2021 AIA New York State Design Awards Program Booklet

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2021 Design Awards

INTERNATIONAL Star Garment Innovation Center Passive House......... 30



2021 AIANYS DESIGN AWARDS Introduction...................................... 5 Design Awards Jury............................. 6 ADAPTIVE REUSE/ HISTORIC PRESERVATION Community Center + CESFAM Matta Sur..............................10 Moynihan Train Hall............................11

Neighborhoods Now – Bedford Stuyvesant Restoration Corporation..................... 34 RESIDENTIAL 75 Kenmare..................................... 38 Denizen .......................................... 39 Stony Hill........................................ 40 Wainscott.........................................41 Milestone........................................ 42 LittleHOUSE..................................... 43

Bell Works ....................................... 12



862 Fenimore Road Residence Additions and Renovations ................ 46

76 Trinity Commons ..........................16 MTA New York City Transit Fan Plant 7204 ....................... 17

UNBUILT Lofted Ambitions: Between Utopia ..... 50


La Brea Tar Pits and Page Museum Masterplan ............. 51

The Baker Museum Artis-Naples........... 20

Brooklyn Mass Timber House .............. 52

Greenpoint Library and Environmental Education Center, Brooklyn Public Library ...................... 21


National Museum of the United States Army...................... 22 The Nancy And Rich Kinder Museum Building, Museum of Fine Arts Houston ........................ 23

St. Pete Pier ................................... 56 AIANYS Officers, Board of Directors & Strategic Councilors.......................... 59

INTERIORS Thomas S. Murphy Clubhouse Pool, Madison Square Boys & Girls Club ....... 26 Finansbank Headquarters Interiors .......................27


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2021 Design Awards

Annually since 1968, AIA New York State’s Annual Design Awards celebrate local, national and international projects that achieve architectural excellence designed by architects who are licensed and registered in New York State. Twenty-four projects were recognized for Citation, Merit, Honor and High Honor Awards in the following categories: Adaptive Reuse/Historic Preservation, Commercial/ Industrial, Institutional, Interiors, International, Pro Bono Projects, Residential, Sole Practitioner, Unbuilt and Urban Planning/Design. The 2021 Design Awards Jury represented all scales and manner of practice, theory and geographic diversity. The jury, comprised of Jury Chair Matt Dumich, FAIA, Principal and Workplace Studio Leader at SmithGroup; Allison Anderson, FAIA, Founder and Principal of unabridged Architecture; Donna Kacmar, FAIA, an Architect at Architect Works, PLLC and a Professor at the University of Houston; Paola Moya, Founder and Chief Executive Officer of Moya Design Partners; and Reggie Truxon, AIA, Associate and Southeast Region Design Management Leader at Gensler, had the challenge of choosing the winners out of 222 submissions. Out of the 24 award recipients, the jury also selected one project considered to be the “Best of the Best” which will be revealed at the virtual awards ceremony on October 27.

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Clockwise starting from Bottom Left: Jury Chair Matt Dumich, FAIA; Allison Anderson, FAIA; Donna Kacmar, FAIA; Reggie Truxon, AIA; and Paula Moya, Assoc. AIA.

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2021 AIANYS Design Awards Jury Matthew Dumich, FAIA, Jury Chair and Principal at SmithGroup in Chicago,

is a dynamic leader and consensus builder, known for his collaborative design approach and ability to execute complex, high performance projects. Matt is committed to serving the profession, communicating the value of design, and connecting the architectural community and served as the 2017 AIA Chicago Board President. Matt is co-founder of BRIDGE, a leadership program pairing young architects with FAIA mentors to discuss career advancement and the future of the profession. In 2019, he was appointed to lead the National Emerging Professional Task Force and serves on the Board of Trustees for the Chicago Architecture Center. Matt was elevated to the AIA College of Fellows in 2017. Additional honors include 2015 Crain’s Chicago Business 40 Under 40, 2013 AIA National Young Architects Award, 2012 AIA Chicago Dubin Family Young Architect Award and 2011 Building Design + Construction 40 Under 40 award.

