2018 AIANYS Design Awards

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INTERIORS Honor Award | Joseph D. Jamail Lecture Hall..................................... 28

Award of Merit | The Associated Press......................... 30 Award of Merit | Virgin Airlines Clubhouse LAX................................... 31

2018 DESIGN AWARD RECIPIENTS ADAPTIVE REUSE/ HISTORIC PRESERVATION Honor Award | Empire Stores................ 6 Honor Award | Larry Robbins House........7 Honor Award | Congregation Kehilath Jeshurun Chapel................................. 8 Award of Merit | St. Bartholomew’s Episcopal Church Dome Restoration....... 9 Award of Merit | The Rotunda at the University of Virginia.........................10 COMMERCIAL/INDUSTRIAL LARGE PROJECT Award of Merit | Turnstyle at Columbus Circle.................................14 Award of Merit | North Main................ 15 INSTITUTIONAL Honor Award | Cornell University, Upson Hall........................................18 Honor Award | National Museum of African American History and Culture....19 Award of Citation | New York at its Core.......................... 20 Honor Award | Ross School of Business, Phase II, University of Michigan.......... 21

Front & Back Cover and Above: Project: National Museum of African American History and Culture, Washington, DC Photo Credit: Alan Karchmer (all rights held by Smithsonian Institution)

Award of Merit | Rutgers University – Camden: Nursing and Science Building............. 22 Award of Merit | Sea Glass Carousel..... 23 Award of Citation | Carriage Houses and Grounds.................................... 24

INTERNATIONAL Honor Award | Chung Nam Provincial Office............................... 34 Award of Merit | Tivoli Hjørnet ........... 35 RESIDENTIAL Multi-Family | Award of Merit | Pierhouse and 1 Hotel Brooklyn Bridge............... 38



Award of Merit | New York Dermatology Group Integral Health and Wellness..... 29

Single Family Detached, Less than 2,500 Square Feet | Award of Citation | Ancram Barn.................................... 39 Single Family Detached, Less than 2,500 Square Feet | Award of Merit Black House..................................... 40

Single Family Detached, Over 2,500 Square Feet | Honor Award | Georgica Cove...................................41 Single Family Detached, Over 2,500 Square Feet | Award of Citation | Cut Triplex....................................... 42 UNBUILT

Licensed More than 10 Years | Award of Citation | Houston-Galveston Area Protection System (H-GAPS)........ 46 Licensed More than 10 Years | Award of Citation | Missing Voices....... 47 URBAN PLANNING/DESIGN

Award of Merit | Denver Union Station........................ 50

Design Awards Jury............................ 51

Board of Directors............................. 53

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DE Project: Congregation Kehilath Jeshurun Chapel, New York, NY | Photo Credit: Chris Cooper

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“It is a case of a building that serves the public realm; it’s not preservation but occupation repurposing and provides a path for the future. Stealthily progressive.” Jury Comments

Photo Credit: © Imagen Subliminal

Empire Stores is emblematic of Brooklyn’s transformation from lapsed industrial powerhouse into a growing creative sector. This award-winning mixed-use development reimagines a vacant, 19th century warehouse on the DUMBO waterfront as a contemporary creative workplace and community hub. The conversion of this 450,000 sf complex, provides Brooklyn’s burgeoning Tech Triangle with much needed office space, and brings retail, dining, public space and exhibition galleries to the neighborhood. The campaign of adaptive re-use celebrates and preserves the building’s monumental presence on the waterfront, while improving circulation between DUMBO’s urban fabric and the 85-acre Brooklyn Bridge Park. Architectural intervention transformed this massive building, once a barrier standing between the neighborhood and the park, into a public portal that reconnects the two zones. A passageway carved out of the masonry structure creates a pedestrian conduit between Water Street and the waterfront. A four-story, open air

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courtyard excavated from within the center of the building serves as an immersive public space for building tenants, community members, and park visitors. Glass curtain walls line the courtyard blending the contemporary and the historic to make visible the building’s striations: shopping and a public food court at grade, galleries for the Brooklyn Historical Society on the second floor, and multiple floors of open office space above. By adapting the rooftop into a landscaped public terrace accessible from the courtyard, Brooklyn Bridge Park is extended into the building organically. This 7,000 sf space augments the park’s recreational facilities with a restaurant and beer garden, and offers iconic views of the bridges and the Manhattan skyline. The reanimated complex features 380,000 sf of creative office space over five floors, including a two-story contemporary addition on the roof. Retail and restaurants constitute 70,000 sf on the ground floor with 3,000 sf of exhibition space on the 2nd floor.



Built in the late 1800s, this residential house has undergone many transformations over its lifetime. The demolition of a deteriorated building along with the strategic preservation of the southern façade provides the opportunity for the reinvention and future home for the University of Pennsylvania’s undergraduate department of Management and Technology. The design is primarily an expression of transparency – physical and cultural. Multi-height spaces are carved from the long, narrow site leading to a new steel and glass façade. As home to the oldest dual degree program at Penn, and a ‘gem’ of the university, it is located at the core of campus sharing party walls with Alumni house and a fraternity to either side, both landmarked structures. The new construction features exterior party walls, highly visible on the north end of the building. Pewter colored manganese iron-spot brick with matching mortar best related to the buildings to

either side. On the second and third floors, the brick gives way to a steel and glass façade that features a 14 inch deep series of tapered, dark grey, metal mullions infilled with tall glass panels. Inside, with space at a premium, the spaces are very efficiently planned. The use of a scissor stair and a wellorganized core along the east wall maximizes usable space for gathering. The program is stacked from public to more private as one moves from the first to the third floor, and includes spaces for informal student gatherings, a multi-use classroom and study spaces with up-to-date technology. With emphasis on sustainability in systems and material selection, the building achieved LEED Gold status, with a long-term commitment to respect the environment as a whole. This renovation is one that returns to the spirit of the original residential use, and now holds the name of distinguished alumni as “Larry Robbins House.”



Photo Credit: Thomas Loof

“The back of the

building is a jewel box;

changes the whole scale

of the building – elegant and unified.” Jury Comments

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“Conversion from gym to sacred space; from secular to spiritual; an elegant solution with a reduced palette; stone stabilizes the space; night sky creates a spiritual experience.” Jury Comments

Photo Credit: Chris Cooper

The Congregation Kehilath Jeshurun Chapel is inspired by ancient texts that describe the Holy Ark as a simple, acacia wood box in the Wilderness of Sinai. The deep blue ceiling’s pyramidal form creates an asymmetrical soffit that can be read as both “roof” and “celestial sky,” and features a luminous opening from which a Ner Tamid light is suspended above the acacia wood Ark. Vertical maple strip panels on the walls reinforce the metaphor of the forested wilderness, PAGE | 8

while the Jerusalem Stone wall fragment behind the Ark is a symbol of the Wailing Wall and a reminder of the project’s below-grade location. The Chapel’s beautiful materials and exquisite craftsmanship combine in a modern composition of space and objects that re-imagines the traditional synagogue at an intimate scale. The result is purposefully abstract, inviting deep contemplation.



Photo Credit: Acheson Doyle Partners Architects

In 2008, St. Bart’s commissioned a firm to identify various improvement projects to restore the church building and its facilities, and the restoration of the dome was identified as a vital project.

