE PART OF THE CHARACTER. AND THEN AS WE START LOOKING CLOSER AND CLOSER, WE, WE MIGHT THINK ABOUT THINGS LIKE THE SHAPE AND FORM AND MASSING OF A BUILDING. THESE ARE, TO BE HONEST, ARE A LITTLE BIT BUILDING SPECIFIC, BUT, UM, SINCE BUILDINGS ARE MOST OFTEN WHAT WE'RE LOOKING AT, UM, THIS, THIS DOES MOST MOSTLY APPLY TO, TO THOSE CASES. SO, AND THEN AS WE KIND OF ZOOM IN CLOSER AND CLOSER, WE CAN THINK ABOUT THINGS LIKE MATERIALS AND DIFFERENT TREATMENTS LIKE, UM, THE CLADDING OF A BUILDING. UM, THEN THINGS LIKE THE PATTERNS OF OPENINGS ON A BUILDING MAY CONTRIBUTE TO THE CHARACTER DEFINING FEATURES. SO WHAT ARE THE PATTERNS OF WINDOWS, YOU KNOW, ARE THEY PUNCHED WINDOW OPENINGS? ARE THEY SYMMETRICALLY ARRANGED ON A FACADE, OR IS IT LIKE A MODERNIST RIBBON WINDOW? THESE ARE SOME OF THE, THE THINGS THAT ARE CHARACTER DEFINING TO A PROPERTY. [01:05:01] UM, AND THEN AS YOU GET IN A LITTLE BIT CLOSER, THERE MAY BE THINGS LIKE PROJECTIONS, LIKE PORTICOS OR EAVES OR, UM, AND THEN FURTHER IN, YOU KNOW, WINDOW TRIM AND DETAILS AND SO ON. AND THEN THERE, THERE CAN BE INTERIOR CHARACTER DEFINING FEATURES OF PROPERTIES. BUT, UM, INTERIORS ARE TYPICALLY NOT REVIEWED, UM, BY THIS COMMISSION, ESPECIALLY FOR PRIVATE RESIDENCES, UM, OR HISTORIC DISTRICT PROPERTIES. AN EXCEPTION MAY BE, UM, A PUBLIC BUILDING THAT'S HISTORICALLY SIGNIFICANT, LIKE MAYBE A HISTORIC CITY HALL OR SOMETHING THAT IS PUBLICLY ACCESSIBLE. THOSE INTERIORS MIGHT, UM, BE SUBJECT TO REVIEW AND THOSE CHARACTER DEFINING FEATURES MIGHT BE CONSIDERED. AND I THINK THAT, UM, AN IMPORTANT NOTE HERE WITH, UM, CONNECTING THIS TO THINKING ABOUT PROJECT REVIEW IS THAT, UM, THE CHANGES THAT OCCUR TO THESE SORT OF LARGE, LARGER FEATURES OR THE KIND OF HIGHER LEVEL FEATURES, UM, OFTEN HAVE POTENTIAL TO HAVE THE MOST CHANGE. SO A LARGE ADDITION, ESPECIALLY A VERTICAL ADDITION TO A ONE STORY HOUSE MIGHT CHANGE THE SIZE, THE SCALE, THE FORM OF, OF A BUILDING. AND THAT CAN BE A PRETTY SIGNIFICANT CHANGE. WHEREAS SMALLER CHANGES, UM, YOU KNOW, SOME COMPATIBLE REPLACEMENT WINDOWS OR WINDOWS ON A SIDE FACADE, AS WE'RE KIND OF LIKE LOOKING AT THESE SMALLER SCALE FEATURES, THEY'RE PROBABLY GONNA HAVE, UM, LESS OF AN IMPACT, ESPECIALLY IF WE'RE, YOU KNOW, THINKING ABOUT COMPATIBLE REPLACEMENT WINDOWS WITHIN THE ORIGINAL PATTERN OF OPENINGS OR SOMETHING LIKE THAT. SO WITH CHARACTER DEFINING FEATURES, UM, ESPECIALLY PROPERTIES THAT ARE SIGNIFICANT FOR THEIR ARCHITECTURE ARE OFTEN ASSOCIATED WITH SPECIFIC ARCHITECTURAL STYLES. AND OFTEN THESE STYLES HAVE, UM, FAIRLY TYPICAL CHARACTER DEFINING FEATURES. SO THERE ARE DESIGN GUIDELINES, UM, THAT THE CITY OF LONG BEACH HAS DEVELOPED, AND THESE ARE ONLINE, THESE ARCHITECTURAL STYLE GUIDES. SO IF YOU'RE LOOKING AT A PROPERTY THAT IS ONE OF THESE SORT OF TYPICAL ARCHITECTURAL STYLES, UM, MOSTLY ASSOCIATED WITH, UH, 20TH CENTURY, EARLIER 20TH CENTURY ARCHITECTURE, THESE GUIDELINES HAVE THESE HELPFUL DIAGRAMS THAT CALL OUT DIFFERENT FEATURES THAT MIGHT BE IDENTIFIED AS CHARACTER DEFINING FEATURES. SO THE EXAMPLE HERE IS A CRAFTSMAN NCE. SO THINGS LIKE THE WIDE OVERHANGING EAVES AND KIND OF FLARED OR EXPOSED RAFTER TAILS. UM, THOSE KIND OF BATTERED ANGLED COLUMNS THAT YOU SEE ON PORCHES. THESE ARE THE KINDS OF PHYSICAL CHARACTERISTICS THAT MAKE A CRAFTSMAN RESIDENCE, A CRAFTSMAN RESIDENCE, AND, UM, YOU KNOW, NOT A SPANISH COLONIAL REVIVAL RESIDENCE. AND SO THESE ARE CUT TIED TO, UM, THE ORIGINAL DESIGN AND CONSTRUCTION. AND, UM, ASSUMING THAT THIS IS A PROPERTY THAT'S SIGNIFICANT FOR ITS ARCHITECTURE, THAT WOULD, THAT WOULD BE PRETTY CRITICAL. BUT EVEN IF IT'S A PROPERTY THAT'S ASSOCIATED WITH AN EVENT OR A PERSON, THESE ARE THE FEATURES THAT ARE LIKELY TO BE ASSOCIATED WITH THAT HISTORIC TIME AND CONVEY THOSE DIFFERENT ELEMENTS OF INTEGRITY THAT WE TALKED ABOUT. I'M SURE. UM, THIS IS ALEJANDRO OVER HERE. UM, AND JUST REALLY QUICK, ONE OF THE THINGS TO JUST KIND OF ADD, UH, FROM THE CITY STAFF SIDE, THE DESIGN GUIDELINES, UM, ARE ONE AWARD-WINNING. SO I HAVE TO POINT THAT OUT REALLY QUICK. UM, BUT, YOU KNOW, NOT EVERY CRAFTSMAN IS GONNA BE, UH, SOMETHING LIKE WE SEE IN THIS, UM, EXAMPLE HERE. UH, SO YOU DO SEE A VERY, VERY BROAD ARRAY OF DIFFERENT CRAFTSMAN STYLE BUILDINGS, AND THAT REALLY APPLIES TO, UM, ANY ARCHITECTURAL STYLE. UM, SO YOU KNOW, WHAT WE HAVE HERE IS JUST SORT OF A BASE EXAMPLE, UH, TO REALLY KIND OF IDENTIFY, UM, ALL OF THOSE, UH, FEATURES WHEN YOU'RE LOOKING AT A, AT REALLY ANY TYPE OF CRAFTSMAN BUILDING. THANK YOU. YEAH, THAT'S A GREAT POINT. WHEN WE'RE LOOKING AT THESE KIND OF STYLE GUIDES, YOU KNOW, TO BE A SIGNIFICANT CRAFTSMAN RESIDENTS, YOU DON'T HAVE TO HAVE EVERY SINGLE FEATURE ASSOCIATED WITH CRAFTSMAN. UM, SOME BUILDINGS HAVE MORE OR LESS OF THESE FEATURES AND, UM, BUT THIS IS, YOU KNOW, KIND OF GETTING YOU TO, TO THINK ABOUT WHAT, WHAT ARE TYPICALLY ASSOCIATED WITH A CRAFTSMAN RESIDENCE OR ANOTHER ARCHITECTURAL STYLE. SO THIS SLIDE IS SORT OF ABOUT VISUALIZING AND THINKING ABOUT CHARACTER DEFINING FEATURES. ALSO IN TERMS OF HIERARCHY, UM, WE DON'T ALWAYS, UH, OUTLINE CHARACTER, DEFE CHARACTER DEFINING FEATURES IN A HIERARCHY. UM, BUT SOMETIMES THAT CAN BE REALLY HELPFUL TO KIND OF THINK ABOUT THEM. UM, SO OFTEN WHEN WE'RE [01:10:01] LOOKING AT A HISTORIC BUILDING, WE'LL THINK ABOUT THINGS IN TERMS OF PERHAPS SIGNIFICANT AND CONTRIBUTING VERSUS NON-CONTRIBUTING. UM, SO THIS IS AN EXERCISE WE OFTEN DO INTERNALLY, WHICH REALLY HELPS US UNDERSTAND, YOU KNOW, WHAT ARE THE MOST IMPORTANT CHARACTER DEFINING FEATURES OF A PROPERTY, AND WHERE HAVE THINGS, UM, BEEN ALTERED OR WHERE IS THERE SORT OF MORE OR LESS OPPORTUNITY FOR CHANGE? UM, SO THE MORE, THE MOST SIGNIFICANT CHARACTER DEFINING FEATURES MIGHT BE THOSE HIGH LEVEL THINGS LIKE THE MASSING, THE EXTERIOR CLADDING, AND THE PATTERN OF OPENINGS. WHEREAS IN THIS CASE, UM, IT'S INDICATING THAT SOME OF THE WINDOW SASHES HAVE BEEN REPLACED. UM, SO MAYBE THAT PATTERN OF OPENINGS IS STILL SIGNIFICANT, BUT THE ACTUAL WINDOWS WITHIN THEM ARE NO LONGER ORIGINAL. SO THEY'RE, UM, LESS, LESS IMPORTANT. UM, OR, AND THERE MAY BE THINGS THAT ARE ACTUALLY TOTALLY NON-CONTRIBUTING. UM, AND THOSE MAY FEATURES OR MATERIALS OR ADDITIONS THAT DATE OUTSIDE THE PERIOD OF SIGNIFICANCE. SO IF THERE'S AN ADDITION TO A PROPERTY THAT MAY BE CONSIDERED NON-CONTRIBUTING, SO THAT MAY BE SOMETHING THAT COULD BE, UM, ALTERED OR REMOVED OR CHANGED MORE READILY THAN, UM, A FACADE OR A PORTION OF THE BUILDING THAT IS HIGHLY SIGNIFICANT. OKAY, SO WE'RE GONNA DO ANOTHER LITTLE ACTIVITY. OKAY. SO WE HAVE A SPANISH COLONIAL REVIVAL RESIDENCE. UM, AND THE, IF YOU GUYS WANT TO JUST SHOUT OUT ANY CHAR ANYTHING THAT YOU THINK MIGHT BE A CHARACTER DEFINING FEATURE, WE HAVE A LIST OF SOME OPTIONS, BUT, YOU KNOW, JUST THROW OUT WHAT YOU THINK MIGHT BE CHARACTER DEFINING HERE. ROOF. ROOF, I HEARD THAT. YEP. GREAT. LIGHT KEEPS GOING OFF. . UH, THE, THE MASSING, UM, THAT, THAT WINDOW DETAIL, THE ENTRY, THE MATERIAL, THE, THE WAY THE EAVES ARE, UM, THE, THE FACT THAT THERE'S A GATE, AN ENTRY GATE, THE, THE, THE, THE MASSING OF THAT FIREPLACE AND THE LOCATION OF THE FIREPLACE OR THE CHIMNEY, SORRY. YEAH. THE FACT THAT THE CHIMNEY IS SO PROMINENT IS, IS CERTAINLY ONE, I MEAN, I THINK YOU HIT ON A LOT OF THESE. SO YEAH, LIKE THE FACT THAT IT'S A, UH, ONE STORY SCALED BUILDING, UM, THE ROOF, UH, LINE WAS MENTIONED IN THE ROOF MATERIALS. UM, WE