Allison H. Anderson, FAIA is the founding principal of unabridged Architecture, a firm recognized for incorporating sustainability, adaptation, and resilience against climate challenges across a wide variety of project types. Allison was the first LEED Accredited Professional in Mississippi, is a Fellow of the American Institute of Architects, and serves on the AIA Committee on Climate Action and Design Excellence. She has published articles on resilience in the Oxford Research Encyclopedia and many peer-reviewed journals. Her firm won a 2020 COTE Top Ten Award with Lake Flato for the GCRL Marine Education Center. Donna Kacmar, FAIA, is currently a Professor at the University of Houston where she teaches architecture design studio. Her Fisher Street House, a small 544 square foot dwelling, received a 2013 AIA Houston Design Award, and led to her first book, titled BIG Little House, published by Routledge, released in 2015. Her most recent book, Victor Lundy Artist Architect, was published in 2018 by Princeton Architectural Press. Donna is the principal of Architect Works, PLLC, Houston, Texas. The work of the firm focuses on residential and small-scale commercial projects and has received several awards and been nationally published. Reggie Truxon, AIA is the President of DC NOMA and an Associate at Gensler in Washington, DC. Reggie serves as Gensler’s Southeast Region Design Management Leader, providing guidance for the firm’s design managers to strengthen the foundation of its business. A leader in large scale, multi-family projects, he has the keen ability to simultaneously manage complex projects, while driving both alignment and client satisfaction by maintain a quality design product. Reggie helped establish a resource group for Gensler’s Black employees and is a Regional Race and Diversity Co-Leader for the firm, where he organizes projects and people to make a lasting positive impact on the state of diversity, equity, and inclusion in the industry. Paola Moya, Assoc. AIA is founder and chief executive officer of Moya Design Partners in Washington, DC. MOYA’s diverse portfolio includes housing and services for low-income families and the homeless and the new headquarters for DC’s Department of General Services. To support the firm’s goal of advancing social causes, Paola and the MOYA team has hosted Art After Dark, a charity event to support DC women and artists of color while raising funds to alleviate homelessness. The Washington Business Journal has recognized Paola as one of the region’s “Power 100 Playmakers”; a top “40 Under 40” professional; a “Minority Business Leader of the Year” and was part of the 2020 class of “Woman Who Mean Business” honorees. She was named “Young Entrepreneur of the Year” by the D.C. and Hispanic Chambers of Commerce, and her work has been recognized with design excellence awards from AIA, the National Organization of Minority Architects, International Design Awards, and Built by Women. PAGE | 7

Project: MOYNIHAN TRAIN HALL, New York, New York | Photo Credit: Dave Burk & Aaron Fedor © Empire State Development | SOM; Dave Burk © Empire State Development | SOM


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“This project is a great example of embracing contemporary design in a historic site. The new building compliments the historic building without competing and without overpowering. The community center is light and translucent with wood fins that connect with the materiality of the existing building. The interior asymmetrical courtyard serves as a great connector between the two structures. The exiting structure was beautifully renovated paying a great respect to the historic elements.” Jury Comment

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Photo Credit: ©Matta Sur Complex, Santiago, Chile; luis vidal + architects, Aryeh Kornfeld

The city that takes care of its cultural heritage is the city that listens to its past without neglecting its future. This delicate balance between memory and contemporaneity is what a perdurable architecture, committed to contribute to the society, provides. Those are the cornerstones for the Matta Sur Complex and their approach to a responsible design: A contribution to the social dialogue with environmental commitment. The result is an unprecedented refurbishment that gives back to the city of Santiago one of its most iconic constructions. Past, present and future merge in a building that combines modernity with tradition and innovation with respect for the city’s heritage. The Matta Sur Complex consists of two buildings within the same plot: the former Metropolitan Lyceum, built in 1891, restored to host social uses such as a nursery school, a gym or an auditorium; and a new-build construction accommodating a CESFAM (a Public Primary Healthcare Center). A total built area of 59,200 square feet gives support to a

community of over 30,000 users. Between these buildings there’s a public plaza that provides the community with an open space to promote social encounters: the heart of the project. The challenge was, on the one hand, restoring this historic building, and on the other, designing a new-build construction that integrates harmoniously into the whole. They aimed to translate the most singular elements of the pre-existing building by using a contemporary language that doesn’t compete with the historic building style, but enhances it. A careful analysis of the preexisting building, combined with a delicate, conscious design that involves materiality, functionality, rhythm, sustainability, façade studies and light: the key aspects of the proposal. As a result, they achieved their goal: to retrieve and reveal the building’s original architectural value, while establishing a dialogue between the historic building and the new.