Since 1917, St. Bartholomew’s Episcopal Church occupies a prominent Park Avenue site. Over the past century, the building’s significance as a civic presence in the New York City architectural landscape has grown to be appreciated on a level equal to its religious purpose. The dome of St. Bart’s became the beacon of the church, offering respite and a powerful contrasting image to the neighborhood high-rise buildings. The dome is now considered the emblematic icon of St. Bart’s. St. Bartholomew’s Episcopal Church was declared a New York City Landmark by the Landmarks Preservation Commission in 1967 and a National Register of Historic Places Landmark in 2016.



“Enjoyed the explanation of process and craft;

A thorough investigation was conducted, and the investigation found that the stone cladding was deteriorating, and water infiltration threatened the integrity of the steel tension ring.

the resurrecting of the

In 2015, the Building Committee authorized the design team to resume efforts for the dome restoration. Given the restart occurred seven years later, non-destructive testing was performed to determine if any changes in conditions had occurred, and if other approaches to the restoration warranted consideration. With the exception of nuanced detailed refinements, the dome restoration proceeded as originally approved.

structure; beautifully done.”

The construction process entailed the careful replacement of over 6,300 terra cotta tiles on the dome with historically appropriate, artisan crafted terra cotta tiles with patterns taken from the original dome. In an era of computer scanning and laser recording, a genuine hands-on approach to the documentation of the individual tile patterns of the dome was required. The globe and cross that top the dome were regilded and put back in place after the tiles were installed and blessed by the rector in situ.

dome; honors the craft of construction and the

Jury Comments

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“So much of what they did you don’t even know; not seeing is a good thing – seamless – corrected in an enhancing way. Breathes new life into an icon, not solely preservation; Preserves Jefferson’s vision in a non-interruptive way.” Jury Comments

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Photo Credit: Anna Wesolowska-Hedman Photography

Thomas Jefferson’s University of Virginia has long been recognized as one of the most important works of architecture in the United States.

This trend continued into the 1970’s, when the Rotunda was gutted by a controversial and underfunded renovation based on inadequate historical research.

It is a significant contributing structure to both a National Historic Landmark district and a UNESCO World Heritage Site. The Rotunda is the centerpiece of Jefferson’s Academical Village and a symbol of the University. Constructed between 1823 and 1827, it originally housed the University library, classrooms, and laboratories. Badly damaged by an 1895 fire that left only the original brick walls standing; it was rebuilt by Stanford White, of McKim Mead and White, in what has been described as one of the earliest major historic preservation efforts in the United States. Over the years the functions of the Rotunda eroded as the construction of new library and classroom buildings and the expansion of teaching programs diminished the role of the Rotunda in the life of the University.

The renovated building was intended to house the University President’s office; however, it was never used for that purpose. The underutilized building was primarily used by prospective and graduating students; the former when visiting the school, and the latter when proceeding down the Lawn for graduation. In 2006, the University commissioned the preparation of a Historic Structure Report to begin the long-term preservation of the building and once again incorporate it into the everyday life of the University where it will be utilized by students, faculty, administrators, the Board of Visitors, and visitors from around the world.





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DE Project: North Main, East Hampton, NY | Photo Credit: Michael Moran Photography PAGE | 12



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“Zones of color clearly define the walking sequence; it succeeds on all levels for a civic project – enriched by what they’ve done – civically and commercially.” Jury Comments

Photo Credit: Ty Cole

Turnstyle is a retail development that transformed a neglected passageway within New York City’s subway system into a vibrant public space for shopping, eating and gathering. The block long concourse connects the Columbus Circle station to multiple sidewalk entries and building lobbies with over 80,000 people passing through it daily. The 30,000sf project includes the design and renovation of the central passageway and the master plan, and infrastructure installation for numerous stores and restaurants. The design embraces and celebrates the underground site’s distinct features. MTA paraphernalia was stripped away to show-off the century-old beams, columns and vaults. New glass storefronts allow the vaults to pass over providing a feeling of spaciousness.

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The decorative metal “spine” enclosure screens pipes, conduits, and devices along the central column line with laser cut openings derived from the stations’

historic tile patterns. The walking surface is made of large black pavers, arranged in a herringbone pattern to refer to the Gustavino tiles covering the vaults in Grand Central Station. New custom “light pipes” at entry ceilings are perforated tubes around LED strips integrated with the tangle of existing station conduits to further blur the line between architecture and infrastructure. The store spaces lining the concourse are intentionally small to allow for a diversity of businesses. The shops are identified with blackened steel signs and “Hot spots” where people pause to eat, talk, or buy something are highlighted with colorful flooring, kiosks and tables. Interactive electronic columns, as physical objects and in their digital curation, further contribute to the vitality of the environment. The design celebrates this distinctly urban experience that elevates a common experience for city dwellers making Turnstyle a memorable urban place.





“Use of copper is

spectacular; elegantly

composed and materially

Photo Credit: Michael Moran

Many contemporary commercial structures are planned with inherent disposability, minimizing initial cost at the expense of fortitude and long-term usefulness. This owner-occupied project challenges the conventional approach, enhancing the property’s value with durable material systems, flexible infrastructure, and adaptable spatial organization. Based on vernacular building traditions, simple forms and naturally weatherresistant materials are employed. Copper shingles will show the effects of weathering but not succumb to them for at least 100 years. Similarly, the rainscreen siding of cedar planks will patina but endure, its longevity increased by an innovative fastening method of custom stainless steel clips. Allowed to expand and contract and free of penetrations, the typical first point of failure, the boards will outlast typical cedar siding. A garden of beach grass insulates and protects the roof from sun and weather. Planted in modular trays, individual portions of the green roof can be removed for maintenance or to

add future technologies such as photovoltaics. Future technological developments are accounted for inside as well. Reflecting the siding, interior walls are clad by the same system of boards and clips. The boards can be easily removed and replaced, providing access to continuous chases that contain the power distribution, phone, and data cabling, as well as HVAC ductwork. Additionally, the wood screens serve an acoustic purpose. The open-plan interior provides for changing spatial needs. The hybrid steel and engineered wood structure allow for airy, daylit spaces that can be easily reconfigured. Unlike many “green” buildings, this project attends to basic construction elements instead of relying on auxiliary technologies to make it sustainable. By simplifying the structure’s configuration, minimizing building technologies, and facilitating future adaptation, the project attains “timelessness”; it will outlast its contemporaries and extend our natural resources.

oppositional to the matt

wood; exercise in solid void;

balance and counterbalance; push and pull; playful and confident.”

Jury Comments

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DE Project: Carriage Houses & Grounds, Staten Island, NY PAGE | 16 Photo Credit: Naho Kubota



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“Aggrandizement of Photo Credit: Michael Moran

the openings at the entry

student project rooms and workshops occupy the entire lower floor and form a dynamic and accessible component of the renovation.

point increases their civic presence; the shift of massing identifies the building; it transitions from a background building to a foreground building.” Jury Comments

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The Sibley School of Mechanical and Aerospace Engineering is located at a critical intersection of the Engineering Quad. The project comprises the renovation and programming of the existing Upson Hall to accommodate hybrid engineering labs, classrooms, office and student project spaces. New social and gathering spaces are cantilevered from the original concrete structure and located at key connecting points in the project. The school’s administrative hub is placed at the main entrance adjacent to a new communicating staircase that links classrooms, faculty laboratories, graduate student spaces, and faculty offices. A custom 250’ long ceiling and display case housing the renowned Reuleaux Collection of Kinematic Mechanisms, animate the first floor main artery. The expansive

Using a masterplan to envision an energy-responsive re-cladding of seven buildings that form the Engineering Quad, the repurposing of the 1956 Upson Hall building transforms a work of international modernism into a highly tuned, site specific building, setting the precedent for the rejuvenation of the Quadrangle. The original building was stripped down to the concrete frame. To foster communication between the disciplines, vertical public spaces are carved from the existing structure, creating visual and social connections. Through an integrated approach to façade design combined with energy-modeling, the climate-specific response of a “transparent blanket” was developed, calibrating open glazed areas to maximize daylight in Ithaca’s overcast environment with heavily insulated walls to perform within a cold winter climate. The new façade transformed the building into a contemporary, energy efficient and flexible research laboratory.





