HomeMy WebLinkAboutSubmittal-Wendy Stephan-Transcripts of HEPB-May 6, 2014-Item No. 14-004211
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Submitted into the public
Record for item(s) PZ, 3
on 10/9/2014, City Clerk
CITY OF MIAMI
City Hall
3500 Pan American Drive
Mi ami , FL 33133
Tuesday, May 6, 2014
1) ORIGINAL
HISTORIC and ENVIRONMENTAL PRESERVATION BOARD
1
Iters No. 14-00421
Special Certificates of Appropriateness for New
Construction: 4510 NE 2nd Ave and 191 NE 45 St.
Members of the Board
(Present)
William E. Hopper, Chairperson
Gerald C. Marston, Vice Chair
Timothy Barber
David Freedman
Gary Hecht
Hugh Ryan
Lynn B. Lewis
Todd Tragash, Alternate Member
City Attorney's Office
Amanda Quirke
Assistant City Attorney
Preservation Office
Megan Cross Schmitt
Preservation Officer
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(All witnesses were duly sworn).
* * * * * * * * * * * * * * * * *
Now I guess we're onto Item No. 3,
which is Resolution of Miami Historic and
Environmental Preservation Board approving
or denying an application for a special
Certificate of Appropriateness for new
construction of a commercial building at
4510 Northeast 2nd Avenue and 191
Northeast 45th Street, within the Buena
Vista East Historic District.
And I think the applicant is still
here. So we'll just start with the staff
report.
MS. SCHMITT: This is an application
for -- excuse me, a Certificate of
Appropriateness for the construction of a
new mixed-use project. This application
is in conjunction with Item 2, a
Certificate of Appropriateness for the
demolition of the existing structures at
the same addresses.
When considering applications for new
construction that involve the demolition
of buildings under the purview of the
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HEPB, the following question is asked of
the proposed plans:
Whether architectural plans have been
presented to the Board for the reuse of
the property, if the proposed demolition
were to be carried out, and the
appropriateness of said plans to the
character of the historic site or
district, if applicable.
The applicant has provided plans for
the reuse of the property, should the
proposed demolition be carried out. The
Preservation Office does not find the
current plans to be appropriate to the
character of the district. One of the
challenges faced by this project is that
it combines two lots in a district
characterized by small parcels. For this
reason, factors such as scale, materials
and contextually appropriate design are
even more critical to consider, precisely
because the project has the capacity to be
significantly larger than the surrounding
structures.
The rest I've already reviewed in
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Item 2. I can repeat them here, if it's
necessary, but I think we can move on.
And I just want to make one point,
which is my recommendations and my
comments to the applicant has never
specifically spoken to a certain floor,
whether it would be two floors or three
floors. I really just want to clarify
that I have been expressing my concerns
about this particular proposal based on
scale, mass and forming, just to clarify.
CHAIRMAN HOPPER: Thank you.
Would you like to respond to the
staff report?
MR. FERNANDEZ: Thank you, Mr. Chair,
Ben Fernandez, 200 South Biscayne
Boulevard.
I guess our response to that, my
apologies to the Preservation Officer. I
guess our interpretation of scale was that
the height was inappropriate, because the
rest of the project, in terms of its size
and scale, lot coverage, FLR, et cetera,
is consistent with the T4L transect, which
it's our position is the most appropriate
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type of scale and use that can transition
into a residential neighborhood.
Be it here or be it anywhere else in
the City of Miami, the fact is that you
have a Historic District that is comprised
of 1 and 2 -story single-family homes.
That's the same thing that you have in the
rest of the City of Miami. So to say that
the scale here should be different than
the transition in scale along Coral Way,
or Southwest 8th Street or anywhere else
where you have commercial mixed-use
projects that abut residential
neighborhoods is to say that somehow,
because of the architectural significance
of this area, that it should have a
different sort of transition. And we're
saying that we don't believe that the
report speaks to that, Mr. Chair.
CHAIRMAN HOPPER: And I would remind
you that this is in a historic district
and Coral Way is not.
MR. FERNANDEZ: But my point is that
the scale is not the determining factor of
the type of development that is of
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architectural significance in this
district.
CHAIRMAN HOPPER: I heard you.
MR. FERNANDEZ: Okay. So with that
said, there are other reasons why we
believe that the scale of this project is
appropriate. And, that is, that this
right-of-way is a designated right-of-way
in your City code, your Chapter 55. It is
a 70 -foot right-of-way rather than a
50 -foot right-of-way. It's a particularly
large street. And those types of streets
are more appropriate for larger scale
buildings. Not that this is a large-scale
building, but we believe that it would be
more appropriate for that type of thing.
And I know that we've been here a
while. And you're interested in hearing
more about the architecture. So I would
invite you to ask our architect to perhaps
go over that with you.
BOARD MEMBER MARSTON: Any member of
the Board have questions for this
applicant?
BOARD MEMBER FREEDMAN: Yes, I would
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like to hear from the architect as to how
the massing and the character of the
proposed project are in keeping with Buena
Vista East.
MR. KARP: Hi. Number 1, thank you
very much for letting me talk. My name is
Kobi Karp. I'm the architect for the
project. And I've had the pleasure of
sitting back here and listen to your
comments.
And so what I'd like to do is just
briefly, if you allow me, just to give you
the thought process of how it is that we
are where we are today.
Harry came to me and he said I'd like
to do this project. And specifically what
I'd like to draw your attention to, it's
in your package as well, it is, on
Northeast 2nd, interestingly enough, we
have mixed-use, two-story buildings, which
are right immediately adjacent to us. We
have single -story commercial.
And then when we looked at the
neighborhood, we actually made a little
model and the model helped us understand
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the context of specifically where we are
in the neighborhood, because what we did
want to do is try to create a way to
relate -- this is being 2nd right here.
And we -- as you saw by the photographs
that were shown before, we have two-story
apartment buildings immediately behind us.
And so what we did is, we thought --
the height allowed here is 40 feet. So if
our commercial is about 18 feet, and we
have two floors of residences basically
over the commercial. And the two floors
of the residences basically sit -- and
I'll be more than happy to pass this
around. You can actually see what we
tried to do is take some of the materials,
which are Vernacular in the neighborhood,
the stone, the terrazzo, which are
available, and use them in a contemporary
fashion in the building. For example,
even our rails, if you look at them, are
metal rails.
Having said that, we then looked at
the project and tried to figure out how it
is that we can reduce its size and its
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scale. So parking -- we took it upon
ourselves to find a way to implement it
below grade. So the parking for the whole
project is below grade. And I'll pass
this little material board around just to
show you, because we went around the
neighborhood and we looked at the plant
material, we looked at the stone, we
looked at the terra cotta that's
available. And we put it into a
contemporary fashion and we implement it
into our project. So obviously any
comments or suggestions that you have,
changes or modifications that you have in
mind, I'll be more than happy to look into
and implement.
But, basically, what we did is, we
took the parking; we put it below grade.
Then we took the two-story residential --
sorry. You can see in the plans, we
pulled it away as far as possible from the
residences to the west. And you can
clearly see -- I'll show you just a brief
plan. This is our typical floor plan.
It's actually L1 of 2, if you want to look
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at your plans. But, basically, what we
were able to do is pull -- this is our
property line right here on the west.
This being 2nd. We pulled the building
top away from the residences as much as
possible. And we broke up -- forgive my
back, please. We broke up the massing of
the building in sizes, which are
reminiscent of the residences, the
two-story residences, which are up and
down the neighborhood, mostly having
basically a width, if you will, of a
living room and a bedroom space.
The building is designed as a green
LEED environmental building. It has
subterranean parking. It has shade
structures on the roof. And the units are
designed essentially to be
cross -ventilated.
You can see what we have done is we
have protected it with a breeze, so that
the entry is through a walking trellis
floating bridge, which will create a
tropical effect, which is some of the
structures that we do have in the
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neighborhood have that feeling, but you
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would walk to your unit through a tropical
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garden and then you would enter the unit
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via the floating bridge.
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So if you look at the plans, you can
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see that the walkway is disconnected. And
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there's a vertical garden in the back,
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which faces the residences. And this
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two-story structure on the west, another
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two-story structure here and also to the
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front there are vertical green gardens
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that our landscape architect, who's also
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here, Chris Collie (phonetic), took into
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consideration. The idea is to break up
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the massing of the building with green.
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Even the drive, to go down to below to the
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basement, instead of making it a box and
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covering it up, we left it as an open
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trellis cross -ventilated -- sorry, I'm
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standing in your way -- to let the
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landscaping grow over it. So the idea,
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the notion, is to have the two-story
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residential structure, which is contextual
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with the rest of the neighborhood, be on
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top of the commercial at the ground level.
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Now, the ground -level commercial,
interestingly enough, in context of our
neighbors, is continuous and contiguous,
meaning, you start one side and you keep
on going along the street. And the block
holds it at the property line. So you
walk along the sidewalk. And you say I
want to go to the restaurant, and then you
walk in and then it has a space inside.
So we broke up our commercial spaces as
well into smaller commercial space. And
you can see that on the commercial floor
plan.
So the commercial is held in width,
similar to other buildings, and in height,
similar to other buildings, which are in
the neighborhood. And that's how we came
up with the commercial height.
The residential height along the
other neighboring properties -- and when
you looked at the pictures that Ms.
Uguccioni showed you, there are heights of
the residential which are somewhat quite
high, we selected to stay with the 10 feet
masonry structure, stone finish, different
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stone finish over here. We have a stone
finish and some terrazzo on the inside of
the lobby. We have the trellises and the
metal work.
And then, again, on the rooftop, the
reason we have the rooftop elements is
because we wanted to have an ability --
let me find the rendering. Where is that?
We wanted to have the ability for the
folks who live in the building to be able
to come up to the rooftop. And so we have
a rooftop terrace right here. So the
overall building height is allowed to be
40 feet, it's 38 feet.
We have a total of six residential
units on top; six residential units on the
bottom over the commercial.
The commercial -- again, you can see
how the building -- we have on page A-401,
we actually took pictures up and down the
street, because we wanted to show the
floor, specifically the trees, are hiding
our buildings. And we made a model of the
whole neighborhood.
BOARD MEMBER MARSTON: With me for a
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minute
MR. KARP: Yes. I'm sorry.
BOARD MEMBER MARSTON: Could I
interrupt, okay?
MR. KARP: Anytime.
BOARD MEMBER MARSTON: I think the
direct question to you was, what about
your building, okay, is telling us that it
is contextual within this historic
neighborhood.
MR. KARP: Okay.
BOARD MEMBER MARSTON: And address
the issues of scale.
MR. KARP: Yes, sir.
BOARD MEMBER MARSTON: Okay? And can
you kind of hold it to those strict
parameters?
MR. KARP: Yes, my pleasure.
Specifically for scale, what we did
is we took the parking and put it all
below grade. Then we put the commercial.
So this where we have our commercial match
the neighborhood commercial in context, in
height and in width.
We then took our residential, two
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floors right on top, kept it below the
40 feet, and kept it at the height of
neighboring residences at the 10 feet
height.