Photo Credit: © Dave Burk & Aaron Fedor © Empire State Development | SOM; Dave Burk © Empire State Development | SOM

Moynihan Train Hall is one of the most monumental civic projects undertaken in New York City in a generation. It expands the Pennsylvania Station complex into the James A. Farley Post Office Building across Eighth Avenue—reversing the dark, overcrowded experience that so many commuters have endured for decades. The design brings light to the concourses for the first time in more than 50 years, increases total concourse space by 50 percent, and restores the grandeur that was lost with the demolition of the original Penn Station half a century ago. The original Penn Station was a sky-lit, Beaux-Arts masterpiece that celebrated passengers’ arrival to New York from 1910 to 1963. The adaptive reuse of the Farley Building—a landmark also designed by the same firm and completed in 1913— represents the transformation of an underutilized building into a new, inviting front door for New York.

sorting room, is designed with a dramatic skylight that traverses the entire space— reflecting the design of the original Penn Station. The skylight is arranged in four catenary vaults that reach 92 feet above the concourse. To support the structure, the architects uncovered the building’s massive steel trusses, which had been invisible a century ago, to establish a modern aesthetic while displaying the workmanship of the original structure. The result is a grand space with an open, airy ambience, and a palpable transformation of the way millions of people interact with one of the world’s largest cities.

“Highly complex renovation that revitalizes a landmark building into a new, iconic civic asset. Balances the original building’s character while integrating dramatic new skylights to bring light into the concourse. Notable integration of public art throughout the project. LEED Silver transforms energy use at a large scale.” Jury Comment

Moynihan Train Hall connects to nine platforms and seventeen tracks that primarily serve Amtrak and the Long Island Rail Road. It connects directly with the Eighth Avenue Subway, and plans are in the works to connect both Penn Station and the Train Hall to MetroNorth and AirTrain JFK.

The 255,000-square-foot Train Hall, located in the Farley Building’s former mail PAGE | 11



“We all loved this project immediately. It improves sustainability at a large scale and transforms the community use of the site. The restraint in detailing and preservation of the modern historic fabric are laudable.” Jury Comment

Photo Credit: ©Michael Moran; Ezra Stoller/ Esto; Eric Petschek; © Chris Payne/Esto

Originally designed by renowned architect Eero Saarinen, the two million square foot Bell Works’ is a multi-use development known for its iconic open-atrium scheme, which spans a full quarter mile. The building served as an innovation headquarters for over 6,000 Bell Labs employees from 1962 to 2007. Slated for demolition for years, the building was saved by a developer who purchased the site in 2013. Bell Labs was then redesigned as a multitenant facility that the public could truly enjoy while simultaneously creating an economically viable facility. Under the new development, Bell Works acts as a ‘metroburb’ – a concept inspired by the tenets of new urbanism that combines the density and dynamism of a walkable, downtown ‘Main Street’ in a suburban locale. On site, businesses, and workers from across the region can once again roam its unique, open hallways, part of a new dynamic, collaborative workplace complete with a blossoming ecosystem of technology, traditional office, retail, dining and hospitality. Today, the space has attracted a

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multi-cultural food hall; an education facility; the local public library, relocated from its municipal offices; a premium fitness center; a beauty salon; several locally inspired restaurants; and plans for healthcare facilities. The building is also equipped with multiple open event spaces, a renovated auditorium, and a rooftop venue. In recognition of the great significance of the site, the building was admitted to the National Registry of Historic Places in 2017. Only 11% of the 1.2 million square feet of rentable space remains unleased. The building is open to the public and hosts the annual July 4th fireworks display that draws 6,000 attendees from the local community.

