[1. CASE FILE COA (SP) 2025-023: An application for the issuance of a Special Certificate of Appropriateness for the property at 2615 Alhambra Circle, a Contributing Resource within the “Alhambra Circle Historic District,” legally described as Lots 21 & 22 Block 10, Coral Gables Section “D,” according to the Plat thereof, as recorded in Plat Book 25, at Page 74, of the Public Records of Miami-Dade County, Florida. The application requests design approval for additions and alterations and sitework.]

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CERTIFICATES OF APPROPRIATENESS. AND WE'RE GOING TO START WITH CASE FILE C O S P 2020 5-023.

AN APPLICATION FOR THE EXISTING. FOR THE ISSUANCE OF A SPECIAL CERTIFICATE OF APPROPRIATENESS FOR THE PROPERTY LOCATED AT 2615 ALHAMBRA CIRCLE, A CONTRIBUTING RESOURCE WITHIN THE ALHAMBRA CIRCLE HISTORIC DISTRICT, LEGALLY DESCRIBED AS LOTS. 2122 BLOCK TEN, CORAL GABLES, SECTION D PLAT PAGE PLAT BOOK 25, PAGE 74 MIAMI DADE APPLICANT REQUEST DESIGN APPROVAL FOR ADDITIONS AND ALTERATIONS TO THE SITE WORK. PRESENTATION. CAN YOU PUT THE POWERPOINT UP, PLEASE? I'LL START. OKAY, THERE WE GO. IT'S THE LOCATION MAP OF THE PROPERTY IN QUESTION. IT'S ON ALHAMBRA CIRCLE, JUST NORTH OF SEVILLA AVENUE. IT IS A, A A CONTRIBUTING STRUCTURE WITHIN THE ALHAMBRA CIRCLE HISTORIC DISTRICT, WHICH WAS DESIGNATED IN 2008. IT IS A LATER ERA HOME BUILT IN 1951, THAT FIT WITHIN THE PERIOD OF SIGNIFICANCE FOR THE DISTRICT, WHICH IS WHY IT'S CONTRIBUTING AND IT'S HAD VERY FEW ALTERATIONS. THIS IS A PHOTO FROM 1977, WHICH IS THE EARLIEST PHOTO THAT WE HAVE OF THE PROPERTY. THE APPLICATION REQUESTS APPROVAL FOR APPROXIMATELY 390 SQUARE FOOT ADDITION TO THE NORTHEAST CORNER OF THE HOME. IT'S ATTACHED TO AN ALREADY ALTERED AREA OF THE HOUSE, AND SO IT WILL HAVE MINIMAL IMPACT ON THE EXISTING HISTORIC STRUCTURE. NEW IMPACT WINDOWS AND DOORS ARE ALSO PROPOSED. FULL INTERIOR REMODELING AND SOME VERY LIMITED SITE WORK. NO VARIANCES WERE REQUESTED. THIS WAS APPROVED BY THE BOARD OF ARCHITECTS WITH CONDITIONS THAT MAINTAIN THE CHIMNEY ON THE EXTERIOR AS PER HISTORIC AND TO REMOVE ALL THE ACCORDION SHUTTERS WHICH I BELIEVE ARE HAVE ALL BEEN ACCOMMODATED. WE HAVE VERY MINOR CONDITIONS THAT ARE ON THE LAST TWO PAGES OF YOUR REPORT, AND I'LL TURN IT OVER TO THE ARCHITECT.

WONDERFUL. OKAY. CAN WE HAVE A PRESENTATION FROM THE PROPERTY OWNER OR THE REPRESENTATIVE? GOOD AFTERNOON. BOARD MICHAEL. GOOD AFTERNOON, JAMES SMITH, J. S GROUP ARCHITECTS PLANNERS HERE IN MIAMI. THIS KIND OF NONDESCRIPT HOME ON ON. PULL IT DOWN A LITTLE CLOSER, MR. SMITH.

OKAY. THANK YOU. OKAY. THE MINOR ADDITIONS IN THE BACK OF THE HOME IS THE NORTHEAST CORNER. SO THE ANYTHING THAT WE'RE DOING IS ON THE ON THE REAR. LET'S SEE WHAT WE'VE GOT.

ONE OF THE THINGS I THINK THAT WE STRIVE TO DO IS THE PHOTO THAT YOU SEE, I'M NOT REALLY SURE WHAT THE SPECIFIC YEAR WAS, BUT THERE ARE. I'M SORRY. OKAY. 77 AND THE HOME WAS CONSTRUCTED IN 51 OR 252. SO IT'S DOUBTFUL THAT THE AWNING WINDOWS WERE ORIGINAL. SO ONE OF THE THINGS YOU'LL SEE IN OUR OUR PROPOSAL IS THAT WE'RE GOING BACK TO WHAT WE BELIEVE WAS MORE WOULD HAVE BEEN MORE APPROPRIATE OR MORE OF THE GENRE AT THE TIME, WHICH IS CASEMENT WINDOWS WITH HORIZONTAL MUNTINS ONLY APPLIED HORIZONTALLY. SO. THESE ARE CONTEXT PHOTOS FOR FOR THE NEIGHBORHOOD. THESE ARE THIS IS THE HOUSE TO THE NORTH ON THE SAME SIDE ACROSS THE. DIRECTLY ACROSS THE STREET. AND THIS IS THE TO THE SOUTHWEST AND NORTHWEST. AND THIS IS THIS IS THE HOME. NOW, ONE OF THE THINGS THAT CAME UP AT THE BOARD OF ARCHITECTS MEETING IS THE THE APPLIED SHUTTERS THAT ARE THERE ARE KIND OF DISPROPORTIONATELY OUT, OUT OF SCALE. THEY'RE WAY TOO. THEY'RE A LOT NARROWER THAN WHAT WAS ON THE HOUSE ORIGINALLY. WE HAD MADE A PROPOSAL AT ONE TIME JUST TO JUST TO REMOVE THOSE. BUT THEY, THEY'VE BEEN RETAINED.

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SO. AGAIN, ANOTHER, ANOTHER VIEW OF THE HOME FROM THE FRONT. NICE 50S, MID-CENTURY CLASSIC LOOK. AND NOTHING ON THE OUTSIDE IS GOING TO CHANGE EXCEPT A FRESH UP. SO. AND THIS IS THE REAR OF THE HOME. THERE WAS A COMMENT FROM STAFF THAT WE DIDN'T SEE UNTIL YESTERDAY ABOUT THE THE AWNING CANOPY. WE'RE NOT PROPOSING THAT THE AWNING BE REMOVED IN THE BACK.

ALL WE'RE GOING TO DO IS PUT A DIFFERENT FABRIC COVER ON IT. THAT'S THAT'S IT. NOW THE ADDITION IS GOING ON THE RIGHT SIDE OF THE OF THE VIEW HERE. WHICH WILL CONVERT THAT SPACE TO A MASTER BEDROOM SUITE. AND WE'RE GOING TO REPLAN JUST ABOUT EVERYTHING YOU SEE ON THE STEPS IN THE EXTERIOR. AGAIN THE AWNING. ■THIS IS THE AREA OF WORK. OKAY, SO THE. THIS IS THE ADDITION AREA IN THE BACK FACING EAST AND NORTH. THIS IS THE EXISTING PLAN. NOW WITH THE THIS ADDITION THAT WAS DONE IN THE 60S IS THE SUBJECT OF THE MAJOR RENOVATION TO THE SPACE.

AND THIS. AND THE KITCHEN AT THE INTERIOR. AGAIN, THIS IS THE PROPOSED FLOOR PLAN. THE.

THERE ARE NO POOL. POOL. NO POOL. TERRACE CHANGES IN THIS AREA. THAT'S ALL GOING TO BE JUST RESURFACED. THE. THE ADDITION TO THE OUTSIDE IS IN THESE TWO AREAS HERE WITH. WITH A SMALL TERRACE. RIGHT? RIGHT AT THIS LOCATION. THESE ARE EXISTING AND PROPOSED ELEVATIONS. AGAIN, WE'VE. WE'VE SHOWN THAT THE THE WINDOWS, THE SHUTTERS ARE GOING TO BE REMOVED. THE WINDOWS ARE GOING TO BE REPLACED WITH THE CASEMENTS. AND I THINK IT'S A PROBABLY A MORE TRADITIONAL LOOK THAN THAN WAS ORIGINALLY PROPOSED. IN THE REAR. ACTUALLY, I THINK THAT WELL, I DON'T KNOW IF THE HOUSE WAS I DON'T KNOW WHAT YEAR THE HOUSE WAS DESIGNATED. CARA OH EIGHT. SO THE, THE ADDITION OF THE, THE ADDITION ON THE NORTHEAST CORNER THAT WAS DONE AT THE TIME CERTAINLY WAS NOT DONE WITH ANY KIND OF OVERVIEW FROM HISTORIC. AND THAT'S ABOUT WHAT WE HAVE. IT'S PRETTY STRAIGHTFORWARD. MICHAEL, THANK YOU VERY MUCH. THANK YOU VERY MUCH. BOARD QUESTIONS. I'VE GOT ONE, MR. SMITH, ON THE FRONT ELEVATION, YOU'RE REPLACING A WINDOW. IT LOOKS LIKE IT'S PROBABLY A BATHROOM WINDOW.