We then broke up our units into
separate widths, like you would slice
(inaudible), you would have the
single-family residential neighborhood, we
kept it to the same width as it is. And
we then dropped in vertical gardens in
between to accentuate that kind of a
breakup, if you will, to reflect some of
the trees and separations, which are
between the residences. That's as far as
the scale.
As far as the context, we took
materials -- because there's a different
language of different housing types in the
neighborhood, which makes it very nice and
unique. So what we did is, we took some
of the sizes, if you will, of the
materials, whether it's the stucco. The
building is all stucco. And it is stone
finish. And then it has the glass only
where the living rooms and the bedrooms
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are. And that's the only location. And,
again, if you feel that the glass is too
much, and you think that the glass should
be brought up to knee height, I'll be more
than happy to listen to your suggestions
and ideas.
We felt this type of scale and
typology reflects a building of the time,
which we felt is the most complimentary to
the historic buildings in the
neighborhood. So a building that was
built in the 30's, or the 40's or the
50's, you can differentiate the style of
architecture, if you will, from the
building that was built in 2010.
So that was the inspiration, how we
got to the building, and how we broke up
the massing and how we broke up the
height.
Did I answer your question, sir?
BOARD MEMBER MARSTON: Yes and no.
MR. KARP: Okay.
BOARD MEMBER MARSTON: But I think
what I would like you to do --
MR. KARP: Sure.
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BOARD MEMBER MARSTON: -- is I'd like
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you to take that document.
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MR. KARP: Thank you.
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BOARD MEMBER MARSTON: Which is a
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series of pictures, okay?
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MR. KARP: Yes.
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BOARD MEMBER MARSTON: Of homes in
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the neighborhood, historic homes, okay?
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MR. KARP: Yes.
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BOARD MEMBER MARSTON: So this is
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reflecting the historic character of the
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neighborhood.
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MR. KARP: Yes.
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BOARD MEMBER MARSTON: And show me --
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MR. KARP: Sure.
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BOARD MEMBER MARSTON: --
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architecturally how you've taken elements
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of those, be it how much window to how
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much wall, you know, whether or not there
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are -- you know, there are awnings and
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punch out little pieces and colors.
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I'll do it another way, okay? I
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think it's a beautiful piece of
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architecture.
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MR, KARP: This whole building?
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a
BOARD MEMBER MARSTON: Yes, I just
don't think it belongs in a historic
neighborhood.
MR. KARP: Right. Okay.
BOARD MEMBER MARSTON: And I'm having
a problem with that issue of trying to
say, to put this particular building
contextually in a neighborhood that is
that rich i architecture.
MR. KARP: Yes.
BOARD MEMBER MARSTON: I just don't
think that they're compatible. I'd like
them to at least be cousins. Right now
they're aliens.
MR. KARP: I think, Mr. Marston --
Number 1, I appreciate this, because it
does help the discussion. And I do
believe they should be cousins. They
should be of the same DNA. And because
buildings have a DNA, like all of us --
like I have two boys, and even though
they're from the same mother and father,
to the best of my knowledge -- they're
substantially different.
Here, just to point to your
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attention, and I'll take Northeast 45th
Street, Image 6091 has a metal balcony
with glass floor to ceiling with an
overhang above it. So we took that as
inspiration for our building to have
overhang over the glass and then we also
took that to have the metal railing in the
project.
For another example, for example on
Image 6088, it has a metal gate and entry.
We took that as inspiration for our
project and also for the cover. We
actually took the porches, because you
have porches and you also have carports to
these homes.
For example, on Image 6090, and --
where was it? I just saw it. 6088 and
6092, there are porches to the units. And
we implemented -- you can even see how we
took and made a trellis work over our
driveway that would essentially lead to
the garage to make it in size and in scale
to the neighborhood.
CHAIRMAN HOPPER: Mr. Barber.
BOARD MEMBER BARBER: Can you put up
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your drawing A-4.00?
MR. KARP: Yes, of course.
BOARD MEMBER BARBER: Can you put
that up top?
MR. KARP: Yes.
BOARD MEMBER BARBER: I mean, even
going as far as my colleague, Mr. Marston,
is going, just looking at that bottom
panoramic that you have there, you know,
we don't even have to go into the
neighborhood, just from a front facade of
that, you know, how does that contextually
fit historically, even just the buildings
to the left of it? I mean, to the left of
it, yes.
MR. KARP: Let me answer you
specifically here, because what we have
here is we have a building on the same
block, which has two-story with a high
parapet, single -story with a signage
parapet. And what we did is, we took our
two-story residential, right above, and we
have our commercial matching in line
halfway between the two structures.
So what we did is, we took this
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elevation as inspiration. Furthermore,
what we did, you see, we took the glass,
continued it -- here, can you just hold it
for me? Thank you. We took the glass and
we continued it as a band, because we have
the same glass continuing across, with the
same glass continuing here and then we
have a separation, because this building
was built more in the 30's and this was
built in the mid century.
BOARD MEMBER BARBER: But, you know,
again, all due respect -- and I'm a fan of
Kobi Karp. I've seen your architecture in
Japan and a couple places.
MR. KARP: Thank you. Thank you.
BOARD MEMBER BARBER: You've done
some amazing things. But even with
looking at that, finding a way -- and I
think this is what the neighborhood is
saying, and maybe my colleague is saying,
finding a way to where the building
doesn't look so massive, even in that
strip, you know, even with dropping of the
-_ personally, I ' m not an architect, even
dropping the signage band down to where it
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kind of lines up to where it's -- and
softening the second or third stories.
MR. KARP: Yes, sir.
BOARD MEMBER BARBER: When you're
standing, you look, you have this huge
glass there that is like really two-story
glass somewhat, you know, but next to
buildings that have maybe a one-story
configuration on their glass.
MR. KARP: I appreciate your comment,
and I don't disagree. And I think that
there is a way to bring that signage
banner down. We took a horizontal line in
the middle of the glass mullion to tie it
horizontally to the other project, but --
BOARD MEMBER BARBER: It went out.
MR. KARP: But certainly, Mr. Barber,
we can find a way to take the signage and
move it down and accommodate that. I
don't see that as being an issue. On the
contrary, I think that's a very solid
comment.
BOARD MEMBER BARBER: Thank you.
MR. KARP: Yes, sir.
CHAIRMAN HOPPER: So that's the
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conclusion of your response to the staff
2
recommendation.?
3
MR. KARP: Yes, Doctor. And also I
4
have my landscape architect here, because
5
what we did do, is we took the time to
6
study not only the architecture and the
7
materials of the neighborhood, but also
8
the plants, the plant materials, the flora
9
and the fauna. So he took into the
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landscaping the trees, and to create the
11
vertical divisions, both on the Northeast
12
2nd and also on the west side, to
•
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basically have the building more of a
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floating green. And you can clearly see
15
in the elevation how we want the building
16
to basically blend in into the landscaping
17
as much as possible.
18
CHAIRMAN HOPPER: Okay, thank you.
19
MR. KARP: Thank you.
20
CHAIRMAN HOPPER: Is there anyone
21
from the public wishing to speak on this
22
item, please come forward, give your name
23
and address, for the record.
24
MS. QUIRKE: Mr. Chairman, I believe
25
somebody from Planning and Zoning is also
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in attendance to address some issues
2
relating to the zoning, if you're
3
interested in hearing those comments.
4
CHAIRMAN HOPPER: Certainly, as soon
5
as we've heard from the public.
6
MS. STEPHAN: Thank you again. My
7
name is Wendy Stephan. I live at 101
8
Northeast 43rd Street. Again, I'm
9
speaking today on behalf of the Board of
10
the Buena Vista East Historic Association.
11
When we met with Mr. Benitah on
12
April 15th, as we did, we looked at this
•
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exact plan that you're seeing today. At
14
that time we saw it, and the whole Board,
15
our eyes just like popped open. Everyone
16
was like whoa. And we said, wow, that's
17
really, really modern, and, gosh, that's
18
really different than kind of what we were
19
expecting and it doesn't really match with
20
the historic district. And Mr. Benitah at
21
that time had no idea what we were talking
22
about.
23
So it is certainly my impression that
24
what you've just heard is very much a
25
post -hoc analysis of the design. So
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because the plans that were presented on
2
the title, it says Design District 45. So
3
this design is very much geared toward the
4
Design District, in our opinion. If you
5
look at the quality, the details, brushed
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aluminum? We're not talking about wrought
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iron. All the sort of contextual
8
elements, the sort of materials -- I'm not
9
an architect, but I walk around the
10
neighborhood a lot. And when we looked at.
11
this plan and we showed it to our
12
neighbors at our neighborhood meeting this
13
last weekend, people were, like, yeah,
14
this is a beautiful building. And I don't
15
doubt that it's a beautiful building, and
16
it will be lovely for the occupants. No
17
doubt about it. It sounds wonderful. But
18
it does not, again, belong in a historic
19
district. There are no historic
20
references.
21
And as far as -- I mean, if when you
22
look at this, you're talking about huge
23
panes of glass. You're talking about big
24
concrete canopies projecting out from the
25
top of the roof, metal brushed aluminum
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panels, wood paneling. Again, these are
2
not elements that are familiar to us,
3
either from the residential side or from
4
the commercial side. I mean, pick one,
5
you know, but try to draw from something
6
somewhere.
7
In terms of the scale, several times
8
it was said that this is in context with
9
the existing commercial scale along
10
Northeast 2nd Avenue. It is 60% taller.
11
It's taller than the next smallest
12
building. All the other buildings are
13
two-story that are about standard 25 -foot
14
sort of. They're not these high ceilings
15
and, you know, whatever. Yes, I
16
understand that Miami 21 allows for a
17
14 -foot, you know, story, but that's not
18
historic. I mean, that is not a
19
traditional approach.
20
I've been texting furiously with our
21
previous president, because I couldn't
22
think of a building in our historic
23
district that is three stories. And he
24
replied, yes, yes, there's one; Tessa has
25
an attic. So in one residential building,
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there's a tiny little attic with a window.
So that's the only case that we actually
have a third story.
So we don't have a particular issue
with the story, but this doesn't seem like
the right place to maximize the height.
And they are maximizing the height.
They're at 39 of 40 feet. The code allows
40 feet.
And, remember, they've aggregated two
lots here, so we lost a lot of setback,
right? There would have been setback all
around, 60%, you know, gree open space, et
cetera. All of that, it goes away with
the aggregation of the lots. So we have
very substantial concerns with the design.
We also have a very serious concern
that we've shared with Mr. Benitah that he
was not aware of, and I can understand why
he wasn't, but there is a traffic calming
plan for Buena Vista East for the
residential area. I have the plans here
in my hands. It's project number 630891
of the City of Miami Capital Improvements
Program. This is an in -progress project.
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It's been about two -and -a -half years in
the making. We don't know exactly when it
will come into effect, but one thing it
does is it makes 45th Street one-way
running east. So the current plan has a
driveway. All of its traffic is coming
off 45th.