Project: BELL WORKS, Holmdel, New Jersey Photo Credit: © Michael Moran; Ezra Stoller/Esto; Eric Petschek; © Chris Payne/Esto

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Project: MTA NEW YORK CITY TRANSIT FAN PLANT 7204, Long Island City, New York Photo Credit: © John Muggenborg


HONOR AWARD Large Projects, Greater than 5,000 Square Feet


“The design elements that stood out were the consistency and elegance of how it responded to the site. The softness of the fins that carry on from the pedestrian level to the top make a great texture against the fenestration of the building. The façade articulation of the first six levels is carried into the lobby ceilings and the wall panels unifying the design. The same design discipline is consistent in the Parish Hall and Library interiors making the spaces both comfortable and soothing. It invites the community into the building to find spirit and solace.” Jury Comment

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Trinity Commons is a complementary extension of Trinity Church—a historic parish designed by Robert Upjohn in 1846. This 314,500 square-foot secular community center and office tower is located on Wall Street in Lower Manhattan and provides a direct connection via pedestrian bridge to the historic Trinity Church. The project includes a 10-floor podium open to the community with gathering spaces, basketball courts, classrooms, studios, administrative offices and meeting rooms, as well as 17 floors of offices above. Trinity Commons holistically combines these community spaces with the mission and values of Trinity Church: Faith, Integrity, Inclusiveness, Compassion, Social Justice and Stewardship. Trinity Church describes Trinity Commons as a spiritual extension of the church and a resource for the community—a safe, welcoming space for residents and visitors of all ages and background. As part of the design process, the Lower Manhattan

Photo Credit: ©Colin Winterbottom for Trinity Church Wall Street; Jeff Goldberg/ESTO

community was invited to participate in multiple public charrettes to contribute their ideas and preferences for this new building, which helped create community engagement and buy-in of the project from the inception. Trinity Common’s location is significant and unique. The building’s architectural response respects its context, but it also has an identity, which is distinguished and notable. Trinity Common’s exterior wall references Trinity Church’s Gothic expression of vertical ribbed piers and crenellations with its tartan grid of painted aluminum vertical piers and horizontal accents. The grid color changes during the day from copper to bronze and is a striking complement to the Trinity Church brownstone.

CITATION Small Projects, Less than 5,000 Square Feet



Photo Credit: © John Muggenborg

the designers sought to create a formal dialogue between the two structures.

A forward-thinking retrofit of Metropolitan Transportation Authority New York City Transit Fan Plant 7204, in Long Island City, provided resiliency of this essential infrastructure facility so it could withstand a major storm, but it also achieved so much more. The innovative design solution combined structural logic with contextual sensitivity, creating an aesthetically appealing structure integrated seamlessly into the surrounding community. Its perforated metal exterior cladding was specifically chosen to express a light, airy structure. Keen attention to the cladding details, allowing views through the corners, lends an ethereal quality to the building. The granite base demarcates the flood-proof wall that surrounds the base. Given the close proximity of the facility’s two buildings, the fan plant and transformer building,

“Notable for bringing design to an infrastructure project. Tremendous impact on resilience for citizens of New York.” Jury Comment

Fan plants are critical components of the New York City subway system. Located at the end of tunnels running underneath the East River, they provide passive ventilation for the subway, enabling the piston action of moving trains to pull fresh air down into the tunnels below. In addition, in the event of a fire in the tunnels, the plants’ massive fans serve to draw smoke out, giving people time to escape. FP 7204 also serves as an emergency egress for the public, providing an escape route from the tunnels during an emergency event. Due to the critical nature of the facility, New York City Transit could not shut down FP 7204 for an extended time during the retrofit project, or demolish it to build a replacement. Even with these constraints, creative design enabled the successful delivery of significant plant upgrades that achieved all resiliency requirements with minimal disruption to subway operations while greatly enhancing the quality of life for local neighborhood residents. PAGE | 17

