2019 AIA New York State Design & Honor Awards

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RESIDENTIAL | MULTI-FAMILY 10 Bond Street................................. 34 1070 Myrtle Avenue ......................... 35 American Copper Buildings ................ 36 St. Augustine Terrace ....................... 38 RESIDENTIAL | SINGLE FAMILY DETACHED



Richardson Olmsted Campus ................ 6

Aurora Event Center ......................... 45

Cornell University College of Veterinary Medicine .........................7


Frank Lloyd Wright’s Martin House ........ 8

District Wharf .................................. 48

Luma Arles ........................................ 9 COMMERCIAL/INDUSTRIAL LARGE PROJECT Brooklyn Bridge Park Boathouse .......... 12 INSTITUTIONAL Wegmans Hall/ Goergen Institute for Data Science.......16 High Street Residence Hall at Dickinson College .......................... 17 Ford Foundation Center for Social Justice.....................18 Statue of Liberty Museum .................. 20 INTERIORS Grace Church High School Athletic Center ................................ 24 AFNY Project 6 ................................ 25 S-M-L Loft ...................................... 26 PRO BONO PROJECTS Cloud Forests: A Pavilion for Children’s Play.............. 30 School No. 3 (Petite École) ............... 31

Project: Aurora Event Center; Aurora, New York; Trahan Architects

Wuehrer House................................. 40


HBS Schwartz Pavilion .......................19

Front & Back Cover and Above:

Second House.................................. 39

Chelsea Townhouse .......................... 44



Hadohilljo Townhouse .......................37

Design Awards Jury........................... 49


James William Kideney Gold Medal Award ............................ 50 Matthew W. Del Gaudio Service Award .................................. 50 AIA New York State Firm of The Year .............................. 50

Young Architect Award ...................... 51 AIA New York State Emerging Professional Component Award ............................. 51 Frederic Schwartz Community Development Award .......... 51 President’s Award ............................. 51

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

Photo Credit: ©The Boundary

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DE Project: Cornell University College of Veterinary Medicine, Ithaca, NY | Photo Credit: ŠAlbert Vecerka/Esto

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“We applaud the design team’s effort in showcasing the building’s Photo Credit: ©Christopher Payne

history through design.” Jury Comment The central portion of the National Historic Landmark Richardson Olmsted Campus was transformed into the Hotel Henry, a boutique hotel that celebrates the history and architecture of the monumental structure designed by Henry Hobson Richardson and completed in 1880. The project brings new life to a long-abandoned architectural masterpiece, originally designed as the Buffalo Asylum for the Insane, adding to the revitalization of the city and reinforcing Buffalo as center of great American design. A new glass and steel entrance acts as a beacon and establishes a new connection to the landscape and a discreet parking area. At night, the new addition glows like a lantern, while the illuminated towers give the building a heightened presence from a distance.

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Inside, the scale of Richardson’s design is respected, while additions and subtractions transform the building for

new uses. The lobby includes a food service marketplace and moveable furniture for flexible configurations and a restored grand staircase. The 191,000-square-foot project includes 88 hotel rooms, conference facilities, a fine dining restaurant, and a grab-and-go café. Small former patient rooms were combined to create modern guestrooms with furniture that is spare and low, emphasizing the scale and character of the architecture, and the wide, light-filled hallways were preserved. Frederick Law Olmsted, the father of landscape architecture in the United States, designed the grounds of the complex. The landscape has been restored and reinterpreted, with over 125 new trees, a new granite and flagstone entry plaza, and raingardens. The building will also house a new center for architecture and design that will celebrate the built heritage of Buffalo. By demonstrating how architecturally significant buildings can be successfully repurposed, the project supports the mission of the Campus and the design center.




WEISS/MANFREDI Architecture/ Landscape/Urbanism “The simple, well organized volume is light, airy and

delicate in appearance.”

Photo Credit: ©Albert Vecerka/Esto

Cornell University needed a new home for the College of Veterinary Medicine, a transformation of their original campus—a disconnected collection of ad-hoc buildings—into a cohesive campus that signals the importance of the College and enables the school to advance research while offering an innovative curriculum for training future practitioners and researchers. The project features a 67,000 square foot expansion and 50,000 square foot gut-renovation—adding teaching spaces, connecting the hospital to the College, and creating public forums for programmed and spontaneous activities. The expansion provides an updated anchor to Cornell’s east-west campus axis. A redesigned entry plaza is framed by a new Library Wing and re-clad Veterinary Research Tower providing a unified identity and front entrance. The most notable newly constructed space is the Gallery which creates a “town hall” for the Veterinary Complex, providing opportunities for informal meetings, social gatherings, performances, and dining, while clarifying

Jury Comment

circulation and providing connections to teaching and research spaces, the medical center, and a new shared central courtyard. Lecture halls, laboratories, seminar rooms, a cafeteria, and administrative suites encircle the Gallery, providing a seamless transition between the existing and the new. The redesign significantly increases the energy efficiency of the new spaces as well as the existing Research Tower, featuring sustainably harvested wood, local and recycled materials, radiant floor heating and cooling, and a new curtainwall on the existing Research Tower that provides improved insulation. Surrounding the College are native plantings and an Entry Plaza featuring a bio-retention basin for more efficient storm water management. The project is LEED Gold certified. The College of Veterinary Medicine is a crossroads for all of Ithaca, and with its new design it is also a symbol of the achievements of one of the most influential veterinary medicine programs in the world.