THEY'RE ALL SIZE FOR SIZE. YEAH, IT'S A B SIZE. IS THAT GOING TO HAVE BUTTONS IN IT OR IS IT JUST GOING TO BE. BECAUSE I'M NOT SEEING ANYTHING IN THE DRAWING ON THAT. IT LOOKS LIKE IT'S JUST A PUNCH WINDOW. LET ME SEE WHAT. SO ONE OF OUR CONDITIONS IN STAFF REPORT WAS THAT THE WINDOW MUNTIN PATTERN SHOULD MORE CLOSELY ALIGN WITH THE ORIGINAL WINDOWS THAT ARE WERE AWNING. AND WE'VE DONE THAT. THEY CAN BE CASEMENT TYPE WINDOWS, BUT THEY NEED TO HAVE LIKE KIND OF A HORIZONTAL LOOK TO THEM. WE'VE DONE THAT ELSEWHERE ON THE STREET ON ALHAMBRA FOR THIS, THIS TYPE AND STYLE OF HOUSE. SO WE WILL WORK WITH THEM TO ADJUST THE MUNTIN PATTERN AROUND THE PROPERTY. YEAH. OKAY. WELL, THANK YOU VERY MUCH. THAT ANSWERS MY QUESTION. BOARD. MISS ALVAREZ. MISS SPAIN. MR. GARCIA, I THINK THE ONLY QUESTION IS THE STAFF HAD 11 CONDITIONS. ARE YOU. YOU'RE FINE WITH THE 11 CONDITIONS.

JUST WANT TO HEAR IT. WE WILL. OKAY. THANK YOU. OKAY, MR. SILVA, NO QUESTIONS. LET THE RECORD SHOW THAT MISS ROLANDO HAS ARRIVED. MR. ROLANDO, DO YOU HAVE ANY QUESTIONS ABOUT THE. ABOUT THE PRESENTATION YOU JUST MISSED? I THINK IT WOULD BE BEST IF I DID NOT CAST A VOTE ON THIS. I THINK THAT WOULD BE FINE. WE STILL HAVE A QUORUM, MISS SHIELD. ANY QUESTIONS? NO. NO QUESTIONS. ALL RIGHT, ALL RIGHT. BOARD. IF THERE'S NOTHING ELSE ANY

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MEMBERS OF THE COMMUNITY WOULD LIKE TO SPEAK. IS THERE ANYONE ON ZOOM OR ANYONE IN FAVOR OF THIS IN THE AUDIENCE? OKAY. IF NOT, WE'LL CLOSE THE PUBLIC HEARING AND BRING IT BACK HERE TO THE BOARD. MR. SMITH, THANK YOU VERY MUCH. MY PLEASURE. CLEAR PRESENTATION. MY PLEASURE.

THANK YOU. BOARD. WHAT'S YOUR PLEASURE? I'M HAPPY TO MAKE A MOTION. MOTION? MOTION TO APPROVE THE APPLICATION FOR THE ISSUANCE OF A SPECIAL CERTIFICATE OF APPROPRIATENESS FOR THE PROPERTY AT 2615 ALHAMBRA CIRCLE, A CONTRIBUTING RESOURCE WITHIN THE ALHAMBRA CIRCLE HISTORIC DISTRICT. AND DESIGN APPROVAL FOR THE ADDITIONS AND ALTERATIONS IN SITE WORK WITH THE 11 CONDITIONS AS PROVIDED IN THE STAFF REPORT. VERY GOOD. DO WE HAVE A SECOND? I'LL SECOND. ALL RIGHT. WE HAVE A SECOND FROM MISS SPAIN. WOULD YOU PLEASE CALL THE ROLL? MISS ALVAREZ? YES, MISS SHIELDS. YES, MISS. EXCUSE ME. I KNOW MISS SPAIN.

YES, MR. GARCIA PONCE. YES, THREE, MR. SILVA. YES. FIVE ZERO. AND I VOTE YES TO. EXCUSE ME. AND I VOTE YES AS WELL. I APOLOGIZE, CHAIRPERSON MAXWELL. MR. MAXWELL, I VOTE YES. THANK YOU. THANK YOU THAT, MR. SMITH. THANK YOU. MOTION PASSED. YOU'RE YOU'RE GOOD TO GO WITH.

GET YOUR PERMIT AND HAVE AT IT. THANK YOU VERY MUCH. OKAY. THE NEXT ITEM ON THE AGENDA IS CASE

[2. CASE FILE COA (SP) 2026-014: An application for the issuance of a Special Certificate of Appropriateness for the property at 2017 Alhambra Circle, a Non-Contributing Resource within the “Alhambra Circle Historic District,” legally described as Lot 4 less SWLY 26.4’ & Lot 5, Block 14, Coral Gables Section “E,” according to the Plat thereof, as recorded in Plat Book 8, at Page 13, of the Public Records of Miami-Dade County, Florida. The application requests design approval for additions and alterations and sitework.]

FILE C O S P 2026 DASH 14. AND APPLICATION FOR THE ISSUANCE OF A SPECIAL CERTIFICATE OF APPROPRIATENESS FOR THE PROPERTY AT 2017 ALHAMBRA CIRCLE, A NONCONTRIBUTING RESOURCE WITHIN THE ALHAMBRA CIRCLE HISTORIC DISTRICT LEGALLY DESCRIBED AS LOT FOUR LESS. THE SOUTH WEST CORNER OF -26.4 AND LOT FIVE, BLOCK 14, CORAL GABLES, SECTION E PLAT BOOK EIGHT, PAGE 13. MIAMI DADE RECORDS APPLICATION REQUEST DESIGN APPROVAL FOR ADDITIONS AND ALTERATIONS AND SITE WORK. THANK YOU. SO JUST UP THE STREET FROM THE LAST APPLICATION IS 20 017 ALHAMBRA CIRCLE. IT'S RIGHT ON THE CURVE JUST SOUTH OF THE ALHAMBRA WATER TOWER. IT IS A NONCONTRIBUTING STRUCTURE WITHIN THE DISTRICT. IT WAS CONSTRUCTED IN THE 1950S, BUT IN 2005 2006, IT WAS COMPLETELY REMODELED. SECOND FLOOR ADDED.

IT WAS IT'S LIKE A NEW CONSTRUCTION. SO IT IS CONSIDERED NONCONTRIBUTING.

IT'S THE CURRENT PHOTO OF THE PROPERTY. THEY ARE REQUESTING DESIGN APPROVAL FOR ADDITIONS AND ALTERATIONS TO THE RESIDENCE, PRIMARILY TO THE REAR OF THE PROPERTY. THERE IS A ONE STORY ABOUT 160 SQUARE FOOT ADDITION TO THE NORTHWEST FRONT CORNER OF THE HOME, AND AS NOTED IN THE STAFF REPORT, IT IS LABELED AS A CARPORT ON THE PROPOSED PLANS, BUT IT WILL.

ZONING. IT'S TO. IT DOESN'T MEET THE DIMENSIONS FOR A CARPORT, SO IT'S. IT'S WILL BE RELABELED AS A PORCH. IT'S JUST TO PROVIDE AN ENTRY TO THE. AN ENTRY LANDING SPACE TO THE FRONT OF THE HOUSE. THE ADDITION TO THE REAR IS A IS A TWO STORY AUXILIARY STRUCTURE LABELED AS A POOL HOUSE. IT'S IT'S A CONNECTED TO THE HOUSE WITH A ONE STORY COVERED TERRACE SITE. WORK INCLUDES THE EXISTING SWIMMING POOL, NEW POOL DECK AND NEW CMU WALL AND FENCE. AT THE NORTHWEST CORNER OF THE HOME. THE OWNER IS HERE. I DON'T KNOW IF THE ARCHITECT IS THE ARCHITECT HERE. NO, I'M JUST HERE. OKAY. ALL YOU GOT TO TELL ME HOW TO USE THIS THING.

ARROWS FORWARD. YEP. OKAY. SO. HELLO. HI. PLEASE STATE YOUR NAME. MY WIFE AND I HAVE LIVED IN THE HOUSE FOR ABOUT 30 YEARS. PLEASE STATE YOUR NAME FOR THE RECORD. MY NAME IS RONALD POTTER. THANK YOU. ALL RIGHT, SO MY WIFE AND I BOUGHT THE HOUSE BACK IN 1996 WHEN WE WERE YOUNG. NOW WE'RE OLDER. AND WE BUILT THIS ONE IN OH IN OH SIX, 0506 AS SHE SAID. SO MY NEIGHBOR JUST PUT UP A 10,000 SQUARE FOOT HOUSE NEXT DOOR TO MINE WHERE I HAD A NICE LITTLE, YOU KNOW, 2000 SQUARE FOOT HOUSE BEFORE. SO MY WIFE AND I LOOKED AT EACH OTHER AND SAID, WELL, YOU KNOW, WE MIGHT AS WELL DO SOMETHING. AND SO I FIGURED WE'D ENTERTAIN OURSELVES AND CAME UP WITH SOME IDEAS. WE'VE ALWAYS WANTED TO HAVE A SEPARATE POOL HOUSE, LIKE A GYM, AND JUST A PLACE TO KIND OF A MAN CAVE, WHATEVER YOU WANT TO CALL IT. SO WE DESIGNED IT. WE'RE GOING TO I WANTED TO PUT A LITTLE PORCH ON THE FRONT BECAUSE THE ORIGINAL