Project: NATIONAL MUSEUM OF THE UNITED STATES ARMY, Fort Belvoir, Virginia Photo Credit: Dave Burk; © SOM




“Notable for bringing resiliency to impact the energetic design of this museum. Resolves a set of very different design forms and materials into a clear and cohesive building and response to the site.” Jury Comment

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Photo Credit: ©Albert Vecerka / Esto Photography

Artis-Naples is a thriving cultural institution in Florida that combines one of the largest visual and performing arts centers in the southeast with an active schedule of events, exhibitions, and entertainment, including music, dance, cinema, theater, and art, attracting top artists from around the world. The Baker Museum renovation and expansion, launches Artis-Naples into the future, matching physical growth of the museum with the aspirational growth of the institution. The repair and expansion of The Baker Museum entails both the repair of the Museum’s facade, necessitated by Hurricane Irma, and the expansion of the existing museum to the south with an improved entrance and new event, educational, and museum support areas. The facility houses several new spaces for art, performance, education and social interaction. The Baker Museum’s curved exterior is clad in stone and metal with a durable water-resistant barrier against future storms. The Norris Courtyard at the center of the new Artis-Naples Cultural Campus features sculpture and provides a setting

for both events and direct access to The Baker Museum. The new museum entrance sequence provides a more open public experience and visible museum entry, relocating the museum store and ticketing into the museum lobby. The first floor gains the Multipurpose Performance and Learning Center for lectures, rehearsals, art exhibitions and educational programs. A monumental exterior stairway leads to the new Second Floor Event Space which accommodates ensemble performances, receptions, lectures, and exhibitions. Another addition is the rooftop sculpture terrace, accessed from a third-floor gallery, which provides views of the Gulf of Mexico.



Photo Credit: ©Michael Moran | OTTO

The Greenpoint Library and Environmental Education Center is one of fifty-eight neighborhood libraries in the Brooklyn Public Library system. Funded in part from a Legacy Grant from the Greenpoint Community Environmental Fund, this project is the result of an active engagement between BPL and the community, with significant input from local members of the Community Advisory Committee. The new building serves residents of all ages and partners with local environmental groups to offer opportunities to learn about the rich history of Greenpoint and its specific ecological context. The library offers a centralized venue for collaborative work on initiatives that seek to benefit the residents and the natural environment. The new Greenpoint Library is a 15,000 square foot community hub for environmental awareness, activism, and education. The design doubles the size of the previous building, providing enlarged indoor and outdoor spaces to house expanded activities related to the exploration of the environment as well as

everyday library use. The primary program elements are adult, young adult, and children reading rooms and collection spaces, and community spaces. Lab spaces for interactive projects, a large community event space—which can be divided into lab spaces, a lounge, small meeting rooms, and staff spaces are distributed throughout the two levels. The Greenpoint Library and Environmental Education Center provides street level exterior green space, clear visual connections to interior activities, and two accessible green roofs on the upper floors. The plaza design offers the public an engaging civic space that demonstrates sustainability and reinterprets the environmental history of the region. Primary exterior building materials include custom sandblasted wood panels on the upper level and custom cast concrete on the lower level. The building will exceed required LEED goals, becoming a demonstration project for innovative approaches to sustainable design and a learning tool for the community.

“Great multi-level landscape accessible to community. Connects to the city in a way that enlivens the street and creates a place for everyone. The jury appreciated the material intersections, the generous glazing along the street and the interactive landscape. This is a great example of regenerative design that attempts to repair environmental losses and create a LEED Gold project.” Jury Comment

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“We loved how the cadence and order of the soldier and armed forces is abstracted and reflected in the design, allowing for the reading of the individual and the collective in the colored glass panels, wooden fins and overall rigorous and controlled proportion system. The monumentally massed building, clad in durable stainless steel poetically reflects the natural world. It balances the reverence of the project program with humanity.” Jury Comment