CAN NOTE THAT THIS IS AN ASYMMETRICAL FACADE DESIGN, WHICH IS OFTEN A FEATURE OF SPANISH COLONIAL REVIVAL STYLE, WHEREAS, YOU KNOW, MAYBE AN AMERICAN COLONIAL REVIVAL BUILDING WOULD HAVE A VERY STRICT SYMMETRY. UM, AND THEN WE HAVE SOME OF THESE ARCHED DOORWAYS. SO THESE ARE VERY PROMINENT CHARACTER DEFINING FEATURES. AND THIS IS A, YOU KNOW, HOUSE ON A STREET SCAPE, I BELIEVE THIS IS IN A HISTORIC DISTRICT. SO OFTEN THESE PRIMARY CHARACTER DEFINING FEATURES ARE GOING TO BE ON THE FRONT FACADE WHERE THEY'RE MOST PUBLICLY VISIBLE. BUT THINGS LIKE MASSING AND SCALE OBVIOUSLY ARE KIND OF ABOUT MORE THAN JUST ONE FACADE. IT IS SORT OF ABOUT THE, THE WHOLE 3D UM, BUILDING . ALL RIGHT. SO WE'RE GONNA, UM, SHIFT A LITTLE BIT TO THINKING ABOUT CHARACTER DEFINING FEATURES ON THE SCALE OF A HISTORIC DISTRICT. UM, SO IN THIS CASE, WE CAN THINK ABOUT HISTORIC OR CHARACTER DEFINING FEATURES AT TWO LEVELS. SO WE CAN THINK ABOUT THEM AT THE DISTRICT LEVEL AS WELL AS AT THE LEVEL OF THE CONTRIBUTOR THAT INDIVIDUAL BUILDINGS. UM, SO AT THE DISTRICT LEVEL THERE, UM, YOU KNOW, WE CAN ASK A QUESTION LIKE, WHAT ARE THE FEATURES THAT CHARACTERIZE THIS DISTRICT? UM, WHAT ARE KIND OF THE OVERALL, UM, PROPERTY TYPES, THE SPATIAL ORGANIZATION, CIRCULATION AND STREET PATTERN, UM, STREET SCAPE CHARACTERISTICS, UH, THE LOT, AND BUILDING SIZES SETBACK FROM THE STREET? SO IN THIS EXAMPLE, THIS IS A DIAGRAM FROM AN LER NEIGHBORHOOD. SO IF WE'RE THINKING ABOUT POST-WAR SUBURBAN HOUSING TRACKS LIKE AN EICHLER, THINGS LIKE THE STREET PATTERN WITH A CUL-DE-SAC MAY BE CONTRIBUTING TO THE OVERALL CHARACTER OF THE DISTRICT. SO IT MAY NOT BE THE ACTUAL, YOU KNOW, ASPHALT OF THE ROAD LIKE WE WERE TALKING ABOUT BEFORE, BUT THIS PATTERN WITH CUL-DE-SACS AND SORT OF KLINE STREETS MAY CONTRIBUTE TO THE OVERALL CHARACTER OF THE DISTRICT, AS WELL AS THINGS LIKE CONSISTENT SETBACKS, OR IF ALL OF THE HOUSES HAVE A DETACHED OR AN ATTACHED GARAGE THAT'S PROMINENTLY VISIBLE VERSUS MAYBE IN AN OLDER NEIGHBORHOOD, A CHARACTER DEFINING FEATURE MIGHT BE THAT [01:15:01] THERE'S DETACHED GARAGES AT THE REAR WITH A, A DRIVEWAY. UM, SO ALL OF THESE, UM, CAN KIND OF CONTRIBUTE TO THE OVERALL CHARACTER OF THE DISTRICT. UM, AND THESE HAVE TO BE KIND OF CONSIDERED AT THE DISTRICT LEVEL SINCE INDIVIDUAL, UM, STREET SCAPE ELEMENTS MIGHT NOT BE CONSIDERED CONTRIBUTING, BUT THEY'RE, THEY'RE A FACTOR IN UNDERSTANDING THE SIGNIFICANCE OF THE DISTRICT. SO THIS IS, UM, KIND OF REITERATING SOME OF THOSE POINTS, BUT WHEN WE'RE, UH, LOOKING AT LANDMARK DISTRICTS AND HISTORIC DISTRICTS, UM, LOOKING AT THESE DIFFERENT ELEMENTS AND CONSIDERING THESE DIFFERENT FEATURES, YOU CAN KIND OF UNDERSTAND WHAT IS SIGNIFICANT OR UNIQUE IN CHARACTER DEFINING ABOUT A PARTICULAR DISTRICT. SO WHETHER OR NOT THE SCALE AND PROPORTION OF THE BUILDINGS IS SIMILAR OR DIFFERENT, THE DIFFERENT ROOF FORMS, DIFFERENT FACADE ORGANIZATION, UM, AND SO ON. AND I THINK, YOU KNOW, WHAT'S INTERESTING IS THERE'S NOT KIND OF A CONSISTENT ANSWER HERE. IT REALLY DOES DEPEND ON THE DISTRICT. UM, SO FOR EXAMPLE, ON THE LEFT IS A HISTORIC DISTRICT IN TORRANCE, AND YOU CAN SEE THAT, UM, THESE HOUSES ARE VERY CONSISTENT IN THEIR DESIGN, THEIR STYLE, THEIR SCALE, UM, AND MATERIAL FEATURES. THEY WERE LIKELY, YOU KNOW, BUILT AT A VERY SIMILAR TIME PERIOD, MAYBE BY THE SAME DEVELOPER, MAYBE NOT, UM, BUT THEY HAVE A VERY CONSISTENT SETBACK. UM, WHEREAS THE CALIFORNIA HEIGHTS DISTRICT AND LONG BEACH IS THE IMAGE ON THE RIGHT. AND THIS IS ALSO A HISTORIC DISTRICT, BUT, UM, THIS DISTRICT HAS KIND OF A, A BROADER RANGE OF ARCHITECTURAL STYLES, BUT THERE'S STILL SOME CONSISTENCY AND, UM, OVERALL CHARACTER DEFINING FEATURES HERE AS WELL. BUT THEY, THEY MAY BE A LITTLE BIT DIFFERENT OR MORE BROAD THAN THE, THE OTHER EXAMPLE. AND THAT WILL LEAD US INTO OUR NEXT LITTLE ACTIVITY. OKAY. SO IT'S KIND OF SIMILAR QUESTION HERE. WE'RE LOOKING AT THE, THIS IS A SANDBORN MAP OF A HISTORIC DISTRICT. HOPEFULLY IT'S LEGIBLE AT THIS SCALE, BUT IF YOU ALL WANNA JUST THROW OUT SOME IDEAS ABOUT WHAT MIGHT BE CHARACTER DEFINING AT THE, THE DISTRICT LEVEL HERE, IF WE'RE THINKING ABOUT PLANNING AND SPATIAL ORGANIZATION AND THAT KIND OF THING. YES, I HEARD DETACHED GARAGES. IT LOOKS LIKE THEY'RE ALL KIND OF AT THE, THE REAR OF THE LOT, TYPICALLY THE SETBACKS. YES. GREAT. YES, THERE'S A PRETTY CONSISTENT SETBACK, UM, FROM THE SIDEWALK AND FROM THE STREET HERE. THE, UM, THE FAR? YES. YEAH. YEAH. THERE'S, UM, YOU KNOW, WE CAN THINK ABOUT LOT SIZE AND ALSO HOW MUCH LOT COVERAGE, HOW, HOW BIG THE, THE MASS OF THE HOUSES ARE. THIS DOES SAY HOW TALL EACH BUILDING IS, BUT I HONESTLY CAN'T READ IT FROM HERE. SO I'M NOT, I CAN'T REMEMBER IF THEY'RE TWO OR ONE STORY HOUSES, BUT THAT ALSO MIGHT BE A FACTOR. SO IT'S ALL FRONT LOADED AS WELL. THERE'S NO ALLEY SYSTEM OR, YEAH, ANYTHING THAT, THAT'S A GREAT POINT. YEAH. SO WE WOULD ASSUME THAT THESE ARE PROBABLY, UM, DRIVEWAY ACCESS TO THOSE GARAGE AS OPPOSED TO ALLEY ACCESS. THEY'RE ALL ALMOST, YEAH, SEEMS LIKE THEY'RE MAYBE ALL TWO STORIES. SO THAT MIGHT ALSO CONTRIBUTE TO THE, THE KIND OF PATTERN OF THE STREET SCAPE. SO YEAH, THESE ARE, THESE ARE ALL THINGS THAT WE WOULD CALL OUT THE, THE KIND OF CENTRAL BULB IN THE STREET ALSO MIGHT BE A CHARACTER DEFINING FEATURES. SOMETIMES THERE'S, YOU KNOW, INTERESTING PLANTINGS, UM, YOU KNOW, THOSE, THESE ARE KIND OF THINGS TO, TO CONSIDER. AND THEN THIS IS A SIMILAR EXERCISE, BUT LOOKING AT SOME PHOTOS OF CONTRIBUTORS TO A HISTORIC DISTRICT. SO THESE ARE OBVIOUSLY ALL A LITTLE BIT DIFFERENT, BUT IF YOU'RE THINKING AT KIND OF A, A HIGH LEVEL, WHAT MIGHT BE THE CHARACTER DEFINING FEATURES OF THESE PROPERTIES AS A GROUP AT THE DISTRICT LEVEL? CAN I GO, AM I ON ? UH, SO IT LOOKS LIKE THEY'RE ALL SET BACK ABOUT THE SAME AMOUNT. THEY'RE ALL TWO STORIES. THE SCALE OF THE WINDOWS. YEAH, I HEARD SOMETHING ABOUT WINDOWS. SO THERE'S, YOU KNOW, YOU CAN SEE THERE'S KIND OF LIKE A PATTERN OF PUNCHED OPENINGS AS OPPOSED TO, UM, YOU KNOW, SOMETHING LIKE RIBBON WINDOWS OR LARGER WINDOWS. [01:20:01] UM, A LOT OF THEM ARE KIND OF SYMMETRICAL, BUT MAYBE NOT ALL OF THEM. AND I, I DID HEAR THE TWO STORY AND SETBACKS. SO THOSE, THOSE ARE GREAT. AND, YOU KNOW, THESE ARE A VARIETY OF ARCHITECTURAL STYLES, BUT THEY MOSTLY REPRESENT KIND OF PERIOD REVIVAL STYLES THAT ARE ASSOCIATED WITH THE TEENS THROUGH THE, THE THIRTIES. SO THAT'S PROBABLY RELATED TO THE PERIOD OF SIGNIFICANCE. UM, AND YEAH, THOSE PUNCHED OPENS WITH A HIGH, KIND OF SOLID TO VOID RATIO ON THE FACADE. UM, SOME CONCRETE DRIVEWAYS, THAT KIND OF THING. ALL RIGHT. SO BEFORE, BEFORE WE MOVE ON TO THE SECRETARY OF THE INTERIOR STANDARDS, UM, DO YOU ALL HAVE ANY QUESTIONS SPECIFIC ABOUT CHARACTER DEFINING FEATURES? ALL RIGHT, WE CAN MOVE, MOVE ALONG. OKAY. HANNAH HAS LOBBED THE BALL BACK TO ME. UH, AND I THINK THIS WILL BE AT THE LAST PORTION OF OUR PRESENTATION TONIGHT, UM, BUT AN IMPORTANT ONE, THE SECRETARY OF THE INTERIOR STANDARDS FOR THE TREATMENT OF HISTORIC PROPERTIES. AND THERE ARE ALSO GUIDELINES FOR PRESERVING, REHABILITATING, RESTORING AND RECONSTRUCTING HISTORIC BUILDINGS. UH, SO THE, THE SECRETARY OF THE INTERIOR STANDARDS WERE DEVELOPED BY THE NATIONAL PARK SERVICE WITHIN THE US DEPARTMENT OF THE INTERIOR. UH, YOU CAN GO TO THE NPS WEBSITE AND FIND THEM ALONG WITH ALL KINDS OF HELPFUL, UM, TECHNICAL BULLETINS FOR, UH, GUIDANCE AND TREATMENT OF