The existing scenario, the way the
two properties are setup, the only
driveway associated with the property is
onto Northeast 2nd Avenue. There is no
driveway on 45th. So this proposal has
all the traffic on 45th. When that street
is closed, that means anyone approaching
the building to the underground parking
garage, which is a nice touch, they're
going to be forced through the historic
residential district to get there. And
then all of the turns out onto the avenues
will be right-hand turns. Because we've
had a concern, you know, with the Design
District expanding, with commercial
corridors. We're concerned about traffic,
we're concerned with parking and these
issues and we've been proactive in trying
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to address it.
2
So that means that that corner that
3
you're looking at will have a barrier
4
right there. They will not be able to
5
turn into that driveway off Northeast 2nd.
6
They'll be coming through our
7
neighborhood. So that is a very, very
8
serious design, you know, consideration
9
that Mr. Benitah was not aware of. We
10
don't have a date specifically on this,
11
but our commissioner, our new
12
commissioner, is onboard with it, so we do
•
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hope to see it move forward, you know,
14
within the next year.
15
Also, it's always frustrating to hear
16
people talk about how beautiful our trees
17
are in our neighborhood, and how the tree
18
canopy is so terrific, and so wonderful
19
and so lovely in conjunction with an
20
application to remove a large tree.
21
So, okay, there's a proposal to add
22
in a lot of trees, but our concern is,
23
there is no way to maintain the existing
24
live oak? Everyone wants to maintain
25
other people's trees, but their own trees
i
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are inconvenient, so we're very concerned
2
about that as well.
3
So those are our main concerns.
4
Again, contextually, we do not see any
5
connection between this proposal and the
6
elements, either in the residential or the
7
commercial district. And Mr. Benitah was
8
not aware of that requirement at the time
9
we met. So I'm not sure when all of this
10
consideration happened, but it certainly
11
wasn't aware -- apparent to Mr. Benitah
12
when we met.
13
BOARD MEMBER MARSTON: Just --
14
MR. KARP: I'm going to be quiet
15
unless I'm asked a question.
16
CHAIRMAN HOPPER: Anyone else wants
17
to speak on this item?
18
And the other City official.
19
MS. QUIRKE: Can we ask the staff to
20
come up.
21
CHAIRMAN HOPPER: Yes, and please
22
give your name and address for the record.
23
MR. COOK: Good evening, Board
24
Members, I'm Darin Cook with the Planning
25
and Zoning Department. And I just wanted
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to briefly touch base with you dealing
with, you know, the site plan the
applicant has presented for this project.
Most specifically, when we look at
their setback that is on Northeast 2nd
Avenue, it looks like they're having a
zero setback there. And per the code, at
least need to have a 10 -feet setback for
that.
Now, we do have a provision within
our Miami 21 that allows a remedy for you
to have -- so you can have a setback at
your property line, such as they're
presenting, through a dominant setback,
but this procedure has not been sought by
the applicant. So without that being
fulfilled through the Planning and Zoning
Department, what they are presenting right
now is not allowed for that property.
So my question is to Mr. Fernandez
is, has this project even been vetted by
the zoning department and reviewed before
you presented it before the NEP Board?
MR. FERNANDEZ: Well, we purposely --
was purposely designed to match the
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dominant setback of the block. If you
note, the building to the north has a zero
setback along the frontage. So the idea
was to create a podium for the building
that would match the dominant setback of
the block and then scale it back with the
upper level setback, which upper level
here, I mean, second -story setback. So
that the perception from the street would
be one of a building similar to those that
are within the same block at the first
story. And then the setback, you know,
the second story would be almost
imperceivable from the sidewalk. You can
see it from the street, but not from the
sidewalk. So that was the concept.
As with most applications like this,
the first step is to go to the Historic
Preservation Board and then you go through
a waiver process. We can't go through a
waiver process without knowing that we
have a proposed design.
So if the setback is deemed to be
inappropriate by the zoning administrator,
then of course that would be something
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that would necessarily need to be
adjusted. It would reduce the scale of
the building, if that's -- if that is
indeed a concern, but all we're doing with
that is trying to match, again, the
dominant setback of the area.
MR. COOK: If I may interject, and I
appreciate what Mr. Fernandez is stating
there in regards to saying that he feels
this project should come before your Board
before it has been reviewed by zoning. I
don't hold that -- I don't agree with him
with that at all. I believe it should be
reviewed by the Planning and Zoning
Department. And subsequent to that
review, have in their plan, accommodate
what the code requires and then come to
you and deal with the architectural
desires that are associated with your
historic review of the project so we won't
have a conflict.
I say that in regards to, we had
recently a project that came before your
Board that did not go through the Planning
and Zoning Department that did not meet
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our requirements that was ted in the stated
2
Miami 21 code dealing with setbacks, and
3
things to that effect.
4
So then we had left with your
5
decision and how we deal with it, because
6
you're an authoritative body with much
7
power, how do we deal with that. You
8
know, you made a decision, rendering on
9
that. And we don't know how your decision
10
reflected that was based on our code or
11
based on what you felt was indicative for
12
that area.
•
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BOARD MEMBER MARSTON: Mr. Cook, does
14
Miami 21 dictate the 10 -foot setback?
15
MR. COOK: It does.
16
BOARD MEMBER MARSTON: So in terms of
17
the applicant, you're willing to take the
18
benefits of Miami 21 in terms of height of
19
the building, but you want the old rules
20
in terms of setback?
21
MR. FERNANDEZ: It's not old rules,
22
Mr. Marston.
23
And, in fact, Mr. Cook is with the
24
Planning Department, we did meet with the
25
zoning department. We met with the zoning
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administrator
and with
Paola De
Carolis as
well. And we
explained
to them
the
proj ect .
The setback is a question of
predominant setback. It's not a variance.
It's a determination by your administrator
as to what is the established setback on a
block. So it's a procedure that's
available under Miami 21. And we did meet
with the zoning administrator. We did
explain the project to them. And they
understood it.
I'm not aware of projects that get a
waiver before they come to this Board,
because the waiver ties the plan -- ties
the approval to a plan. I mean, so...
CHAIRMAN HOPPER: In all of our
certificates of appropriateness are
subject to approval of the plans by the
Building Department; is that not correct?
MS. QUIRKE: That's correct. Prior
to issuance of any building permit, you
have to have a Certificate of
Appropriateness, but you also have to have
Planning and Zoning approval.
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There's been a recent effort to
coordinate much better between historic
preservation and planning and zoning to
avoid the conflicts where something that
may be approved by this Board is not in
compliance with the zoning requirements.
I think that it's acknowledged that
the proposed plan for setbacks and any
additional requirements may not meet Miami
21 and may require some of the additional
approvals by the planning director and/or
the planning and zoning appeals board,
city commission, including a waiver,
warrant, or et cetera.
So, you know, any of your approvals
of the Certificate of Appropriateness are
subject to those types of approvals as
well.
However, you know, Mr. Cook's
appearance is part of this attempt to do
some increased coordination.
MR. FERNANDEZ: I guess the answer
is, if we weren't able to obtain certain
approvals, we would necessarily have to
come back -to this Board with the revision
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that, you know, would be appropriate.
MS. QUIRKE: If it's substantial.
MR. FERNANDEZ: Correct.
MR. COOK: If I may interject, and
forgive me, Mr. Chair, in the line to what
the Assistant Attorney said and to what
Ben Fernandez is saying, again, I advocate
that even though he said he has spoken
with the zoning administrator, and I
appreciate that, I think for me, in my
perspective, and I think our department's
perspective, is that going through that
waiver permit process alleviates a step
that they don't have to go through later.
If you already have that permit in hand
saying that you have that dominant
setback, when they're coming to you, their
project is with integrity of the Miami 21
code and what they're presenting, you
don't have to worry of meeting the codes.
So what they're presenting, okay, if they
have that zero setback at the front as
he's presenting and the design is oriented
towards that zero front back, you're
looking at it saying, okay, we don't have
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a problem with it, if you don't have any
problem with it contextually within the
neighborhood.
MR. FERNANDEZ: But let me --
MR. COOK: Even though I appreciate
what Mr. Fernandez is saying, I think to
use the proverbial cliche, it's the cart
before the horse in this procedure.
MR. FERNANDEZ: Well, Mr. Cook, may I
ask you this question then. If you were
to apply for a waiver, let's say in this
case, and the waiver is denied or it's
approved, but then that gets appealed and
ultimately comes before the City
Commission, isn't the City Commission
going to say, wait a minute, this is in a
historic district; what does the HEP Board
have to say about this project? Well,
then we'll have to say, well, no, they
haven't chimed in on it yet. So isn't
that a waste of time? Isn't that an
inefficient way to go about an
application?
I would think the first step would be
with this Board, which is the most
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important Board when it comes to a
Historic District.
MR. COOK: Well, if I may answer.
When I looked at that other project, that
very thought process went through my mind,
Mr. Fernandez, honestly. And because of
the Board -- 'cause to your thinking, the
Board could have decided, based on what
you're presenting and based on the context
of this area, this is the most appropriate
way this building should be, period,
pointblank. And if that's the case, then
I would have to say, I would defer to the
Board on that, because they have that
level of ability. You have that authority
to do so, I would say so. It's equivalent
to the PZAB board and your powers.
But I would say, when you know that
you're seeking a relief in the code and
you know that that needs to be met, rather
than putting the Board maybe in a
precarious situation that they may not
want to be in, or with full disclosure to
the Board, then I think it would be to
your benefit to go through this process
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with the waiver first. And if you have
established that waiver with us, it's more
than likely we would approve it. It's a
possibility, if you're showing it, you
know, that you have a dominant setback
that is prevalent within the area.
MR. FERNANDEZ: Let me just say that
the procedural rules are not clear with
respect to this. I would --
CHAIRMAN HOPPER: So let me suggest
that in the future we develop maybe --
look at developing a way in which there
can be signoff or at least a disclosure
from Planning and Zoning as things come to
the HEP Board.
And we have heard what Mr. Cook has
said and thank you very much.
(Inaudible).
MR. COOK: Well, that's one of them.
And I think I wanted to speak to the
entrance that they have off 54 (sic). As
the code is right now, we do encourage
that you have your entrances off of your
secondary rather than the primary, which
is 2nd. So we would have to look at the
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plan based on the CIP, as was presented
earlier, if that would deviate that
requirement at that time.
So as it stands right now, to the
applicant's benefit, the way they have
their entrance is where we would prefer to
have the entrance coming in and their exit
for this project, not from 2nd, but from
54 (sic).
BOARD MEMBER MARSTON: But not
necessarily in relationship to the traffic
calming plan?
MR. COOK: Not in relation. Then
we'll take it into consideration.
BOARD MEMBER MARSTON: You don't have
that?
MR. COOK: Yes, at the time, but we
considered it.
BOARD MEMBER MARSTON: I got you.
MR. FERNANDEZ: I would have to, just
for the record, that it's my reading of
the T-4 transect that when you have a
secondary front, you have to use the
secondary front for access and you are not
able to access a property through the
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principal frontage. The purpose of one of
the main tenets of Miami 21 is to protect
the pedestrian realm and to increase
pedestrian activity along the principal
frontage of a property. So it is
prohibited when you have an alternative
access available from a side street.
That's been the case even before Miami 21
was in effect in the special districts on
major streets.
CHAIRMAN HOPPER: Exactly.
Anything?