“From the exterior, the

form causes inquisitiveness

Photo Credit: Alan Karchmer (all rights held by Smithsonian Institution)

The National Museum of African American History and Culture (NMAAHC) commemorates the black community and the impact African Americans have had on the United States and beyond. It operates simultaneously as a museum, a memorial, and a space for cross-cultural collaboration and learning. Devoted to documenting AfricanAmerican life with collections covering slavery and freedom, military engagement and reconstruction, segregation and civil rights, and cultural expressions of all forms, the museum rethinks the role of civic institutions in the 21st century, offering new modes of user experience and engagement. It presents a new form of museum: one that prioritizes cultural narrative and identity and that gives form to untold stories, establishing an empowering emotional context for positive social change. The design approach to the NMAAHC establishes both a meaningful relationship to its site on the National Mall and a strong conceptual resonance with America’s deep and longstanding African heritage. The design rests on four cornerstones: the Corona shape and

form of the building; the bronze filigree Screen; the Lenses framing views through the envelope; and the extension of the building out into the landscape – the Porch. The distinctive three-tiered Corona is inspired by the Yoruban caryatid, a traditional West African wooden sculpture that bears a crown. The angle of the tiers mimics the angle of the top of Washington Monument obelisk. The pattern of the 3,600 bronze-colored paneled Screen was inspired by the ornate ironwork of Charleston, SC; Savannah, GA; and New Orleans, LA—much of which was created by enslaved and free African Americans. Piercing through the museum envelope, the Lenses provide the only unobstructed views of many of the National Mall’s most important landmarks. The building’s main entrance features a front Porch with a reflecting pool, welcoming all who approach. It refers both to the importance of the porch in African American diaspora, as well as the museum’s location on the Mall, the ‘nation’s front lawn’.

and invitation. As you

get closer, the form, the

successive overhangs, create

a ‘building realm’ in the public space. Visual heaviness of the overhang is beautiful;

dramatic and inviting; you want to be in that space.” Jury Comments

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above bed cases with supportive documents. At the rear, a series of large projected images of the past dissolves to today’s view of the same location. Visitors are drawn to greater understanding of change over time. Interactive “totems” with touch activated screens showing unexpected, people and objects and even animals, bringing the past to life.

“The way in which the information is presented, displayed, is engaging as a space and an experience; allowing the architecture to recede and the information to come to the surface creates an atmosphere; architecture is the backdrop not the focal point.” Jury Comments

Photo Credit: Thomas Loof

The Museum of the City of New York undertook this first-ever permanent exhibition of New York City’s 400-year history in an iterative process that included a multi-disciplinary, collaborative, design team. In three separate galleries on the museum’s ground floor, the story unfolds through object-rich analog displays coupled with immersive media, in an environment that is dramatic in its modernity, and reductive in materiality. At both ends of a long connective circulation path, a full wall of LED displays present “pixelated images” that draw the visitors towards the north and south galleries. Seen as “art piece” more than a conventional slide show, images become more abstract as one approaches, a visual cue to move inside the gallery. Artifacts and large-scale media are embedded in a bold armature of constructed chronology. Eight niches have “jewel boxes” for individual objects floating

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Moving image and sound dominate a dense presentation of over 400 artifacts. Projections of period footage onto scrim use thematic music and voice to portray the excitement of the city. Content emphasizes harsh realities of 20th century challenges mixing iconic characters with untold tales. A large multi-monitor display allows visitors touch silhouettes of people with embedded imagery to unpack further content via a large-scale interactive presentation. Big data defines bigger issues of housing, nature, social challenge, environmental issues, and transportation networks. Themes are presented for interactive investigation in an area where visitors can create their own city and then through “Kinects” (a GPS activating system) see a realistic image of themselves in a large media wall. The series of media is complimented by a large “What if” table to facilitate further dialogue. There, visitors pose and answer questions about New York’s future, and see examples by experts in various fields of transportation, housing, resilience and other.





“Has certain moments that are stunning; Harmonizes with the existing context

with the scaler elements;

Photo Credit: Tim Griffith

Phase II of the Ross School of Business secures the school’s status as one of the premier business schools in America, with a world-class facility and an enduring local identity. The project included a new academic building, renovation and recladding of the existing library, and the selective recladding and over-cladding of several other structures to create a unified expression for the business school complex. The project adds classrooms, study spaces, and faculty and research offices, and enhance non-academic operations to improve the student experience, including student life, financial aid, admissions, and onsite recruiting for careers. Phase II is part of a larger project to remake the entire Ross School of Business over the past decade. Phase I was completed in 2009, a significant replacement of four buildings centered around a major skylit “winter garden,” which serves as a main hub of campus life. Four years later, Phase II continued the work of remaking the campus, adding another significant

trees; canopies, massing;

academic building, replacing or upgrading the remaining facilities, and unifying the complex in a common architectural language. Phase II, will provide state-of-the-art space for student services, Executive Education, career services, as well as additional classrooms and student study spaces. Phase II completes the overall business school complex with new entries, landscaped courtyards, and a coherent circulation system that connects the complex’s major thoroughfares. The project also provides a common architectural language for the larger facility. Phase II complements the spaces of Phase I with quiet study areas to “maker spaces” to the “Center of Centers,” a space that gathers most of the School’s centers and institutes into a single collaborative setting. Phase II also sees the transformation of the Kresge building from a traditional business library into a research and information center geared towards the needs of 21st-century learning.

choice of material – terra

cotta works well; activates the street with projected architectural elements.” Jury Comments

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“Nice sequence of public spaces through the building that move you from level to level; ceremonial and brings the city in; the city becomes your face; façade addresses the park well; the negative plinth is important; two buildings in one – each façade displays a different character.” Jury Comments

After several decades of disinvestment and decline, the City of Camden, New Jersey, has recently shown a commitment to revitalization and community-building. This commitment is realized in the new Rutgers University-Camden: Nursing and Science Building. The building announces the seriousness about the revitalization efforts that are positioning Camden as a major player in “eds and meds.”

context, the design embraces it through its expressive, multidimensional facades that showcase the activity within.

Located adjacent to City Hall, abutting the heavily trafficked Light Rail station, the building significantly improves Camden’s urban context; capturing the value of access to transportation, a waterfront, historic building stock, and an activated pedestrian realm.

With a fixed budget and lack of dedicated exterior space, the building needed to accommodate a nursing student population that would largely remain in this single facility throughout their academic careers. This demanded an interior environment that could satisfy the learning, socializing, collaboration, and study habits of students as they move through the four-year program. While the building siting establishes an important street edge, its position uniquely isolates it from the surrounding context, allowing it to be understood as a three-dimensional sculptural object in the heart of Camden’s downtown. The exterior design was developed to function at different scales, while it and the interior palette takes cue from the seemingly random patterns of DNA genotyping.