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DESIGN, AS WE'VE LIVED IN IT, IT JUST FELT TOO BIG OVER THERE. AND I WANTED SOMETHING ARCHITECTURALLY TO BREAK UP THAT LONG WALL. SO WE CREATED THAT LITTLE PORCH PORT. THEN AS YOU MOVE TO THE BACK OF THE HOUSE, THESE ARE YOUR VIEWS. THAT'S THAT'S THE POOL HOUSE THAT'S CONNECTED NOW TO THE MAIN HOUSE AND EVERYTHING MATCHES. THE WINDOWS ARE THE EXACT SAME SIZE. THE FRENCH DOORS ARE THE SAME. SO YOU HAVE A TWO STORY AREA THERE. WE'RE REDOING THE ENTIRE POOL TO GET AWAY FROM THE OLD, YOU KNOW, SWERVY POOL TO A MORE CONTEMPORARY SQUARISH STYLE POOL. LET'S SEE HERE. YOU CAN SEE IT HERE. LET'S SEE. SO ARCHITECTURALLY, THAT'S WHAT IT WOULD LOOK LIKE FROM THE FRONT. THERE'S YOUR FRONT VIEW AND THIS IS THE REAR VIEW. NOW THE NEW REAR VIEW. AND THEN THESE ARE YOUR SIDE VIEWS FROM WHEN YOU'RE IN THE BACKYARD. AND THAT'S IF YOU'RE IN THE POOL. THAT'S WHAT YOU WOULD SEE WHEN YOU'RE LOOKING AT THE POOL HOUSE AS YOU'RE BATHING IN THE POOL AND THERE'S A LITTLE BARBECUE AREA IN THERE, ETC. SO THAT'S WHAT WE'RE LOOKING TO DO AND JUST MATCH UP WHAT WE CURRENTLY HAVE. ROOF TILES WILL BE THE SAME, YOU KNOW, THE SAME S OR JUST ROUNDED BARREL TILE ROOFS, I GUESS YOU GUYS CALL THEM AND EVERYTHING ELSE JUST MATCHES UP. THAT'S IT. THERE YOU GO. OKAY, WELL THANK YOU. YOU'RE WELCOME. THANK YOU. BOARD ANY QUESTIONS OF THE APPLICANT AT THIS TIME? MISS SHIELD, MISS ROLANDO, MR. SILVA, MR. GARCIA, IT'S EITHER MAYBE IT'S A QUESTION FOR STAFF. WITH REGARDS TO. THE PROPOSED CARPORT, WHICH IS A PORCH NOW.

THE. THERE'S. IT LOOKS LIKE A CARPORT. AND YOU CAN PARK A CAR IN IT. THE FRONT ARCH IS A ARCH FOR A CAR TO FIT. IS THERE ANY USE PROBLEM WITH SOMEBODY PARKING IN THEIR PORCH? LIKE IF THEY BUILD THIS THING AND THEY CALL IT A PORCH AND THEY PARK ON THEIR PORCH, IT'S LEGAL. YES.

I MEAN, YES, IT'S GOING TO BE LABELED AS A PORCH ON THE DRAWINGS BECAUSE IT DOESN'T MEET THE CURRENT REQUIRED DIMENSION, BUT THEY, THEY CAN USE IT AS THEY WISH. SO THERE'S NO, THERE'S NO USE ISSUE. I CAN, I CAN BUILD A PORCH ON MY HOUSE AND DRIVE MY CAR IN IT. YES, YES. OKAY. I JUST WANT TO HEAR IT. I HAVE TO GET IN TROUBLE. WE HAVE A CAR. YOU'RE VERY SMALL CAR. WHO NOW USE THEM AS DINING TERRACES. SO IT'S THE USE OF IT AS LONG AS IT MEETS THE, YOU KNOW, MEETS THE. IT'S NOT A CARPORT, IT'S A CAR PORCH. OKAY, I JUST DON'T. LOOKING TOWARDS THE FUTURE OF POTENTIAL USE OF THAT SPACE, ANYTHING LARGER THAN A 911, IT'S NOT GOING TO FIT THERE. OKAY, SO IT'S ZONING LEGAL AND BUILDING LEGAL AND EVERYTHING LEGAL.

OKAY. THAT'S ANOTHER QUESTION. I HAD THE SAME QUESTION. IT SEEMS LIKE IT'S NEITHER. OH, SORRY. IT'S JUST PRESS THE BUTTON ON THE I IT SEEMS LIKE. NOT A PORCH, NOT A CARPORT AND THAT IT GOES NOWHERE. THERE'S NO ENTRANCE THERE. SO I LIKE WHAT YOU'RE DOING. BUT TO ME, THAT'S THE ONE THING THAT'S SOMEWHAT BIZARRE. OKAY. I GUESS MY WIFE AND I COULD PUT A COUPLE OF LAWN CHAIRS AND LOOK AT THE WATER TOWER FROM THERE IF WE WANTED TO. WELL, YOU KNOW, THERE'S NO IT'S JUST IF YOU LOOK AT IF YOU LOOK AT THE DESIGN, I MEAN, I DON'T KNOW HOW I EVEN DIDN'T CATCH THIS BACK IN OH SIX, BUT THAT WALL OVER THERE TO THE LEFT LOOKS HORRENDOUS. IT JUST LOOKS PITIFUL. AND IT HAS TO BE BROKEN UP WITH SOMETHING THAT HAS SOME ARCHITECTURAL CONCEPT. AND THIS WAS THE BEST THING AFTER, I DON'T KNOW, THINKING THROUGH IT A MILLION TIMES THAT WE COULD COME UP WITH TO MAKE IT LOOK NICE WITH THE HOUSE, TO MATCH EVERYTHING AND WHETHER WE EVEN EVER USE IT, I DON'T KNOW IF I'LL EVEN EVER USE IT, BUT I KNOW IT'LL MAKE THE HOUSE LOOK A LOT BETTER WHEN I DRIVE UP TO IT, BECAUSE WHAT'S THERE NOW IS TERRIBLE. I EVEN THOUGHT ABOUT PUTTING A FOUNTAIN THERE AND OTHER THINGS. JUST SOMETHING HAS TO GO THERE. AND THAT WAS AFTER A LOT OF WORK. THAT'S WHAT WE CAME UP WITH. SO YOU COULD HAVE LAWN CHAIRS WITH WHEELS, LAWN CHAIRS WITH WHEELS. THERE YOU GO. YOU'RE NOT EVEN CLOSE TO THE KITCHEN. AND THE ADULT BEVERAGE REFRIGERATOR. I'LL HAVE TO TAKE MY, MY

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ROLLING COOLER OUT THERE WITH WHAT'S ON THE OTHER SIDE OF THAT, BECAUSE I'M NOT SEEING THAT ON THE FLOOR PLAN. MY OFFICE ON THE ON THE OTHER SIDE OF THAT WALL THERE, RIGHT THERE, IT'S MY OFFICE. I THOUGHT ABOUT BUSTING THAT WALL OUT. I CAN'T DO IT. THERE'S NO WAY TO DO IT BECAUSE YOU'RE. I'LL BE PARKING INSIDE MY HOUSE. YOU'RE TALKING ABOUT TWO FEET MUCH. YOU KNOW, IT'S BECAUSE YOU SEE, THE WHOLE HOUSE IS ELEVATED. IT'S TWO FEET HIGHER. SO I SAID I WOULDN'T HAVE CARED TO GET RID OF MY OFFICE, BUT IT WAS GOING TO BE A STRUCTURAL NIGHTMARE TO TRY TO CONVERT THAT INTO A GARAGE OR SOMETHING OF THAT NATURE. DON'T THINK THAT DIDN'T GO THROUGH MY MIND. IT DID. OR PUT A DOOR IN THERE OR SOMETHING. I MEAN, I THOUGHT ABOUT PUTTING A DOOR, BUT THE PROBLEM IS THAT THE A C LITERALLY, RIGHT? THE ONLY PLACE I CAN GET IN THROUGH THE A C IS THERE. AND SO NOW EVERYTHING WOULD HAVE TO BE, YOU KNOW, COMPLETELY REDONE. OKAY. DON'T THINK THAT A LOT OF THOUGHT DIDN'T GO INTO THIS.

YOU KNOW, WHEN YOU LIVE IN A PLACE FOR 30 YEARS, YOU KNOW, YOU, YOU SEE EVERY LITTLE NOOK AND CRANNY AND SOME THINGS DRIVE YOU CRAZY. AND THIS IS ONE OF THE THINGS, MISS SPAIN.

ANY COMMENTS, MISS ALVAREZ? OH, ONLY UNLESS I MISSED IT ON THE REPORT. WERE THERE ANY COMMENTS THAT NEEDED TO BE ADDRESSED? THE BOARD OF ARCHITECTS. THE BOARD OF ARCHITECTS LOVED IT.