MS. SCHMITT: May I make a comment
about the -- excuse me for interrupting,
about the traffic plan that was mentioned.
CHAIRMAN HOPPER: Yes.
MS. SCHMITT: It's my understanding
that that project has been put on hold
right now, so I just wanted to state that.
BOARD MEMBER LEWIS: That project
being the one-way on 45th?
MS, SCHMITT: Correct.
CHAIRMAN HOPPER: Put it on hold
right now, but we can't say when it will
happen?
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MS. SCHMITT: I don't have any
further information.
CHAIRMAN HOPPER: Any other
considerations, Mr. Cook?
MR. COOK: That's it. Thank you for
your time, Mr. Chairman.
CHAIRMAN HOPPER: Was there anyone
else in the public who wishes to speak on
the item? No.
Okay. We'll close the public hearing
and open up to the Board for comments and
suggestions.
BOARD MEMBER HECHT: Mr. Chair, down
this end.
CHAIRMAN HOPPER: Yes, sir.
BOARD MEMBER HECHT: I'm just -- I'm
rather surprised, you know, we did a straw
poll before. We all demonstrated our tea
leaves. And I don't have any idea why
this applicant cared to stay here and take
up this time after seeing the straws, the
tea leaves and everything else. I mean,
if anything has been crying out for a
continuance, this thing is. If I had been
the applicant, I would have asked for that
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right up front.
It seems that there's just too
much -- first of all, it's totally out of
context. We all put up our hands on that
one.
So my motion is, I move that this
item be moved to a time certain June 3rd.
CHAIRMAN HOPPER: Is there a second
on that before I ask --
BOARD MEMBER MARSTON: Second.
CHAIRMAN HOPPER: Now, I would ask
the applicant if he agrees to that or do
you want --
MS. QUIRKE: For the Board's
information, that will be within the
60 days.
CHAIRMAN HOPPER: That will be what
within?
MS. QUIRKE: That will be within the
60 days.
CHAIRMAN HOPPER: So we're okay?
MS. QUIRKE: Yes.
CHAIRMAN HOPPER: Yes.
MR. FERNANDEZ: I'm going to come
back to the issue that we discussed
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previously, which is the question of
scale.
Mr. Hecht, you're saying that it's
entirely out of context.
BOARD MEMBER HECHT: Yeah.
MR. FERNANDEZ: And I guess that
there's two ways of looking at context:
One is architectural style and the other
is scale. And it's our position that the
scale of the project is appropriate, the
number of stories is appropriate.
CHAIRMAN HOPPER: Wait, wait, wait.
We just want to know now if you want to
continue or not.
MR. FERNANDEZ: Oh, okay. So we
do -- we would like to continue, if we can
address the architectural aspects of the
building.
CHAIRMAN HOPPER: We can do that
after we continue. So you have no
objection to continuing?
MR. FERNANDEZ: With the
understanding that the scale is not --
that the stories are not going to be
reduced.
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CHAIRMAN HOPPER: We're not --
UNIDENTIFIED SPEAKER: No, no.
MR. FERNANDEZ: Okay. Well, that's
what I was trying to get at. I wanted to
say it in a more --
BOARD MEMBER LEWIS: Yes or no, agree
to a continuance or no?
MR. FERNANDEZ: I'll ask my client.
BOARD MEMBER FREEDMAN: While they're
debating, if we were to vote on the matter
and deny it, how long would it be before
they could come back?
CHAIRMAN HOPPER: A year. Is that
not correct?
BOARD MEMBER MARSTON: Well, they
could appeal it. They could appeal it to
the Commission. If the Commission upheld,
then they're gone for a year.
BOARD MEMBER FREEDMAN: A year.
MR. BENITAH: Before I answer, I want
to make sure I understand properly.
You're asking us to come back in a month,
but without knowing what we're supposed to
do?
CHAIRMAN HOPPER: We're going to tell
MIAMI-DADE COUNTY COURT REPORTERS, INC. (305) 373-5600
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you after.
BOARD MEMBER MARSTON: I think we
already have. I mean, how much longer are
we going to spend -- how much longer are
we going to spend telling you and telling
your architect that we're looking at your
building and we're seeing very
contemporary, in a historic district and
we would like to see this building somehow
become part of what that district is about
as opposed to being something from the
Design District or, you know, from upper
Manhattan. Now, your architect is bright
enough to know what we're saying, okay?
He's got to be, okay?
MR. BENITAH: Yes.
BOARD MEMBER MARSTON: Whether or not
we're going to design your building for
you, no, we're not going to design your
building for you. I think we've all had
plenty, plenty of input, okay, and a lot
of straw votes and a lot of time taken up
over something we just ought to get by.
MR. BENITAH: Okay. Thank you.
CHAIRMAN HOPPER: So that was a yes?
MIAMI-DADE COUNTY COURT REPORTERS, INC. (305) 373-5600
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MR. FERNANDEZ: Yes.
CHAIRMAN HOPPER: Okay. Any other
discussion on the motion?
Can we have a roll call, please.
MS. SCHMITT: Timothy Barber?
BOARD MEMBER BARBER: Yes.
MS. SCHMITT: David Freedman?
BOARD MEMBER FREEDMAN: Yes.
MS. SCHMITT: Gary Hecht?
BOARD MEMBER HECHT: Yes.
MS. SCHMITT: Jorge Kuperman?
CHAIRMAN HOPPER: Not here.
MS. SCHMITT: Lynn Lewis?
BOARD MEMBER LEWIS: Yes.
MS. SCHMITT: Gerald Marston?
BOARD MEMBER MARSTON: Yes.
MS. SCHMITT: Hugh Ryan?
BOARD MEMBER RYAN: Yes.
MS. SCHMITT: Todd Tragash?
BOARD MEMBER TRAGASH: Yes.
MS. SCHMITT: William Hopper?
CHAIRMAN HOPPER: Yes.
MS. SCHMITT: Motion passes 8-0.
CHAIRMAN HOPPER: So you know where
we're coming from.
MIAMI-DADE COUNTY COURT REPORTERS, INC. (305) 373-5600
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MR. FERNANDEZ: Thank you. Thank you
for your time.
(Thereupon, the hearing was
concluded).
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CERTIFICATE OF REPORTER.
I, Lorena Ramos, National Registered
Professional Reporter and Florida Professional
Reporter, do hereby certify that I was
authorized to and did TRANSCRIBE the foregoing
VIDEOTAPED proceeding, HEPB Item #14-00421,
heard by the Historic and Environmental
Preservation Board on the 6th day of May 2014;
and that the transcript, pages 1 through 49, is
a true and correct record of the VIDEOTAPED
proceeding, to the best of my ability.
DATED this 26th day of September 2014, at
Miami -Dade County, Florida.
LORENA RAMOS, RPR & FPR
COURT REPORTER
MIAMI-DADE COUNTY COURT REPORTERS, INC. (305) 373-5600
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;1114-00421 [1] - 50:8
1 [41- 5:6, 7:5, 18:16,
50:11
10 [21- 12:24, 15:3
10-feet[1] - 31:8
10 -foot [1] - 34:14
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15th (1] - 24:12
18 [1) - 8:10
191[21-1:10,2:9
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2 -story [1) - 5:6
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2010 [11- 16:15
2014 [31- 1:3, 50:10,
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26th [11- 50:15
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40's (11- 16:12
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6090 [11- 19:16
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able [51- 10:2, 13:10,
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abut [11 - 5:13
accentuate [1 ] - 15:11
access (31- 41:24,
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accommodate [21-
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acknowledged [1] -
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activity t11 - 42:4
add [1] - 29:21
additional [21- 36:9,
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address [61- 14:12,
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addresses [11- 2:22
adjacent [1] - 7:21
adjusted [1l - 33:2
administrator [s) -
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advocate (11- 37:7
aggregated pi - 27:10
aggregation pi -
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agree [21- 33:12, 46:6
agrees [1l - 44:12
aliens [1] - 18:14
alleviates [11- 37:13
allow [1] - 7:12
allowed [31- 8:9,
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allows [31- 26:16,
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almost [11- 32:13
Alternate t11- 1:18
alternative (1] - 42:6
aluminum [2] - 25:6,
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Amanda [1] - 1:21
amazing [1] - 21:17
American [1] - 1:2
analysis (1) - 24:25
answer [51- 16:20,
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anytime [11- 14:5
apartment [1) - 8:7