HISTORIC PROPERTIES. SO IT'S A GREAT RESOURCE. UM, THE STANDARDS ARE A SERIES OF CONCEPTS ABOUT MAINTAINING, REPAIRING, AND REPLACING HISTORIC MATERIALS, AS WELL AS DESIGNING NEW ADDITIONS OR MAKING ALTERATIONS. UH, THERE ARE FOUR DISTINCT APPROACHES OR TREATMENTS, UM, FOR THE SECRETARY OF THE INTERIOR STANDARDS WITH ACCOMPANYING GUIDELINES. AND I CAN'T REMEMBER IF WE HAVE A NO. UM, AND THESE ARE, THERE ARE SECRETARY OF THE INTERIOR STANDARDS FOR, UM, PRESERVATION, WHICH IS KIND OF MAINTAINING A BUILDING, HISTORIC BUILDING EXACTLY AS IT IS, KIND OF FREEZING IT IN, IN TIME AS IT IS PRESERVATION RESTORATION, WHICH IS IDENTIFYING A PARTICULAR PERIOD OF TIME IN THE PAST AND, UM, MAKING CHANGES TO RESTORE IT TO THAT TIME PERIOD. SO A GREAT EXAMPLE OF, UH, RESTORATION IS THAT I CAN THINK OF IS, UM, JAMES, PRESIDENT JAMES MADISON'S HOUSE MONTPELIER IN VIRGINIA. AND SOME YEARS AGO, UM, IT, IT HAD MANY ADDITIONS OVER THE YEARS BY THE DUPONT FAMILY, AND IT WAS A HOUSE MUSEUM WITH TOURS. BUT THE, UM, THE ORGANIZATION DECIDED TO REMOVE ALL OF THE DUPONT ERA OF, OF, UM, ADDITIONS AND RESTORE IT BACK TO THE WAY THAT THE HOUSE LOOKED DURING MADISON'S TIME PERIOD, WHICH WAS A KIND OF CONTROVERSIAL DECISION AT THE TIME, UM, BUT TO BETTER INTERPRET HIS PARTICULAR PERIOD OF TIME. SO THAT IS A, A, A BIG EXAMPLE OF A RESTORATION PROJECT, UH, REHABILITATION, WHICH IS PRETTY MUCH THE ONLY TYPE OF PROJECT THAT WE, WE SEE WHERE PEOPLE WANT TO MAKE CHANGE TO A HISTORIC BUILDING. AND IT'S VERY MUCH ABOUT BALANCING CHANGE WITH RETAINING HISTORIC CHARACTER. AND THAT'S WHAT WE'RE GONNA BE FOCUSING ON. UM, AND THEN THE FOURTH IS RECONSTRUCTION. SO IF YOU HAVE LOST A HISTORIC BUILDING OR STRUCTURE, UM, YOU CAN RECONSTRUCT IT USING, UM, DOCUMENTARY EVIDENCE. SO THE STANDARDS AND THE GUIDELINES TOGETHER PROVIDE A FRAMEWORK AND GUIDANCE FOR DECISION MAKING ABOUT WORK OR CHANGES TO A HISTORIC PROPERTY. I, UM, I'M GOING TO TRY TO READ THE TINY PRINT HERE, WHICH HAS THE FULL DEFINITIONS, BUT YOU CAN ALSO TAKE A LOOK AT THE LIST THAT'S ON THE LEFT, WHICH IS THE KIND OF ANNOTATED VERSION. UM, AND THE, THE STANDARDS THAT ARE IN RED ARE THE ONES, OR KIND OF A REDDISH ORANGE, UM, ARE THE ONES THAT WE MOST FOCUS ON OFTENTIMES WHEN WE'RE CONSIDERING, UM, PROJECTS THAT MAY AFFECT A HISTORIC BUILDING. SO, UH, STANDARD ONE SAYS THAT A PROPERTY WILL BE USED AS IT WAS HISTORICALLY, OR BE GIVEN A NEW USE THAT REQUIRES MINIMAL CHANGE TO ITS DISTINCTIVE MATERIALS, FEATURES, SPACES, AND SPATIAL RELATIONSHIPS. AND WE'RE GONNA GO INTO DETAIL ABOUT ALL OF THESE IN THE NEXT SLIDES. [01:25:01] ACTUALLY, MAYBE I'LL JUST GO AHEAD AND DO THAT, BECAUSE EACH OF THEM IS ON THE FOLLOWING SLIDES. OKAY. SO YOU CAN READ IT HERE A LITTLE BIT EASIER. A PROPERTY SHALL BE USED FOR ITS HISTORIC PURPOSE, OR BE PLACED IN A NEW USE THAT REQUIRES MINIMAL CHANGE TO THE DEFINING CHARACTERISTICS OF A BUILDING AND ITS SITE AND ENVIRONMENT. UM, THIS IS THE WEDDINGTON HOUSE I HAD MENTIONED EARLIER. IT WAS MOVED A LITTLE BIT DOWN THE STREET FROM ITS ORIGINAL LOCATION, UH, AND, UM, IT WAS, IT WAS MOVED TO, UH, BUILD A NEW APARTMENT COMPLEX, BUT THE HISTORIC HOUSE WAS REHABILITATED TO SERVE AS A CLUBHOUSE FOR THE RESIDENTS OF THE NEW COMPLEX. UM, SO THIS CHANGE WAS A NEW USE. IT INTRODUCED A NEW USE, UM, BUT IT DIDN'T REQUIRE SO MANY CHANGES TO THE INTERIOR THAT THE CHARACTER, THE DEFINING CHARACTERISTICS OF THE BUILDING WERE LOST. SO IT RETAINED AND, AND REALLY RESTORED A LOT OF THE EXTERIOR FEATURES. UM, AND, UH, IT RETAINED THE LIVING AREA AND DINING AREA INSIDE, THOUGH THE BEDROOMS WERE LOST FOR THE NEW USE. SO OVERALL, IT MET REHABILITATION STANDARD ONE, STANDARD TWO IS A REALLY A FOCUS ON HISTORIC CHARACTER. THE HISTORIC CHARACTER OF A PROPERTY SHALL BE RETAINED AND PRESERVED THE REMOVAL OF HISTORIC MATERIALS, OR ALTERATION OF FEATURES AND SPACES THAT CHARACTERIZE A PROPERTY SHALL BE AVOIDED. SO AGAIN, THIS IS AN EXAMPLE OF AN IR MID-CENTURY MODERN DESIGN. UM, AND WE'VE SEEN THIS ONE BEFORE, , UM, THE FORM WAS RETAINED, BUT THE HISTORIC MATERIALS HAVE BEEN SO REMOVED OR ALTERED THAT THE HISTORIC CHARACTER OF THE BUILDING WAS LOST. SO SOME KIND OF PROJECT LIKE THIS AND, UM, THIS LEVEL OF ALTERATION WOULD NOT MEET STANDARD TWO. REHABILITATION STANDARD THREE IS THAT EACH PROPERTY SHALL BE RECOGNIZED AS A PHYSICAL RECORD OF ITS TIME PLACE, AND USE CHANGES THAT CREATE A FALSE SENSE OF HISTORICAL DEVELOPMENT, SUCH AS ADDING CONJECTURAL FEATURES OR ARCHITECTURAL ELEMENTS FROM OTHER BUILDINGS SHALL NOT BE UNDERTAKEN. UH, THIS IMAGE IS AN EXAMPLE FROM A HOUSE IN SACRAMENTO. UM, THE MORE ORNATE, DECORATIVE STAINED GLASS THAT IS, UH, SHOWN WITH THE YELLOW, UM, BOX AROUND IT WAS SALVAGED FROM A DIFFERENT HOUSE BEFORE, UM, THE MOST RECENT RENOVATION. SO SOMETHING LIKE THAT WOULDN'T MEET STANDARD THREE NOW. SO THE ART GLASS IN THE BAY WINDOW IS ORIGINAL, BUT THE STAINED GLASS OVER IN THE, UM, THE YELLOW BOX WAS, UH, NOT ORIGINAL TO THIS HOUSE. SO THE IDEA IS THAT IF YOU HAVE A PROPOSED PROJECT THAT, UM, PROPOSES TO MAKE, UM, A ADD SOME ARCHITECTURAL ELEMENTS THAT ARE KIND OF, OF THE STYLE OR THE ERA, BUT, UM, DON'T HAVE, UH, A, A BASIS IN WHAT THE BUILDING ACTUALLY LOOKED LIKE BEFORE, UM, OR YOU HAVE EVEN A NEW ADDITION TO A BUILDING, BUT IT LOOKS EXACTLY LIKE THE HISTORIC BUILDING. SO A VIEWER WOULD NOT NECESSARILY KNOW THAT IT'S AN ADDITION. WE WANNA MAKE SURE THAT THERE IS SOME, AT LEAST SMALL KIND OF INDICATORS THAT, UM, THAT NEW WORK, UH, IS OF ITS TIME PERIOD WHILE STILL BEING COMPATIBLE. SO THAT'S WHERE YOU WANNA AVOID A FALSE SENSE OF HISTORICAL DEVELOPMENT. IT'S NOT PART OF THE ORIGINAL BUILDING. REHABILITATION STANDARD FOUR, UM, ACKNOWLEDGES THAT PROPERTIES CHANGE OVER TIME, AND SOMETIMES THOSE CHANGES HAVE ACQUIRED HISTORIC SIGNIFICANCE IN THEIR OWN RIGHT AND COULD BE RETAINED AND PRESERVED, ESPECIALLY IF THOSE CHANGES CONTRIBUTE TO THE, THE SIGNIFICANCE OF THE BUILDING, THE IDENTIFIED SIGNIFICANCE. SO IN THIS EXAMPLE, UM, THERE WAS A SECOND STORY ADDITION, BUT IT WAS DESIGNED BY THE ORIGINAL ARCHITECT A FEW YEARS AFTER ORIGINAL CONSTRUCTION. UM, SO SOMETIMES A CHANGE CAN BE VERY FAR APART, UM, BUT ALSO BECOME SIGNIFICANT IF IT WAS EVEN, UM, YOU KNOW, AN, AN ADDITION BY A DIFFERENT ARCHITECT OR IN A DIFFERENT STYLE THAT HAS ITS OWN SIGNIFICANCE. UM, ON THE OTHER HAND, A LOT OF TIMES WHEN WE ARE EVALUATING PROPOSED PROJECTS, WE, THERE ISN'T ANY KIND OF CHANGE THAT'S OCCURRED IN THE INTERVENING YEARS BETWEEN THE PERIOD OF SIGNIFICANCE. AND TODAY THAT HAS ACQUIRED, UH, SIGNIFICANCE REHABILITATION STANDARD FIVE REALLY FOCUSES ON FEATURES AND MATERIALS. IT'S KIND OF, IT, IT PAIRS VERY CLOSELY WITH STANDARD TWO ABOUT HISTORIC CHARACTER. THEY'RE [01:30:01] KIND OF TWO SIDES OF THE SAME COIN. UM, SO, UH, STANDARD FIVE IS THAT DISTINCTIVE FEATURES, FINISHES AND CONSTRUCTION TECHNIQUES OR EXAMPLES OF CRAFTSMANSHIP THAT CHARACTERIZE A PROPERTY SHALL BE PRESERVED. UM, THIS IMAGE IS AN EXAMPLE FROM THE STONE HURST NEIGHBORHOOD IN LOS ANGELES, WHICH IS A HISTORIC DISTRICT. THEY CALL IT AN HPOZ, UM, WHERE THE EXTERIOR MATERIAL, EXTERIOR MATERIAL OF RIVER ROCK IS A DISTINCTIVE FEATURE AND EXAMPLE OF CRAFTSMANSHIP THAT SHOULD BE PRESERVED IF LOST. THIS WOULD VERY MUCH CHANGE THE CHARACTER AND REASON FOR SIGNIFICANCE. SO WHEN YOU'RE CONSIDERING, UH, A PROPOSED PROJECT IN ALTERATIONS, UM, ANY THAT REMOVE, UH, YOU KNOW, A LARGE