OKAY, YEAH. DID THEY NOTICE A LITTLE CARPORT IN THE FRONT? THEY DID. THEY, THEY ACTUALLY THEY, THEY ACTUALLY LOVED IT. THEY, THEY, THEY WERE ABSOLUTELY 100% ON BOARD. AS A MATTER OF FACT, ONE OF THEM SAID, YOU CAN PUT A LITTLE, WHAT DO YOU CALL THOSE THINGS THAT EVERYBODY DRIVES AROUND AND DOWN THE KEYS, A LITTLE GOLF CART IN THERE IF YOU WANTED TO. YOU KNOW, AS YOU'RE MOVING AROUND CORAL GABLES IN YOUR LITTLE DELUXE GOLF CART, YOU COULD STOP IN THERE. NOT THAT I'M EVER GOING TO HAVE A GOLF CART IN THE FRONT OF MY HOUSE AT 2017 ALHAMBRA, THOUGH I'D LIKE TO GIVE IT ONE MORE SHOT. SURE. AND THE QUESTION IS, IS WE TRY NOT TO PROMOTE GARAGES AND CARPORTS FACING THE FRONT OF THE HOUSE. AND HERE WE ARE. WE'RE ADDING NOT A CARPORT TO THE FRONT OF THE HOUSE, RIGHT? IF IT'S A PORCH, THEY'RE USUALLY ARCHITECTURAL WAYS TO DEFINE A PORCH. AND HAVING ONE BIG OPENING FOR A CAR IS NOT THAT WAY. OKAY, WOULD YOU CONSIDER, AS YOU HAVE ON THE SIDES, HAVING A NICE TRI ARCHED AREA IN THE FRONT THAT GOES DOWN AND THAT WAY? I THOUGHT ABOUT THAT AS WELL AND ADDING IT TO THE MAIN HOUSE. BUT THEN IN OTHER WORDS, IF I WAS GOING TO DO WHAT YOU'RE SAYING IS TO PUT THREE ARCHES IN THE FRONT, THEN I GOT TO START BUSTING THROUGH WHERE THE AC IS. NO, JUST WHERE THE ARCHES REPLACE THE ARCH WITH THREE LITTLE ARCHES LIKE YOU HAVE ON THE SIDE. BUT THEN HOW AM I GETTING INTO MY LOVELY LITTLE PORCH? I'M NOT GOING TO JUMP THROUGH AN ARCH, YOU KNOW, WALK IN THROUGH THE ARCH. YOU KNOW, I'D REALLY MUCH RATHER NOT HAVE TO DO THAT, QUITE HONESTLY. I MEAN, IF I DID THE THREE ARCHES, IT WOULD BE TO ENCLOSE THE AREA AND THEN I'D HAVE TO TAKE SQUARE FOOTAGE AWAY FROM THE. BECAUSE I'M, I'M LIKE AT MY MAX ON THE BACK AREA. AND SO THAT WOULD MEAN I'D HAVE TO REDESIGN THAT WHOLE BACK AREA, YOU KNOW, FROM SCRATCH. YOU DON'T. IT'S JUST A MATTER OF CHANGING THE WAY YOU ENTER YOUR PORCH FROM A CAR DRIVEWAY INTO A HUMAN SIZED. I WOULD HATE TO DO THAT. THEN I'VE GOT A MILLION ARCHES IN THE FRONT OF MY HOUSE, TOO. I THINK THE BIG ARCH ACTUALLY BREAKS IT UP. I MEAN, YOU'RE GOING TO HAVE ARCHES, ARCHES, ARCHES. THAT ONE ACTUALLY MATCHES MY FRONT ARCH TO THE FRONT OF THE HOUSE. AND THAT'S KIND OF WHY WE DESIGNED IT THAT WAY, IS TO MATCH IT UP TO MY EXISTING ENTRANCE, THE MAIN ENTRANCE OF THE HOUSE. IF YOU WANT TO REPEAT THE SIZE AND SCALE OF YOUR FRONT DOOR ARCH OVER THERE, THAT WOULD WORK TOO WELL. THAT WOULD LOOK TERRIBLE.

THE WALL'S TOO BIG. I MEAN, LOOK AT THE SIZE OF LOOK AT THE SIZE OF THE CUPOLA THAT'S THERE.

AND THEN LOOK AT THAT SIZE. IT'S DOUBLE THE SIZE. IT LOOK TERRIBLE. IT'S SOMETHING AN ARCHITECT CAN DEFINITELY HANDLE VERY DEFTLY. YOU DON'T HAVE TO HAVE A SINGLE LARGE. YOU CAN HAVE SIDE OPENINGS. THERE ARE. THERE ARE REALLY THOUSANDS OF WAYS TO TREAT THAT FRONT. I THINK I WOULD PROBABLY JUST HAVING IT AS A CAR. I THINK I WOULD JUST NIX THE WHOLE THING AND JUST LIVE WITH THE UGLY WALL BEFORE I, YOU KNOW, GO TO DO THAT, TO BE HONEST WITH YOU.

OKAY. THAT WAS, I MEAN, I JUST FIGURED I COULD MAKE MORE SHOTS SO I WOULD NIX THE WHOLE FRONT AT LEAST, AND JUST BE DONE WITH IT, YOU KNOW, AND NOT DO IT. MISS ROLANDO, I, I DON'T HAVE A PROBLEM WITH THE ARCH. I THINK MY ISSUE IS IT DOESN'T READ AS A PORCH. NO. AND THERE'S LOTS OF PORCHES, ESPECIALLY IN THE MEDITERRANEAN REVIVAL HOMES IN CORAL GABLES, WHERE THEY'RE SCREENED IN FRONT PORCHES. AND PEOPLE DO USE THEM. SO I'M, I WOULD BE FINE WITH IF THERE WERE A STEP UP. SO IT READ AS A PORCH RATHER THAN A TRUNCATED CARPORT. OKAY. SO I WILL REMIND YOU ALL THAT THIS IS NONCONTRIBUTING IN A DISTRICT AND OUR OUR AS STAFF, OUR PRIMARY FOCUS IS TO MAKE SURE THERE'S NO REAL NEGATIVE IMPACT ON THE HISTORIC DISTRICT. AND

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IT IN MY OPINION, THIS DOES NOT NEGATIVELY AFFECT THE DISTRICT. SO THANK YOU. MICHELLE. ANY QUESTIONS? NO. OKAY. MR. SILVA, MISS ALVAREZ. NO. MISS SPAIN. NO. MR. GARCIA. OKAY, GOOD.

WELL, THANK YOU, SIR. WE'RE GOING TO CLOSE THIS PART OF THE MEETING, AND WE'RE GOING TO SEE IF THERE'S ANYONE ONLINE AND FOR THE PUBLIC. HEARING, ANYONE ONLINE OR IN THE AUDIENCE THAT WOULD WISH TO SPEAK FOR OR AGAINST THIS PARTICULAR ITEM. ALL RIGHT. SO WE'RE GOING TO CLOSE THAT. WE'RE GOING TO COME BACK TO THE BOARD AND CLOSE THAT PART OF THE MEETING. OKAY.

BOARD. ANY DISCUSSION? I THINK WE'VE DISCUSSED THAT TO DEATH. I'LL MAKE A X-RAY. I DO HAVE ONE QUESTION. I'M SORRY. IT'S ON NOW. ALL RIGHT. SO I'D LIKE TO MAKE A MOTION. OH I'M SORRY, SOMEONE HAS A QUESTION. THERE WAS A COMMENT ABOUT WORKING WITH ZONING. COULD YOU JUST TELL ME WHAT THAT WAS ABOUT? WHAT DID SHE SAY? IT SAID STAFF WILL CONTINUE TO WORK WITH ZONING ON LOWERING NEW WALL AND GATES UPDATING. THERE WERE SOME ZONING COMMENTS THAT WERE PROVIDED THAT PERTAIN TO THE PERIMETER, THE SIDE WALL THAT THEY NEEDED IT TO BE LOWERED.

AND THEY'RE THEY'RE NOT OVERALL AFFECTING THE DESIGN OF THE ADDITIONS. THEY WERE JUST MINOR COMMENTS ON THE PLANS THAT WILL WORK WITH THEM TO ADDRESS THEM AS THEY MOVE THROUGH PERMITTING.

ANY OTHER DISCUSSION BOARD. EXCUSE ME, ANY OTHER DISCUSSION BOARD? IF NOT MISS SPAIN, I'D LIKE TO MAKE A MOTION TO APPROVE THE DESIGN PROPOSAL FOR ADDITIONS TO THE RESIDENCE AND SITE WORK ON THE PROPERTY LOCATED AT 2017 ALHAMBRA CIRCLE, A NONCONTRIBUTING RESOURCE WITHIN THE ALHAMBRA CIRCLE LANDMARK AND INCORPORATING THOSE CONDITIONS THAT ARE IN THE STAFF REPORT. THERE ARE FIVE OF THEM AND APPROVE WITH THOSE CONDITIONS ON ISSUANCE OF A SPECIAL CERTIFICATE OF APPROPRIATENESS. ALL RIGHT. WE HAVE A MOTION FOR MISS SPAIN.

DO I HAVE A SECOND? I'LL SECOND. SECOND FROM MR. SILVA. PLEASE CALL THE ROLL. MISS ALVAREZ.

MISS SHIELDS. YES, MR. GARCIA. PONCE. NO, MISS ROLANDO. RELUCTANTLY. NO. OKAY, OKAY.

MR. SILVA. YES. MISS SPAIN. YES. AND MR. MAXWELL. YES. OKAY. THE MOTION CARRIES. OKAY. WE'RE

[3. CASE FILE COA(SP)2026-008: An application for the issuance of a Special Certificate of Appropriateness for the building currently located on the University of Miami Campus referred to as “Apartment Building #35 (La Gorce House)” located at 1233 Dickinson Drive, a Local Historic Landmark, lengthy legal description on file, according to the Plat thereof, as recorded in Plat Book 46, at Page 81, of the Public Records of Miami-Dade County, Florida. The application requests design approval for additions, alterations and sitework.]

GOING TO GO TO THE NEXT ITEM, WHICH IS CASE FILE C O A S P 2026 008. APPLICATION FOR THE ISSUANCE OF A SPECIAL CERTIFICATE OF APPROPRIATENESS FOR THE BUILDING, CURRENTLY LOCATED ON THE UNIVERSITY OF MIAMI CAMPUS, REFERRED TO AS APARTMENT BUILDING. 35 LA GORCE HOUSE, LOCATED AT 1233 DICKINSON DRIVE. A LOCAL HISTORIC LANDMARK. LENGTHY LEGAL DESCRIPTION IS ON FILE ACCORDING TO THE PLAT THEREOF AND PLAT BOOK 46, PAGE 81.