Located on a triangular site on the edge of City Hall Plaza between the Rutgers-Camden campus and the Cooper Medical Center, the building is the first step in an effort to help revitalize Camden, by building a corridor connecting Camden’s university district with the Cooper University Hospital and Cooper Medical School of Rowan. The building includes storefronts to activate the street and provide a connection to the activity from the Light Rail. Instead of shying from this challenging

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To the southwest, a four-story glass façade along the building’s diagonal overlooks south Camden allowing the facility’s internal academic functions to be “on display” to the city, and its occupants are constantly connected back to the urban context while going about their day.




WXY architecture + urban design

“Surreal environment; parti

is very clear; You participate

Photo Credit: Wade Zimmerman

Once a two-acre area of asphalt, the Battery Bosque now fulfills The Battery’s potential as a destination at the tip of Manhattan: full of spaces to sit, eat, and play and a lushly planted porch to the vast acreage of New York’s Inner Harbor. A nautilus shell of stainless steel and glass, the SeaGlass Carousel anchors the park with an experience of pure delight between water and land, a ride through the ocean amidst a school of luminescent fish. SeaGlass’s underwater theme echoes its location on the site of the first home of the New York Aquarium, and the completion of the carousel demonstrates a collaboration of site, art, and architecture. The spiraling shell structure was sited to capture Harbor breezes and allow the ride to rely on natural ventilation. Scenes of undersea life are projected on the shell’s interior, creating an entirely new experience for visitors. The project transforms the traditional ride structure into an instrument of the future with digital projection and electrified glass

technology, or “Smart Glass.” An audio component combines environmental noise made by the moving parts of the structure with amplified original musical scores recorded live by New York City musicians. Using the paradigm of the magic lantern, the Smart Glass façade changes from clear to opaque as the ride begins, dimming the space to capture the experience of diving under water. As the carousel spins, digital projections cast moving images on the interior of the building’s shell, animating the voyage. The translucent fiberglass figures of dolphins, turtles, clown fish, and other marine life move in unique multi-point action, maneuvered by motors under the floor. This innovation allows full visibility across, around, and through each creature, with no center post. Visitors sit within rather than atop the figures, enabling them to “become” fish in this aquatic adventure. The result is a park that is rich and colorful in its planting and playful in its architecture with a new public space experience to create a distinctly contemporary, ecologically themed environment.

in the environment as you wait because of how you queue, spiraling around;

you feel like you are under water, like you are in a

fishbowl; nice addition to

a public space; an element of surprise; Its very playful.”

Jury Comments

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“Good example of well-applied architecture standards to a utilitarian structure; artful; unexpected; surreal moment – is it storage or display?” Jury Comments

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Photo Credit: Naho Kubota

The program for the Carriage House project was to provide secure storage for the Staten Island Historical Society’s 62 historic carriages, including carriage restoration space, multi-purpose space for education/events, and exterior spaces for SIHS and Historic Richmond Town hosted events and fundraisers.

powder-coated aluminum end-wall panels differentiate the houses from each other. Each is coded with one, two, or three flush circular panels to indicate the house number. Porches at each end of the houses are set at varying depths to create covered spaces for sponsoring outdoor events.

Originally programmed as a single 3,600sf Butler-type building that would house a third of the SIHS’s collection, the design team employed a steel arch span system, increasing the area to 11,300sf capable of housing the full collection. The project was completed for $1,780,000 ($157/ sf), including site work utilizing galvalum-coated, deeply corrugated steel arches that perform as both structure and skin – at the proposed spans, it is the most economical building system available. The linear proportions of the building allow for the greatest density of carriages by double-parking & minimizing the number of circulation aisles. Highly reflective, brightly-colored

The three buildings are arrayed around a central exterior circular zone, or Access Hub, that provides access for incoming/ outgoing carriages, space for SIHS events, and the required turnaround for FDNY vehicles. The free building arrangement was organized to frame grassy exterior areas between the sheds and engage the existing dense surrounding woods to shape and give character to additional event spaces. The buildings positions were calibrated to minimize disruptions to the existing grade, preserve the existing trees on the site, and maximize porous surfacing for shared access to the houses with a retention system below the central Hub.


2019 Tri-State Design Conference

October 17-19, 2019 Albany, New York


Keynote Speakers | Continuing Education Credits | Networking

AIA New York State | AIA Pennsylvania | AIA New Jersey

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DE Project: Joseph D. Jamail Lecture Hall, Columbia University, New York, NY Photo Credit: Michael Moran Photography

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“A little jewel; it’s all about the ceiling; it’s an experience just to sit; the overlapping elements; it’s

Photo Credit: Michael Moran

a terrain above your head –

For this important lecture space in McKim, Mead and White’s historic Pulitzer Hall at Columbia University’s School of Journalism, the design was intentionally developed to have a dual personality. To accommodate the broad range of functions required, from lectures to classes to film screenings, the plan is open to multiple configurations via a series of mobile furniture components, including a transformable stage and a moving storage wall.

exuberance of it brings it to life.” Jury Comments

At ground, the space is defined by a patterned dark wood floor that reflects traces of the room’s original coffered ceiling and beam work. By contrast, the redesigned ceiling is highly articulated; developed as a contour of performance, with custom panels that provide for lighting, mechanical systems and acoustics. The shape of the ceiling is adjusted to allow for views to the monumental windows and extends to surface the mezzanine at the back of the space, referencing the form of classical coffers while adapting to contemporary requirements. The project engages PAGE | 28

the need to imaginatively transform historic facilities to accommodate contemporary educational requirements, creating a space that both acknowledges and reinvents its past. While the floor reflects the building’s original architecture and materiality, it also acts as a programmable surface for new forms of collectivity and collaboration. The custom ceiling deploys digital fabrication techniques to translate the historical architecture of the coffer into a complex functional surface, formed from recycled acoustical felt modules and shaped to incorporate all of the spaces technical systems, from diffusers to a large scale cinematic projector. Designed to replace a generic flat hung ceiling installed during a previous renovation, the new ceiling is suspended using the previous ceiling’s substructure, negotiating economic, constructional and functional demands while creating a new architectural identity for this important public space within the University.





“A very clear intervention

in an existing building; the

Photo Credit: Albert Vecerka / Esto

New York Dermatology Group Integral Health and Wellness (NYDG) acquired 7000sf on the second floor of a landmarked building designed by John Duncan in 1905 for Lord & Taylor. Situated within the historic ‘Ladies Mile’ district of Manhattan, the space comprised one open floor with ten magnificent windows overlooking Fifth Avenue. The project includes treatment rooms, cryotherapy rooms, blood work, bodywork and nutritionist rooms alongside a retail area, reception and other support spaces. The treatment areas were pulled away from the large light filled windows, organizing the programmatic requirements within one freestanding enclosure sitting centrally within the space, freeing up the perimeter. Patients and staff circulate along the long line of windows to enjoy the light, air and views to the city. A free-form object within the larger volume, the cladding to the treatment rooms appears soft and sensuous, acting as a counterpoint to the grittiness of the streets below. Working with yacht interior

specialists in Italy, a unique cladding system based upon a sketch depicting the form of a curtain was developed; with its undulating rhythmic lines, handmade in yachting fiberglass as if ‘frozen in time’, with a subtle opalescent color. The intention was to create spaces that would be calm and contemporary; a sanctuary from everyday life in the city, with lighting playing an important role. Reclaimed dark oak flooring from Germany and custom stained walnut ceilings define the horizontal plains of the space. Treatment room cladding is framed with bronze trims and signage is integrated into the wall system. This total design approach resulted in the development of a new range of furnishings showcased in waiting area of the wellness center. Originally the freight entrance to the building, a new and discreet VIP entrance from East 19th Street, minimally designed using blackened steel, takes its cue from examples of historic freight entrances in the district. This entrance leads to a private reception desk on the second floor.