NUMBER OF THE, UM, ORIGINAL FEATURES OF THE BUILDING OR FEATURES FROM THE PERIOD OF SIGNIFICANCE, UM, WOULD NOT MEET STANDARD FIVE. YOU NEED TO RETAIN ENOUGH OF THOSE. AND THIS IS WHERE IT GETS BACK TO THAT LIST OF CHARACTER DEFINING FEATURES, WHERE IF WE HAVE, IF WE START OUT UNDERSTANDING THE REASON THE BUILDING IS SIGNIFICANT, ITS PERIOD OF SIGNIFICANCE AND THE CHARACTER DEFINING FEATURES THAT CONVEY ITS SIGNIFICANCE, THAT PROVIDES A REALLY NICE FRAMEWORK FOR THEN EVALUATING, UH, OR ANALYZING A PROJECT FOR HOW IT MAY IMPACT THE BUILDING. STANDARD SIX, UM, SAYS THAT DETERIORATED HISTORIC FEATURES SHALL BE REPAIRED RATHER THAN REPLACED, WHERE THE SEVERITY OF DETERIORATION REQUIRES REPLACEMENT OF A DISTINCTIVE FEATURE. THE NEW FEATURE SHALL MATCH THE OLD IN DESIGN, COLOR, TEXTURE, AND O OTHER VISUAL QUALITIES. AND WHERE POSSIBLE MATERIALS REPLACEMENT OF MISSING FEATURES SHALL BE SUBSTANTIATED BY DOCUMENTARY, PHYSICAL OR PICTORIAL EVIDENCE. SO THERE ARE REALLY THREE POINTS TO THIS ONE, WHICH WE CONVENIENTLY UNDERLINED. UM, ONE IS THAT, UH, IN THE STANDARDS, UM, THE PRIORITY IS TO REPAIR FIRST RATHER THAN REPLACE, UM, UH, UNLESS THERE'S A REALLY GOOD, YOU KNOW, SOME SIGNIFICANT DETERIORATION THAT REALLY REQUIRES REPLACEMENT. UM, IN THAT CASE, UH, REPLACEMENT IS ACCEPTABLE. BUT EVEN WITH REPLACEMENT, UM, YOU KNOW, ENCOURAGE THE, UH, THE PROJECT APPLICANT TO, UM, TRY TO MATCH IN KIND IN SUCH AS IN DESIGN, COLOR, TEXTURE, OTHER VISUAL QUALITIES, AND WEAR POSSIBLE MATERIALS. SO THAT MAY BE THAT, UM, THEY WANT TO REPLACE SOME ORIGINAL WOOD SASH WINDOWS. AND, UH, SO RECOMMENDATION WOULD BE TO REPLACE IN KIND WITH WOOD SASH, BUT PERHAPS THERE IS A, AN ALTERNATE ALTERNATE THAT IS, UM, YOU KNOW, SIMILAR ENOUGH TO CONTINUE TO CONVEY, UM, THE HISTORIC FEATURE AND MATERIAL SUCH AS, UM, WOOD CLAD ALUMINUM. WE ALWAYS, UM, WE ALWAYS CAUTION AGAINST VINYL. AND THEN THE THIRD POINT IS ABOUT MISSING FEATURES THAT THOSE THAT HAVE BEEN LOST BEFORE THE PROJECT WAS PROPOSED. UM, THE PROJECT IS A CHANCE TO REPLACE THOSE MISSING FEATURES. IT'S NOT NECESSARILY REQUIRED, BUT IT COULD BE AN OPPORTUNITY. HOWEVER, THE REPLACEMENT SHOULD BE BASED ON EVIDENCE, NOT CONJECTURE. SO THAT GOES BACK TO THE STANDARD THREE ABOUT THE, UM, FALSE, UH, CONVEYING A FALSE SENSE OF HISTORICISM. SO EVIDENCE CAN BE BASED ON PHOTOS OF THE BUILDING ITSELF, OR ORIGINAL DRAWINGS, UM, ABOUT WHAT HAD BEEN BUILT OR ANY OTHER PHYSICAL EVIDENCE THAT'S UNCOVERED. SOMETIMES THERE'S PHYSICAL EVIDENCE THAT, UH, YOU CAN IDENTIFY WITHIN THE BUILDING ITSELF. REHABILITATION STANDARD SEVEN, UH, SAYS THAT CHEMICAL OR PHYSICAL TREATMENT SUCH AS SAND BLASTING THAT CAUSE DAMAGE TO HISTORIC MATERIALS SHALL NOT BE USED. SURFACE CLEANING OF STRUCTURES, IF APPROPRIATE, SHALL BE UNDERTAKEN USING THE GENTLEST MEANS POSSIBLE. AND THE, UH, GUIDANCE FOR THE SECRETARY OF THE INTERIOR STANDARDS ON THE NATIONAL PARK SERVICE WEBSITE HAS A LOT OF INFORMATION ABOUT APPROPRIATE, UM, CLEANING OR OTHER KIND OF PHYSICAL WORK. UM, SO THERE'S INFORMATION OUT THERE TO PROVIDE, UH, GOOD ADVICE ABOUT HOW BEST TO DO THESE TYPES OF TREATMENTS. UM, SO, UH, STANDARD SEVEN IS ABOUT MAKING SURE THAT CLEANING METHODS OR OTHER PHYSICAL WORK DON'T DO MORE DAMAGE. UH, REHABILITATION STANDARD EIGHT RELATES MORE TO ARCHEOLOGICAL RESOURCES. IT SAYS THAT SIGNIFICANT ARCHEOLOGICAL RESOURCES AFFECTED BY A PROJECT SHALL BE PROTECTED AND PRESERVED IF SUCH RESOURCES MUST BE DISTURBED. MITIGATION MEASURES [01:35:01] SHALL BE UNDERTAKEN. UH, SO THIS DOESN'T COME UP THAT OFTEN WHEN WE'RE DEALING WITH HISTORIC PROPERTIES, BUT OCCASIONALLY IT COULD, LIKE THIS EXAMPLE, UM, AT THE, UM, THIS IS THE PRESIDIO CHAPEL IN MONTEREY, UH, WHERE ORIGINAL HAND PAINTED DESIGNS ON THE WALLS WERE UNCOVERED DURING A REHABILITATION PROCESS PROJECT. UM, SO MO MOST OF IT WAS AN, UH, COVERED UP BY LATER WORK, UM, THOUGH A SECTION WAS LEFT EXPOSED TO INTERPRET AND NOT FORGET ABOUT WHAT WAS UNDER THERE. BUT TYPICALLY, UM, CITIES HAVE THEIR OWN, UH, POLICIES FOR PROCESS IF YOU DO HAPPEN TO UNCOVER, UM, ARCHEOLOGICAL RESOURCES DURING CONSTRUCTION PROJECT. AND SO THIS REHABILITATION STANDARD, YOU KNOW, WE USUALLY SAY AS LONG AS THE CITY'S PROCESS IS ADHERED TO, THEN THE PROJECT WOULD MEET THIS STANDARD. OKAY. STANDARD NINE IS, UM, FOCUSES ON THE NEW WORK. IT SAYS THAT NEW ADDITIONS, EXTERIOR ALTERATIONS, OR RELATED NEW CONSTRUCTION SHALL NOT DESTROY HISTORIC MATERIALS THAT CHARACTERIZE THE PROPERTY. THE NEW WORK SHALL BE DIFFERENTIATED FROM THE OLD AND SHALL BE COMPATIBLE WITH THE MASSING SIZE, SCALE, AND ARCHITECTURAL FEATURES TO PROTECT THE HISTORIC INTEGRITY OF THE PROPERTY AND ITS ENVIRONMENT. SO THIS REALLY RELATES TO NEW ADDITIONS, EXTERIOR ALTERATIONS, OR RELATED NEW CONSTRUCTION. AND IT HAS MULTIPLE PARTS TO IT. SO THE FIRST IS THAT NEW WORK SHOULD NOT DESTROY HISTORIC MATERIALS OR CHARACTER DEFINING FEATURES. SO AGAIN, THERE'S A BIT OF AN OVERLAP WITH STANDARD TWO ABOUT HISTORIC CHARACTER AND STANDARD FIVE ABOUT PHYSICAL FEATURES AND MATERIALS, BUT IT'S MORE FOCUSED ON, UM, NEW ADDITIONS OR NEW WORK. UH, THE NEW WORK SHOULD BE BOTH DIFFERENTIATED AND COMPATIBLE. COMPATIBLE IS DETERMINED BY MASSING SIZE SCALE, ARCHITECTURAL FEATURES THAT PROTECT THE HISTORIC INTEGRITY OF THE PROPERTY AND ITS ENVIRONMENT. WHILE DIFFERENTIATED CAN BE DIFFERENT, UM, OR IT CAN BE, IT CAN BE VERY DIFFERENT, OR IT COULD BE SUBTLE DIFFERENCES. UM, SO THERE'S A WIDE RANGE THAT'S UP TO DECISION. DECISION MAKERS LIKE THIS COMMISSION, THIS IMAGE, UH, OR TWO IMAGES ARE AN EXAMPLE OF A HISTORIC HOUSE WITH A TWO STORY ADDITION IN THE BACK FROM THE FRONT. THE ADDITION IS NOT HIGHLY VISIBLE OR OVERWHELMING, SO IT PROTECTS THE HISTORIC BUILDING'S INTEGRITY AND ENVIRONMENT. THE DIFFERENTIATION IS NOT ONLY IN THE SCALE, BUT ALSO IN THE ROOF FORM. WHILE THE NEW ADDITIONS REFORM HAS DORMERS, UM, THE ADDITIONS ROOF HAS A DIFFERENT SLOPE, AND THE DORMERS HAVE A, A DIFFERENT PROPORTION. SO, BUT IT'S NOT SO DIFFERENT THAT IT REALLY STANDS OUT. SO IT'S SLIGHTLY DIFFERENT, BUT ALSO COMPATIBLE. THE WOOD SIDING ON THE ADDITION IS A WIDER BOARD THAN THE ORIGINAL HOUSE. AND THE WINDOWS, WHILE, UM, SIMILAR OR THE SAME PROPORTIONS ARE LIKELY MODERN. THEY MAY BE WOOD CLAD ALUMINUM, OR THEY MAY HAVE DOUBLE PLATE PAIN, GLAZING SIMPLER DETAILS TO INDICATE NEW, NOT OLD WINDOWS. AND FINALLY, WE HAVE REHABILITATION STANDARD 10. THIS SAYS THAT NEW ADDITIONS OR ADJACENT OR RELATED NEW CONSTRUCTION SHALL BE UNDERTAKEN IN SUCH A MANNER THAT IF REMOVED IN THE FUTURE, THE ESSENTIAL FORM AND INTEGRITY OF THE HISTORIC PROPERTY AND ITS ENVIRONMENT WOULD BE UNIMPAIRED. SO THIS STANDARD IS ABOUT REVERSIBILITY OF THE PROJECT OR THE INTERVENTIONS BEING MADE. UM, THIS IS AN EXAMPLE OF AN ELEVATOR ADDITION. AT THE BACK OF THE GOVERNOR'S MANSION IN SACRAMENTO, IT USED A GLASSY HYPHEN TO TOUCH THE HISTORIC BUILDING AS LITTLE AS POSSIBLE. SO IT NOT ONLY HELPS THE ADDITION TO BE DIFFERENTIATED, UM, I THINK IN THE IMAGE ON THE RIGHT, THE ADDITION IS, UM, OVER TO THE LEFT SIDE. UM, BUT ALSO IF THAT ADDITION WAS EVER HYPOTHETICALLY REMOVED IN THE FUTURE, THE MANSION'S ESSENTIAL FORM REMAINS. UM, YOU CAN ALSO THINK OF THIS WITH MUCH SMALLER SCALE INTERVENTIONS. UM, WE ENCOUNTER, YOU KNOW, INSTALLATION OF SOLAR PANELS, WHICH IS CERTAINLY A, A PRIORITY, UM, BUT THEY CAN BE REMOVED AND THE ESSENTIAL INTEGRITY OF THE BUILDING, IF THEY'RE REMOVED