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“The project was

Photo Credit: ©Biff Henrich/IMG_INK

lovingly restored to its

The project involves a 25-year long, multiple phased preservation, restoration and reconstruction effort to a 1905 Frank Lloyd Wright designed home for the Martin family in Buffalo, New York. Mrs. Martin abandoned the estate in 1937 following the death of her husband and the estate was sold at auction in 1962. The Martin House was proclaimed a National Historic Landmark in 1986.

original grandeur down to the finest detail.” Jury Comment

In 1996, the Martin House Restoration Corporation set out on a comprehensive, multi-year restoration venture, overseeing a project dedicated to the preservation of the complex as an architecturally significant whole. Working with New York State’s Historic Preservation Office and the National Park Service, the restoration and reconstruction efforts followed The Secretary of the Interior’s Standards for the Treatment of Historic Properties since it was to become New York’s first official 20th Century Historic Site. Converting this former single-family home estate into a new “House Museum” mandated significant ingenuity and creativity to insert modern systems and materials into the historic fabric. A 20-plus geothermal well system was used to provide heating & cooling environmental controls for this historic PAGE | 8

museum, while mitigating any visual obstructions to Wright’s original campus vision. Work included the repair, stabilization and preservation of the roof and foundations at the Main House and reconstruction of the Pergola, Conservatory and Carriage House. In the past two years, the Corporation entered the final phase of project implementation, achieving the realization of the Martin House interior restoration which focused on the intricate woodwork and luminous glazed wall and ceiling finishes, the re-fabrication of impressive built-in units, the reproduction of a glass mosaic tile fireplace, as well as the much-anticipated completion of a rehabilitated Wrightdesigned landscape plan. With the support of hundreds— coupled with millions of dollars in funding—a once-decaying eyesore has captured the hearts and minds of the community at large: locally, nationally, and internationally.



Photo Credit: ©C+D Architects, Courtesy of Selldorf Architects; ©Hervé Hôte, Selldorf Architects; ©Luma Foundation, Courtesy of Selldorf Architects

Luma Arles is a new contemporary art center that brings together artists, researchers, and creators to collaborate on multi-disciplinary works and exhibitions. Located south of Arles’ historic city center, the project repurposes the industrial ruins of a 16-acre rail depot and introduces a new public park. The firm contributed to the overall master plan and designed the renovation and conversion of four original structures into two new exhibition facilities, a dance studio and artists’ residence, as well as a guest house and hotel. The project balances the original 19th century industrial vocabulary with the Center’s new contemporary purpose. The original structures were maintained while creating a new balance of indoor and outdoor spaces. Les Forges, the original foundry building and the first to be completed, contains two levels of gallery space totaling 46,745 square feet. Visitors arrive at a

double-height sky-lit space with a newly created mezzanine level. A new openair courtyard includes a café and is a communal gathering space for presentations and concerts. Originally built as the repair shop for SNCF railcars, Mécanique Générale required almost a total rebuild to transform it into 48,650 square feet of exhibition space and artist workshops. To facilitate the display of large works a modern addition to the west creates a 65 foot column-free span. La Formation, is a 16,500 square foot artists’ residence and rehearsal space that also functions as a performance studio open to the public. In addition to refurbishing the building’s exterior façade, the interior has been transformed by introducing a new interstitial level to the original two-story structure. As a post-industrial remnant, the project’s site presented an opportunity to regenerate not only this former rail depot, but to create new job opportunities for an area in France with a growing unemployment rate.



“The power of these

19th Century industrial buildings is brought to light through a careful

restoration and thoughtful modern counterparts.” Jury Comment

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DE Project: Brooklyn Bridge Park Boathouse, Brooklyn, NY | Photo Credit: ©Elizabeth Felicella PAGE | 10



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“Spatial definition and branding are reinforced through a simple palette of materials and clean detailing.” Jury Comment

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Photo Credit: ©Elizabeth Felicella,©Alex S. MacLean

The Brooklyn Bridge Park Corporation has transformed 85 acres of Brooklyn’s East River shoreline from industrial waterfront to a premier park. Tasked with designing one building with public, administrative, and storage functions, Architecture Research Office responded with a site strategy to bookend the Pier 5 Uplands with two new buildings. While the Maintenance & Operations building anchors the urban edge of Furman Street, the new boathouse extends from the elevated berm into the park. Providing secure, open-air boat storage at grade level, with a multipurpose room and public restrooms safely above floodwaters on the upper floor, the architecture of the 5,000 square foot boathouse is purposeful, economical, and resilient. Working with the park’s landscape architect, sound mitigation from the adjacent Brooklyn Queens Expressway, the location’s proximity to the Brooklyn Heights Promenade, and views of Lower Manhattan would be essential focal points. Providing public restrooms and boat storage near the maintenance & operations facility, the new building would have to be a functional and

appealing public amenity. It was also imperative for the design to highlight the park’s accessibility and sustainability mission. The upper level of the boathouse appears to float, wrapped with metal grilles that create a dynamic display of light and shadow throughout the day and glow at night when backlit. Shaded by the grilles, large southwest-facing floor-toceiling windows in the multipurpose room provide expansive views of the harbor and lower Manhattan. The envelope for both buildings were designed as rain screens to maximize insulative value while protecting the air and vapor barrier. Selection of exterior and interior materials was based upon durability, wear-ability, and inherent natural qualities. A waterfront beacon for the Brooklyn community and visitors alike, the porous structure is an extension of the Pier 5 Uplands, connecting the landscape to the waterfront. The project is targeting LEED Silver certification.


DE Project: HBS Schwartz Pavilion, Boston, MA | Photo Credit: ©Reid Freeman

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WEGMANS HALL GOERGEN INSTITUTE FOR DATA SCIENCE ROCHESTER, NY KENNEDY & VIOLICH ARCHITECTURE “A well sited campus building whose massing, varying fenestration and material detailing provide a human scale for the campus whole.” Jury Comment

Photo Credit: ©John Horner

The new Goergen Institute for Data Science at the University of Rochester is the signature focus of the University’s Strategic Plan to foreground information technology in a new educational model for cross-disciplinary research and innovation. The 60,000 square foot building program includes smart classrooms and faculty offices, robotics, science, computation and environmental labs, a 160-seat auditorium, and the Goergen Institute, a new public resource for information technology. The massing of Institute of Data Science is created from a simple rectangular volume that is “broken” to unite two campus geometries: it offers a new public face to the Genesee River and completes the Science & Engineering Quadrangle, transforming the existing exterior vehicular roadways into a new, 2-acre pedestrian and bicycle-oriented campus landscape. The project treats each brick as a digital “pixel” of information capable of expressing its status in relation to the building’s overall geometry in the campus context. Shadows from the projecting

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bricks activate the façades and narrow and wide punched windows are inspired by the binary code that is fundamental to encoding data. Inside, social collaboration spaces are integrated into a generous circulation sequence with views to the Genesee River and the Science & Engineering Quad. Lab spaces are designed adjacent to collaboration spaces, using a modular bay system which supports flexibility and interdisciplinary research projects. All interior lab corridors terminate with window overlooks which admit natural light deep into the building interior. The auditorium is centrally located on the ground floor and used for international lectures, data science conferences, and is offered to the community at large for public events. The Goergen Institute has broadened not only the School of Science and Applied Engineering but it has expanded its impact on the campus community as a whole by fostering a culture of interdisciplinary collaboration.