MIAMI-DADE COUNTY RECORDS APPLICANT REQUEST DESIGN APPROVAL FOR ADDITIONS, ALTERATIONS AND SITE WORK PRESENTATION, PLEASE. THANK YOU. ALL RIGHT. THIS IS THE LOCATION OF THE HOUSE JUST SOUTH OF THE LAKE. THIS IS THE PROPERTY THAT WAS DESIGNATED, I BELIEVE. OH, I'M SORRY, IT'S NOT IN HERE. SO THIS WAS A PROPERTY THAT IS REQUESTING APPROVAL FOR THE REPLACEMENT OF THE EXISTING ORIGINAL STEEL FRAME WINDOWS, INTERIOR RENOVATIONS, AND THE ADDITION OF AN ELEVATOR TOWER WITH CONNECTING WALKWAYS AT THE SECOND AND THIRD FLOORS. A SIMILAR SCOPE OF WORK HAD PREVIOUSLY BEEN APPROVED FOR BUILDING 34. THE PENTLAND HOUSE UNDER C O S P 2021 002. IN APRIL 2021. AS PART OF THE APPROVAL, STAFF IS REQUESTING THAT THE MOUNTAINS ARE HIGH PROFILE AND THAT THE WINDOWS AT THE BUILDING HAVE CLEAR GLASS, NO TINT AND NO MIRROR FINISH. I WILL LET THE APPLICANT COME UP AND. ALL RIGHT. THANK YOU APPLICANT. LET'S SEE. SO. WEINER MIGHT NOT WORK, BUT UP AND DOWN. OKAY. FOR ALL THOSE SPEAKING, PLEASE STATE YOUR NAME CLEARLY AND IF YOU WOULD PLEASE. THESE MICROPHONES ARE NOT THAT SENSITIVE. SO IF YOU WOULD LEAN IN. THANK YOU. SURE. HI. GOOD AFTERNOON. MY NAME IS

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DAPHNE GURI. I'M PRINCIPAL WITH THE ARCHITECTURAL FIRM PREPARING THESE PLANS. YES. AND FABIO SEGRE, SENIOR PROJECT MANAGER AT. AND AS THE SCOPE OF THE WORK HAS BEEN ALREADY DESCRIBED, THE REASON WHY THIS PROJECT EXISTS IS TO REPLACE ALL THE BUILDING SYSTEMS, TO REPLACE EXTERIOR WINDOWS AND DOORS, AND, MOST IMPORTANTLY, PROVIDE ADA ACCESSIBILITY, WHILE AT THE SAME TIME PRESERVING THE INTEGRITY OF THE DESIGN OF THE BUILDING TO AS MUCH AS WE POSSIBLY CAN. IT'S A PROJECT THAT'S VERY NEAR AND DEAR TO ME. AS I STUDIED AT THE SCHOOL OF ARCHITECTURE AND IN 1985, GRADUATED IN 88. SO IT'S KIND OF INTERESTING TO BE FULL CIRCLE HERE PRESENTING THIS PROJECT. AND AS I WAS, WAS ALREADY DESCRIBED, SOME OF THE MOST IMPORTANT ARCHITECTURAL FEATURES OF THE BUILDING THAT MAKE IT UNIQUE ARE THE EXTERIOR STAIRWAYS, THE BREEZEWAYS CROSS VENTILATION, THE WINDOWS, ESPECIALLY THE RAILINGS. AND IN GENERAL, THERE'S AN OPENNESS AND VERY. AND I WANT TO ADD ONE THING, THE VERY SUBTLENESS OF THE ARCHITECTURAL DESIGN BY MARION MANLEY. HISTORICALLY, THE BUILDINGS WERE. THERE WERE MANY BUILDINGS. SOME OF THEM HAVE ALREADY BEEN DEMOLISHED. WE HAVE HERE ADJACENT TO THE SITE, THE JORGE PEREZ ARCHITECTURAL CENTER, DESIGNED BY LEON KRIER. THE MURPHY DESIGN STUDIO DESIGNED BY ARCHITECT TANAKA, AND SOME OTHER NOTABLE NICE, BEAUTIFUL BUILDINGS LIKE THE MILLER BILL, BILL LAB AND THE THEATER ARTS BUILDING, WHICH WAS A RENOVATION. AND THEN, OF COURSE, THE APARTMENT BUILDING, WHICH ALREADY RECEIVED SOME SIMILAR IMPROVEMENTS. WE TOOK A LOT OF CARE IN FIGURING OUT WHAT THE IMPLICATION WAS OF BRINGING IN A NEW VERTICAL ELEMENT, LIKE THE ELEVATOR INTO THIS BUILDING, BECAUSE IT HAS VERY STRONG HORIZONTAL LINES. SO IN DOING THAT, WE REALLY LITERALLY WALKED AROUND THE BUILDING AND TRIED TO UNDERSTAND WHAT ARE THE OPPORTUNITIES AND CONSTRAINTS AND HOW PEOPLE WALK THROUGH THE SITE. AND I JUST WANT TO POINT OUT A COUPLE OF KEY THINGS. FOR EXAMPLE, IN SLIDE B, PHOTOGRAPH B, THAT'S THE CORNER WHERE YOU HAVE THE THE FPL TRANSFORMER VAULT. WE LOOKED AT THAT CORNER. WE ALSO LOOKED AT, OF COURSE, SPOT NUMBER. SLIDE A PHOTOGRAPH, A THAT'S THE SITE WHERE WE WERE LOOKING AT MORE INTENSELY AND WHERE WE ULTIMATELY CHOSE TO PLACE THE ELEVATOR. BUT WE WALKED AROUND THE WHOLE BUILDING TO SEE WHERE WE COULD CONNECT, PROVIDE THAT VERTICAL ACCESSIBILITY, AND NOT DESTROY THE BEAUTY OF THE EXISTING BUILDING. WE ALSO LOOKED AT THE SITE UTILITIES AND HOW STUDENTS USE THE THE SITE NOW. SO THE GREEN LINE IS IS A HEAVILY TRAFFICKED AREA FOR STUDENTS TRAVELING BETWEEN THE BUILDINGS, MOSTLY THE ARCHITECTURE STUDENTS. BUT YOU ALSO HAVE IN THE RED LINE THAT SHOWS WHERE YOU HAVE A SERVICE ACCESS THAT TAKES YOU TO CENTENNIAL VILLAGE. AND SO ONE THING THAT WAS ALSO IMPORTANT THAT WE RECEIVED FEEDBACK FROM THE BOARD OF ARCHITECTS WAS HOW WE COULD, IN THE SELECTION OF OUR, OF OUR SITE, PROVIDE SOME KIND OF CONNECTIVITY TO THE MURPHY DESIGN STUDIO AND THE PARIS ART ARCHITECTURAL CENTER, AS THERE IS NONE AT THIS TIME. THIS IS JUST A PHOTOGRAPH OF ALL THE UTILITIES. AS WE WERE LOOKING FOR THE SITE, WE WERE TRYING TO UNDERSTAND WHAT IS THE FEASIBILITY OF WHAT'S BURIED UNDER THE ROAD? WHAT WOULD BE THE IMPACT OF TRYING TO PUT THE THE BUILDING ELEVATOR TOWER IN DIFFERENT PARTS OF THE BUILDING, AND THE CIRCLE THAT HAS A RED DASH IS THE AREA THAT WE DEEM TO BE THE THE ONE THAT HAD THE LEAST IMPACT WITH THE BURIED UTILITIES. IT DOES HAVE SOME. BUT THEIR ELECTRICAL. AND THEY CAN BE REROUTED. SO THIS IS WHERE WE HAD HAVE SELECTED TO PUT THE NEW ELEVATOR TOWER. OF COURSE, WE WERE VERY CAREFUL HOW WE WERE GOING TO ARTICULATE THAT WITH THE EXISTING OPEN STAIR, WHICH IS A PRIMARY ARCHITECTURAL FEATURE OF THESE BUILDINGS. SO THE PICTURE ON THE LEFT SHOWS YOU THE EXISTING CONDITIONS AND SHOWS YOU WHAT WOULD BE IMPACTED. IT'S BASICALLY SOME PARKING SPACES, BUT WHAT WE'RE GOING TO BE DOING IS REALLY GIVING STUDENTS AN OPPORTUNITY BY CREATING A SMALL PLAZA IN THE CORNER THAT AT LEAST HAS A SPACE THAT DRAWS YOUR ATTENTION. THIS IS KIND OF BRINGING YOU INTO THE INTO THE BUILDING, AND AT THE SAME TIME KIND OF SOLVES THE PROBLEM OF PROVIDING CONNECTIVITY BETWEEN THE BUILDINGS, BETWEEN THE GEORGE PARIS ART ARCHITECTURAL CENTER, USING THE SIDEWALKS AND CONNECTING IT INTO THE THE BUILDING AT THE GROUND FLOOR LEVEL BETWEEN THE EXISTING STAIR AND THE ELEVATOR. WE