FROM A ROOF, WOULD BE RETAINED. UM, I DON'T KNOW, DO YOU HAVE ANY OTHER EXAMPLES? OH, I WAS THINKING ABOUT, UM, THAT BANK BUILDING THAT YOU'RE WORKING ON, HANNAH. UH, WE'RE, WE'RE LOOKING AT A, A BANK BUILDING UP IN THE BAY AREA WHERE THERE'S POTENTIALLY, UM, AN ADDITION TO THE REAR. AND UNLIKE THIS EXAMPLE THAT HAS A KIND OF NARROW HYPHEN CONNECTION, [01:40:01] UM, THE, THE BUILDING THAT WE ARE LOOKING AT COULD REMOVE ESSENTIALLY THE ENTIRE REAR, UM, WALL TO ATTACH A NEW, UH, LARGE ADDITION TO IT. AND SO IF HYPOTHETICALLY, AGAIN, THAT, UM, ADDITION WAS EVER REMOVED IN THE FUTURE, THAT WOULD HAVE, UH, A LOT MORE IMPACT ON THE BUILDING BECAUSE YOU WOULDN'T HAVE AN ENTIRE WALL THERE ANYMORE. SO IF, LET'S SAY YOU HAVE AN ADDITION THAT TAKES, YOU KNOW, TWO THIRDS OF A BUILDING, UM, AND THE PROPOSED PROJECT IS ONLY PROPOSING TO RETAIN THE FRONT PORTION AND THEN BUILD SOMETHING TOTALLY NEW BEHIND IT, IF YOU EVER REMOVED THAT ADDITION IN THE FUTURE, YOU WOULDN'T REALLY HAVE THE HISTORIC BUILDING ANYMORE. SO THAT WOULD NOT MEET STANDARD 10. IT WOULD NOT BE REVERSIBLE. AND I THINK THAT THIS, UM, ALSO GOES BACK TO, UM, OUR UNDERSTANDING OF HISTORIC SIGNIFICANCE AND THE RESOURCE TYPE AND CHARACTER DEFINING FEATURES. BECAUSE THE, THIS MAY BE INTERPRETED SOMEWHAT DIFFERENTLY. IF YOU HAVE A HISTORIC DISTRICT, AN ADDITION AT THE REAR OF A DISTRICT CONTRIBUTOR IS LIKELY, YOU KNOW, IF, IF DONE IN AN APPROPRIATE WAY, IS LIKELY TO BE COMPATIBLE. WHEREAS IF YOU HAVE, YOU KNOW, A, A HUGE FREE STANDING, VERY VISUALLY PROMINENT BUILDING THAT IS OF, YOU KNOW, SUPER HIGH SIGNIFICANCE, THERE MAY BE MORE SENSITIVITY TO WHERE AN ADDITION, EVEN IF IT IS AT THE REAR, MIGHT BE PLACED. SO AGAIN, UNDERSTANDING THE REASON OF SIGNIFICANCE AND KIND OF A LEVEL OF SIGNIFICANCE, UM, AND WHETHER IT'S AN INDIVIDUAL RESOURCE OR A DISTRICT CONTRIBUTOR, I THINK IS REALLY IMPORTANT. AND THE REHABILITATION STANDARDS ARE, YOU KNOW, THERE IS SOME ROOM FOR FLEXIBILITY HERE, AND THEY'RE APPLIED AT A VERY STRICT STANDARD WHEN YOU HAVE SOMETHING LIKE A PROJECT THAT'S GOING TO GET FEDERAL TAX CREDITS OR IT'S A, YOU KNOW, A NATIONALLY SIGNIFICANT PROPERTY. BUT WHEN WE'RE LOOKING AT DIFFERENT PROPERTIES SUCH AS, YOU KNOW, AT THE SCALE OF A LOCAL DISTRICT CONTRIBUTOR, THERE IS SOME ROOM FOR FLEXIBILITY, UM, IN INTERPRETING THESE STANDARDS WITHIN, UM, YOU KNOW, WITHIN THE WORDING OF THEM. SO I THINK THAT'S ALSO IMPORTANT TO REMEMBER. THANKS, HANNAH. UM, YEAH, SO PUT TOGETHER WITH ALL OF THESE, ESSENTIALLY YOU'RE CONSIDERING HOW THE, HOW SENSITIVE THE PROPOSED PROJECT IS TO THE, TO THE HISTORIC BUILDING WITHIN THE FRAMEWORK OF ITS HISTORIC SIGNIFICANCE, LEVEL OF EXISTING INTEGRITY, UM, AND THE CHARACTER DEFINING FEATURES. UH, AND THE IDEA WITH THE REHABILITATION PROJECTS IS TO STRIKE THAT BALANCE BETWEEN ALLOWING, UM, YOU KNOW, EVOLUTION OR A NEW DESIGN, WHILE ALSO WANTING TO MAKE SURE THAT YOU RETAIN THE HISTORIC CHARACTER OF THE BUILDING. UM, SO AT THE END OF THE DAY, YOU'RE THINKING ABOUT WILL THIS PROJECT ALLOW THE, THE HISTORIC RESOURCE TO REMAIN ELIGIBLE FOR LISTING AS A LOCAL LANDMARK OR, UM, YOU KNOW, WITHIN A HISTORIC DISTRICT, UM, HOW MUCH DOES IT IMPACT THE, THE HISTORIC DISTRICT? UM, SO KEEPING THAT IN MIND IS OFTEN HELPFUL. UM, I THINK THAT'S THE LAST SUN, THAT'S THE LAST SLIDE FOR THE STANDARDS. ARE THERE ANY QUESTIONS ABOUT THE STANDARDS? I THINK WE'RE GONNA GO TO THE PUBLIC COMMENT AT THE END OF THE ENTIRE, UM, PRESENTATION, WHICH WE'RE ALMOST TO , WELL, EXCUSE ME. EXCUSE ME, EXCUSE ME, SIR. WE'LL HAVE PUBLIC COMMENT AND QUESTIONS AFTER THE, AT THE END OF THIS. THANK YOU. THANK YOU FOR YOUR PATIENCE. I, I HAVE TWO COMMENTS, AND FIRST OF ALL, I THINK THIS TRAINING WAS, WAS, WAS EXCEPTIONAL. AND, UH, ONE OF YOUR EXAMPLES WAS A, A MUNICIPAL BUILDING THAT WE HAD, UH, DESIGNATED AS A LANDMARK, THE EXTERIOR PORTION OF IT. AND THEN WE ALSO TRIED TO INCLUDE SOME OF THE INTERIOR COMPONENTS, UH, AS PART OF OUR RECOMMENDATION. BUT AGAIN, IT WAS A BALANCING ACT BETWEEN WHAT WE COULD DO AND WHAT WE CAN IMPOSE ON THE, THE OWNER OF THAT PARTICULAR PROPERTY. THERE WAS ANOTHER PROJECT THAT CAME IN FRONT OF THE COMMISSION. UM, IT WAS A RESIDENTIAL, UM, HOME THAT WAS A CONTRIBUTING COMPONENT TO THE HISTORICAL DISTRICT, BUT THEY WANTED TO ADD AN INTERIOR ELEVATOR COMPONENT, WHICH DID HAVE SOME EFFECT TO THE EXTERIOR. AND, UH, WE VOTED TO NOT APPROVE THAT. BUT AGAIN, LOOKING AT THE FACT THAT IT, IT DID HAVE SOME ALTERATION TO THE EXTERIOR, IT WOULD'VE BEEN A SIGNIFICANT IMPROVEMENT FOR THE INDIVIDUALS THAT LIVED IN THE HOME. UM, IS THAT AN AREA THAT COULD STILL HAVE SOME FLEXIBILITY OR WERE WE JUST, UM, [01:45:01] TOO RIGID AT THE TIME? UH, YEAH, IT DEPENDS ON WHERE THE LOCATION WAS THAT WAS PROPOSED. UM, YOU KNOW, IF IT WAS, UH, TOWARDS THE REAR OF THE PROPERTY, LESS VIEWABLE FROM THE PUBLIC RIGHT OF WAY, AS AN EXAMPLE, AND ALSO HOW IT WAS DESIGNED, YOU KNOW, HOW IT ATTACHED TO THE BUILDING, COULD IT BE REMOVED, UM, HOW KIND OF COMPATIBLE AND INTEGRATED, UH, IT WAS. UM, ALL OF THOSE THINGS MAY, UH, AFFECT THE DECISION ABOUT THAT. YOURE TALKING ABOUT IT WASN IN THE FRONT OF THE BUILDING. SO I'M SURE THAT WAS ONE OF THE REASONS, BUT IT WAS AT THE, THE, THE, THE ACCESS POINT, WHICH WAS NEAR THE STAIRCASE. SO UNFORTUNATELY THEY WEREN'T TOO HAPPY. YEAH, AND I DO THINK STANDARD 10 IS IMPORTANT FOR, UM, YOU KNOW, IF THERE ARE SOME SMALLER SCALE FEATURES THAT ARE, UH, PROPOSED BY A, A PROPERTY OWNER, UM, THAT COULD BE REMOVED IN THE FUTURE, UM, FOR A, A FUTURE PROPERTY OWNER AND THE ESSENTIAL INTEGRITY OF THE BUILDING WOULD REMAIN, THAT'S SOMETHING IMPORTANT TO, UH, KEEP IN MIND. AND, UM, YOU KNOW, WE, WE DON'T LOOK AT, WE DON'T EVALUATE INTERIORS OF, UH, HOUSES IN PARTICULAR BECAUSE THERE IS AN UNDERSTANDING THAT, UM, LIFESTYLE AND OTHER THINGS CHANGE OVER TIME. AND WE WANNA ALLOW, YOU KNOW, UH, FLEXIBILITY, UM, WITH THAT WHILE ALSO, UM, MAINTAINING THE, WHAT'S THE COMMUNITY BENEFIT OF HISTORIC PRESERVATION AND KIND OF THE, THE LONG TERM BENEFIT OF THE HISTORIC PRESERVATION UP FROM THE COMMISSIONERS. ANYTHING ELSE FOR STAFF PRESENTATION? WE HAVE A SUMMARY, UH, A FEW MORE SLIDES THAT JUST KIND OF BRING ALL THESE ELEMENTS TOGETHER. UM, AND THEN WE'LL BE DONE WITH THE PRESENTATION. YEAH, SO TH THIS IS REALLY A RECAP, AND THESE ARE ALL ESSENTIALLY SLIDES OR, UH, SUMMARY SLIDES OF WHAT WE'VE COVERED. UM, BUT HOPEFULLY JUST KIND OF A HANDY RECAP OF WHAT WE TALKED ABOUT TODAY. SO WE, WE STARTED BY TALKING ABOUT THE DIFFERENT TYPES OF RESOURCES. SO A HISTORIC RESOURCE CAN BE A BUILDING, A HISTORIC DISTRICT, AN OBJECT, A SITE, OR A STRUCTURE. UM, AND OBVIOUSLY HISTORIC DISTRICTS CAN HAVE BUILDINGS AND STRUCTURES AND OBJECTS WITHIN THEM. UM, BUT THEY, THESE ARE ALL IMPORTANT TO UNDERSTANDING SIGNIFICANCE AND, AND HOW WE UNDERSTAND INTEGRITY AND CHARACTER DEFINING FEATURES AND REVIEW PROJECTS. UM, AGAIN, WHEN WE'RE THINKING ABOUT WHAT MAKES A PLACE HISTORIC, UM, JUST BECAUSE A PROPERTY IS OLD DOESN'T NECESSARILY MEAN THAT IT'S HISTORIC. IT HAS TO FIT INTO A HISTORIC CONTEXT AND BE TIED TO A SPECIFIC THEME, UM, AND PLACE, UH, AND TIME IN SPACE AND BE SIGNIFICANT WITHIN THAT CONTEXT. UM, A PROPERTY CAN BE SIGNIFICANT FOR A NUMBER OF REASONS OR FOR MULTIPLE REASONS. UM, THERE'S DIFFERENT CRITERIA FOR DESIGNATION IN THE NATIONAL REGISTER, CALIFORNIA REGISTER, AND, UM, LONG BEACH'S LOCAL HISTORIC PRESERVATION