“Here is an example of

extremely thoughtful planning and sustainable strategies

Photo Credit: ©Chris Cooper

In its aim to become carbon neutral, Dickinson College, a historic, liberal arts college, requested a design for a new highly sustainable, socially conducive residence hall. The first on campus in over 40 years, the new residence hall fosters community and has helped to re-center residential life on campus. Students wanted the flexibility of singles and doubles, and the social community of suites. The design accomplishes both with unusual efficiency and flexibility: rooms are grouped around small common spaces that animate the halls. Students also identified the need for study and meeting space for clubs and group learning. The building’s E-shaped plan creates a pair of intimate courtyards that establish a connection to the outdoors and encourage socializing. The short hallways—all of which terminate in windows with access to light and views—encourage encounters within the. Wide corridors, clear wayfinding, and common arrival points support disabled or mobility impaired residents, as well as frequent breaks in corridors to allow for rest.

The LEED Platinum building—one of the greenest residence halls in the country—has a high-performance building envelope, efficient building systems and mechanicals, locally sourced and recycled materials, indoor bicycle storage, rain gardens and many other sustainable features. The materials of the exterior of the High Street Residence Hall, stone and zinc, are both durable and connect back to the historic campus. The building sits in a landscape that is low maintenance and sustainably designed to reduce the impact of development on stormwater. The garden is also a learning tool for the building occupants and broader campus. The building has attracted students back to live on campus, reinforcing the cohesion of the campus community. The building embodies the values of the campus and is helping the college meet its sustainability goals.

coming together to make a

residence hall that would be a delight to experience.”

Jury Comment

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FORD FOUNDATION CENTER FOR SOCIAL JUSTICE NEW YORK, NY GENSLER Photo Credit: ©Garrett Rowland, Courtesy of Gensler; ©Gensler

“The architects acted as skillful surgeons, carefully subtracting to reveal the elegance of this modern gem.” Jury Comment


Completed by Kevin Roche John Dinkeloo and Associates in 1968, the Ford Foundation’s building was hailed as a modernist architectural icon. The major renovation maintains and enhances the building’s original character, while significantly introducing an increase in transparency and accessibility. The renewal also brings the iconic building into alignment with New York City safety code and New York City Landmarks Preservation Commission requirements. In the atrium, a new brick pathway increases wheelchair access by 50% and opens circulation to the rest of the garden. The atrium features a touch-andsmell garden for the visually-impaired, including braille signage totems. The restored garden, originally designed by renowned modernist landscape architect, Dan Kiley, brings back his aesthetic and incorporates a more inclusive design and state-of-the-art lighting.

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The building’s performance was significantly enhanced in terms of heat management, lighting, mechanical, electrical, and ductwork, as well as cooling systems using storm water. In conjunction with a new smoke exhaust system, the atrium now functions as a large chimney. The project involved extensive repair and restoration of the distinctive architectural materials and the building is pursuing LEED Platinum certification. Previously, private offices lined the atrium perimeter, giving a select group the most privileged views. Today, the few remaining private offices and enclosed spaces line the outer edge of the building, making the atrium visually accessible to everyone. The renovation allowed Ford Foundation to reduce its own footprint to make room for a new welcome lounge, two office floors to lease to other like-minded organizations, and a new art gallery featuring rotating exhibitions that speak to Ford’s mission of social justice and equity for all. After a two-year renovation, the landmark building reopened as the Ford Foundation Center for Social Justice— a vibrant, accessible hub for champions of social justice.





“This timeless yet

understated building

shows a real sensitivity

towards place, material

Photo Credit: ©Reid Freeman

The Harvard Business School wished to build a light and transparent structure to anchor the east end of a newly reconfigured campus main common space. The HBS Schwartz Pavilion is located in the heart of the Harvard Business School campus and serves as a focal point for student engagement and activity. The pavilion sits in the Common along the primary circulation routes and encourages participation for both informal and structured social exchanges and recreation. The two overlapping canopies of different heights are constructed with light responsive materials and vertical partitions to provide privacy, delineate space, and abstract and display activity and occupa-

tion. The canopy and partition walls are designed to create comfort throughout substantial seasonal changes of wind and light. Operable sliding and folding glass doors can be deployed to create thermal comfort through enclosure and alter the scale of event spaces. Seasonal sun exposure and wind directions were analyzed in determining the orientation of the structure for passive cooling and heating in support of Harvard’s sustainability goals. Artificial light is embedded in the pavilion design so that it serves as a beacon and an enhancement to the common in the evening hours. An outdoor fire element was incorporated into the design to provide a focal point for students gathering after dusk and heat on cool evenings. The Pavilion is a public and communal space on the campus that allows opportunities for strengthening social bonds between students and between students and faculty. Social bonds are an important aspect the business school students education and school experience.

and its’ program.” Jury Comment

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“This building is conceived with great purpose and resolve and elevates itself to much more than a history museum.” Jury Comment

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Photo Credit: ©David Sundberg/Esto and Courtesy of FXCollaborative

The Statue of Liberty–Ellis Island Foundation, a non-profit organization working in partnership with the National Park Service requested a new, freestanding museum that could accommodate Liberty Island’s visitors—the majority of whom were unable to enter the previous Statue of Liberty Museum located in the Statue’s base due to restrictive security measures implemented following September 11, 2001. Conceived as a garden pavilion and located at the opposite end from Lady Liberty herself, the museum accommodates 4.3 million visitors each year. The centerpiece is the original torch that graced the Statue of Liberty for nearly 100 years. The new museum frames the torch with a sparkling glass vitrine that makes it a visible beacon to visitors and throughout New York Harbor. A silk-screened dot pattern on the twenty two-foot-high glass walls deters bird impacts and ensures their safety. Exhibits and displays are afforded theatrical, “black-box” settings.