apologies [11- 4:19
apparent [1] - 30:11
appeal [21- 46:16
appealed [ ] - 38:13
appeals [1) - 36:12
appearanco [1) -
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applicable (i] - 3:9
applicant 11 o] - 2:12,
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applicant's f1l - 41:5
application [51 - 2:6,
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applications (21-
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apply [1] - 38:11
appreciate [51- 18:16,
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approach [1] - 26:19
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appropriateness [21-
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approval [31- 35:16,
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approving (11- 2:5
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architecture (6) - 6:19,
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attendance [1] - 24:1
attention [21- 7:17,
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authority [1] - 39:15
authorized [1] - 50:7
available (41- 8:19,
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Ave [11- 1:10
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avenues 111- 28:19
avoid (11- 36:4
aware [5] - 27:19,
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35:13
awnings [11- 17:20
B30891 [i] - 27:23
balcony (1 ] - 19:2
band 12] - 21.5, 21:25
banner [1] - 22:13
Barber (4] - 1:15,
19:24, 22:17, 48:5
BARBER [9] - 19:25,
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21:16, 22:4, 22:16,
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barrier[1l - 29:3
base (1] - 31:1
based [6] - 4:10,
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basement [1l -11:17
beautiful [4) - 17:23,
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become [1) - 47:10
bedroom (1] - 10:13
bedrooms [11- 15:25
behalf[1] - 24:9
behind (11- 8:7
belong (11- 25:18
belongs [1l - 18:2
below [6] - 9:3, 9:4,
9:18, 11:16, 14:21,
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Ben (2] - 4:16, 37:7
benefit [21- 39:25,
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benefits [11- 34:18
BENITAH [3] - 46:20,
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Benitah [61- 24:11,
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best [21- 18:23, 50:13
better [1] - 36:2
between [51 - 15:11,
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big (1] - 25:23
Biscayne [11- 4:16
blend (1] - 23:16
block [61- 12:5, 20:19,
32:1, 32:6, 32:11,
35:8
BOARD [51] - 1:7,
6:22, 6:25,13:25,
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14:15, 16:21, 16:23,
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17:10, 17:14, 17:16,
18:1, 18:5, 18:11,
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Submitted into the public
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on 10/9/2014, City Clerk
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board (31 - 9:5, 36:12,
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Board (251 - 1:13, 2:5,
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43:11, 50:10
Board's Ill - 44:14
body [U - 34:6
bottom [21- 13:17,
20:8
Boulevard [11- 4:17
box [1] - 11:17
boys [1l - 18:21
break [il - 11:14
breakup [11- 15:12
breeze (1)- 10:21
bridge [21 - 10:23,
11:4
brief[l]- 9:23
briefly [21 - 7:12, 31:1
bright [1] - 47:13
bring til - 22:12
broke [61 - 10:6, 10:7,
12:10, 15:5, 16:17,
16:18
brought [i] - 16:4
brushed [21- 25:5,
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Buena [41- 2:10, 7:3,
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Building [ll - 35:20
building [431- 2:8,
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buildings [121- 2:25,
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bulk [41- 16:12,
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calming (21 - 27:20,
41:12
canopies [11 - 25:24
canopy [1] - 29:18
capacity [iI - 3:22
Capital [i1 - 27:24
cared [1l - 43:20
Caroli$ [1]- 35:1
carports [11- 19:14
carried [21- 3:6, 3:12
cart [l I - 38:7
Case (41- 27:2, 38:12,
39:12, 42:8
ceiling Ill - 19:3
ceilings [i1- 26:14
century [11- 21:10
certain [31 - 4:6,
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certainly [41- 22:17,
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CERTIFICATE 11l -
50:1
Certificate [51- 2:7,
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36:16
certificates [11 - 35:18
Certificates [ll - 1:9
Certify [11- 50:6
cetera [31 - 4:23,
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Chair [51- 1:15, 4:15,
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CHAIRMAN 1331-
4:12, 5:20, 6:3,
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44:21, 44:23, 45:12,
45:19, 46:1, 46:13,
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48:12, 48:22, 48:24
Chairman [21- 23:24,
43:6
Chairperson [11- 1:14
challenges [1] - 3:16
changes [+] - 9:14
Chapter [11- 6:9
character [41- 3:8,
3:15, 7:2, 17:11
characterized [11-
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chimed Ill - 38:20
Chris [11- 11:13
CIP [ll - 41:1
CITY [11- 1:1
City [21- 1:1, 36:13
City 191 - 1:20, 1:21,
5:4, 5:8, 6:9, 27:24,
30:18, 38:14, 38:15
clarify [21- 4:8, 4:11
clear Ill - 40:8
clearly [21 - 9:23,
23:14
cliche (1l - 38:7
client [l1 - 46:8
close [iI - 43:10
closed [11- 28:14
code [91- 6:9, 27:8,
31:7, 33:17, 34:2,
34:10, 37:19, 39:19,
40:22
codes til - 37:20
colleague [21- 20:7,
21:20
Collie [ll - 11:13
colors Ill - 17:21
combines [ll - 3:17
coming [51- 28:6,
29:6, 37:17, 41:7,
48:25
comment [3l - 22:10,
22:22, 42:13
comments [5] - 4:5,
7:10, 9:13, 24:3,
43:11
commercial [221- 2:8,
5:12, 7:22, 8:10,
8:12, 11:25, 12:1,
12:10, 12:11, 12:12,
12:14, 12:18, 13:17,
13:18, 14:21, 14:22,
14:23, 20:23, 26:4,
26:9, 28:22, 30:7
commission Ill -
36:13
Commission [41 -
38:15, 46:17
commissioner[21 -
29:11, 29:12
compatible (11- 18:12
compliance [,1- 36:6
complimentary [11-
16:9
comprised 111- 5:5
concept Ill - 32:16
concern [41- 27:17,
28:21, 29:22, 33:4
concerned [31- 28:23,
28:24, 30:1
concerns (31- 4:9,
27:16, 30:3
concluded) Ill - 49:4
conclusion (i] - 23:1
concrete [1] - 25:24
configuration Ill -
22:9
conflict Ill - 33:21
conflicts [11 - 36:4
conjunction [21- 2:19,
29:19
connection [1) - 30:5
consider [1] - 3:21
consideration (41-
11:14, 29:8, 30:10,
41:14
considerations [1] -
43:4
considered [1] - 41:18
considering (11 - 2:23
consistent [ll - 4:24
Construction (11 -
1:10
construction 131- 2:8,
2:17, 2:24
contemporary (3] -
8:19, 9:11, 47:8
context [91- 8:1, 12:2,
14:23, 15:16, 26:8,
39:9, 44:4, 45:4,
45:7
contextual [31- 11:23,
14:9, 25:7
contextually [51-
3:20, 18:8, 20:12,
30:4, 38:2
contiguous [ll - 12:3
continuance [21 -
43:24, 46:7
continue [3] - 45:14,
45:16, 4520
continued 121- 21:3,
21:5
continuing 131- 21:6,
21:7, 45:21
continuous [ll - 12:3
contrary [ll - 22:21
COOK [i of - 30:23,
33:7, 34:15, 37:4,
38:5, 39:3, 40:19,
41:13, 41:17, 43:5
cook (41- 34:23, 38:9,
40:16, 43:4
Cook [21- 30:24,
34:13
cook's 111 - 36:19
coordinate til - 36:2
coordination [l] -
36:21
Coral [21- 5:10, 5:22
comerlll- 29:2
correct (6] - 35:20,
35:21, 37:3, 42:22,
46:14, 50:12
corridors [+1- 28:23
cotta 111 - 9:9
County [1l - 50:16
couple [11 - 21:14
course (21- 20:2,
32:25
COURT Ill - 50:21
cousins [21- 18:13,
18:18
cover [1l - 19:12
coverage [11 - 4:23
covering Ill - 11:18
create [41 - 8:3, 10:23,
23:10, 32:4
critical [1l - 3:21
Cross p - 1:24
cross [21- 10:19,
11:19
cross -ventilated (2) -
10:19, 11:19
crying [ll - 43:23
current [21- 3:14, 28:5
C
Dade [i] - 50:16
Darin Ill - 30:24
date [1l - 29:10
DATED [ll - 50:15
David [21- 1:16, 48:7
days [21 - 44:16, 44:20
De [t1- 35:1
deal [31- 33:18, 34:5,
34:7
dealing [21- 31:1,
34:2
debating [i1- 46:10
decided [11 - 39:8
decision [31- 34:5,
34:8, 34:9
deemed [ll - 32:23
defer Ill - 39:13
demolition [41- 2:21,
2:24, 3:5, 3:12
demonstrated (1l -
43:18
denied til - 38:12
deny (1)- 46:11
denying [1] - 2:6
Department [61-
30:25, 31:18, 33:15,
33:25, 34:24, 35:20
MIAMI-DADE COUNTY COURT REPORTERS, INC. (305) 373-5600
F
Submitted into the public
Record for items) PZ. 3
on 10/9/2014, City Clerk
is
•
F_- --
department [21 -
31:22, 34:25
department's [1] -
37:11
Design [41- 25:2,
25:4, 28:21, 47:12
design (9) - 3:20,
24:25, 25:3, 27:16,
29:8, 32:22, 37:23,
47:18, 47:19
designated (11 - 6:8
designed (31- 10:14,
10:18, 31:25
desires [11- 33:19
details (11- 25:5
determination (11 -
35:6
determining [11- 5:24
develop [11 - 40:11
developing (11 - 40:12
development [11-
5:25
deviate [1] - 41:2