detailing; the deliberate yet contained use of texture; elegantly placed into the

original building; consistent use of material; simple; a

building inside a building.” Jury Comments

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Photo Credit: © ERIC LAIGNEL Photography

“Fun; appreciated the attention to the ceiling as a façade; a variety of ceiling solutions; this is interior architecture in three-dimensions; purposeful use of black and white; newsprint grey; in the limited palette they used the articulated ceiling for unique solutions.” Jury Comments

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Founded in 1846, The Associated Press (AP) is an American multinational nonprofit news agency headquartered in NYC. The Architect was engaged to design The AP’s new global headquarters as they relocated from Midtown Manhattan to four floors at 200 Liberty Street in Brookfield Place. Moving across from the World Trade Center allowed The AP to return to its original roots Downtown, and offered them cost savings in downsizing their space by 40%. The project permitted The AP to revitalize their workplace with a more open office and collaborative spaces to accommodate changing work habits and their innovative news culture. The Architect’s Strategy & Innovation team and designers worked with The AP through the change management process to better conceptualize a more open, team-centric workplace. The Architect worked with the client to reduce the quantity and size of offices, creating a more open-plan to better promote communication. The fifth floor octagonal rotunda serves as the hub-designed newsroom, representing the flow of

information to the editorial team at the center. To heighten the sense of connectivity and promote cross-collaboration, their feature staircase was inspired by this transmission of data, with thousands of hanging tiles mimicking the numerous stories produced by the agency. The AP has many unique specialty spaces, including a 24/7 broadcast studio, a suite of green rooms and support spaces, and a data center. The office includes a mix of formal and informal collaboration rooms, executive offices, and board rooms. Their café serves as a multipurpose space for large functions, such as tracking the presidential election exit polls. The Architect’s Branding and Graphics group helped design gallery walls as well as an area to house The AP’s extensive archive collection celebrating their 170-year history and Pulitzer Prize-winning achievements. The new offices reflect The AP’s rich heritage and bolsters their reputation around the world.





“To paraphrase Antoine de

Saint-Exupéry, the pilot and Photo Credit: Tom Sibley

The Clubhouse puts a distinctly Southern California spin on Virgin Atlantic’s warmth and individuality. The lounge recalls LA’s warm sunsets, flowing surf, laid back lifestyle, mountain backdrops, smooth curves and sculpted surfaces. The existing rectangular space had windows on the north and east sides and demising walls on the south and east sides: two transparent walls and two opaque walls. By creating a diagonal between the North West corner and the South East corner, two triangles were created with the diagonal line forming the shared hypotenuse. The two sides of the triangle on the east side are glass and the two sides of the other are opaque demising walls, creating a light filled public side for passengers and an opaque private side for service functions. The diagonal sculpted Flow Wall is the hypotenuse which mediates between the dark and the light triangular spaces. The Flow Wall starts at the reception and continues into the space, cutting diagonally through the lounge as a backdrop for the Clubhouse, opposite the two exterior window walls that provide continuous views of aircraft, runways and

their planes are of nature, the Hollywood Hills with the iconic Hollywood sign. The triangular shape also creates a forced perspective that transforms a user’s perception of the space as the user changes positions, adding to the sense of variety and discovery within the lounge. A bright media installation provides a satisfying and immersive focal point on the apex of the triangle, opening up to create the dining area. In order to fully reveal the double height space between the floor and the roof while allowing for ductwork to the perimeter, a membrane ceiling that stretches upward to two glowing “skylights” at either end of the space was used. This is a subtle reference to the sky, upward flow and cloudlike softness. It also further differentiates the spaces below by radically changing the ceiling height. The sculpted language works with the flow wall to create sinuous sculpted conditions at the two boundary conditions. This sculpted shape also creates two zones of increased intensity at either end of the space to further differentiate the singular open space.

not against nature.

The forms, noted by the

designers as SoCal inspired, elicit thoughts of

aeronautics, airflows.” Jury Comments

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DE Project: Tivoli Hjørnet, Copenhagen, Denmark | Photo Credit: Lasse Salling PAGE | 32



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“Incredible logic of how it articulates the land; architecturally it’s a gathering point; figures are born of the place and alive; high degree of rationale and reason – not just form for form sake.” Jury Comments

Photo Credit: John Reed

This project is the result of a second stage invited design-build competition sponsored by the South Korean Government’s Public Procurement Service. The new government center, part of recent efforts to give more autonomy to the outlying provinces is located in Chung Cheong Nam-Do, just over two hours south of Seoul by automobile. The site, which sits in the heart of the Korean breadbasket, is at the center of a newly planned city which straddles the common boundary of two districts. The organization of this new city administrative quadrant takes its clues from this surrounding green mountainous landscape and the physical transformation of the district boundary separating Yesan Gun and Hongseong Gun districts, to weave together the two districts into a unified symbol of government. Two conceptual principles guided the development of the design. First, the notion of turning the entire site into a large park-like garden.

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Second, the concept of representing the seat of government as an abstracted mountain range, symbolic of Korea itself, of which some 80% is composed of mountains and uplands. Reportedly early European visitors

remarked that the country resembled “a sea in a heavy gale” because of the many successive mountain ranges that crisscross the peninsula. This administrative center celebrates Baekje Culture. The historical and idealized Baekje countryside depicted through paintings, surviving temples, sacred burial grounds and artifacts, describes a sinuous and soft landscape. Our design takes this idea and transforms it into a modern parkland with spaces for public gatherings, exhibitions, performances, sports and gardens delineated by the soft curves of the land. With its inherent flexibility, the design for the new complex enhances the workplace environment and energy efficiency. Green roofs limit heat gain, provide thermal mass and control water runoff. The building’s narrow profile and efficient louvered facade system ensures access to natural daylight and reduce the need for artificial illumination. Solar panels integrated into the roof system provide electricity and hot water. Under-floor heating and air conditioning linked to geothermal heat pumps reduces energy usage. A central circulation spine with communicating stairs encourages employees to walk, rather than ride elevators.



Photo Credit: Lasse Salling & Ian Bader/ Pei Cobb Freed & Partners

The enduring beauty of Tivoli Gardens, now 174 years in the making, lies in its salubrious foundational idea, to be a recreational fantasy park serving a substantial and active city. The Hjørnet project has been a privileged opportunity to engage with this extraordinary place and to make a contribution to its storied history. The original character of Tivoli as a place of amusement, culture and recreation has been sustained by a commitment to constant change and self-renewal. Janus-like, it looks to both the past and the future. The new building, placed in this historic setting is intended to gracefully anticipate and accept the overlays that will inevitably accrue with time. The key architectural idea for Tivoli Hjørnet was derived from the fortification walls and moat that historically enfolded the city and that today remain imprinted on the Gardens’ layout. Just as these walls formed the boundary of the city, so is the new building a new edge for the garden. It is an inhabited zone that both engages and entertains. It looks inward to the garden and outward to the city. The new building is both a framing portal and a curving undulating mirror – a portal to the fanciful world of Tivoli and a mirror amplifying distorting the very real and vivid life of Copenhagen. It is a



“Glowing necklace;

purposeful overhang on

the storefronts provides protection; nice cusp

between the building and

harmonizing mediator between the two worlds. Cantilevering out on the city side, the building shares in the vitality of the street. It enfolds rather than delimits. By capturing the nuances of changing light and unfolding with passage by, its variable form enriches the experience of passers-by. From within, the visitor is invited to drift above and along Bernstorffsgade. On the garden side, its terracotta terraces weave together and step back, exposing the Copenhagen sky. Hemmed with lush plantings, these terraces present panoramic views of the beloved Pantomime theatre, Tivoli’s stately trees, and the relaxed life of the garden playing out below. Embedded in a city of practical and material reality, Tivoli is a place that invites involuntary dreaming. The new building has already begun to find its place in the public imagination that has so long and so widely embraced the buoyant spirit of this remarkable Garden.

the public realm; almost two buildings, day and night.”