The visitor experience culminates in a dramatic granite roof terrace that provides unobstructed views of Lady Liberty, the Manhattan skyline, and New York Harbor. Merging landscape and building, the museum’s roof is planted with native meadow grasses that create a natural habitat for local and migrating birds and super-insulates the building by capturing and filtering storm water. During Hurricane Sandy in 2012, Liberty Island suffered severe damage and resiliency measures required that the museum be elevated at least 10 feet above the adjacent plaza and be constructed to withstand at least 100 years in its harsh, windswept, maritime setting. The Statue of Liberty is New York’s most iconic monument and a universal symbol of enlightenment and freedom. The new Statue of Liberty Museum improves the experience for all visitors, and anticipates achieving LEED Gold certification.


DE Project: AFNY Project 6, New York, NY | Photo Credit: ©Paul Warchol

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GRACE CHURCH HIGH SCHOOL ATHLETIC CENTER NEW YORK, NY MBB ARCHITECTS “A simple rhythmic and sculptural ceiling plane/ roofscape emerge from a clear plan diagram making it an inspiring place for activity.” Jury Comment

Photo Credit: ©2019 Francis Dzikowski/OTTO

Challenged to grow in its historic cooper square location, this independent high school needed to add space for more athletics and community gatherings. The vertical expansion and renovation had to reflect the school’s civic values while respecting the scale of the neighborhood. To allow for athletics, performance and all-school activities, the expansion includes a double-height rooftop gymnasium and athletic center complex. The approach—combining a long-span arched structure and an acoustically isolating floor—would add a highly flexible new venue to accommodate the growing student body while remaining within the existing footprint. Sitting under a low-profile arched roof with large skylights designed to maximize natural light, the expansion minimizes visual impact on the surrounding landmarked neighborhood. The elegant, functional design solution for the 14,000-square-foot facility provides a mix of spaces to accommodate different school activities. An extended, skylit stair passage brings students, staff and visitors to the top level, drawing people up to the new

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community facility. Floating on an acoustic “jack slab” to provide sound insulation for the classrooms below, the gymnasium contains regulation courts for basketball and volleyball, batting cages for baseball, and balcony and bleacher seating for 250 people. The design serves as a large gathering space to host all-school events including theatrical performances, banquets, art shows and science fairs. A large commons area outside the gymnasium provides students with a quiet place to study and accommodates overflow crowds during games and performances. The new complex adds a fitness center, a golf simulator room, and additional classrooms, as well as conference rooms, office space, storage areas and changing rooms. The new expansion references and responds to Cooper Square and its street grid, offering a respectful yet modern gesture, a clear expression of the school’s strong connection to its community and Greenwich Village neighborhood.





“The Jurors praised the

restraint and minimal palette

Photo Credit: ©Paul Warchol

This project turned a 6,000 Square foot industrial warehouse space in Manhattan’s Flatiron District into a showroom incubator for product display and design collaboration across five distinct plumbing manufacturers. Although worn and neglected for many years, the “bones” of the space and wide column bays promoted a flexible layout. The new design involved inserting a new retail typology into an intentionally scraped concrete and plaster “shell” to acknowledge the patina and rebirth of the building’s history. The design creates an environment for the exchange of ideas through TEDtalk type events, product launches & presentations for the design community. A hands-on workshop environment enables architects & designers to collaborate with their project team and with their clients. The Meeting Houses define the spirit and spine of the showroom: they rep-

resent places to meet and collaborate with the flexibility to reconfigure Display Plinths, Shadow Boxes and Map Walls in and around the Meeting Houses to suit the needs of the client’s presentation theme and the desired range of products. The meeting houses are designed with exposed wood framing and an exterior facade of stained wood planks; they are sheathed on the interior with translucent resin panels to emit light and provide an intimate working environment. The back wall of the showroom is framed by an open vitrine of working shower heads on “stems” of chrome piping that are meant to reference a planted garden. The “flower stems” can be rearranged for new display configurations. Translucent screens with moveable display panels organize the rest of the open floor plan, capturing the form of the light. Simple, modular plywood and resin plinths can be easily reconfigured seasonally to group products like art gallery installations. The project fosters a collaborative gathering experience in a professional setting for the architecture & design community.

in this memorable interior.” Jury Comment

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“Here is a virtuoso like quality with attention to detail, material finishes and composition which manifests toward a

Photo Credit: ©Barkow Photo

timeless aesthetic.”

coat closet and security system serving the reclaimed steel entry door. The M object conceals the storage and refrigerators which serve the pure white kitchen insert. L wraps and inflates the volume of the building’s egress stair, providing bookshelves, a built-in desk, A/V closet and powder room within the interstitial spaces of the mass.

Jury Comment

The owners of this SoHo Loft requested a gut renovation to their 2,500 square foot unit which responded to the industrial history of the building. The plan of the existing loft provided a clean, rectangular geometry punctuated by a common entryway and egress stair. The design response embraces this geometry by wrapping these two volumes and a third created by the kitchen in a bespoke, operable metal cladding system, creating three standing objects - Small, Medium and Large. These volumes float within the otherwise pure geometry of the floor plan, straddling the original line of cast-iron columns and exposed timber beam, and generating a visual contrast of new against old from front to back of the residence. The volumetric objects — S-M-L — provide a staggered canvas of utilitarian masses which conceal the ordinary functions of domestic life - kitchen, storage, entry. The S object conceals a

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The balance of the loft is finished in raw materials, providing a refined backdrop to the steel feature. When one is standing in the loft between the oversized industrial windows of the unit which are completely saturated with views to another stunning example of the cast-iron architecture of the district, you are also next to the original exposed brick, columns and timber-beam of this building and then adjacent to these new metal insertions. The experience is one of reflection on the changing identity of the neighborhood while rooted in the monumental history.