dictate [11 34:14
different [7] - 5:9,
5:17, 12:25, 15:17,
15:18, 18:24, 24:18
differentiate [1] -
16:13
direct Ill - 14:7
director [11- 36:11
disagree [1] - 22:11
disclosure [21- 39:23,
40:13
disconnected [1] -
11:6
discussed [1] - 44:25
discussion [21-
18:17, 48:3
district[13] - 3:9, 3:15,
3:17, 5:21, 6:2,
24:20, 25:19, 26:23,
28:18, 30:7, 38:17,
47:8, 47:10
District [7] - 2:11, 5:5,
25:2, 25:4, 28:22,
39:2, 47:12
districts [1] - 42:9
divisions [1] - 23:11
DNA [21- 18:19, 18:20
Doctor [11- 23:3
document (1] - 17:2
dominant [61 - 31:14,
32:1, 32:5, 33:6,
37:16, 40:5
done (21- 10:20:
21:16
doubt 121 - 25:15,
25:17
down [7] - 10:11,
11:16, 13:20, 21:25,
22:13, 22:19, 43:13
draw (21 - 7:17, 26:5
drawing [11 - 20:1
Drive (1] - 1:2
drive [1] - 11:16
driveway [5] - 19:21,
28:6, 28:10, 28:12,
29:5
dropped [11 - 15:10
dropping [2] - 21:23,
21:25
due ill -21:12
duly [1] - 2:1
east (1] - 28:5
East [41 - 2:11, 7:4,
24:10, 27:21
effect (4)-10:24,
28:3, 34:3, 42:9
effort [1] - 36:1
either [21- 26:3, 30:6
elements [5] - 13:6,
17:17, 25:8, 26:2,
30:6
elevation [21- 21:1,
23:15
encourage (1) - 40:22
end 11] - 43:14
enter 11l - 11:3
entirely [1] - 45:4
entrance [31 - 40:21,
41:6, 41:7
entrances (11 - 40:23
entry [21 - 10:22,
19:10
Environmental 121 -
2:5, 50:9
environmental [1] -
10:15
ENVIRONMENTAL [11
-1-7
equivalent[1] - 39:16
essentially 121- 10:18,
19:21
established [2] - 35:7,
40:2
et [31- 4:23, 27:13,
36:14
evening [11 - 30:23
exact [11 - 24:13
exactly (2) - 28:2,
42:11
example [41- 8:20,
19:9, 19:16
excuse [2] - 2:16,
42:14
existing [41 - 2:21,
26:9, 28:8, 29:23
exit [11 - 41:7
expanding [11 - 28:22
expecting (11- 24:19
explain 11) - 35:11
explained [11- 35:2
expressing [1] - 4:9
eyes [1] - 24:15
facade [1] - 20:11
faced [11 - 3:16
faces [1] - 11:8
fact [21 - 5:4, 34:23
factor [1]- 5:24
factors [1l - 3:19
familiar [1] - 26:2
family (21- 5:6, 15:8
fan ill -21:12
far[51-9:21, 15:14,
15:16, 20:7, 25:21
fashion [21- 8:20,
9:11
father (1] - 18:22
fauna (11- 23:9
feet [9] - 8:9, 8:10,
12:24, 13:14, 15:2,
15:3, 27:8, 27:9
felt [31- 16:7,16:9,
34:11
FERNANDEZ [191-
4:15, 5:23, 6:4,
31:24, 34:21, 36:22,
37:3, 38:4, 38:9,
40:7, 41:20, 44:24,
45:6, 45:15, 45:22,
46:3, 46:8, 48:1,
49:1
Fernandez [6] - 4:16,
31:20, 33:8, 37:7,
38:6, 39:6
figure (1) - 8:24
finish 14] - 12:25,
13:1, 13:2, 15:24
first [5] - 32:11, 32:18,
38:24, 40:1, 44:3
fit Ill - 20:13
FL[1)- 1:2
floating [3] - 10:23,
11:4, 23:14
floor [51- 4:6, 9:24,
12:12, 13:22, 19:3
floors (51- 4:7, 4:8,
8:11, 8:12, 15:1
flora [1] - 23:8
Florida [2] - 50:5,
50:16
FLR [11 - 4:23
folks [1] - 13:10
following (1l - 3:1
forced [1] - 28:17
foregoing (11- 50:7
forgive [21 - 10:6, 37:5
forming [1] - 4:11
forward [21- 23:22,
29:13
FPR 11] - 50:20
Freedman [2] - 1:16,
48:7
FREEDMAN (41- 6:25,
46:9, 46:19, 48:8
front M - 11:11,
20:11, 37:22, 37:24,
41:23, 41:24, 44:1
frontage [31- 32:3,
42:1, 42:5
frustrating [1l - 29:15
fulfilled (1] - 31:17
full [1] - 39:23
furiously [1] - 26:20
furthermore [11 - 21:1
future [11- 40:11
G
garage [21- 19:22,
28:16
garden [21 -11:3, 11:7
gardens [2] - 11:11,
15:10
Gary [2] - 1:16, 48:9
gate [11 - 19:10
geared [1l - 25:3
Gerald [1] - 48:15
gerald [1]- 1:15
glass [141- 15:24,
16:2, 16:3, 19:3,
19:6, 21:2, 21:4,
21:6, 21:7, 22:6,
22:7, 22:9, 22:14,
25:23
gosh [1] - 24:17
grade [41- 9:3, 9:4,
9:18, 14:21
gree [1l - 27:13
green [41- 10:14,
11:11, 11:15, 23:14
ground [21- 11:25,
12:1
ground -level [11-
12:1
grow [1l - 11:21
guess (51 - 2:3, 4:18,
4:20, 36:22, 45:6
half [1] - 28:1
halfway [1] - 20:24
Hall [1] - 1:1
hand 12] - 28:20,
37:15
hands [21- 27:23,
44:4
happy [3] - 8:14, 9:15,
16:5
Harry [11- 7:15
hear [21 - 7:1, 29:15
heard (5] - 6:3, 24:5,
24:24, 40:16, 50:9
hearing [41- 6:18,
24:3, 43:10, 49:3
HECHT [4] - 43:13,
43:16, 45:5, 48:10
Hecht [31- 1:16, 45:3,
48:9
height [141 - 4:21, 8:9,
12:15, 12:18, 12:19,
13:13, 14:24, 15:2,
15:4, 16:4, 16:19,
27:6, 27:7, 34:18
heights [1] - 12:22
held (11 - 12:14
help (1 ] - 18:17
helped [11- 7:25
HEP (31 - 31:23, 38:17,
40:15
HEPB (21 - 3:1, 50:8
hereby [1 ] - 50:6
hi [1] - 7:5
hiding [11- 13:22
high [31- 12:24,
20:19, 26:14
HISTORIC [1] - 1:7
historic [171- 3:8,
5:21, 14:9, 16:10,
17:8, 17:11, 18:2,
24:20, 25:18, 25:19,
26:18, 26:22, 28:17,
33:20, 36:2, 38:17,
47:8
Historic [71 - 2:4, 2:11,
5:5, 24:10, 32:18,
39:2, 50:9
historically [1] - 20:13
hoc [11- 24:25
hold [5] - 14:16, 21:3,
33:12, 42:18, 42:23
holds (11 - 12:6
homes [41- 5:6, 17:7,
17:8, 19:15
honestly (1l - 39:6
hope (1] - 29:13
Hopper[2] - 1:14,
MIAMI-DADE COUNTY COURT REPORTERS, INC. (306) 373-5600
3
0
•
0
Submitted into the public
Record for item(s) PZ. 3
on 10/9/2014, City Clerk
48:21
HOPPER [331- 4:12,
5:20, 6:3,19:24,
22:25, 23:18, 23:20,
24:4, 30:16, 30:21,
35:17, 40:10, 42:11,
42:16, 42:23, 43:3,
43:7, 43:15, 44:8.
44:11, 44:17, 44:21,
44:23, 45:12, 45:19,
46:1, 46:13, 46:25,
47:25, 48:2, 48:12,
48:22, 48:24
horizontal Ill - 22:13
horizontally (ll -
22:15
horse Ill - 38:8
housing Ill - 15:18
huge (21- 22:5, 25:22
Hugh 121- 1:17, 48:17
Idea [51-11:14, 11:21,
24:21, 32:3, 43:19
ideas [ll - 16:6
Image [31- 19:2,
19:10, 19:16
Immediately [21 -
7:21, 8:7
imperceivable (ll -
32:14
Implement (31 - 9:2,
9:11, 9:16
implemented [ll -
19:19
important lit - 39:1
Impression [ll - 24:23
Improvements (11-
27:24
in -progress [ll -
27:25
inappropriate [21-
4:21, 32:24
Inaudible [i] - 15:7
Inaudible) [11- 40:18
Including [ll - 36:13
Inconvenient Ill -
30:1
Increase [1] - 42:3
Increased (1] - 36:21
indeed 111 - 33:4
indicative Ill - 34:11
inefficient (t1- 38:22
Information (2] - 43:2,
44:15
input [1] - 47:21
inside [21- 12:9, 13:2
inspiration [41- 16:16,
19:5, 19:11, 21:1
Instead [i] - 11:17
integrity (1] - 37:18
interested 121- 6:18,
24:3
Interestingly [21-
7:19, 12:2
Interject (21- 33:7,
37:4
Interpretation [11-
4:20
Interrupt (11- 14:4
interrupting [ll -
42:14
invite (i] - 6:20
Involve [l1 - 2:24
Iron (i 1- 25:7
Issuance [l1 - 35:22
Issue [41- 18:6: 22:20,
27:4, 44:25
Issues [31 - 14:13,
24:1, 28:25
Item 141 - 2:3, 2:19,
4:1, 50:8
Item [51- 1:9, 23:22,
30:17, 43:9, 44:7
J
Japan (11- 21:14
Jorge [l1- 48:11
June [l1 - 44:7
2
KARP (281 - 7:5, 14:2,
14:5, 14:11, 14:14,
14:18, 16:22, 16:25,
17:3, 17:6, 17:9,
17:13, 17:15, 17:25,
18:4, 18:10, 18:15,
20:2, 20:5, 20:16,
21:15, 22:3, 22:10,
22:17, 22:24, 23:3,
23:19, 30:14
Karp [21 - 7:7, 21:13
keep [11 - 12:4
keeping [11 - 7:3
kept (31- 15:1, 15:2,
15:9
kind [41- 14:16, 15:11,
22:1, 24:18
knee Ill - 16:4
knowing [2] - 32:21,
46:23
knowledge Ill - 18:23
Kobi [21 - 7:7, 21:13
Kuperman [i] - 48:11
L M
L1 [ll - 9:25
landscape (21 - 11:12,
23:4
landscaping [31 -
11:21, 23:10, 23:16
language [ll - 15:18
large [31 - 6:12, 6:14,
29:20
large-scale [il - 6:14
larger [21- 3:23, 6:13
last Ill - 25:13
lead (ll - 19:21
least [31- 18:13, 31:8,
40:13
leaves [21- 43:19,
43:22
LEED [l1- 10:15
left (4] - 11:18, 20:14,
34:4
letting [s] - 7:6
level [61- 11:25, 12:1,
32:7, 39:15
Lewis [21- 1:17, 48:13
LEWIS f31- 42:20,
46:6, 48:14
likely [11- 40:3
line [61- 10:3, 12:6,
20:23, 22:13, 31:13,
37:5
lines [11- 22:1
listen [21- 7:9, 16:5
live (31- 13:10, 24:7,
29:24
living [21- 10:13,
15:25
lobby (iI - 13:3
location 1i] - 16:1
look pi] - 8:21, 9:15,
9:25, 11:5, 21:22,
22:5, 25:5, 25:22,
31:4, 40:12, 40:25
looked (91- 7:23,
8:23, 9:7, 9:8, 9:9,
12:21, 24:12, 25:10,
39:4
looking [61 - 20:8,
21:18, 29:3, 37:25,
45:7, 47:6
looks (i] - 31:6
Lorena ill - 50:4
LORENA1i1- 50:20
lost [91 - 27:11
lovely [21- 25:16,
29:19
Lynn [21 - 1:17, 48:13
main 121- 30:3, 42:2
maintain [21 - 29:23,
29:24
major[+l - 42:10
Manhattan [sl - 47:13
Marston [51- 1:15,
18:15, 20:7, 34:22,
48:15
MARSTON [281- 6:22,
13:25, 14:3,14:6,
14:12, 14:15, 16:21,
16:23, 17:1, 17:4,
17:7,17:10, 17:14,
17:16, 18:1, 18:5,
18:11, 30:13, 34:13,
34:16, 41:10, 41:15,
41:19, 44:10, 46:15,
47:2, 47:17, 48:16
masonry [+1 - 12:25
mass ill - 4:11
massing [41- 7:2,
10:7, 11:15, 16:18
massive [t] - 21:22
match [sl - 14:22,
24:19, 31:25, 32:5,
33:5
matching Ill - 20:23
material [21- 9:5, 9:8
materials M - 3:19,
8:16, 15:17, 15:22,
23:7, 23:8, 25:8
matter [r1- 46:10
maximize Ill - 27:6
maximizing 11] - 27:7
mean [91- 20:6, 20:14,
25:21, 26:4, 26:18,
32:8, 35:16, 43:22,
47:3
meaning [l1- 12:4
means (21 - 28:14,
29:2
meet (4) - 33:25,
34:24, 35:9, 36:9
meeting [21- 25:12,
37:20
Megan [i1- 1:24
Member p] - 1:18
MEMBER (5o] - 6:22,
6:25, 13:25, 14:3,
14:6,14:12, 14:15,
16:21, 16:23, 17:1,
17:4, 17:7, 17:10,
17:14, 17:16, 18:1,
18:5, 18:11, 19:25,
20:3, 20:6, 21:11,