ORDINANCE. AND SO THOSE ARE OFTEN REFERRED TO AS CRITERIA A OR CRITERIA ONE. UM, AND AT HIGH LEVEL, THOSE KIND OF MAP ONTO EVENTS PERSONS OR DESIGN AND ARCHITECTURE OR PRE-HISTORY OR INFORMATION POTENTIAL. UM, AND A PROPERTY IN ADDITION TO HAVING HISTORIC SIGNIFICANCE, NEEDS TO HAVE HISTORIC INTEGRITY TO CONVEY THAT SIGNIFICANCE. SO WE HAVE THIS HANDY MNEMONIC THAT CHRISTINA TAUGHT US MAD FLAWS, IF YOU'RE TRYING TO REMEMBER THE SEVEN ASPECTS OF INTEGRITY. UM, SO I WON'T GO THROUGH ALL THOSE AGAIN, BUT THOSE ARE LISTED THERE AS WELL. AND, UH, BEFORE WE MOVE ON FROM THE SLIDE, JUST TO MAKE IT MAKE SURE IT'S CLEAR THAT THE NATIONAL REGISTER AND THE LONG BEACH CRITERIA ARE LETTERS AND THE CALIFORNIA REGISTER OF HISTORICAL RESOURCES USES THE NUMBERS. YES. THANKS FOR POINTING THAT OUT. AND THE EXACT WORDING OF EACH OF THEM IS A LITTLE BIT DIFFERENT, BUT THEY'RE, THEY'RE QUITE SIMILAR, WHICH IS WHY WE KIND OF GROUP THEM TOGETHER FOR THE PURPOSES OF THIS DISCUSSION. UM, AND THEN WE TALKED ABOUT IDENTIFYING CHARACTER DEFINING FEATURES AND UNDERSTANDING CHARACTER DEFINING FEATURES, AND THAT THEY CAN BE, UM, RANGE FROM THE LARGE SCALE DOWN TO SMALLER SCALE ELEMENTS. UM, AND THERE CAN ALSO BE A HIERARCHY WITHIN CHARACTER DEFINING FEATURES. AND WE JUST KIND OF DISCUSSED THAT INTERIORS, ESPECIALLY PRIVATE RESIDENCES, ARE TYPICALLY, UM, NOT DESIGNATED OR NOT REVIEWED BY THIS BODY. UM, THIS IS A CHART THAT YOU CAN REFER TO LATER. I DON'T THINK WE REALLY NEED TO GET INTO THE NITTY GRITTY OF IT, BUT, UM, JUST KIND OF MAPPING ONTO THE SECRETARY OF INTERIOR STANDARDS FOR REHABILITATION AND KIND OF THINKING ABOUT, [01:50:01] YOU KNOW, WHETHER HISTORIC SIGNIFICANCE OR INTEGRITY OR CHARACTER DEFINING FEATURES OR ALL OF THOSE ARE KIND OF MOST IMPORTANT IN UNDERSTANDING THAT PARTICULAR STANDARD. UM, ALL THREE OF THESE ARE IMPORTANT OVERALL, BUT SOME KIND OF ARE MORE DIRECTLY RELATED TO ONE VERSUS THE OTHER. UM, AND THEN JUST TO KIND OF CLOSE OUT, UM, WE WANT TO TIE THIS PRESENTATION TO, UM, YOUR REASON FOR EXISTENCE , WHICH IS IN ADDITION TO REVIEWING, UM, HISTORIC PROPERTY DESIGNATIONS, IS, UM, PROJECT REVIEW. AND I THINK THAT'S PROBABLY WHAT YOU SPEND A LOT OF YOUR TIME DOING. UM, AND SO WE JUST WANTED TO MAKE SURE THAT WE KIND OF, UM, SUMMARIZE THE FACT THAT, YOU KNOW, THESE ARE ALL IMPORTANT, UM, PRINCIPLES AND, UH, DEFINITIONS TO UNDERSTAND IN ORDER TO REVIEW HISTORIC PROPERTIES. UM, AND WHEN REVIEWING A PROPOSED PROJECT, IT'S REALLY IMPORTANT TO UNDERSTAND WHAT IS THE RESOURCE TYPE, WHAT IS THE REASON FOR SIGNIFICANCE, UM, WHAT IS ITS CURRENT HISTORIC INTEGRITY, UH, WHAT ARE ITS CHARACTER DEFINING FEATURES, WHAT ARE ITS NON HISTORIC FEATURES, BECAUSE THOSE MIGHT BE AREAS FOR OPPORTUNITY OR CHANGE. UM, AND THEN ALSO UNDERSTANDING THE SECRETARY OF THE INTERIOR STANDARDS. UM, SO THESE REALLY DO HELP GUIDE PROJECT AND DESIGN REVIEW, UM, AND UNDERSTANDING HOW MUCH CHANGE CAN OCCUR OR WHERE CHANGE IS MOST APPROPRIATE IN A SPECIFIC PROPERTY. UM, SO THESE ARE KIND OF A HANDY LIST OF QUESTIONS TO KIND OF ASK YOURSELF AS YOU'RE APPROACHING A, UH, A PROJECT REVIEW AND UNDERSTANDING THAT SPECIFIC RESOURCES SIGNIFICANCE AND WHAT IS BEING PROPOSED. AND I THINK WE SHOULD MAYBE ALSO JUST NOTE THAT THERE'S GONNA BE A PART TWO, THERE'S GONNA BE A, A LONGER WORKSHOP WHERE WE'RE GONNA DELVE EVEN FURTHER INTO PROJECT REVIEW. SO ALL OF THESE PRINCIPLES YOU NOW, AND ALL THESE, THIS JARGON AND TERMINOLOGY YOU HAVE AT THE READY, UM, SO WE CAN DIVE INTO THIS IN EVEN MORE DETAIL, UM, SOON DATE TO BE DETERMINED, BUT IN THE VERY NEAR FUTURE. OKAY. SO THAT, THAT CONCLUDES OUR PRESENTATION. THANK YOU SO MUCH, COMMISSIONERS, DO YOU HAVE QUESTIONS ABOUT THIS PRESENTATION FOR YES, I WOULD LIKE TO ECHO THE COMMENTS MADE EARLIER THAT THIS WAS AN EXCELLENT PRESENTATION AND, UH, INCREDIBLY HELPFUL. THANK YOU. THANKS, . UH, I DO HAVE A COMMENT. UM, IT WAS BACK IN THE EARLY EIGHTIES THAT WE LOST SOME SIGNIFICANT BUILDINGS AND STRUCTURES DUE TO OVERZEALOUS, UM, CONSTRUCTION DEVELOPERS, THAT SORT OF THING. AND OUT OF THAT WAS THE, THE GENESIS OF THE LONG BEACH HERITAGE, WHICH THEN CREATED THE PRESERVATION OFFICER, WHICH THEN CREATED THE COMMISSION TO, YOU KNOW, OVERSEE THE ASSETS THAT WE HAVE IN OUR COMMUNITY, OF WHICH THEN WE CREATED THE HISTORICAL DISTRICTS THAT WE HAVE TODAY. AND WE'VE ADDED A NEW HISTORICAL DISTRICT JUST RECENTLY. BUT WITHOUT THAT, I THINK WE WOULD'VE LOST SOME CONTRIBUTING, UM, ASSETS TO OUR, OUR COMMUNITY IN CHANGING THE DYNAMICS OF SOME OF THESE HISTORICAL DISTRICTS. SO ALL THAT BEING SAID, I THINK THE COMMISSIONERS HERE HAVE QUITE A BIT OF RESPONSIBILITY TO DO OUR DUE DILIGENCE AND ALSO TO LEARN, AND THANK YOU FOR THE EDUCATIONAL EXPERIENCE. AND WILL THERE BE A QUIZ AFTERWARDS? , THANK YOU. YOU HAVE ALL THE ANSWERS RIGHT IN FRONT OF YOU, . THANK YOU. ANYBODY? NO, JUST A QUICK QUESTION. WHEN YOU SAID, UM, LONG BEACH USES THE, LET, IS IT THE LETTER OR THE, THE LETTER. THE LETTER AS OPPOSED TO LETTER? MM-HMM. , THANK YOU. AND THAT'S FOR THE, YEAH, SO WHEN YOU SEE THE A ONE A, IT'S NATIONAL REGISTER, CALIFORNIA REGISTER, LONG BEACH, WHEN IN THE ORDER THAT WE LISTED THEM. GOT IT. THANK YOU. OKAY, THANK YOU. IF THERE'S NOTHING FURTHER COMMISSIONERS, WE'LL OPEN FOR THE PUBLIC TO SPEAK. IF YOU HAVE SOMETHING THAT YOU WISH TO SPEAK ABOUT ON THIS PRESENTATION, PLEASE COME TO THE PODIUM, STATE YOUR NAME AND ADDRESS, AND YOU'LL HAVE THREE MINUTES. THANK YOU. THANK THAT LONG. I HAD A QUESTION. UH, I SAW THAT, UH, IT WAS LABELED WORKSHOP ONE, AND I WAS WONDERING WHETHER YOU GONNA HAVE WORKSHOP TWO? WELL, AND I WAS WONDERING, IS IT GONNA BE NEAR FUTURE OR WHEN CAN WE EXPECT THAT? BECAUSE THIS PRESENTATION WAS HIGHLY EDUCATIONAL. YEAH. UM, I, I CAN PROBABLY, UH, DO A QUICK ANSWER ON [01:55:01] THAT, IF THAT'S, UH, OKAY. UH, YEAH, WE, WE DON'T HAVE A SET DATE YET, BUT, UH, PROBABLY WITHIN THE NEXT COUPLE OF MONTHS WE ARE LOOKING TO DO SOMETHING. WE'LL EVENTUALLY, UM, PULL THE COMMISSION ON A COUPLE OF DATES, UH, TO SEE WHEN THE COMMISSION IS AVAILABLE. AND, UM, UH, ONCE WE DO THAT, WE'LL BE ABLE TO KIND OF PROCESS WITH, UM, SETTING UP AN ACTUAL HEARING FOR, UH, WHICH WILL STILL BE A PUBLIC MEETING. UH, SO SINCE WE HAVE EVERYBODY TOGETHER AS A, IN, IN A GROUP SETTING, WE HAVE TO MAKE SURE TO MAKE THAT A A, A BROWN ACT MEETING. SO IT DOES HAVE TO BE A SPECIAL MEETING, UH, BUT IT'LL BE AVAILABLE TO THE PUBLIC. SO AGAIN, YOU GUYS, UH, SO THE PUBLIC AND, UH, EITHER WATCH THE LIVE STREAM, UH, LIKE HOPEFULLY SOME OF THE FOLKS ARE DOING TONIGHT, UM, OR ALSO ATTEND, UH, THAT MEETING IN PERSON. PLEASE STATE YOUR NAME AND ADDRESS FOR THE RECORD. THANK YOU. MICHELLE. AARON ECKHOFF, 1 2 0 3 EAST EIGHTH STREET, LONG BEACH, . UM, I JUST WANNA SAY THANK YOU TO THE COMMISSIONERS AND TO COMMUNITY DEVELOPMENT FOR INVITING US TONIGHT. UM, WE'RE VERY GRATEFUL AND WE CAN'T WAIT FOR THE SECOND TRAINING. UM, ONE THING I WANTED TO KIND OF POINT OUT IS THAT, AND THIS PROBABLY DOESN'T USUALLY DEAL WITH THE CULTURAL HERITAGE COMMISSION, BUT IT'S MORE, IT'S STAFF LEVEL, WHICH IS YOU GUYS BACK THERE. UM, MOST OF OUR HISTORIC DISTRICTS ARE JUST LITTLE BUNGALOWS. NOT ALL OF THEM, BUT THEY'RE JUST LITTLE BUNGALOWS, AND THEY HAVE A FEW FEATURES ON THEM, WHICH ARE THE WINDOWS IMPORTANT, THE DOORS, THE RAFTER TAILS, THE ROOF, AND, AND THEN THE CLADDING OR THE, THE SIDING. THAT'S IT. THAT'S ALL THEY HAVE. AND MY