DE Project: Cloud Forests: Pavilion for Children’s Play Hwaseong, South Korea | Photo Credit: ©Myungho Kang

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Photo Credit: ©Myungho Kang, ©UNITEDLAB

curiosity while enabling

Cloud Forests is a vibrant pink and white outdoor art installation that adults appreciate and where children interact and play.

the balloons do not fall onto the floor. The movement of children and contact with the bars transmit to the balloons, causing them to move.

As the selected winner of this commissioned project and working with a very low budget of 4,000 dollars, the team needed to design, install and periodically maintain the installation for six months.

The building was in the process of being abandoned; the client decided to buy it and transform it into a museum with exhibits and events that actively engage the surrounding neighborhood. The team, along with museum staff, managed and maintained the installation for six months. On windy days, the museum staff picked up balloons rolling around in the neighborhood while the team visited the installation routinely amending wires, injecting air in the balloons or fixing broken parts.

users to manipulate light and space.” Jury Comment

The site is located in an outdoor exhibition space surrounded by concrete walls with openings. The installation is mainly composed of three materials: pink flexible height bars, white balloons, and aluminum wires. The pink flexible bars are planted into the ground and vary in density. The dense areas allow small children to fit through while the less dense areas are wide enough for parents to walk through and supervise their children. The specially designed white balloons are placed on top of the pink flexible bars. The balloons are not directly connected to the bars, each one moves independently. Between the balloon and the bar, there is a layer of wire so that

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Cloud Forests aims to portray a metaphorical aspect and functions as an interactive installation that appeals to children and adds another dimension of art to the collections in the museum.





“The ultimate in

restrained palette and

Photo Credit: ©Iwan Baan

Petite École is a one-room school for young children. Located in the historic, 17th-century courtyard of the Palace of Versailles Royal Stables, it offers a shaded place for learning and making. As part of Île-de-France’s first Biennial of Architecture and landscape, the pavilion proves its versatility by functioning as a workshop, a lab, a classroom, and an atelier, among other uses. As a single covered open air space, Petite École provides a versatile and easily constructed space without permanently altering the historically protected courtyard. In service of educating young children, the small school allows space to freely experiment with introductory architectural exercises, working as a stage on which children may act, while also making other stages around it. Responsive to a child’s scale, its spaces are proportioned for their own unique occupancy and for learning through experience.

simple kit of parts;

All 688 pieces of the pavilion, including furniture and signage, are made in a single material: bent and folded aluminum. Durable and requiring little maintenance, this mono-material design informally fills a historic Palace site and creates an open, unified landscape ready to receive colorful interventions. The courtyard is covered by light grey gravel, creating a visually independent horizon on which the pavilion can sit. Petite École was assembled on-site in only a few days and can easily be demounted, then reassembled anywhere and elsewhere between different contexts. A book compiling 22 design exercises by an invited group of architects will be published following the conclusion of the Biennial. These exercises are conceived for Petite École and while children are the focus, the assignments are for anyone curious about and interested in architecture.

lightweight ubiquitous metal sheets acting as

skin and structure create a striking pop-up venue within its historic outdoor room.”

Jury Comment

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DE Project: Second House, Los Angeles, CA | Photo Credit: ©Eric Staudenmaier PAGE | 32



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“It embodies a cohesive and layered design with restraint.” Jury Comment

Photo Credit: ©Todd Eberle, ©Nicholas Venezia, ©Bartek Sherman

Built on a prominent corner, this new 34,000 square foot residential building makes a strong contribution to New York’s NoHo neighborhood, a landmarked district characterized by elegant loft structures built during the late 19th and early 20th centuries. The modern design resonates with the surrounding historic buildings by echoing their low-rise scale, regular rhythm of structural bays, large windows, and highly crafted façades. Terra cotta, an age-old building material traditionally used to create architectural ornament, forms Ten Bond Street’s distinctive contemporary exterior. Individual terra cotta panels are custom cast with a curved profile, glazed in a deep russet reminiscent of the area’s brick neighbors, and trimmed with weathered steel. This is complemented with mahogany ship-lapped siding along the storefront, echoing the rusted palette of the building while presenting a warmer

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material at the scale of the body on the street. The material lends itself for use in modern building technology when it is not used as a masonry unit, but hung as a rain screen. The large windows framed by the terra cotta emulate the large fenestration in early industrial cast iron buildings also present in the neighborhood. Inside, the seven story-building contains a maisonette, nine private apartments with open, loft-like layouts, and a penthouse with a brise-soleil covered terrace and roof garden. Retail shops on the ground level facing the busier Lafayette Street, welcome the public. The result is a design that is both subtle and elegant, contributing a contextual modernity and resonance to the neighborhood.





“A noble pursuit for

affordable architecture,

this housing typology uses its resources wisely and is

proof that a modest budget

Photo Credit: ©David Sundberg/Esto

Independent living and a safe and secure home has been proven to be the cornerstone of success for young adults transitioning out of the foster care system. Learning to live on their own in a safe and supportive environment is key during this critical time. The Institute for Community Living and the development team provided 40 studio and two-bedroom apartments in 32,000 square feet of space to further this effort and the mission of ICL. Located on Myrtle Avenue in the Bedford-Stuyvesant neighborhood, a portion of Brooklyn undergoing an economic revitalization, this new six-story building is for many residents, the first home of their own. The building is broken down into two town-home proportioned towers with shifting windows and two colors of modern brick, giving it more of a townhouse feel as opposed to an institutional one. While the lower levels of the building

provide extensive support office space and gathering spaces to meet important programming needs, the presence of the building from the street is notably one of a modern apartment building. The lobby and ground floor spaces support the residents and are welcoming and inviting. A key feature is the landscaped and terraced backyard with seating, trellis, and barbecue area, which is a place of refuge and relaxation. Upper residential floors use strong color accents to designate floors and provide interest to the small units. Apartment arrangements are both studio and two-bedroom, all with full kitchens and a bathroom in each unit and a separate laundry room on each floor. In a city which is all too often is inaccessible, this project gives young people transitioning out of the foster care system a place that they are proud to call home.