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LOOKED AT HOW WE WERE GOING TO POSITION THE ELEVATOR IN OUR PREVIOUS DESIGN THAT WE HAD PRESENTED TO THE BOARD OF ARCHITECTS THAT WE HAD THE. THE ELEVATOR ROTATED 90 DEGREES AND WAS FACING FORWARD, WHICH MEANT THAT WE HAD ACTUALLY HAD TO DO MORE ARCHITECTURAL GESTURES TO BE ABLE TO PROVIDE PROTECTION TO THE ELEVATOR. SO WE RECEIVED THEIR COMMENTS AND WE FLIPPED IT 90 DEGREES. AND IT OPENS NOW TO THE EXISTING STAIR. AND BY DOING SO, IT REALLY COMPRESSED THE FOOTPRINT THAT WE WERE GOING TO BE TAKING UP AND CREATED THIS VERY INTIMATE SPACE THAT ALLOWS YOU TO COME INTO THE ELEVATOR, BUT DOES NOT TOUCH THE EXISTING STAIR, THEN THAT'S SOMETHING THAT WE REALLY WANTED TO ACHIEVE. AND THEN THE DRAWING UP AT THE TOP IS JUST BASICALLY THE DEMO PLAN. AS YOU CAN SEE, WHAT'S BEING REMOVED IS THE SOME INTERIOR WALLS TO BE ABLE TO CREATE STUDIO SPACES, BUT BASICALLY REMOVING ALL OF THE RESTROOMS AND REDESIGNING THE RESTROOMS SO THAT THEY CAN BE ADA ACCESSIBILITY. AND THEN OF COURSE, ALL OF THE BUILDING SYSTEMS AND THE WINDOWS, IT'S THE SAME APPLIES IN THE UPPER TWO FLOORS. THE SECOND AND THE THIRD FLOOR ARE EXACTLY THE SAME WITH OPEN, OPEN STUDIOS. AND THEN A CLOSER ENLARGED PLAN VIEW OF THE WHAT HAPPENS AT THE GROUND. SO YOU CAN SEE HERE A LITTLE BIT MORE, MORE CLOSE UP THE HOW YOU APPROACH THE, THE STUDIO SPACE. THIS IS REALLY THE CORNER WHERE EVERYBODY COMES INTO THE BUILDING. AND SO THEN WE WANTED TO AGAIN, DRAW PEOPLE TO COME INTO THE BUILDING, BUT AT THE SAME TIME NOT LET THE NEW PROPOSED ARCHITECTURE COMPETE WITH THE EXISTING BUILDING. SO IT CREATES A THE MOST EFFICIENT, SMALLEST FOOTPRINT POSSIBLE TO CREATE AN AREA OF CIRCULATION THAT YOU CAN COME INTO THE STUDIO SPACE AND AT THE SAME TIME GO TO THE STAIR. AND WE ALSO WANTED TO PRESERVE THE EXISTING RAILINGS AT THE STAIRS.

SO WHAT WE DID WAS DO I HAVE A POINTER HERE? IS IT THIS ONE? OH, I DON'T THINK I CAN USE THE POINTER, BUT ABOVE THE LABEL OF THE EXISTING STAIR RIGHT THERE WHERE IT SAYS EXISTING STAIR NUMBER FOUR, WE'RE, WE'RE SHOWING YOU A FOUR INCH STEP. AND THEN THERE'S A RAILING THERE THAT WE ARE CUTTING POINT. OH, I CAN MAYBE. NO, NO. I DON'T THINK IT'S GOING TO WORK.

OKAY. THANKS. YOU'LL BE ABLE TO SEE IT NOW IN SOME OF OUR RENDERINGS. SO ARCHITECTURALLY SPEAKING, THIS WAS ONE OF OUR BIGGEST DESIGN CHALLENGES IS HOW DO YOU COME UP WITH A DESIGN THAT IS SLIGHTLY UNDERSTATED SO THAT YOU'RE NOT COMPETING AND MAKING A BIG GESTURE ON A BUILDING THAT IS SO SUBTLE? SO THE ARCHITECTURAL DESIGN GIVES A NOD TO THE EXISTING DESIGN BY MIRIAM MANLEY, BUT AT THE SAME TIME HAS TO DEFINE ITSELF AS BEING NEW AND DIFFERENT. SO HOW WE DID THAT WAS EXPRESS THE HORIZONTALITY OF THE THE THIN SLABS AND THE THIN ROOF LINE, WHICH IS SIMILAR TO LIKE WHAT YOU SEE IN THE EYEBROWS AND IN THE OPEN BALCONIES, MIMICKING THE, THE USE OF THE TRANSPARENT RAILINGS. AND THEN OF COURSE, THE COLORS AND MATERIALITY WERE ALSO IMPORTANT. SO WE WANTED TO GO WITH A FULL WHITE SCHEME TO BE ABLE TO BLEND IN NICELY WITH THE BUILDING. BUT THEN WHAT WE DID WAS WE ACCENTED THE BY THE USE OF THE YELLOW ON THE GLASS TO REFERENCE HOW THE YELLOW WAS USED IN THE EXISTING GLASS STEEL WINDOWS. AND THIS IS WHAT IT WOULD LOOK LIKE AT NIGHT. YOU CAN SEE THE PLAZA THERE IN THE CORNER, AND THEN THE YELLOW LIGHT IS JUST LIKE A VERY, VERY THIN, TRANSPARENT, TRANSLUCENT LIGHT THAT BRINGS ATTENTION TO THE CORNER BUT DOESN'T COMPETE. AND THEN THE OPENNESS, AS YOU CAN SEE, IT'S COMPLETELY OPEN AND YOU CAN SEE WHERE THE EXISTING BUILDING WAS, WHERE THE EXISTING STAIRS, AND THEN THE NEW INTERVENTION. DO YOU WANT TO TALK ABOUT THE MATERIALS? WELL, ACTUALLY JUST ADDING TO WHAT DAPHNE SAID, THE TRANSPARENCY IS THE MAIN CONCEPT HERE. WE WANT TO MAKE SURE THAT YOU SEE THE EXISTING BUILDING AS YOU SEE THE THE END OF THE EXISTING STAIR IS COMPLETELY TRANSLUCENT. TO BE CLOSER. THEN THE TRANSPARENCY IS ACHIEVED BY JUST HAVING A CORRIDOR IN BETWEEN THE TWO BUILDINGS. YEAH. THE MATERIALITY AGAIN WITH BRINGING THE YELLOW GLASS, THE THE DOORS ARE GOING TO BE BLUE AS THE

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ORIGINALLY BLUE. THE THE NEW WINDOWS ARE GOING TO BE A WHOLE WINDOWS, ALL METAL WINDOWS WITH THE TRANSPARENT GLASS AND, AND YES, THE AS YOU MENTIONED, DAPHNE, THE WE'RE PLANNING TO HAVE WHITE STUCCO. SO IT CREATES A DIALOG BETWEEN THE EXISTING BUILDING AND THE NEW.

AND THERE YOU CAN SEE THE RAILING THAT IS EXISTING ON THE STAIR THAT WE BASICALLY ARE JUST CUTTING IN THE BACKSIDE FROM ONE IN THE FOREGROUND STAYS IN PLACE. AND THIS IS A VIEW AT NIGHT. THE VIEW FROM THE SIDE. AND JUST A CLOSE UP ON THE WINDOWS. AND THAT'S IT.

THANK YOU. ALL RIGHT. WELL THANK YOU VERY MUCH. THANK YOU. APPRECIATE THAT. OKAY. BOARD QUESTIONS, MISS ALVAREZ, MISS SPAIN. HAVE YOU DISCUSSED WITH THE UNIVERSITY THE NOT PUTTING REFLECTIVE GLASS ON THE WINDOWS AND. OKAY. YES, WE ARE VERY AWARE OF THAT. YES. AND PERSONALLY, AS AN ARCHITECT, I. I DON'T THINK THAT THAT'S A GOOD MOVE EITHER. SO THE VERY LAST THING I DID IN THE LAST DAY THAT I WORKED FOR THE CITY, I FAILED THE INSPECTION OF THE WINDOWS ON THE ARCHITECTURE SCHOOL. AND THEN I LEFT THE INSPECTION AND I WENT TO THE CITY MANAGER'S OFFICE AND TOLD HIM. AND THEN I RETIRED. ACTUALLY WE ARE WE ARE WORKING VERY CLOSELY WITH OUR MECHANICAL ENGINEER, MAKING SURE THAT THE THE ENERGY CALCULATIONS IS BASED ON THE OVERALL BUILDING AND ONLY ON THE WINDOWS. THAT WAY WE CAN HAVE MORE TRANSPARENT GLASS. YEAH. THANK YOU, MR. GARCIA. PONS QUESTION A COUPLE. THE WINDOWS ARE WHAT I DIDN'T SEE A SLIDE ABOUT THE THE WINDOWS SPECIFICALLY. DO YOU HAVE INFORMATION ON THE REPLACEMENT WINDOWS OF THE WHOLE BUILDING? YEAH. THE NEW WINDOWS ARE GOING TO BE HOPE WINDOWS ARE GOING TO BE OUT OF METAL WITH WITH GLASS, WITH A, WITH A LAMINATED GLASS, SIMILAR TO WHAT WAS IMPLEMENTED AT PENLAND AND THE BUILDING 48 AND 47, WHICH IS THE BRAND IS HOPE, RIGHT? SO SIMILAR TO THE ONES THAT WE THAT WE'VE ALREADY USED ON THE OTHER BUILDING AT PENLAND. YEAH. AND THE SAME COLOR SCHEME AS THE SCHOOL OF ARCHITECTURE. THE FRAME IS GOING TO BE THE SAME FRAME, THE SAME PROFILE. BLUE LAGERS ARE YELLOW. EXACTLY. YEAH. YES, THEY WILL MATCH, BUT NO REFLECTIVE GLASS. REFLECTIVE GLASS. OKAY. THEN THE SECOND QUESTION. AND WHEN I SAW THE APPLICATION, I WAS THINKING ABOUT PLACES TO MAYBE PUT THE ELEVATOR BECAUSE IT SEEMS LIKE MAYBE IT WAS TOO PROMINENT IN MY MIND. AND IDEALLY I WAS THINKING MAYBE TUCKING IT IN THE BACK ALONG THE STAIR CORNER, IN THE FRONT, ALONG THE STAIR CORNER, I CAN SEE WHY THE ROADWAY AND I DIDN'T SEE THE UTILITY LINE UNTIL YOU SHOWED ME. THAT'S GOING ON THE BACK SIDE, SO I UNDERSTAND WHY IT'S PLACED THERE. MY QUESTION IS, AND I KNOW THAT YOU'VE THOUGHT ABOUT IT, THE THE TWO TOUCHES OF COLOR, THE YELLOW GLASS AND THEN SORT OF THE ARE THEY BLUE SCORE LINES ARE THE SCORE LINES. THEY'RE NOT COLORED. IT'S REALLY HARD WHEN YOU'RE USING PHOTOSHOP TO MAKE A SCORE LINE. SO IT'S JUST A. WE JUST DREW IT ON THERE, BUT IT'S NOT GOING TO BE BLACK. NO, IT'S JUST A SCORE LINE. MY QUESTION IS, CAN YOU GO BACK TO THE STRAIGHT ON ONE, WHICH IS REALLY BEAUTIFUL? OH, OKAY. WELL, SORRY, I GOT TO LEARN HOW TO USE THIS. THIS ONE. NO, THE THE ONE THAT'S THIS ONE. THE OTHER SIDE OF THIS ONE. THE PERSPECTIVE HERE. THIS ONE. THAT WAS GOOD. NO, NO. DO THE GO BACK. SORRY. THIS ONE MORE.