Jury Comments

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DE Project: Black House, Sagaponack, NY | Photo Credit: Attic Fire PAGE | 36



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“Residences as jenga blocks; degree of unit variability in the limited set of volumes; united by the façade – tangential; united by a single glass membrane; idea of individual units is celebrated; porosity of building – aligning with and extending the park.” Jury Comments

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Photo Credit: © David Sundberg/Esto

Pierhouse is comprised of 106 condominium units; a 300-car below grade parking garage, 17,000 square feet of Event Space, and a 195-key hotel in a 620,000 square foot complex of connected buildings ranging from four to ten stories. Pierhouse performs as an extension of Brooklyn Bridge Park - a verdant backdrop recalling the high, sandy bank of precolonial Brooklyn Heights, screening urban noise while facilitating waterfront access. The building presents two faces: The west elevation cascades toward the Park, while the east elevation rises steeply from Furman Street, responding to the urban fabric of narrow streets and nearby expressway. This ‘Janus’ condition informs two, distinct facades, innovative residential floor plans, and skip-stop circulation. The residential buildings employ a repeating module of distinct duplex houses with terraces on the park and harbor views. Their double-height interior spaces and multilevel plans reinterpret the classic Brooklyn Brownstone in a multifamily structure. All residential units are floor-through with

east and west exposures, providing natural ventilation that filters harbor breezes through the building from Park to Street. This porosity continues at grade, where public walkways through the building connect Furman Street and the Park. The complex respects important view corridors from the neighborhood to the Brooklyn Bridge. Its terraced forms break its imposing mass and orients each residential unit to a stunning view of the New York Harbor or the Brooklyn Bridge. Intensively planted roofs serve as the buildings’ ‘fifth façade’. Starwood Capital Group’s 1 Hotel is an urban threshold to the Park - with a forty-foot-tall public plaza, double-height lobby, outdoor dining, event spaces with glass walls opening directly on the Park, and roof terrace drawing the Park and its visitors into the building. The project will achieve LEED Silver certification.





“Economy of means; contrast of simple

material elegantly

incorporated; taking

something that is utilitarian and making into an

experience; simple design

Photo Credit: © Magda Biernat

Located in Ancram, New York on a 30 acre property with a traditional existing house and other structures, this modern barn adopts an unmistakably contemporary design approach, while incorporating key elements of agrarian vernacular of the Hudson Valley region. The building’s overall form is clean and simple, and its volume is a single, unobtrusive gabled roof structure that nestles into the hillside with retaining walls that create a drive court between the barn and the house. The 1,500 square foot barn accommodates storage for two cars along with a dedicated garden/potting area and a flexible, covered outdoor room. This space offers a dramatic vantage point onto the property and frames the Berkshire mountains beyond. Inside, the

that allows the

craftsmanship shine.” Jury Comments

prefabricated wood scissor truss structure and wood framing is left exposed. Material selections throughout were made to be durable and require little maintenance given the climate zone. The roof is black metal and the exterior is clad in vertical black-stained hemlock wood siding while the interior is clad in the same hemlock wood but left natural.

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“An exquisite transformation of a ranch; a classic example of “all things are possible;” made the ordinary extraordinary;

Photo Credit: Attic Fire

the role of abstraction

This project is an adaptive reuse of a quintessentially “humble” ranch home dating back to the postwar era. The design forms privacy zones that allow for multiple uses within the confines of a small footprint. The house was expanded by a private courtyard, an indoor-outdoor dining space, and an art studio.

resolves it; elevates mundane through abstraction; gives you hope for reinterpreting our suburban past.” Jury Comments

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All these spaces are simultaneously linked and hemmed in by a glazed vestibule that also serves as the entrance. Inspired by a piece of furniture designed by Ineke Hans for the Danish design group Moooi, the architects developed an exterior skin of black rubber and recycled plastic. The rubber serves to seal the existing structure from the elements and the recycled plastic screen forms a protective barrier for the rubber skin while also doubling as a sunshade to mitigate heat gain on the black surface.





“Stunning! It’s all about

the roof; the roof becomes

the wall; the wall becomes the roof; the linear; the

Photo Credit: Bates Masi + Architects

A couple with property on a cove overlooking the ocean asked for a house that would be comfortable for just the two of them, while allowing the house to grow on busy weekends to accommodate their guests. To instill the desired sense of comfort and peace, it was important that the design blend with the pastoral setting and vernacular building traditions: shingle style homes and barns that are often built and added to over time. Historic precedent studies revealed that referencing New England connected farms could achieve both goals. Connected farms aggregated over time, interconnecting multiple buildings with distinct uses. The architectural style of the house was applied to subsequent buildings to unify the assembly, but partitions within provided the necessary separation between uses. One volume was often offset or rotated from the next to provide greater access to light, air, and privacy from the other functions. The program of this house is divided into owners’ bedroom and office, kitchen and

landscaping is peacefully

family room, formal living and dining, and guest rooms. The spaces are arranged around a courtyard to create visual and physical connections between them but can be broken by large sliding doors. Each structure has an independent mechanical system allowing it to be shut down when unoccupied, allowing the livability of the house to expand and contract. A limited palette of materials and details unifies the various spaces and responds to the local climate. The cedar shingles are scaled up to the size of boards to cover the roof and sidewalls. Cedar screens provide privacy and filter light. A marble plinth filled with sand elevates the house above the floodplain while also creating drywells to accept storm water runoff. Oak floors and millwork run throughout. The design repurposes the historic typology of the connected farm to suit the timely needs of the site and the family. By acknowledging the area’s history and tradition of building, this home is an evolution of its cultural expression.

simple; this is simply

beautiful in the fullest sense of the word.” Jury Comments

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“Building as wall; exercise in mass and volume; solid and void; subtractive; depth of cut in the taut brick surface gives it an excavated quality; nice spatial moments; restrained elegance; theme throughout.� Jury Comments

Photo Credit: Michael Vahrenwald

On a lot next to a south-facing alley, the Cut Triplex townhouse balances privacy and openness, maximizing the narrow but deep property to carve out a light-filled 5,300 sq. ft residence. The design centers around different qualities of light. The clients wanted to take advantage of the open space of the alleyway while retaining a sense of privacy. Behind the monolithic black manganese brick facade lies an inviting and light interior. From the front of the house, an open strip of glass travels up to the second floor, wrapping around its 60-foot long south facade, and to the back where it flows down into the backyard terrace. This ribbon of natural light is framed by a projecting fin of richlite that extends equally to the exterior and interior of the house to emphasize the insertion and provide shading. The entrance opens upwards with light wells along the front and back. Reaching from the first to the second floor, these double-height openings bring light to

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each end of the residence and give a sense of weightlessness to the house. On the third floor, which holds four bedrooms, window sizes and their positioning vary, giving each room a unique quality of light. The first floor consists of a piano room, which leads past a central stairwell and an office space to a cozy living room at the back of the house. This family room is anchored by built-in bookshelves and a fireplace, and is illuminated by a large wall of windows and sliding glass doors that lead to the backyard. From the living room, a back stair offers an express route to a large open kitchen on the second floor, which is flanked by a formal dining area and informal family table in the back. With southern light streaming in, artificial light is rarely needed during the day. The central stairwell runs as a spine through the house, connecting the basement to the rooftop terrace.