Photo Credit: ©Dave Burk; © SOM

The National Museum of the United States Army is designed to serve as the symbolic front door to the oldest branch of the United States military. Spanning 84 acres on the Fort Belvoir Military Installation, the museum focuses first and foremost on the story of the individual soldier, and draws inspiration from three core ideals: discipline, modesty, and rigor. The building, which rests atop a plateau to evoke a sense of monumentality, is composed of a series of five pavilions for exhibits and special events. The facade, designed in a regular grid of stainless steel panels, reflects the bucolic surroundings—transforming the character of the building through every season and time of day. At the corner of each pavilion, recessed glass panels alternate with painted aluminum fins to create a sense of dynamism. The interior is characterized by natural materials, from stone floors to American white oak and ash finishes. Glass and wood thresholds connect each pavilion, marking transitions between spaces

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and providing views outside. The lobby, which can transition into an event space, features a coffered ceiling with twenty-two rows of translucent, laminated glass panels which match the colors of historic campaign streamers. This entry space is surrounded by retail, a cafe, the first of three landscaped terraces, exhibition spaces, a 300-degree theater, and a monumental staircase that leads to more exhibitions on the second floor. On the third level, the Veterans’ Hall provides additional event space and connects to the Medal of Honor Garden—a terrace featuring a 10-foot-tall granite wall engraved with the names of every recipient of the Army’s highest and most prestigious decoration. The museum is certified LEED Silver through a variety of sustainable design strategies, such as increased insulation, improved glazing, high-efficiency LED lighting, automatic daylighting controls and occupancy sensors, and a green roof.



Photo Credit: ©Richard Barnes / JBSA; Iwan Baan

The new Nancy and Rich Kinder Museum Building is characterized by porosity, opening the ground floor at all elevations. Seven gardens slice the perimeter, marking points of entry and punctuating the elevations. The open flow through galleries is punctuated by views into the seven gardens with green trellises offering shade from glare. The galleries are centered around an open forum, which provides generous spaces for the exhibition of art and vertical circulation.

of the lush vegetation and water that characterize the new campus. Rather than mechanical and repetitive, the light is flowing, echoing the movement through the galleries.

The Texas sky opens 180 degrees overhead above a luminous canopy covering the new building. Concave curves, imagined from cloud circles, push down on the roof geometry, allowing natural light to slip in with precise measure and quality, perfect for top-lit galleries. Organized horizontally on two levels, all galleries have natural light and are flexible with open flow. The undersides of the curved ceiling become light reflectors, catching and sliding the light across each distinct gallery experience. These curved slices of light shape the gallery spaces in a unique way related to the organic qualities

The Kinder Building adds a horizontal architecture in translucent glass to the museum’s collection of stone (circa 1924), steel and glass (circa 1958 and 1974), and stone buildings (circa 2000). Its innovative glass-tube facade has a soft, alabaster-like texture. The 30-inch tubes of glass open at the top and bottom, providing a “cold jacket” which reduces solar gain by 70 percent on the facades via the chimney effect of air circulation. At night, the glowing translucent facade is reflected in the water gardens and provides an open invitation to enter the museum.

“The form is inventive, seductive and the material expression lucent and cogent. Site relationships to its neighbors are well considered and clear and the circulation through the museum is intuitive. The exterior provides a beacon in the center of the arts district and showcases innovative thinking about topography and lightness.” Jury Comment

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Project: FINANSBANK HEADQUARTERS INTERIORS, Istanbul, Turkey PAGE | 24 Photo Credit: © Fernando Guerra


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“While small in scale, we believe the simple and elegant design moves for this space transformation will inspire the users and the community. The single gesture and muted tones of the glass tile mural is a beautiful and inspirational gesture, however, not distracting for the user. The images of neighborhood children are embedded in the surfaces of their community.” Jury Comment

Photo Credit: ©David Sundberg, Esto Photography

The Thomas S. Murphy Clubhouse Pool Renovation, located in Flatbush, Brooklyn, was completed in the fall of 2017. The project is the first-ever renovation of the Club’s pool, one of the few Clubs in New York City with an indoor swimming pool. The Madison Square Boys and Girls Club program serves local, under-resourced youth, and the renovation reinvigorates the otherwise dark space. Providing water safety and security saves hundreds of lives annually and encourages a healthy lifestyle. The focal point of the design is the custom wall tile mosaic that features Club members who volunteered to be photographed underwater while swimming. In this way, the design is directly tied to the community who see themselves in the architecture. The Architect’s design of the mosaic is highly detailed incorporating imagery of bubbles, shadows, and moving water within the black and white glass tile. This design feature extends into the renovated entry lobby where parents and guardians can look into the pool area. In