THAT ONE. SO OKAY. THESE GUYS THE TRANSPARENCY IS WONDERFUL. I THINK THE ORIENTATION OF THE ELEVATOR IS MUCH BETTER. I THINK THE COMPACTNESS OF THE APPROACH IS REALLY EFFICIENT.

HAVE YOU CONSIDERED INSTEAD OF NUMBER THREE BEING WHITE STUCCO, IF IT WERE JUST SOMETHING ELSE, CLAD, DARK SOMETHING, BECAUSE THEN IT WOULD NOT LOOK LIKE IT'S AN EXTENSION OF THE EXISTING BUILDING. YES WE DID. WE LOOKED AT CONCRETE. I PERSONALLY THOUGHT IT WAS LIKE A IT WAS MISMATCHED BECAUSE I LIKE LOOKING AT THE WHOLE BUILDING. WE DID LOOK AT STOWE AS A POSSIBLE ALTERNATE MATERIAL TO STUCCO, JUST SO THAT IT'S A LITTLE BIT DIFFERENT, BUT I WOULDN'T WANT TO MAKE IT SO DIFFERENT THAT IT BECOMES TOO IMPORTANT, OR THERE'S SOMETHING SO NICE ABOUT THE SUBTLENESS OF THE STUCCO AND THE WHOLE DESIGN. I JUST, I FEEL LIKE I NEED TO LIKE, GIVE REVERENCE TO THE BUILDING, IF THAT MAKES SENSE. YOU KNOW,

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AGAIN, I UNDERSTAND THE, THE THOUGHT PROCESS AND THE RESULT METAL TILE PANELS. WE LOOKED AT THAT TOO. YEAH. THERE'S SOME REALLY MODERN WAYS TO DO SOMETHING WHICH MATCHES THE ESTHETIC OF THE MODERN ARCHITECTURE THAT ISN'T REPEATING THE WHITE STUCCO, BECAUSE IT COULD BE INTERPRETED AS IT WAS ALWAYS THERE BECAUSE IT'S THE SAME. YEAH. I WOULD ENTERTAIN THE IDEA OF DOING THE STOA. YEAH. THAT'S WHAT WE HAD WHEN WE PRESENTED TO THE BOARD OF ARCHITECTS. WE TOLD THEM EITHER THE STUCCO OR THE STOA, AND THEY WERE OKAY WITH IT.

YEAH, BECAUSE THE STOVE WILL LOOK LIKE A VERY SMOOTH FINISH. IT'S GOING TO BE, YOU KNOW, SANDED AT THE END. IT'S GOING TO LOOK LIKE A PRECAST PIECE, BUT STILL SYNTHETIC. EXACTLY.

DO YOU LIKE THAT? I THINK IT MIGHT BE BETTER. YOU HAVEN'T. I DON'T KNOW IF EVERYONE HERE KNOWS WHAT IT LOOKS LIKE. SO IF YOU HAVE A SLIDE, WHICH I DON'T THINK YOU DO BECAUSE NO, WE DON'T HAVE IT, IT'S GOING TO BE THE SAME FOR SMOOTHER. YEAH. VERY SMOOTH. IT'S A IT CAN HAVE ALMOST LIKE A PLASTER FEELING TO IT. YEAH. AND WE CAN DEFINITELY WE WOULD DEFINITELY AGREE TO THAT. OKAY. THANK YOU. YEAH. NO THANK YOU. MISS ALVAREZ. OH, THANK YOU FOR THE THOROUGH PRESENTATION. I THINK IT'S A IT'S A GREAT STRATEGY. I HAVE A QUESTION THAT I GUESS NOT. PERHAPS NOT COMPLETELY RELEVANT, BUT SINCE I SPEND A LOT OF TIME ON THE BUILDING, I NOTICED THE HOPES WINDOWS HAVE SOME DETERIORATION. THE ONES THAT WERE INSTALLED NOT LONG AGO. SO I DON'T KNOW IF THAT'S BEEN ADDRESSED BECAUSE I KNOW THAT'S A VERY PRICEY ITEM AND WE CAN REVIEW THAT ITEM WITH THE MANUFACTURER. FABRICATOR? WHAT HAPPENED WITH THE PREVIOUS WINDOWS? MAYBE YOUR REFERENCE TO 4849, BECAUSE THE PENDULUM JUST WAS RENOVATED A YEAR AGO.

ARE YOU THE ADMINISTRATION BUILDING IN PARTICULAR THAT I KNOW HAS SOME I HAVE NOT SEEN RUSTING? YEAH. WILL DEFINITELY TAKE A LOOK AT IT AND DISCUSS THAT WITH THE MANUFACTURER.

YEAH. MR. SILVA, THANK YOU FOR YOUR PRESENTATION. IT'S I THINK IT'S A REALLY ELEGANT SOLUTION IN TERMS OF, OF WHAT CESAR WAS TALKING ABOUT, THAT THAT ELEVATOR TOWER FINISH. I'M PERSONALLY OKAY WITH THE STUCCO. I THINK IT DOES READ DIFFERENTLY BECAUSE THESE BUILDINGS ARE CAPPED ALWAYS BY THAT STAIR TOWER. RIGHT. WHICH HAS THAT GROOVED SORT OF FINISH.

SO KIND OF LIKE A BRICK FINISH TO ME. TO ME, IT READS DIFFERENTLY THAN ALL THE REST OF THEM BECAUSE ALL THE REST OF THEM HAVE THAT, THAT GROOVE THICK WALL. BUT I WOULD, I WOULDN'T BE OPPOSED EITHER TO HAVING KIND OF A DIFFERENT TEXTURE. THE I APPRECIATE YOUR, YOUR EFFORT ON THE, ON THE RAILINGS. IT'S A QUICK QUESTION ON THOSE. SO, SO THEY, THE MAIN ELEMENTS OF THE RAILING, YOU GOT TWO HORIZONTALS AND SORT OF SOME VERTICALS THAT ARE MIMICKING THE PATTERN OF THE ORIGINAL. RIGHT? YES. AND THEN YOU HAVE THE CABLES TO, TO REALLY DIFFERENTIATE IT. DO YOU WHAT DO YOU ANTICIPATE? HAVE YOU THOUGHT ABOUT THE DETAILING OF THOSE RAILINGS YET? ARE THEY GOING TO BE ROUND PIPE JUST LIKE THOSE SORT OF WELDED WITH THE THINGS SCREWED THROUGH? AND ARE THEY GOING TO BE WHITE OR ARE THEY GOING TO BE METALLIC? WHAT DO WE HAVE IT AS GRAY RIGHT NOW? AGAIN, THIS IS A DEFERRED MAINTENANCE PROJECT.

WE'RE GOING TO HAVE TO BRING THE WHOLE BUILDING TO ADA COMPLIANCE, THE EXISTING RAILINGS. WE'RE GOING TO HAVE TO BE WE'RE GOING TO INTEGRATE CABLES TO THE EXISTING RAILINGS.

THAT WAY YOU HAVE THE FOUR INCH TECHSPHERE. I WOULD LIKE TO ADD THAT I WOULD PREFER TO KEEP THEM WITH THE THE ROUND, BUT AT THE SAME TIME, IF THEY HAVE DONE ALREADY A CERTAIN RAILING IN OTHER PARTS OF THE BUILDINGS, I THINK JUST ADD A UNIFORMITY. WE NEED TO LOOK AT ALL OF THE OPTIONS. TAKE TAKE A LOOK, ESPECIALLY IF YOU'RE GOING TO RETROFIT. EXACTLY, THEN YES, THINK ABOUT DEPENDS ON WHATEVER WAS DONE. YEAH. WHICH THEY CONNECT THE CONNECT AT ONE POINT. YEAH. BUT BUT I LOVE THE PROJECT. THANK YOU. THANK YOU. MISS ROLANDO. ANY QUESTIONS? I DON'T HAVE A PROBLEM WITH THE STUCCO. AND I REALLY LIKE WHAT YOU'VE DONE. THANK YOU. I THINK IT'S. REALLY TASTEFUL. THANK YOU. THANKS. AND VERY SYMPATHETIC TO THE ORIGINAL BUILDING. SO IF YOU DO GO WITH THE STONE. I THINK YOU HAVE TO BE REALLY CAREFUL. IT CAN'T BE.