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HOUSTONGALVESTON AREA PROTECTION SYSTEM (H-GAPS) GALVESTON BAY, TX ROGERS PARTNERS “It’s good to see the architect at the table for projects like this; architects at the table to be forward thinking, to see the spatial, civic and social potential of large infrastructural projects.” Jury Comments

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Photo Credit: © Rogers Partners

H-GAPS is a potential surge protection system where the Mid-Bay Barrier Islands and Mid-Bay Gate are envisioned as a cost-effective system that will protect both the vital industrial infrastructure of the Houston Ship Channel and the communities that line the western shore of Galveston Bay. Given the substantial investment that any storm protection system represents, the elements of that system must perform multiple functions at all times. During storm events, the primary function as a protective barrier is clear, but what happens the rest of the time? The Islands will be programmed as active recreational amenities for the Houston and Galveston Bay communities. From marinas for sailboats and sport craft, to sandy bayfront campsites, to an expansive network of bike, hike, horse,

and running trails, the Islands will offer new ground and amenities for the enjoyment of the Bay by visitors and residents alike. This constructed archipelago will also create new habitat for coastal and bay flora and fauna with a range of conditions that can support the bay’s remarkable ecological diversity. The Mid-Bay Barrier Islands are conceived not just to solve a problem, but also create a comprehensive new relationship with and understanding of the Bay. In the way that great infrastructure projects like the Golden Gate Bridge and Chicago’s Navy Pier have contributed to the cultural quality of a region and become celebrated icons of their cities, H-GAPS provides protection while embracing the opportunity to do more for the region.






“Offers a continuing

dialogue; participatory;

material and media; brings the dynamic to a static

condition, both spatially

Photo Credit: Studio Joseph

Markers connect a place to its meaning. A Markers connect a place to its meaning. A marker’s physical presence holds symbolic value based on its position and cultural context. Scudder Plaza, adjacent to the Wilson School of Government is a prominent site at the core of the campus. The University asked that “Wilson Marker” be a place to tell the story of Woodrow Wilson’s legacy. Missing Voices, metaphorically recognizes Wilson’s racism, the people he did not listen to - women, people of color, immigrants. The design includes three gestures that taken together offer opportunities for community engagement: Voices, Conversation, and Canvas. At the center of the plaza, bronze plaques embedded in the granite paving demonstrate the power of incremental over monumental. Composed in a randomized layout, they emerge from the entrance as a brilliant array. The plaques punctuate the existing gray paving. Wordless, they carry a more symbolic message that can change over time.

A linear granite seating is replaced by an array of new benches, designed to encourage people to gather for casual conversation or directed learning as an outdoor classroom. The wood slat forms are commodious but echo the dimension of the markers in their incremental structure. Comfortable and informal, they bring missing voices into the conversation. A media canvas runs the length of the north boundary. It is a data-driven light display that can be seen both day and night. It is activated by quotes that emanate in light from behind its surface. The letters fade and shine with activity, varying in intensity. Translucent concrete has embedded fibers that give it an authentic presence and density without using a glass screen or LEF monitor. Anyone can enter thoughts and then populate them to the digital canvas of Missing Voices. A user can opt to receive a notification or reminder as to when the item will appear. A social sharing option will also promote these items across varied platforms.

and through changing messages.”

Jury Comments

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DE PAGE | 48 Project: Denver Union Station, Denver, CO | Photo Credit: © Magda Biernat



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“Multimodal transit oriented development concept is truly embraced

Photo Credit: © Magda Biernat

in the multi-block plan

Denver’s historic Union Station is a Beaux Arts masterpiece on the edge of the city’s central business district. The project, transforming this station into a major regional transportation hub, converted 20 acres of former rail yards into an urban transit district that orchestrates light rail, commuter and intercity rail, bicycle and bus routes, and pedestrian pathways into an intuitive intermodal hub.

proposed; great exercise of urban planning; multimodal transportation oriented development bringing identity to a district; dignified urban infrastructure.” Jury Comments

The focal point is the open-air Train Hall, which was conceived as an efficient and formally expressive means of sheltering multiple railway tracks. Its primary structural system comprises 180 feet of 11 steel “arch trusses”, clad in tensioned fabric. In profile, the canopy rises 70 feet at either end and descends in a dynamic sweep to 22 feet at the center, allowing the structure to protect the passenger platforms below while providing views of the station. A two-block-long pedestrian promenade links the Train Hall to the Denver Union Station Light Rail Terminal. An enhanced network of pedestrian and public spaces within and around the site seamlessly integrates the hub into the Lower Down-

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town district to the east and residential neighborhoods to the south, west, and north. Underground, the 22-gate Bus Concourse services 16 bus routes. The 980 foot long terminal serves a dual purpose as a pedestrian concourse that connects the constellation of transportation programs distributed across the site. Vivid colors and natural lighting help passengers orient themselves while terrazzo floors and sparkling yellow glass tilework elevate the ambience of terminal beyond the often unimaginative depot experience. A series of skylights and glass pavilions flood the hall with daylight, infusing the station with a sense of motion and spaciousness. One of the largest of its kind in the United States, this redevelopment is a case study of the power of transit-oriented urban design. This public investment has catalyzed an unprecedented wave of private-sector activity. Sensitive to its historic location, but forward looking in its technical sophistication and city-building spirit, the Station sets the standard for 21st-century intermodal hubs.

Annually since 1968, the AIANYS Design Awards celebrate, honor and promote excellence in architectural design and planning by New York State architects. Categories include Residential, Institutional, Commercial/Industrial, Urban Planning/ Design, Adaptive Reuse/Historic Preservation, Interiors, Unbuilt, International, Pro Bono Projects, and Sole Practitioner.

2018 AIANYS Design Awards Jury Tim de Noble, AIA | Jury Chair | Kansas State University Dean of the College of Architecture, Planning & Design; Founder of deMx architecture An architect with international experience and teaching, Tim joined Kansas State University in 2009 as Dean of the College of Architecture, Planning & Design. Prior to leaving for Kansas, Tim returned to his roots in 1997 from a two-year teaching stint in Florence, Italy, to join the University of Arkansas faculty and open his Fayetteville-based firm, denoblearchitecture, now deMx architecture.