21:16, 22:4, 22:16,
22:23, 30:13, 34:13,
34:16, 41:10, 41:15,
41:19, 42:20, 43:13,
43:16, 44:10, 45:5,
46:6, 46:9, 46:15,
46:19, 47:2, 47:17,
48:6, 48:8, 48:10,
48:14, 48:16, 48:18,
48:20
member 111- 6:22
Members [21 - 1:13,
30:24
mentioned [11- 42:15
met [5l - 24:11, 30:9,
30:12, 34:25, 39:20
metal [61 - 8:22, 13:4,
19:2,19:7, 19:10,
25:25
MIAMI (11- 1:1
Miami 1161- 1:2, 2:4,
5:4, 5:8, 26:16,
27:24, 31:11, 34:2,
34:14, 34:18, 35:9,
36:9, 37:18, 42:2,
42:8, 50:16
Miami -Dade [i1-
50:16
midi] -21:10
middle [s] - 22:14
mind [21- 9:15, 39:5
minute [21- 14:1,
38:16
mixed 131- 2:18, 5:12,
7:20
mixed-use [31- 2:18,
5:12, 7:20
model [31- 7:25,
13:23
modern [1] - 24:17
modifications [U -
9:14
month [11- 46:22
most [61- 4:25, 16:9,
31:4, 32:17, 38:25,
39:10
mostly [i] - 10:11
mother[i] - 18:22
motion (31- 44:6,
48:3, 48:23
move [41- 4:2, 22:19,
29:13, 44:6
moved [i]- 44:7
MR [601- 4:15, 5:23,
6:4, 7:5, 14:2, 14:5,
14:11, 14:14, 14:18,
16:22, 16:25, 17:3,
17:6, 17:9, 17:13,
17:15, 17:25, 18:4,
18:10, 18:15, 20:2,
20:5, 20:16, 21:15,
22:3, 22:10, 22:17,
MIAMI-DADE COUNTY COURT REPORTERS, INC. (305) 373-5600
4
•
•
0
Submitted into the public
Record for item(s) PZ. 3
on 10/9/2014, City Clerk
22:24, 23:3, 23:19,
30:14, 30:23, 31:24,
33:7, 34:15, 34:21,
36:22, 37:3, 37:4,
38:4, 38:5, 38:9,
39:3, 40:7, 40:19,
41:13, 41:17, 41:20,
43:5, 44:24, 45:6,
45:15, 45:22, 46:3,
46:8, 46:20, 47:16,
47:24, 48:1, 49:1
MS [231- 2:15, 23:24,
24:6, 30:19, 35:21,
37:2, 42:13, 42:17,
42:22, 43:1, 44:14,
44:19, 44:22, 48:5,
48:7, 48:9, 48:11,
48:13, 48:15, 48:17,
48:19, 48:21, 48:23
mullion 111 - 22:14
Z
name [41- 7:6, 23:22,
24:7, 30:22
National (1) - 50:4
NE (21- 1:10
necessarily [31- 33:1,
36:24, 41:11
necessary [11- 4:2
need [21- 31:8, 33:1
needs (1) - 39:20
neighborhood [281-
5:2, 7:24, 8:2, 8:17,
9:7, 10:11, 11:1,
11:24, 12:17, 13:24,
14:10, 14:23, 15:8,
15:19, 16:11, 17:8,
17:12, 18:3, 18:8,
19:23, 20:11, 21:19,
23:7, 25:10, 25:12,
29:7, 29:17, 38:3
neighborhoods (1] -
5:14
neighboring [21-
12:20, 15:3
neighbors [21 - 12:3,
25:12
never [11 - 4:5
new [4] - 2:7, 2:18,
2:23, 29:11
New [11- 1:9
next (3)- 22:7, 26:11,
29:14
nice [21- 15:19, 28:16
north (11- 32:2
Northeast (1o) - 2:9,
2:10, 7:19,19:1,
23:11, 24:8, 26:10,
28:11, 29:5, 31:5
note 111 - 32:2
notion (1] -11:22
number [21- 27:23,
45:11
Number [21 - 7:5,
18:16
.2C
oak 111 - 29:24
objection [1] - 45:21
obtain 11] - 36:23
obviously 111 - 9:12
occupants [11- 25:16
OF [21- 1:1, 50:1
Office [31- 1:20, 1:23,
3:13
Officer (21- 1:24, 4:19
official (1] - 30:18
old [21- 34:19, 34:21
onboard [1] - 29:12
one [151- 3:15, 4:3,
12:4, 22:8, 26:4,
26:24, 26:25, 28:3,
28:4, 32:10, 40:19,
42:1, 42:21, 44:5,
45:8
one-story [11 - 22:8
one-way [21- 28:4,
42:21
open [41 - 11:18,
24:15, 27:13, 43:11
opinion [1] - 25:4
opposed [1] - 47:11
oriented [1 ] - 37:23
ought [11 - 47:23
ourselves 11l - 9:2
overall 111- 13:13
overhang [21- 19:4,
19:6
own [11 - 29:25
package [11- 7:18
page (1l - 13:19
pages [11- 50:11
Pan [11 - 1:2
paneling 111 - 26:1
panels [11- 26:1
panes [1] - 25:23
panoramic [11 - 20:9
Paola [11- 35:1
parameters [11- 14:17
parapet [21- 20:20,
20:21
parcels [1] - 3:18
parking (71- 9:1, 9:3,
9:18, 10:16, 14:20,
28:15, 28:24
part [21- 36:20, 47:10
particular [31- 4:10,
18:7, 27:4
particularly 111 - 6:11
Pass (21- 8:14, 9:4
passes [1] - 48:23
pedestrian (21- 42:3,
42:4
people [21 - 25:13,
29:16
people's 11l - 29:25
per [11- 31:7
perception (1] - 32:9
perhaps I1] - 6:20
period 111 - 39:11
permit 131 - 35:22,
37:13, 37:15
personally [11- 21:24
perspective [21-
37:11, 37:12
phonetic 111 - 11:13
photographs (1] - 8:5
pick (1] - 26:4
pictures (31- 12:21,
13:20, 17:5
piece (1] - 17:23
pieces 111 - 17:21
place 111 - 27:6
places (11 - 21:14
plan [1sl - 9:24, 12:13,
24:13, 25:11, 27:21,
28:5, 31:2, 33:16,
35:15, 35:16, 36:8,
41:1, 41:12, 42:15
planning [31- 36:3,
36:11, 36:12
Planning [8] - 23:25,
30:24, 31:17, 33:14,
33:24, 34:24, 35:25,
40:14
plans [111- 3:2, 3:3,
3:7, 3:10, 3:14, 9:20,
10:1, 11:5, 25:1,
27:22, 35:19
plant [21- 9:7, 23:8
plants 111 - 23:8
pleasure [2] - 7:8,
14:18
plenty [21 - 47:21
podium [1] - 32:4
point [31- 4:3, 5:23,
18:25
pointblank 111- 39:12
poll 111- 43:18
popped [11 - 24:15
porches [31- 19:13,
19:14, 19:18
position [21- 4:25,
45:9
possibility [11- 40:4
possible (3] - 9:21,
10:6, 23:17
post [11 - 24:25
1 post -hoc [l] - 24:25
power [1) - 34:7
powers [11- 39:17
precarious [11- 39:22
precisely [11- 3:21
predominant 111 -
35:5
prefer [11 - 41:6
Present [i] - 1:13
presented [51- 3:4,
25:1, 31:3, 31:23,
41:1
presenting [6] - 31:14,
31:18, 37:19, 37:21,
37:23, 39:9
PRESERVATION (1] -
1:7
Preservation [7] -
1:23, 1:24, 2:5, 3:13,
4:19, 32:19, 50:10
preservation [1l - 36:3
president [1] - 26:21
prevalent [1] - 40:6
previous 111- 26:21
previously (11- 45:1
primary Ill - 40:24
principal [21- 42:1,
42:4
proactive 111- 28:25
problem (3] - 18:6,
38:1, 38:2
procedural Ill - 40:8
procedure (3)- 31:15,
35:8, 38:8
proceeding [2] - 50:8,
50:13
1 process [6] - 7:13,
32:20, 32:21, 37:13,
39:5, 39:25
Professional [2] -
50:5
Program [11- 27:25
progress [1l - 27:25
prohibited [1] - 42:6
project [301- 2:18,
3:16, 3:22, 4:22, 6:6,
7:3, 7:8, 7:16, 8:24,
9:4, 9:12, 19:8,
19:12, 22:15, 27:23,
27:25, 31:3, 31:21,
33:10, 33:20, 33:23,
35:3, 35:11, 37:18,
38:18, 39:4, 41:8,
42:18, 42:20, 45:10
projecting 11l - 25:24
projects [21- 5:13,
35:13
properly 111- 46:21
properties 121- 12:20,
28:9
property [91- 3:5,
3:11, 10:3, 12:6,
28:10, 31:13, 31:19,
41:25, 42:5
proposal [41 - 4:10,
28:12, 29:21, 30:5
proposed [61- 3:2,
3:5, 3:12, 7:3, 32:22,
36:8
protect 111- 42:2
protected [1l - 10:21
proverbial [11- 38:7
provided [1] - 3:10
provision [1i - 31:10
public [41- 23:21,
24:5, 43:8, 43:10
pull [1] - 10:2
pulled (21- 9:21, 10:4
punch [1] - 17:21
purpose [1] - 42:1
purposely [21- 31:24,
31:25
purview 111- 2:25
put (101- 9:10, 9:18,
14:20, 14:21, 18:7,
19:25, 20:3, 42:18,
42:23, 44:4
putting [11- 39:21
PZAB [1] - 39:17
6
quality (1] - 25:5
questions (1] - 6:23
quiet [11 - 30:14
Qu(rke 11] - 1:21
QUIRKE p1- 23:24,
30:19, 35:21, 37:2,
44:14, 44:19, 44:22
quite [1] - 12:23
railing [1l - 19:7
rails [21- 8:21, 8:22
RAMOS [11- 50:20
Ramos [11- 50:4
rather [4] - 6:10,
39:20, 40:24, 43:17
reading [11 - 41:21
really [6] - 4:8, 22:6,
24:17, 24:18, 24:19
MIAMI-DADE COUNTY COURT REPORTERS, INC. (305) 373-5600
9
rI
•
Submitted into the public
Record for item(s) PZ. 3
on 10/9/2014, City Clerk
realm (11 - 42:3
reason [21- 3:19, 13:6
reasons Ill - 6:5
recent (i1 - 36:1
recently Ill - 33:23
recommendation [1] -
23:2
recommendations Ill
- 4:4
record [4] - 23:23,
30:22, 41:21, 50:12
reduce [21- 8:25, 33:2
reduced [1) - 45:25
references [11 - 25:20
reflect Ill - 15:12
reflected [l i - 34:10
reflecting [1) - 17:11
reflects (11 - 16:8
regards (21- 33:9,
33:22
Registered Ill - 50:4
relate (1] - 8:4
relating (11- 24:2
relation [1) - 41:13
relationship Ill -
41:11
relief[l] - 39:19
remedy [11- 31:11
remember[ iI - 27:10
remind Ill - 5:20
reminiscent [ll - 10:9
remove Ill - 29:20
rendering (21- 13:8,
34:8
repeat [l ] - 4:1
replied IU - 26:24
report [31- 2:14, 4:14,
5:19
REPORTER [21- 50:1,
50:21
Reporter [21- 50:5,
50:6
require (11- 36:10
requirement [2] -
30:8, 41:3
requirements [3] -
34:1, 36:6, 36:9
requires [11- 33:17
residences [9] - 8:11,
8:13, 9:22, 10:5,
10:9, 10:10, 11:8,
15:3, 15:14
residential [16] - 5:2,
5:13, 9:19, 11:23,
12:19, 12:23, 13:15,
13:16, 14:25, 15:8,
20:22, 26:3, 26:25,
27:22, 28:18, 30:6
Resolution Ill- 2:4
respect 121 - 21:12,
40:9
respond [11- 4:13
response [21- 4:18,
23:1
rest[41 - 3:25, 4:22,
5:8, 11:24
restaurant (1] - 12:8
reuse [21 - 3:4, 3:11
review [21- 33:16,
33:20
reviewed (41- 3:25,
31:22, 33:11, 33:14
revision (1) - 36:25
rich [1] - 18:9
right-hand Ill - 28:20
right-of-way [41- 6:8,
6:10, 6:11
roll [i] - 48:4
roof [2] - 10:17, 2 5:2 5
rooftop [4] - 13:5,
13:6, 13:11, 13:12
room Ill - 10:13
rooms (1] - 15:25
RPR Ill - 50:20
rules [31- 34:19,
34:21, 40:8
running (11- 28:5
RYAN [1] - 48:18
Ryan [21- 1:17, 48:17
S
Saw [31- 8:5, 19:17,
24:14
scale [251- 3:19, 4:11,
4:20, 4:23, 5:1, 5:9,
5:10, 5:24, 6:6, 6:13,
6:14, 9:1, 14:13,
14:19, 15:15, 16:7,
19:22, 26:7, 26:9,
32:6, 33:2, 45:2,
45:9, 45:10, 45:23
scenario [1] - 28:8
Schmitt[1) - 1:24
SCHMITT[is1- 2:15,
42:13, 42:17, 42:22,
43:1, 48:5, 48:7,
48:9, 48:11, 48:13,
48:15, 48:17, 48:19,
48:21, 48:23
second [5] - 22:2,
32:8, 32:13, 44:8,
44:10
second -story [11-
32:8
secondary [31- 40:24,
41:23, 41:24
see [i 51- 8:15, 9:20,
9:23, 10:20,11:6.