can yield great results.” Jury Comment

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“The two simple forms

Photo Credit: ©Max Touhey, ©Jeff Goldberg/Esto

appear to dance in the

closest together, the sky bridge provides shared amenities including a 75 foot lap pool and boasts unparalleled 360degree views. Reaching to 48 and 41 stories respectively, the American Copper Buildings house 761 rental residential apartments— all of which offer quality finishes and custom designs. 20% of the 761 rental units are at affordable housing rates integrated throughout the buildings.

New York City skyline.” Jury Comment

The site of the American Copper Buildings is in a flood zone at the edge of Manhattan’s East Side. Starting work only one week after Hurricane Sandy, the site literally began in water, providing an opportunity to impose strong resiliency measures before city resiliency mandates were established. The tight zoning envelope, predetermined ULURP and dense unit mix created the building’s form—the two angled towers connected by a three-level sky bridge was a response to the challenge in coordinating MEP. The towers share one set of amenities and systems through a sky bridge that acts as the linchpin, allowing for efficient functionality. The architecture also creates community—what would typically be two separate towers are joined together by the sky bridge. Connecting at the point at which the two towers are

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The “dancing” towers provide relief from FDR Drive and the landscaped public plaza provides a peaceful respite. Finally, the buildings act as a magnet and a catalyst for the neighborhood, drawing more urban bustle to the East Side. The American Copper Buildings are an example of the efficient building type that will be encouraged under New York City Mayor Bill de Blasio’s OneNYC 2050 plan—a mixture of materials incorporating high-performance glass to reduce emissions. The buildings’ facade will patina over time, transforming from the red copper to a mint green that evokes the Statue of Liberty, just down the river from the project’s site.





“There is a beautifully

choreographed sequence of outdoor spaces stitched together by the “place-

Photo Credit: ©UNITEDLAB

As one of the nine provinces of South Korea, Jeju Island is unique. This ovalshaped volcanic island is the first place in the world to obtain UNESCO designations in all three natural sciences. The site, located in Hado-ri, is one of the most preserved natural regions. Hado-ri stands in high relief to the rapid march of development on other parts of Jeju Island. Currently utilized as farmland and sloping towards the sea, the site is a gift of nature. The team was asked to design a village composed of a community center, 48 single vacation homes, parks, and amenities where people tired of ordinary urban housing can dwell with nature and neighbor. The planning scheme creates spatial diversity and equal accessibility to views and naturally occurring breezes. Units located farther from the sea have been designed to peer over units that enjoy a closer position. Landscaping is vital for mediating climatic variances, ensuring visual and acoustical privacy, and defining space.

Pocket parks connect organically and thoughtfully define the voids between the units, wherein residents can contemplate privately or commune with nature. Extending to traditional Korean residential design, white symbolizes the elegance of nature, as well as the ideologies of simplicity, naturalness, and spirituality. The minimal architectural design, the concise partitioning of space and honest materials form a series of humble and simple yet distinct residences. Respectfully positioned in the landscape, simple geometries and lightness define the domicile. An array of apertures introduce daylight into the structure while framing select views. The vertically stacked structure efficiently minimizes the occupied footprint while allowing more units to enjoy the ocean vista. An urban residence introduced in the rural area will form an open community in which the residents can integrate well with residents in the surrounding area.

making red ribbon” which is akin to a modern-day main street.” Jury Comment

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“The interior open plan is flooded with natural light

Photo Credit: ©David Sundberg/Esto, ©ImagenSubliminal

and panoramic views to

Located in the Bronx on the site of a former church, this new 112-unit, LEED Gold building is a mix of supportive and affordable housing serving very lowincome residents. Because the project included demolition of the original church, the understanding was that this development should be a new neighborhood icon, a worthy successor to the previous structure.

the community.” Jury Comment

The design was inspired by the notion that a house of worship is a beacon of light in its community. The building massing involved stacking 13 floors of large, fully glazed elevator lobbies at the front of the property. When lit at night, the effect is a “beacon of light” that provides evening light to the nearby park and street corners. The placement of this south facing element was also the most inclusive way to share the city vista. Rock formations uncovered during construction were incorporated into the landscape at the front of the property providing a visual association with

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the park and a connection to the area’s natural environment. They also supply an organic complement to the straight lines and right angles of the building. The bell and stones from the original church which are placed throughout the landscaping, celebrate the site’s history and create yet another link to the neighborhood. The resiliency and sustainability measures, quality building materials, broadly accessible panoramas, evening light provided to the nearby park and street corners, and elements that tie to the history of the place, all exemplify the inclusivity and care that underlies this work. It shows what affordable housing can be, both for the community of residents within its walls and those in the surrounding neighborhood. It is a new iconic structure that adds to the sense of place.