HUSBAND KIND OF CALLS IT A DEATH BY A THOUSAND CUTS. SO IF YOU TAKE THE LITTLE WINDOW OUT HERE AND YOU TAKE THE LITTLE WINDOW OUT HERE, PRETTY SOON IT DOESN'T LOOK LIKE A BUNGALOW ANYMORE. SO, UM, I WANNA REFER TO THE STANDARD NUMBER SIX ON PAGE 79. THAT NEW FEATURES SHALL MATCH THE OLD INDESIGN COLOR, TEXTURE, AND VISUAL QUALITIES WHERE POSSIBLE NEW PEOPLE . AND I WANNA JUST POINT, I ALWAYS, I KNOW I ALWAYS SING THE SAME SONG, BUT THESE WINDOWS WITH THESE LITTLE TINY THINGS DOWN HERE, THE LITTLE TAILS, THAT'S WHAT'S IN LONG BEACH, EXCEPT ON THE SPANISH, AND EXCEPT ON SOME OF THE, THE MORE ELABORATE BILLINGS, THAT IS WHAT IS IN LONG BEACH. AND WHEN SOMEONE GOES TO REPLACE THE WINDOWS, THEY NEED TO LOOK LIKE THIS. SO, UM, THAT'S ALL I HAVE TO SAY. , THANK YOU. THANK YOU, MICHELLE. ANYONE ELSE FROM THE PUBLIC WISH TO SPEAK? THANK YOU, SEDATE. YOUR NAME AND ADDRESS? UM, JEFF MALLON FROM THE BLUFF PARK NEIGHBORHOOD ASSOCIATION, OR, AND FROM THE BLUFF PARK HISTORIC DISTRICT. UM, I DON'T KNOW IF, IF I CAN POSE THIS AS A QUESTION AND IF NOT, THEN IT WILL JUST BE OUT THERE. UM, BUT, UM, I, I TOO APPRECIATED THIS PRESENTATION. I THOUGHT IT WAS EXCELLENT, VERY INFORMATIVE. I I DIDN'T REALIZE WHAT ALEJANDRO SAID WITH THE, UM, UH, THAT THE STYLE DESIGN GUIDELINES AND THE, UM, HISTORIC DISTRICT DESIGN GUIDELINES HAVE WON AWARDS. BUT HAVING BEEN INVOLVED IN THAT PROCESS A NUMBER OF YEARS AGO, UM, I KNOW THAT IT WAS A VIGOROUS PROCESS THAT INVOLVED THE HISTORIC DISTRICTS AND INVOLVED THE COMMUNITY AND THE OUTCOME IS, IS, IS WONDERFUL. UM, I, I WAS INTRIGUED, UM, BY, AND I, I'M CURIOUS, MAYBE THIS IS FOR PART TWO, UM, AND, AND I WELCOME A, UM, FURTHER ELABORATION ON THIS, BUT I WAS INTRIGUED BY THE, THE FACT OF, UM, OR THE, THE, THE CHALLENGE OF MAINTAINING CHARACTER DEFINING FEATURES OF, UM, OF HISTORIC BUILDINGS WHILE, UM, ADDING A SECOND STORY. UM, THAT SEEMS TO BE A COMMON THING BECAUSE A LOT OF THE HOMES ARE SINGLE STORY PEOPLE ARE TRYING TO, YOU KNOW, ACCOMMODATE LARGER FAMILIES OR SO THEY SAY, OR, OR, OR THAT KIND OF THING. UM, WE SEE THIS A LOT. AND, UM, AND I THOUGHT THE EXAMPLE THAT YOU GAVE WAS A GREAT ONE WHERE IT WAS KIND OF IN THE BACK SET BACK THAT LESS VISIBLE. AND I KNOW THE CITY AND THIS COMMISSION HAVE STRUGGLED WITH THAT QUESTION ALL THE TIME, AND I THINK I, I WOULD BE CURIOUS TO HEAR MORE ABOUT HOW THAT IS CONSIDERED, UM, PARTICULARLY WHEN, UM, SOME OF THE, SOME OF THE THOUGHTS ARE TO MAKE THOSE ADDITIONS MORE PUBLICLY VISIBLE. SO WHAT ARE THE THOUGHT, WHAT, WHAT, WHAT GOES INTO THAT DECISION MAKING, UM, TO SAY THAT IT'S APPROPRIATE OR NOT APPROPRIATE? I ALSO FOUND IT VERY INTRIGUING, AND I REALLY APPRECIATED THE BRAND NEW INFORMATION ABOUT THE FACT THAT SOMETIMES CONSIDERATIONS ARE DIFFERENT WHEN AN ASSET IS IN A HISTORIC DISTRICT, AS OPPOSED WHEN IT'S A STANDALONE. UM, I DIDN'T KNOW THAT, AND I'M, I'M INTRIGUED BY THAT BEING THAT A LOT OF WHAT THIS COMMISSION DOES IS DEALING WITH HISTORIC DISTRICTS. SO [02:00:01] HOW DO YOU, HOW DO YOU PARSE THAT OUT? UM, AND TO, UM, TO MICHELLE'S POINT, WE OFTEN TALK ABOUT THE SLIPPERY SLOPE, YOU KNOW, WHERE WHERE DOES IT BECOME THAT YOU NOW ARE STARTING TO INFRINGE ON A DISTRICT, UM, BY MAKING SOME CHANGES IN THE INDIVIDUAL ASSETS. AND THEN FINALLY, MY LAST QUESTION, IF I CAN POSE IT, IS, UM, AT THE BEGINNING OF THE PRESENTATION, WHEN YOU SAY, WHEN MATERIALS ARE LOST, I WAS ALWAYS, I WAS CURIOUS TO KNOW IF, IF THE RECREATION OF THOSE MATERIALS, THEN WE'LL BRING BACK THE INTEGRITY OF THE BUILDING. UM, OR IF ONCE, ONCE MATERIALS ARE LOST, THEY FOREVER DENIGRATE THE HISTORIC INTEGRITY OF THE BUILDING. BUT THOSE ARE MY QUESTIONS. THANK YOU SO MUCH. THIS WAS EXCELLENT. OKAY. UM, I THINK TO ONE PART OF THAT QUESTION, UM, ABOUT, SPECIFICALLY ABOUT ADDITIONS AND KIND OF COMPATIBILITY OF ADDITIONS, I THINK THAT IS DEFINITELY SOMETHING THAT WE'LL DIVE INTO IN MORE DETAIL IN THE NEXT WORKSHOP. UM, THE QUESTION RELATED TO INTEGRITY AND RESTORING INTEGRITY. UM, YES, PROJECTS THAT ADHERE TO THE STANDARDS FOR REHABILITATION OR RESTORATION CAN HELP RESTORE SOME INTEGRITY. UH, IT IS REALLY IMPORTANT THOUGH THAT YOU DO THOSE RESTORATIONS BASED ON DOCUMENTARY EVIDENCE AS OPPOSED TO CONJECTURE. UM, AND IT IS POSSIBLE THAT MAYBE YOU'RE RESTORING BY DOING AN APPROPRIATE RESTORATION, YOU'RE RESTORING THE OVERALL DESIGN, UM, OF A PROPERTY. BUT IF IT'S ALL REPLACEMENT MATERIALS, IT MAY STILL BE THAT THE INTEGRITY OF MATERIALS HAS BEEN, UM, LOST, BUT YOU'VE RESTORED DESIGN AND OTHER ASPECTS OF INTEGRITY. SO IT CAN STILL BE CONSIDERED A HISTORIC RESOURCE AND BE ELIGIBLE. THANK YOU SO MUCH. IS THERE ANYONE ELSE IN THE PUBLIC WHO WISHES TO SPEAK ON THIS ITEM AT THIS TIME? DO WE HAVE ANYBODY VIRTUALLY NO. , IF YOU ARE JOINING US VIRTUALLY, AND YOU WOULD LIKE TO MAKE PUBLIC COMMENT ON THIS ITEM, PLEASE USE THE RAISE HAND FUNCTION AT THIS TIME. IF YOU ARE, JOIN TELE. IF YOU ARE JOINING US TELEPHONICALLY, I WOULD LIKE TO MAKE PUBLIC COMMENT ON THIS ITEM. PLEASE PRESS STAR NINE AT THIS TIME. THERE APPEARS TO BE NO FURTHER PUBLIC COMMENT. IS THERE ANY FURTHER DISCUSSION FROM THE COMMISSIONERS ON THIS PRESENTATION? UH, JUST ONE THING I'D LIKE TO ADD TO JEFF'S COMMENT REGARDING THE ADDITIONS. WE'VE ALSO BEEN ADDRESSING EDS AT A HISTORIC LEVEL, SO MAYBE THAT'S SOMETHING ELSE TO ADDRESS WITH THE NEW CONSTRUCTION. THANK YOU. AND I HAVE A QUICK QUESTION IN REGARDS TO MICHELLE'S COMMENT ON THE WINDOWS, AND I THINK IT'S, IS IT A FOOT OR A STOOL? THE LITTLE IS, IS, UH, OG SHAPED BOTTOM PART OF TOP. WE CALL THEM OG, WHAT WAS IT? OG LUGS. O OG LUGS. OKAY. , . UM, IT'S TRUE, A LOT OF REPLACEMENT WINDOWS DON'T NECESSARILY TAKE THOSE INTO ACCOUNT. AND I GUESS MAYBE THIS IS MORE THE STAFF QUESTION, BUT HOW, HOW DO WE APPROACH THAT, UH, DETAIL? IS THAT SIGNIFICANT? IS THAT SOMETHING THAT, UM, WE SHOULD REALLY BE FOCUSED ON? OR, OR I GUESS I'M JUST CURIOUS ON THE THOUGHTS OF HOW WE SHOULD APPROACH THAT. UH, YEAH, THANK YOU, COMMISSIONER PIZZA. YEAH. UM, SO I THINK THE QUESTION IS, UM, YOU KNOW, IF WE'RE LOOKING AT A WINDOW REPLACEMENT, UM, DOES IT, UM, IS THE QUESTION, DOES IT NEED TO INCLUDE THE, UM, THE OG LUGS AS PART OF IT? YEAH. SO IF WE KNOW, UM, THAT THAT WAS PART OF THE ORIGINAL, UM, WINDOWS, UM, OR, YOU KNOW, AS PART OF THE ORIGINAL BUILDING, THEN YEAH, IT SHOULD DEFINITELY BE REPLACED. UH, IT REALLY DEPENDS ON THE WINDOW. YOU DO SEE 'EM A LOT. UM, SO I THINK GOING BACK TO SOME OF WHAT WAS MENTIONED EARLIER, UM, HAVING SOME DOCUMENTARY, UH, EVIDENCE, OLD PICTURES KIND OF DOCUMENT IT. A LOT OF TIMES YOU STILL SEE SOME OF THOSE OLD WINDOWS, UH, IN THE BUILDING. SO, YOU KNOW, A SITE VISIT, A WALKTHROUGH ON THE PROPERTY WILL ALSO KIND OF JUST, YOU KNOW, IDENTIFY WHAT WAS ORIGINAL TO THE BUILDING. AND, YOU KNOW, IT'S NOT ALWAYS A, A PERFECT PROCESS, UM, AS, AS YOU KNOW. UM, BUT, UH, YEAH, I WOULD SAY WHERE WE CAN DOCUMENT THAT IT'S ORIGINAL, THAT IT'S, IT'S IMPORTANT TO, TO PUT IT BACK. THANK YOU. CAN I ASK ONE QUICK QUESTION? I WOULD LOVE TO HEAR MORE MAYBE IN THE PART TWO ABOUT, UM, [02:05:02] PROPERTIES WITH, UH, LIVES OF PERSONS THAT WERE SIGNIFICANT. UM, LONG BEACH HAS A LOT OF, UM, VERY IMPORTANT PEOPLE IN THE MUSIC INDUSTRY THAT HAVE COME UP HERE IN LONG BEACH, AND WERE BORN AND BRED. AND I DON'T KNOW WHAT THAT MEANS IN TERMS OF LIKE HOW YOU DISTINGUISH WHO THOSE PEOPLE ARE OR, OR WHAT THOSE, WHAT THE PARAMETERS ARE, I GUESS, FOR