12:12, 13:18, 19:19,
21:2, 22:20, 23:14,
29:13, 30:4, 32:15,
47:9
seeing [31- 24:13,
43:21, 47:7
seeking [i] - 39:19
seem 11] - 27:5
selected Ill - 12:24
separate [11- 15:6
separation [11- 21:8
separations [1] -
15:13
September (1] - 50:15
series Ill- 17:5
serious (21- 27:17,
29:8
setback [231- 27:11,
27:12, 31:5, 31:7,
31:8, 31:12, 31:14,
32:1, 32:3, 32:5,
32:7, 32:8, 32:12,
32:23, 33:6, 34:14,
34:20, 35:4, 35:5,
35:7, 37:17, 37:22,
40:5
setbacks [21- 34:2,
36:8
setup Ill - 28:9
several p] - 26:7
shade (l] - 10:16
shared Ill - 27:18
show 141- 9:6, 9:23,
13:21, 17:14
showed 121- 12:22,
25:11
showing Ill - 40:4
shown Ill - 8:6
Sic) (2) - 40:21, 41:9
side [51- 12:4, 23:12,
26:3, 26:4, 42:7
sidewalk (31- 12:7,
32:14, 32:16
signage 141- 20:20,
21:25, 22:12, 22:18
significance [21-
5:15, 6:1
significantly p 3:23
signoff [l1 - 40:13
similar [31- 12:15,
12:16, 32:10
single (4) - 5:6, 7:22,
15:8, 20:20
single-family [21- 5:6,
15:8
single -story [21- 7:22,
20:20
sit [11 - 8:13
site (21- 3:8, 31:2
sitting Ii] - 7:9
situation [1l - 39:22
SIX [2l- 13:15, 13:16
size (3) - 4:22, 8:25,
19:22
sizes (21- 10:8, 15:21
slice[ q - 15:6
small [1] - 3:18
smaller [1] - 12:11
smallest [i1- 26:11
so.. [1] - 35:16
softening [11 - 22:2
solid [11 - 22:21
somewhat [2] - 12:23,
22:7
somewhere (l1- 26:6
soon [1] - 24:4
sorry (3) - 9:20, 11:19,
14:2
sort (4] - 5:17, 25:7,
25:8, 26:14
sought [1] - 31:15
sounds Ill - 25:17
South Ill - 4:16
Southwest [1 ] - 5:11
space [4] - 10:13,
12:9,12:11, 27:13
spaces [ll - 12:10
SPEAKER p - 46:2
speaking [11 - 24:9
speaks (ll - 5:19
Special [i] - 1:9
special (21- 2:6, 42:9
specifically [s] - 4:6,
7:16, 8:1, 13:22,
14:19, 20:17, 29:10,
31:4
spend [21- 47:4, 47:5
spoken [21- 4:6, 37:8
St [i1 - 1:10
staff 141- 2:13, 4:14,
23:1, 30:19
standard [1] - 26:13
standing [21- 11:20,
22:5
stands Ill - 41:4
start [21- 2:13, 12:4
state [il - 42:19
stating Ill - 33:8
stay [21- 12:24, 43:20
step [31 - 32:18, 37:13,
38:24
STEPHAN Ill - 24:6
Stephan Ill - 24:7
still [1] - 2:12
stone [6]- 8:18, 9:8,
12:25, 13:1, 15:23
stories [41- 22:2,
26:23, 45:11, 45:24
story [201- 7:20, 7:22,
8:6, 9:19, 10:10,
11:9,11:10, 11:22,
20:19, 20:20, 20:22,
22:6, 22:8, 26:13,
26:17, 27:3, 27:5,
32:8, 32:12, 32:13
straw [21- 43:17,
47:22
straws [l1- 43:21
street 17] - 6:12, 12:5,
13:21, 28:13, 32:9,
32:15, 42:7
Street [5) - 2:10, 5:11,
19:2, 24:8, 28:4
streets [21 - 6:12,
42:10
strict Ill - 14:16
strip [11 - 21:23
structure [4) - 11:9,
11:10, 11:23, 12:25
structures [5) - 2:21,
3:24,10:17, 10:25,
20:24
stucco [21- 15:22,
15:23
study [ll - 23:6
style [21- 16:13, 45:8
subject [2) - 35:19,
36:17
subsequent [l I -
33:15
substantial [21-
27:16, 37:2
substantially [i1 -
18:24
subterranean Ill -
10:16
suggest IiI - 40:10
suggestions (31 -
9:13, 16:5, 43:12
supposed [1] - 46:23
surprised Ill - 43:17
surrounding Ill - 3:23
sworn) Ill - 2:1
T
T-4 [1] - 41:22
T4L[i1-4:24
taller [21- 26:10,
26:11
tea [21- 43:18, 43:22
tenets Ill - 42:2
terms (5] - 4:22, 26:7,
34:16, 34:18, 34:20
terra [n - 9:9
terrace Ill- 13:12
terrazzo [21- 8:18,
MIAMI-DADE COUNTY COURT REPORTERS, INC. (305) 373-5600
L
0
77
•
Submitted into the public
Record for item(s) PZ. 3
on D�1912014, City Clerk
13:2
terrific [11 - 29:18
Tessa (11- 26:24
texting [11 - 26:20
thereupon (11- 49:3
they've [1]- 27:10
thinking [11- 39:7
third [21- 22:2, 27:3
three [21- 4:7, 26:23
tie [11 - 22:14
ties [2] - 35:15
Timothy (21- 1:15,
48:5
tiny [1] - 27:1
title (1) - 25:2
today [31- 7:14, 24:9,
24:13
Todd [2] - 1:18, 48:19
took [211- 9:1, 9:18,
9:19, 11:13, 13:20,
14:20, 14:25, 15:16,
15:20, 19:4, 19:7,
19:11, 19:13, 19:20,
20:21, 20:25, 21:2,
21:4, 22:13, 23:5,
23:9
top [6] - 10:5, 11:25,
13:16, 15:1, 20:4,
25:25
total (11- 13:15
totally (1] - 44:3
touch [21- 28:16, 31:1
toward [1] - 25:3
towards '1'-
37:24
traditional [11- 26:19
traffic [61- 27:20,
28:6, 28:13, 28:23,
41:11, 42:15
Tragash (21- 1:18,
48:19
TRAGASH (1] - 48:20
TRANSCRIBE [1] -
50:7
transcript p] - 50:11
transect [21- 4:24,
41:22
transition [31- 5:1,
5:10, 5:17
tree (21- 29:17, 29:20
trees [7] - 13:22,
15:13, 23:10, 29:16,
29:22, 29:25
trellis (31- 10:22,
11:19, 19:20
trellises [1] - 13:3
tried [21- 8:16, 8:24
tropical [21- 10:24,
11:2
true [11 50:12
try [21- 8:3, 26:5
trying [41 - 18:6,
28:25, 33:5, 46:4
Tuesday [11- 1:3
tum [11 - 29:5
turns 121- 28:19,
28:20
two [221- 3:17, 4:7,
7:20, 8:6, 8:11, 8:12,
9:19, 10:10,11:9,
11:10, 11:22, 14:25,
18:21, 20:19, 20:22,
20:24, 22:6, 26:13,
27:10, 28:1, 28:9,
45:7
two -and -a -half [11 -
28:1
two-story [111- 7:20,
8:6: 9:19, 10:10,
11:9, 11:10,11:22,
20:19, 20:22, 22:6,
26:13
type [41- 5:1, 5:25,
6:16, 16:7
typos [31- 6:12, 15:18,
36:17
typical [11- 9:24
typology [11- 16:8
Uguccioni [11- 12:22
ultimately [11- 38:14
under [21- 2:25, 35:9
underground (11-
28:15
understood [,] -
35:12
UNIDENTIFIED [11-
46:2
unique (1] - 15:20
unit 121- 11:2, 11:3
units (5) - 10:17,
13:16, 15:5,19:18
unless [11 - 30:15
UP [221-10:6, 10:7,
10:10, 11:14, 11:18,
12:10, 12:18, 13:11,
13:20, 15:5,16:4,
16:17, 16:18, 19:25,
20:4, 22:1, 30:20,
43:11, 43:21, 44:1,
44:4, 47:22
upheld [1] - 46:17
upper [31- 32:7, 47:12
V
variance (11- 35:5
ventilated [21- 10:19,
11:19
Vernacular[i] - 8:17
vertical [41- 11:7,
11:11, 15:10, 23:11
vetted [11- 31:21
via [1] - 11:4
Vice [1; - 1:15
VIDEOTAPED [21 -
50:8, 50:12
Vista [41- 2:11, 7:4,
24:10, 27:21
vote [1] - 46:10
votes [11- 47:22
W
wait [41- 38:16, 45:12
walver[1o1- 32:20,
32:21, 35:14, 35:15,
36:13, 37:13, 38:11,
38:12, 40:1, 40:2
walk [41- 11:2, 12:7,
12:9, 25:9
walking (1] - 10:22
walkway (1] - 11:6
wall [1] - 17:19
wants (21- 29:24,
30:16
warrant [11- 36:14
waste I1] - 38:21
ways [1] - 45:7
weekend [1] - 25:13
Wendy [11 - 24:7
west [4] - 9:22, 10:3,
11:9, 23:12
whoa [1] - 24:16
whole [4] - 9:3, 13:24,
17:25, 24:14
width (41- 10:12,
12:14, 14:24, 15:9
widths (11- 15:6
William (21 - 1:14,
48:21
willing [1]- 34:17
window [21 - 17:18,
27:1
wishes [11- 43:8
wishing [11- 23:21
witnesses [11- 2:1
wonderful 121 - 25:17,
29:18
wood [11- 26:1
worry 111- 37:20
wow [1] - 24:16
wrought [11- 25:6
year [4] - 29:14, 46:13,
46:18, 46:19
years (11- 28:1
Z
zero [41- 31:7, 32:2,
37:22, 37:24
Zoning m - 23:25,
30:25, 31:17, 33:14,
33:25, 35:25, 40:14
zoning [1 1] - 24:2,
31:22, 32:24, 33:11,
34:25, 35:10, 36:3,
36:6, 36:12, 37:9
MIAMI-DADE COUNTY COURT REPORTERS, INC. (305) 373-5600
7