“The monochromatic

sculptural form becomes

Photo Credit: ©Eric Staudenmaier

volumetric distinction and spatial continuity creates an environment in constant modulation; by natural and artificial light, opening of doors and windows, and configuration of furniture. This 1500 square foot house located on an extremely tight site is an intricate aggregation of interior and exterior volumes. Closely surrounded by other residences and without potential for visual connection outside the site, the house borrows the steeply pitched rooflines of the existing house on the lot while turning inward around a private, central courtyard. Each room is expressed through the massing, paired with a corresponding exterior space—two entry alcoves and a courtyard—carved from the buildable footprint. This alternation from inside to out and back is emphasized by an alternating arrangement of material surfaces, creating a series of dramatically different spaces that are integrated into a single environment. While the program is made explicit through different volumes, both interior and exterior are knitted together into a single, visually continuous living space. This balance between

The exterior is finished as a monolithic mass with specifically patterned cement board panels. The orthogonal surfaces have a slightly darker tone than those at a diagonal, producing an ambiguous reading between a single rectangular block and three aligned wedges. In contrast to the differentiated-but-open ground floor, the master bedroom and guest room at the second level are isolated volumes, each contained in a separate wedge. The project is part of a larger trend of cities finding ways to encourage greater density by re-zoning single family residential areas to allow multi-family buildings, accessory dwelling units, or additional houses. In this case, a second residence was added to an existing single-family lot facing the alleyway. The resulting typology, a two-story courtyard house, is novel in the neighborhood, but likely to become more common as density increases.

secondary to its masterful and brilliant siting.” Jury Comment

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“The jurors applauded the skillful detailing and siting of this house which beautifully frames the landscape.” Jury Comment

Photo Credit: ©Nic Lehoux

Located in Amaganset, New York, on an expansive and secluded site, the Wuehrer house is surrounded by nature preserves. The house is accessed by a private gravel path and is nestled in a clearing within Stony Hill Forest. The site is gently sloped, covered almost exclusively with white oaks, a few eastern red cedars, and an occasional pitch pine. To celebrate this serene location, the design of the house mutes architectural metaphors and conceives of a contemplative structure that is simple, discreet, rational, and generously open to the surrounding landscape. The house is made from a unique, repetitive module. This module is dematerialized, reduced down to its outer frame. This subtractive strategy highlights the tactile qualities of the palette of materials: unadorned wood, glass, and concrete. The design of the house balances the use of modular fabrication and the craft of traditional construction methods. With its simple geometry and minimal use of materials, natural light becomes the prominent element defining the space,

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celebrating the ever-changing seasons and the remarkable wooded vistas. The structure is made of a high-quality, high-strength Southern Yellow Pine, laminated and milled into beams and columns with highly-precise profiles. The choice of timber also solves the question of interior finishes, letting the structural material speak for itself. The textured wood surface eliminated the need for drywall, paint and ceiling elements. The materiality provides a warm counterpoint to the minimal design. Passive environmental strategies were employed to create a low-energy house, including a heated floor system and exterior automated wood blinds on the west facade. Natural air ventilation in every room and cross-ventilation between opposite facades keeps the need for air conditioning to a minimum. The Wuehrer House draws on and extends the tradition of modernism in the Hamptons with a contemporary design vocabulary that frames and celebrates its surroundings.

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DE Project: Chelsea Townhouse, New York, NY | Photo Credit: ©TEN Arquitectos/Andrea Steele Architecture

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“The compact siting and efficiency in plan give way to an interlocking sectional quality that could be a “tour de force” when executed properly.” Jury Comment

Photo Credit: ©TEN Arquitectos/Andrea Steele Architecture

A dense New York City residential and commercial area full of townhouses creates the context of this single-family, six-story house. The team’s architectural response arose by embracing the compact site, which called for a rational and straight forward organization. Positioned between the two 60 foot high exterior concrete walls, the spaces are linked by a central staircase running through an atrium that opens up the vertical living scheme and provides the house with a light cascade coming from a bulkhead in the top floor. On the ground floor, two openings in the slab are created at the rear portion in such a way that, in combination with a bridge across the opening, an independent guest house is generated. The guesthouse is organized as an open living space with a storage wood piece and bathroom overlooking the expansive game room area. On top of the guest volume

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lies the rear yard and a skylight that introduces daylight to the levels below. The north and south elevations consist of four different assemblies that create transparencies, translucencies, obstructions and screening conditions to respond to the different needs of daylight and privacy. On the main floor of the house, a double high space defines the main living area that is visually connected to the rear yard and garden by a double height unobstructed glass wall. To guarantee privacy and shading, an aluminum louver screen covers the majority of the façades surface, at the north to protect from neighbors and at the south to protect from direct sunlight. The top floor is designed to accommodate a broad range of uses while keeping the views to the city, the louver screen gets interrupted at the south top end to generate a spectacular view of New York.





“A clearly organized plan — one could imagine a series of woven spaces

that frame vistas and blur

Photo Credit: ©The Boundary

the boundaries between

The Event Center is envisioned as a year-round event space for up to 250 guests in the Finger Lakes Region of upstate New York.

then opens up to a wide gallery along the western glass wall, where the view ultimately reveals the full horizon of the landscape and the lake beyond.

Set on the eastern shore of Cayuga Lake, the primary design intent of the project is to create a strong connection to the lake and frame its picturesque views. The building is purposefully designed to minimize its impact on the site and to maintain a seamless integration with the surrounding landscape while providing protection from inclement weather.

After passing through the entry procession it becomes apparent that the building is cut into the hill. Taller on the west side than initially perceived on the east, the rustic board-formed concrete wall retains the earth to carve out space into the hill for the pavilion and terraces.

The sequence of experiences takes visitors on a meandering drive through the woodlands as they approach the building’s eastern wall that appears like a ruin in the landscape. As guests pass through the entry portal, the hall slopes down toward the foyer and is washed with natural light by a skylight that extends the full length of the space. Upon arrival at the foyer, a rhythm of concrete walls initially frame or deny certain views of the lake. The foyer

Internal courtyards are integral components to the building’s design, acting as anchors to the spatial layout. These courtyards bracket the main reception hall, filtering natural daylight within and elevating the presence of landscape for the overall experience. The events center is a venue that provides both indoor/outdoor spaces for neighborhood gatherings, meetings and religious functions to support the local community.

outside and in.” Jury Comment

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DE Project: District Wharf, Washington, DC | Photo Credit: ©Jeff Goldberg/Esto

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“It represents very effective mixed-use urbanism that packs the ambition of a master plan into a relatively compact site.” Jury Comment

Photo Credit: ©Jeff Goldberg/Esto, ©Sarah Mechling-Perkins Eastman

Washington, DC’s Southwest Waterfront historically functioned as an active commercial port situated on the Potomac River along the historic Washington Channel. Over time--due to little residential investment and no connectivity with the city’s fabric--it had become dormant and increasingly isolated from the greater DC community.