THAT. AND THEN, YOU KNOW, WHERE THEY LIVED OR DID THEY LIVE THERE A LONG TIME, OR, YOU KNOW, THE SUBLIME HOUSE IN CARROLL PARK, LIKE ALL THOSE KINDS OF THINGS. I, I WOULD LOVE TO HEAR A LITTLE BIT MORE ABOUT THAT IN TERMS OF THE ART AND, AND MUSIC CULTURE AND HERITAGE HERE. DO IT QUICK. DO YOU TOUCH ON IT? YEAH. OKAY. I'LL, I'LL, I CAN ANSWER THAT A LITTLE BIT. UM, TYPICALLY WE, UH, WE TRY TO ASSESS THAT PARTICULAR CRITERION BASED ON, UM, NOT ONLY WHETHER THE PERSON IS IMPORTANT WITHIN THEIR COMMUNITY OR WITHIN THEIR FIELD OF WORK, UM, AND WE USE, YOU KNOW, NEWSPAPER ARTICLES AND JOURNAL ARTICLES AND OTHER KIND OF DOCUMENTARY EVIDENCE, UM, TO HELP SUPPORT THAT. UM, YOU MAY HAVE INFORMATION ALSO IN THE HISTORIC CONTEXT STATEMENT, UM, THAT MAY MENTION SOME, SOME PEOPLE OR THE MUSIC, UH, THEME, UH, POSSIBLY, UM, WHICH MAY HELP PROVIDE SOME, SOME CONTEXT TOO. UM, BUT TYPICALLY THE BUILDING IS, UH, NEEDS TO HAVE SOME KIND OF DIRECT CONNECTION TO THE REASON THAT THEY'RE SIGNIFICANT. SO IF THEY WERE PRODUCING MUSIC IN THEIR HOUSE, FOR EXAMPLE, THAT WOULD BE, YOU KNOW, A, A GOOD EXAMPLE. UM, I EVALUATED A BUILDING ONCE WHERE THERE WAS A, A, THIS WAS IN, UM, THE HAIGHT ASHBURY NEIGHBORHOOD IN SAN FRANCISCO, WHERE THERE WAS A PHOTOGRAPHER WHO WORKED FOR ROLLING STONE, AND HE WAS LIVING IN A HOUSE, UM, JUST A KIND OF AVERAGE VICTORIAN, UH, DURING THE, THE SIXTIES. AND HE WAS PHOTOGRAPHING, UM, THE, UH, GRATEFUL DEAD AND JANICE JOPLIN AND OTHERS IN A STUDIO IN HIS HOUSE. AND SO THE REASON HE'S SIGNIFICANT IS VERY CLOSELY CONNECTED TO THAT PARTICULAR BUILDING. UM, SO THOSE ARE THE BEST KIND OF EXAMPLES OF IDENTIFYING, UH, A BUILDING TO BE, UH, SIGNIFICANT WITH AN ASSOCIATION WITH A PARTICULAR PERSON. AND I, I CAN ALSO ADD TO THAT, UH, COMMISSIONER PRYOR. SO, UM, WE DON'T HAVE A LOT OF 'EM. THERE IS, UM, GOING TO BE A LITTLE BIT MORE ON THE HISTORIC, THE UPDATE TO THE HISTORIC CONTEXT STATEMENT. SO THERE WILL BE A SECTION THAT TALKS A LITTLE BIT MORE ABOUT, UM, ARTS, CULTURE, MUSIC. UM, BUT ONE OF THE LANDMARKS THAT KIND OF COMES TO MIND THAT'S SPECIFICALLY ASSOCIATED WITH, UH, WITH MUSIC, UM, HERE IN THE CITY IS, UM, IS THE VIP RECORDS SIGN. UH, SO, UM, I DON'T REMEMBER THE EXACT DATE, BUT, UH, THAT WAS, UM, MAYBE LIKE FIVE, SIX, MAYBE SEVEN YEARS AGO. UH, SO THE VIP RECORDS, UH, FOR THE GOOD, FOR THE GOOD OF THE GROUP IS A SIGN, UH, ASSOCIATED, UM, UH, WITH AFRICAN AMERICAN HISTORY WITH HIP HOP. UM, IT WAS ONE OF THE, UM, ORIGINAL RECORD STORES WHERE A LOT OF MUSIC, UH, WAS MADE, UH, BY REALLY FAMOUS, UM, HIP HOP AND RAP ARTISTS. UM, SO THAT ONE IS A VERY CLEAR EXAMPLE OF, UM, OF, I THINK WHAT YOU'RE, WHAT YOU'RE SPEAKING TO A FOLLOW UP. I JUST WANTED TO KNOW IF THERE, IF THE PERSONS OF SIGNIFICANT OF SIGNIFICANCE HAVE TO BE, CAN THEY BE LIVING, I GUESS WOULD BE MY QUESTION? THAT IS A VERY GOOD QUESTION. UM, IT DEPENDS ON, UH, HOW MUCH TIME HAS PASSED SINCE THEIR PERIOD OF SIGNIFICANCE. IF IT'S CONTINUING, YOU MAY NOT HAVE WHAT WE CALL, UM, WHAT DO WE CALL IT? THE SCHOLARLY SCHOLAR YEAH. SCHOLARLY DISTANCE TO REALLY UNDERSTAND THE SIGNIFICANCE OF A PERSON AND THEIR CONTRIBUTIONS WITHIN THE CONTEXT OF HISTORY. UM, SO WE, UH, WE TYPICALLY DON'T, UM, UH, DESIGNATE PROPERTIES THAT ARE ASSOCIATED WITH LIVING PEOPLE, UM, UNLESS THEY'RE SO, SO SIGNIFICANT THAT IT'S VERY WELL ESTABLISHED IN THE HISTORICAL RECORD THAT THEIR CONTRIBUTIONS WERE, UM, REALLY IMPORTANT. AND THAT'S ONE OF THE REASONS WHY THERE'S TYPICALLY, UH, A THRESHOLD OF, UM, 50 YEARS TO CONSIDER A PROPERTY TO BE POTENTIALLY HISTORICALLY SIGNIFICANT. THAT 50 YEARS GIVES A CERTAIN AMOUNT OF THIS HISTORICAL PERSPECTIVE, UM, THE ABILITY FOR, UM, YOU KNOW, RESEARCH OR SECONDARY RESOURCE, HISTORIC RESOURCES OR OTHER KINDS [02:10:01] OF, UM, UH, REFLECTION AND ANALYSIS TO, UM, BE PRODUCED THAT CAN PLACE VARIOUS TOPICS WITHIN THEIR, UH, HISTORIC CONTEXT. AND THAT'S, UM, PART OF WHY, AS WE'RE UPDATING THE CONTEXT STATEMENT, PART OF WHAT WE'RE DOING IS, UM, ADDING TO THE RANGE OF YEARS. SO BRINGING IT UP TO 1979 TO REFLECT THAT SORT OF LOOKING FORWARD, UM, TO, TO GET THE RANGE OF HISTORICAL DATES THAT WOULD BE APPROPRIATE FOR CONSIDERATION. THANK YOU, , FOR YOUR VERY THOROUGH ANSWER. VERY IMPORTANT. YES. YOU HAVE SOMETHING? NO, NOTHING. I HAVE, SO I HAVE SOMETHING. YOU HAVE SOMETHING. UM, SO I JUST WANNA ADDRESS THE NEW STAFF. SO THANK YOU FOR COMING TONIGHT. I KNOW IT WAS A LONG MEETING. THEY USUALLY DON'T GO THIS LONG, AND, BUT THEY'RE, THEY'RE NOT ALWAYS AS FUN AS THIS. SO I HOPE THAT YOU'RE, I'M, I'M GLAD YOU GUYS ARE HERE. I'M GLAD YOU GOT TO SEE IT. AND, YOU KNOW, THIS IS, UH, SOMETHING THAT WE, I HAD HOPED TO SEE YEARS EARLIER, BUT THEN COVID CAME AND WE WERE SEPARATED AND WE COULDN'T DO THIS. SO THIS, THIS PRESENTATION THAT YOU JUST SAW IS VERY UNIQUE AND I'VE BEEN WAITING THREE YEARS TO SEE IT, AND YOU GUYS GET TO SEE IT ON YOUR FIRST NIGHT. SO CONGRATULATIONS AND, AND WELCOME ABOARD. OKAY. OKAY. UH, SO WRAPPING UP, UM, I WANNA THANK THE, UH, THE STAFF AND, UH, THE LADIES FOR THEIR PRESENTATION ALSO. IT WAS REALLY EXCELLENT AND I WOULD HOPE THAT, UM, WE DISSEMINATE THIS TO OUR VARIOUS HISTORIC DISTRICTS AND TO PEOPLE WHO MIGHT BE INTERESTED, WHO ARE NOT IN HISTORIC DISTRICTS, BECAUSE A LOT OF TIMES, UM, THAT IS WHERE A LOT OF CONFUSION COMES IN, WHERE PEOPLE, UM, ARE NOT AWARE OF, OF THE IMPORTANCE OF OUR HISTORIC PIL BUILDINGS. AND THANK YOU TO OUR AUDIENCE WHO CAME AND LISTENED AND LEARNED. UH, WE REALLY APPRECIATE ALL YOUR ATTENTION AND, UM, YOUR DEVOTION TO OUR HISTORIC PROPERTIES. THEY REALLY MAKE OUR CITY AN AMAZING PLACE, HELP CONTRIBUTE TO MAKING IT AN AMAZING PLACE. SO, UM, SO IF THERE IS NOTHING FURTHER, UM, WHAT ELSE DO I HAVE TO ASK? HANG ON. OH, CALL FOR A VOTE. MADAM CLERK, CAN WE HAVE A VOTE PLEASE? SURE. FINE. YOU CAN JUST GIVE ME A VERBAL VOTE. CHAIR IRVINE. COMMISSIONER PRYOR, IF YOU JUST WANNA GIVE ME A VERBAL VOTE, I CAN GO AHEAD AND TAKE THAT. COMMISSIONERS, BECAUSE OF THE TECHNICAL DIFFICULTIES. IF YOU DON'T MIND PROVIDING A VERBAL VOTE TO THE CLERK CHAIR. IRV? HMM. IF YOU CAN DO A VERBAL VOTE. OH, SHE DOESN'T SEE IT. IRV VOTE. OH, SHOULDN'T SEE IT. OH, YES. NO, IT WAS RECEIVED. THANK YOU. YEAH, SORRY. I'M JUST WAITING FOR COMMISSIONER PRYOR. UM, SHE DOESN'T SEE IT. OKAY. I'LL TAKE A VERBAL VOTE. YES. THANK YOU . MOTION CARRIES. OKAY, THANK YOU. YOU, UM, AT THIS TIME IS THERE ANYONE [PUBLIC COMMENT Opportunity to address the Cultural Heritage Commission on non-agenda items. Each speaker is limited to three minutes to make their comments unless extended by the Chair.] WHO WISHES TO SPEAK ON A NON AGENDIZED ITEM AT THIS TIME? IS THERE ANYONE VIRTUALLY? IF YOU ARE JOINING US VIRTUALLY AND WOULD LIKE TO MAKE PUBLIC COMMENT, PLEASE DO SO. RAISE YOUR HAND. PLEASE USE THE RAISE HAND FUNCTION AT THIS TIME. IF YOU'RE JOINED TELEPHONICALLY AND WOULD LIKE TO MAKE PUBLIC COMMENT, PLEASE PRESS STAR NINE AT THIS TIME. THERE APPEARS TO BE NO FURTHER PUBLIC COMMENT. OKAY. THANK YOU. ARE THERE ANY ANNOUNCEMENTS FROM OUR COMMISSIONERS? [ANNOUNCEMENTS] ANYTHING NEW? NO. NO. OKAY. [ADJOURNMENT] THANK YOU. IF THERE'S NO OBJECTIONS, I CAN CALL THE MEETING ADJOURNED. THANKS EVERYONE. THANK. * This transcript was created by voice-to-text technology. The transcript has not been edited for errors or omissions, it is for reference only and is not the official minutes of the meeting.