IT CAN'T GIVE THE IMPRESSION OF BEING MONUMENTAL OR IMPORTANT. I AGREED, AND THAT'S WHY I LIKE WHAT YOU'VE DONE WITH THE STUCCO. BUT THANK YOU FOR THE COMMENTS, MISS SHIELD. ANY QUESTIONS? NO QUESTIONS. I LIKE THE KEEPING WITH THE COLOR SCHEME AND THE. I LIKE THE THIN CEILING AND DIVIDERS THAT MIMIC THE EYEBROW AND IT'S I A MINIMALISTIC. YOU MADE IT LOOK

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VERY EASY, BUT YEAH, I LIKE IT. THANK YOU. I'D SAY IT'S A GOOD SOLUTION. THANK YOU. THANKS. I THINK WE ALL LIKE IT. AND YEAH, I THINK THAT THE THE STUCCO IS GOOD TOO. AND YOU KNOW, WE, WE'VE GOT THERE'S THE BRICK PATTERN WHICH GOES ON THERE. SO I MEAN, IF IT'S, IF IT'S DIFFERENTIATED, IT PROBABLY SHOULD PICK UP SOMETHING MORE LIKE THAT AND WHICH IT COULD DO IN THE STUCCO AS WELL, JUST JUST TO LOOK A LITTLE SLIGHTLY DIFFERENT, BUT I DON'T HAVE A PROBLEM WITH THE WAY IT IS. I MEAN, YOU'VE OFFSET IT NICELY AND IT'S IT'S A VERY GOOD SOLUTION. THANK YOU. YEAH. BY THE WAY, THE ORIGINAL BUILDING IS REALLY GOOD. IT'S SO THANK YOU FOR SUCH GOOD WORK. THANK YOU. ANY OTHER QUESTIONS? BOARD. OKAY. THEN WE'RE GOING TO CALL THIS PART OF THE MEETING TO CONCLUSION. AND WE'RE GOING TO OPEN IT TO THE PUBLIC. IS THERE ANYBODY ONLINE OR HERE IN THE AUDIENCE THAT WOULD LIKE TO SPEAK FOR OR AGAINST THIS PARTICULAR ISSUE? WE HAVE NONE. SO WE'RE GOING TO CLOSE THAT. AND THANK YOU VERY MUCH. WE'RE GOING TO GO BACK TO THE BOARD NOW. BOARD QUESTIONS. DISCUSSION. MOTION. MISS.

ROLANDO. LET ME PULL UP THE REPORT. SORRY. OKAY. LET ME JUST ASK, DID YOU HAVE ANY OBJECTIONS TO THE CONDITIONS NOTED BY STAFF AND THE STAFF REPORT? NO. OKAY, THEN I WOULD MOVE TO APPROVE THE DESIGN PROPOSAL FOR THE ADDITIONS TO THE RESIDENCE AND SITE WORK ON THE PROPERTY LOCATED AT. 1233 DICKENSON DRIVE, A LOCAL HISTORIC LANDMARK. AND TO APPROVE. WITH THE CONDITIONS IN THE STAFF REPORT AND ISSUANCE OF A SPECIAL CERTIFICATE OF APPROPRIATENESS FOR THE REASONS SET FORTH IN THE STAFF REPORT AND AS NOTED IN THE COMMENTS BY THE MEMBERS OF THE BOARD. THANK YOU, MISS ROLANDO. SO WE HAVE A MOTION BY MISS ROLANDO TO HAVE A SECOND FROM THE BOARD. I'LL SECOND IT, MISS SPAIN. THANK YOU. ALL RIGHT. SHOULDN'T SAY RESIDENTS. THERE'S A TYPO THERE. YEAH, IT'S IN THE MOTION. SHOULD WE SAY CLASSROOM FACILITY OR EDUCATIONAL FACILITY? BUILDING TO THE BUILDING. BUILDING, BUILDING.

OKAY. THAT'S MY AMENDMENT. MY FRIENDLY AMENDMENT TO THE MOTION. I ACCEPT THE AMENDMENT.

OKAY. SO WE HAVE A MOTION AMENDMENT ACCEPTED BY EVERYBODY. WOULD YOU CALL THE ROLL, PLEASE? MR. GARCIA PONCE? YES, MR. SILVA? YES, MISS SHIELDS. YES. MISS ALVAREZ. YES. OKAY. MISS ROLANDO. YES, MISS SPAIN, MISS SPAIN. YES. AND MR. MAXWELL. YES. MOTION PASSES UNANIMOUSLY.

THANK YOU VERY MUCH. APPRECIATE IT. AND GOOD JOB. ALL RIGHT. WE'RE GOING TO GO BACK TO THE

[CASE FILE LHD 2025-011 and COA (SP) 2025-027: Consideration of the local historic designation of the property at 2509 Indian Mound Trail, legally described as Lot 3, Block 3, Coral Gables Section “D,” according to the Plat thereof, as recorded in Plat Book 25, at Page 74, of the Public Records of Miami-Dade County, Florida. The applicant is also requesting to unify two adjacent single-family properties into one parcel and the issuance of an Accelerated Special Certificate of Appropriateness and design approval to join single-family residences to create one single-family residence, and design approval for additions and alterations to the residence and sitework. Variances have also been requested from Article 2, Section 2-101 D (6) for ground area coverage, and Article 2 Section 2-101 D (4) for the side and rear setback, Article 6.]

RELOCATED MOTION AND WE'RE GOING TO DEAL WITH COME UP NOW WITH CASE FILE L D H 2020 5-011 AND C O S P 20 2527. CONSIDERATION OF LOCAL HISTORIC DESIGNATION OF THE PROPERTY AT 2509 INDIAN MOUND TRAIL, LEGALLY DESCRIBED AS LOT THREE, BLOCK THREE CORAL GABRIEL, SECTION D RECORDED IN PLAT BOOK 25, PAGE 74, MIAMI DADE. THE APPLICANT IS ALSO REQUESTING TO UNIFY TWO ADJACENT SINGLE FAMILY PROPERTIES INTO ONE PARCEL AND THE ISSUANCE OF AN ACCELERATED SPECIAL CERTIFICATE OF APPROPRIATENESS AND DESIGN APPROVAL TO JOIN SINGLE FAMILY RESIDENCES TO CREATE ONE SINGLE FAMILY RESIDENCE AND DESIGN APPROVAL FOR ADDITIONS AND ALTERATIONS TO THE RESIDENCE AND SITE WORK VARIANTS HAVE BEEN REQUESTED FROM ARTICLE TWO, SECTION 2-1016 FOR GROUND AREA COVERAGE AND ARTICLE TWO, SECTION 2101 D4 FOR THE SIDE AND REAR SETBACK. ARTICLE SIX. DO WE HAVE A PRESENTATION PLEASE? YES, KHGI-TV WILL BE READY FOR THE LANDMARK DESIGNATION PRESENTATION, PLEASE. AND IF WE COULD HAVE MISS GWEN INTRODUCE HERSELF TO. THE PROPERTY AT 2509. INDIAN MOUND TRAIL IS BEFORE YOU FOR

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CONSIDERATION FOR DESIGNATION AS A LOCAL HISTORIC LANDMARK. THE APPLICATION WAS SUBMITTED BY THE OWNER. MEDITERRANEAN TRANSITIONAL SINGLE FAMILY HOME WAS DESIGNED BY WILLIAM MARION IN 1935. AS PER ARTICLE EIGHT, SECTION EIGHT DASH 103 OF THE CORAL GABLES ZONING CODE.

CRITERIA FOR DESIGNATION OF HISTORIC LANDMARKS. A LOCAL HISTORIC LANDMARK MUST HAVE SIGNIFICANT CHARACTER, INTEREST OR VALUE AS PART OF THE HISTORICAL, CULTURAL, ARCHEOLOGICAL, ESTHETIC OR ARCHITECTURAL HERITAGE OF THE CITY, STATE OR NATION. FOR DESIGNATION, A PROPERTY MUST MEET ONE OF THE CRITERIA OUTLINED IN THE CODE. 2509 INDIAN MOUND TRAIL IS ELIGIBLE AS A LOCAL HISTORIC LANDMARK BASED ON THREE CRITERIA HISTORICAL CULTURAL SIGNIFICANCE CRITERIA FOR. IT EXEMPLIFIES THE HISTORICAL, CULTURAL, POLITICAL, ECONOMIC OR SOCIAL TRENDS OF THE COMMUNITY. ARCHITECTURAL SIGNIFICANCE CRITERIA ONE IT PORTRAYS THE ENVIRONMENT IN AN ERA OF HISTORY CHARACTERIZED BY ONE OR MORE DISTINCTIVE ARCHITECTURAL STYLE AND CRITERIA. TWO, IT EMBODIES THOSE DISTINGUISHING CHARACTERISTICS OF AN ARCHITECTURAL STYLE OR PERIOD OR METHOD OF CONSTRUCTION. 2509 INDIAN MOUND TRAIL IS LOCATED NEAR SAINT THERESA'S CATHOLIC SCHOOL AT THE JUNCTION OF INDIAN MOUND IN ANDALUSIA AVENUE IN CORAL GABLES. SECTION D THE PROPERTY, APPROXIMATELY 6230FT■!S, IS AN IRREGULARLY SHAPED LOT AND HAS A SINGLE FAMILY RESIDENCE WITH AN ATTACHED GARAGE. THE HOME RETAINS ITS INTEGRITY OF ITS ORIGINAL STYLE AND CHARACTER. CORAL GABLES DEVELOPMENTAL HISTORY IS DIVIDED INTO THREE MAJOR HISTORICAL PERIODS. GEORGE MERRICK FOUNDED IT IN THE EARLY 1920S, BASED ON HIS VISION FOR A FULLY CONCEIVED, MEDITERRANEAN INSPIRED CITY. IT IS NOW CONSIDERED ONE OF THE FIRST MODERN PLANNED COMMUNITIES IN THE UNITED STATES. THE ARCHITECTURE CONSTRUCTED DURING THIS INITIAL PERIOD COMBINED ELEMENTS COMMONLY USED IN SPANISH MOORS AND ITALIAN ARCHITECTURE AND HAS COME TO BE KNOWN AS THE MEDITERRANEAN REVIVAL STYLE.