Outdoor spaces celebrate the District’s character, creating places that provide the community and its visitors an enjoyable and enriching experience. The site’s structures focus on the pedestrian’s perspective, creating a family of buildings along the Wharf, each with its own identity, resulting in a captivating streetlevel environment.

This same waterfront is now setting a new precedent for urban renewal as a unique waterfront destination drawing local, national, and international acclaim.

Designed to LEED Gold ND, the first phase of the waterfront master plan encompasses two million square feet of office, retail, residential, hotel, and cultural land uses. Phase Two, slated to be complete in 2022, will deliver an additional 1.2 million square feet of mixed-use spaces, including a marina, office, residential, and retail, as well as parks and public spaces.

Named District Wharf, the waterfront spans 50 acres of riparian rights and 24 land acres less than one mile from the District’s national monuments, The White House, The Capitol, and Smithsonian Museums. This premier location complements a vision for a new waterfront neighborhood, presenting an opportunity to target the final quadrant of L’Enfant’s master plan for Washington, DC. Maritime activity connects to the land through a series of programmable piers that host events and recreational use.

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The architecture of the new District Wharf development creates a great waterfront destination both in the community and the city at large. The plan also supports local business and retail activity, integrating the small neighborhood business environment into its Maine Avenue side.

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.

The Design Awards Jury, who spent many hours reviewing the submissions and had the challenge of choosing a handful of winners out of almost three hundred submissions, were fascinated by the awe-inspired solutions. The esteemed jury included (from left to right) Jury Chair Chris Dawson, AIA of Chris Dawson Architect; Jen Zaborney of Best Space; Joseph Biondo, FAIA of Spillman Farmer Architects; and Peter Bohlin, FAIA of Bohlin Cywinski Jackson.


2019 AIANYS Design Awards Jury

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JAMES WILLIAM KIDENEY GOLD MEDAL AWARD Established in 1981 in honor of the late James William Kideney, FAIA, AIA Buffalo-Western New York Chapter, a founder of AIA New York State and its first president. The James William Kideney Gold Medal recognizes a lifetime of notable contributions to the profession, the professional society,and the community. Peter J. Arsenault, FAIA

The Kideney Gold Medal Award acknowledges leadership in the profession and professional society at the local, state and national levels of the American Institute of Architects. Presented to:



Established in 1971 in honor of the late Matthew W. Del Gaudio, FAIA, who was one of the Founders of the New York State Association of Architects and its third president. This award recognizes outstanding and significant contributions in promoting and advancing the profession of architecture and providing distinguished service to the American Institute of Architects New York State. Presented to:


Timothy G. Boyland, AIA

AIA NEW YORK STATE FIRM OF THE YEAR In recognition of notable achievements in design, community service, education, and distinguished service to the profession of architecture. Presented to:

LTL ARCHITECTS Principals | Paul Lewis, FAIA | Marc Tsurumaki, AIA | David J. Lewis, AIA

LTL Architects

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YOUNG ARCHITECT AWARD In recognition of notable contributions and accomplishments to the architecture profession by a young architect member in New York State who has also demonstrated exceptional leadership. Presented to:



Graciela Carrillo, AIA

In recognition of outstanding programing and services to early career architecture professionals. Presented to:

AIA LONG ISLAND EMERGING PROFESSIONALS COMMITTEE Katty Brath, Assoc. AIA, Co-Chair, AIA Long Island EP Committee Jake Rivalsi, AIA, President Ann LoMonte, Hon. AIANYS, Executive Director

FREDERIC SCHWARTZ COMMUNITY DEVELOPMENT AWARD Is presented in recognition of its commitment to providing quality services to the assisted living community through affordable housing options that maintain the independence and involvement of its residents. AIA New York State recognizes:

AIA NEW YORK DAY OF SERVICE Hayes Slade, AIA, President Ben Prosky, Assoc AIA, Executive Director Suzanne Mecs, Hon. AIANYS, Managing Director

PRESIDENT’S AWARD In recognition of outstanding contributions to the profession in education, industry or government by an American Institute of Architects member. Presented to:



Ryan Rosenberg, AIA, Co-Chair, AIA Long Island EP Committee AIA Long Island EP Committee

Urbahn’s Project for Bowery Residents Committee, Photo: Urbahn Architects.

Carol Loewenson, FAIA

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President Mark Vincent Kruse, AIA

Buffalo/Western New York Michael Anderson, AIA

President Elect Joseph J. Aliotta, FAIA

Central New York Anthony Rojas, AIA

Vice President Government Advocacy Michael Spinelli, JD, AIA

Eastern New York Baani Singh, AIA

Vice President Public Advocacy Pasquale Marchese, AIA Vice President | Emerging Professionals Jeff Pawlowski, AIA Secretary Peter Wehner, AIA Treasurer Stephanie Wright, AIA Immediate Past President Kirk Narburgh, AIA AIA Strategic Council Brynnemarie T. Lanciotti, AIA Kelly Hayes McAlonie, FAIA Willy Zambrano, AIA

Long Island Martin Hero, AIA New York Tonja Adair, AIA Jane Smith, FAIA Jeffrey L. Raven, FAIA Peconic Gregory Thorpe, AIA Queens Adedosu Joshua, AIA Rochester Nate Rozzi, AIA Southern New York Andrew Harding, AIA Staten Island Mark Anderson, AIA Westchester + Hudson Valley Manuel Andrade, AIA

Executive Director Georgi Ann Bailey, CAE, Hon. AIANYS

Associate Director Yadira DeSantis, Assoc. AIA

Legislative Counsel Richard Leckerling, Esq. Whiteman Osterman & Hanna LLP

New York Rep to YAF Casey Crossley, AIA

Bronx Ofé Clarke, AIA

National Associates Committee Regional Associate Director Josette Matthew, Assoc. AIA

Brooklyn Sarah Drake, AIA

Student Director Noor Ul Ain, AIAS


Vice President | Knowledge John D. Fry, AIA

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