He previously served on the board of directors for the Arkansas state chapter of the AIA, and as chair of the Northwest Arkansas section of AIA in 2004. He also served as a consultant for the review of the architecture program at Florida International University and the graduate program in architecture at the University of Utah, and he served on an LAAB accreditation review of the landscape architecture program at California Polytechnic University-San Luis Obispo as well as a panelist for Library Journals’ Landmark Libraries’ Competition. Tim earned a Bachelor of Science in architecture from the University of Texas at Arlington in 1986 and a master of architecture from Syracuse University in 1992, teaching there until 1997. In those five years, he designed projects in Ecuador, upstate New York, and Arkansas. Marlon Blackwell, FAIA | Principal, Marlon Blackwell Architects Marlon Blackwell, FAIA, is a practicing architect in Fayetteville, Arkansas, and serves as the E. Fay Jones Distinguished Professor at the Fay Jones School of Architecture + Design at the University of Arkansas. Marlon Blackwell Architects received the 2016 Cooper Hewitt National Design Award in Architecture and ranked #1 in Design as part of the Architect 50, a national survey of architecture firms. In 2017, Marlon received the E. Fay Jones Gold Medal from the Arkansas AIA as a recognition of his significant contribution to design. His achievements are further evidenced by being named a United States Artists Ford Fellow 2014 and selected for the 2012 Architecture Prize from the American Academy of Arts and Letters. A monograph of his early work entitled “An Architecture of the Ozarks: The Works of Marlon Blackwell” was published by Princeton Architectural Press in 2005. Marlon was selected by The International Design Magazine, in 2006, as one of the ID Forty: Undersung Heroes and as an “Emerging Voice” in 1998 by the Architectural League of New York. At the University of Arkansas, Marlon was named as one of DesignIntelligence magazine’s “30 Most Admired Educators” for 2015. He has co-taught design studios with Peter Eisenman, Christopher Risher, and Julie Snow. Other visiting academic appointments include the George Baird Professor at Cornell University, the Thomas Jefferson Professor at the University of Virginia, the Elliel Saarinen Visiting Professor at the University of Michigan, the Ivan Smith Distinguished Professor at the University of Florida, the Ruth and Norman Moore Visiting Professor at Washington University in St. Louis and visiting graduate professor at MIT.


Kansas Gov. Sam Brownback appointed Tim to the State Building Advisory Commission, and he is the university liaison to the Kansas chapter of the American Institute of Architects’ Board of Directors.

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Joyce Owens, FAIA, RIBA | Principal, Architecture Joyce Owens Joyce Owens, FAIA, RIBA is the principal architect at Studio AJO where she oversees all of the design work that comes out of the offices, and meets with current and potential clients to explore creative possibilities and solutions. Currently the client list extends through the United States, the United Kingdom, and Italy. Before opening Studio AJO, Joyce was a co-founding partner at the London-based firm Azman Owens Architects, where she worked with clients like London Mayor Boris Johnson, Fashion Icon Alexander McQueen, Fashion Guru Isabella Blow and retail corporation TAGHeuer. Joyce’s work has been published in books, magazines, and news sources. She has won awards from the UK’s Royal Institute of British Architects (RIBA), the American Institute of Architects (AIA), as well as many design competitions internationally. Joyce graduated from Notre Dame University with a degree in architecture before winning a Rotary Foundation scholarship to study in Rome and London. She was an architectural columnist for the Fort Myers News-Press and USA Today. Most recently, Joyce was the 2017 President for the AIA Florida and has been elevated to a Fellow of the National Institute - the highest membership honor for exceptional work and contributions to architecture and society. Scott Erdy, FAIA | Principal, Erdy McHenry Architecture Erdy McHenry was founded in Scott Erdy’s attic 18 years ago with one employee. Joining forces with David McHenry on a project for the Southern Poverty Law Center jumpstarted the firm, earning an AIA Gold Medal and the cover of Architecture Magazine. Scott Erdy’s award winning projects celebrate place, program and cultural relevancy while exploiting the conceptual potential of practicality and constructability. The strength of Scott’s work is its ability to translate normative programs into architecture of poetic beauty and cultural significance. Scott’s work pursues a methodology where form embodies purpose, and sense of place is revealed through the careful intersection of programmatic relationships and cultural significance. Since establishing Erdy McHenry Architecture with David McHenry, Scott’s design work has received many accolades from the local and national press as well as his peers and has received more than 30 state, local and national awards. Beginning with the September 2001 cover story of Architecture Magazine featuring Southern Poverty Law Center in Montgomery, Alabama and most recently the 2013 July Cover of Architectural Record highlighting the Cornell Teaching Dairy Barn, Ithaca New York, Scott’s work has been recognized for the embodiment of both its cultural significance and utilitarian beauty. Monica Kurzejeski | Deputy Mayor, Troy, NY Monica is the Deputy Mayor for the City of Troy, NY, and oversees the day-to-day operations of Troy government, managing all city departments and municipal employees. Prior to her appointment, Monica was the Economic Development Coordinator for the City and the founding Executive Director of the Troy Community Land Bank. She has worked to continue the development of Downtown Troy, and to spread the momentum to other parts of the Collar City. As an ally to neighborhoods, community organizations, small businesses and large developers, Monica works to provide an inclusive approach to re-imagining Troy. With a resume that includes Economic Development, Property Management, Construction, Retail Management, Event Coordination and versions of Chief of Staff, Monica brings to the position critical thinking, decision making, community relations, organizational management, and regional knowledge. Monica takes pride in the fact that many of the tenants she has placed are thriving and calling Downtown Troy their home. Her dedication and passion for the community, the Region and Troy provide her motivation to do what is right for the City of Troy. PAGE | 52

President Kirk Narburgh, AIA

Central New York Jeffrey Pawlowski, AIA

President Elect Mark Vincent Kruse, AIA

Eastern New York Mark Thaler, AIA

Vice President Government Advocacy Joseph J. Aliotta, FAIA

Long Island Martin Hero, AIA

Vice President | Knowledge Willy Zambrano, AIA Vice President Public Advocacy Paul J. McDonnell, AIA

New York Tonja Adair, AIA Jane Smith, FAIA Jeffrey L. Raven, FAIA Peconic Dominic LaPierre, AIA

Secretary Allen P. Rossignol, AIA

Queens Victor K. Han, AIA

Treasurer Stephanie Wright, AIA

Rochester Peter Wehner, AIA

Immediate Past President Robert E. Stark, AIA

Southern New York Andrew J. Harding, AIA

AIA Regional Representatives Illya Azaroff, AIA Kelly Hayes McAlonie, FAIA Brynnemarie T. Lanciotti, AIA

Staten Island Mark E. Anderson, AIA

Executive Director Georgi Ann Bailey, CAE, Hon. AIANYS Legislative Counsel Richard Leckerling, Esq. Whiteman Osterman & Hanna LLP Bronx Richard L. Stein, AIA Brooklyn Sarah Drake, AIA Buffalo/Western New York John Doster, AIA

Westchester + Hudson Valley Manuel A. Andrade, AIA Associate Director Josette Matthew, Assoc. AIA National Associates Committee Regional Associate Director David Flecha, Assoc. AIA Student Director Joseph Ortiz, AIAS New York Rep to YAF Graciela Carrillo, AIA



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11:36 AM

The Announcement of the Decade







Revised AIA core documents are now available



Like the Agave Americana, the plant that blooms every ten years, the core set of AIA Contract Documents is only updated every ten years. This ensures your design and construction projects are protected against changing industry trends and needs. In the 2017 versions of AIA contracts, you can now use fill points to prompt the parties to discuss and insert a “Termination Fee” when necessary, and there is a new evaluation provision by the architect, if the contractor proposes alternative means and methods. Plus, make any AIA contract appropriate for a sustainable project with the new Sustainable Exhibit. Learn more and download free samples at aiacontracts.org/aiachapter

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