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addition to the new finishes throughout the seating and lobby areas, new LED lighting enlivens the cellar space and improves energy performance. Mitigating the low ceiling height, the ceiling structure is exposed, and the HVAC ductwork was selected to be bright orange color complementing the deep blue pool plaster. Additional work on the pool area included reshaping the pool floor to increase the teachable space within the pool, changing the gutter and return systems, and providing de-humidification systems. The project renovation revives an important community asset for an organization that serves thousands of disadvantaged New York City children every year. The design mitigates the negative qualities of an underground space by creating a clean, bright, and airy atmosphere with bold, colorful accents and a custom mosaic wall that reflects the communities who use the space every day.



“An elegant and refined workplace with well crafted details and materiality. Timeless.” Jury Comment Photo Credit: ©Fernando Guerra

The headquarters of Finansbank, a leading Turkish financial institution, are housed in the emblematic Kristalkule tower, designed by Pei Cobb Freed, at the heart of Istanbul’s new central business district. The office floors of the tower are united by common details and elements, including back-painted glass with stainless steel frames in elevator lobbies, double-glass partitions for enclosed offices, integrated metal ceilings with lineal lighting, and a raised floor system. Pei Cobb Freed worked with a furniture consultant and the client to design furniture for every category of employee. Levels 30 and 31—containing private executive offices, meeting rooms, and the boardroom—feature warmer classic modern materials. The entrance lobby is carefully detailed with white oak walls that transform into a reception area, which opens onto the main waiting space and a sculptural stair that connects the two

floors. The central core is clad in Turkish travertine. European white oak is used in the public areas and corridors, with lacquer finish inside the meeting rooms and offices. The ceilings are finished using traditional plaster techniques with a contemporary design, and the floors incorporate Turkish stones and white oak. A soaring five-story event space at level 35 contains a spectacular sky garden with uninterrupted views of Istanbul. The east side of the garden has two levels for entertaining, while the west side is designed for private gatherings and dining. In contrast with the office floors, the structure around the facade is dramatically exposed. Material details include Turkish travertine, Ipe wood deck, and white oak. In a deft interweaving of old and new, these traditional materials are also featured in the state-of-the-art conference center in the podium, connecting the building to its historic city while creating a meaningful identity for its owner. PAGE | 27

Project: STAR GARMENT INNOVATION CENTER PASSIVE HOUSE, Katunayake, Sri Lanka PAGE | 28 Photo Credit: © Jordan Parnass Digital Architecture; Ganidu Balasuriya Photography


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“The project resonated with us as it improves the conditions of the working community which is often neglected in this type of building. The interiors are airy and bright. This project has received Passive House certification, and the energy consumption has been cut to 70%. The colorful metal perforated panels compliment the site nicely giving it vibrancy.” Jury Comment

Photo Credit: ©Jordan Parnass Digital Architecture; Ganidu Balasuriya Photography

The Star Garment Innovation Center is a product development facility located outside of Colombo in Sri Lanka. Planned as a global model for the entire industry, the project sets a new high bar for sustainability, energy efficiency and worker comfort. By choosing to renovate an obsolete building to Passive House standards, the project dramatically reduces the waste, carbon emissions and fossil fuels typically required for demolition and a new build, and promotes the client’s commitment to maintain high standards in social, environmental, ethical and safety compliance within the global fashion industry. The project is the first certified Passive House project in South Asia, and one of only two certified Passive House factory buildings in the world. Annual energy consumption has been cut by over 70 percent compared to a conventional efficient modern industrial building.

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The project is a pioneer in applying Passive House technology to a tropical mon-

soon climate, which features steady warm temperatures year-round but extremely high humidity. Careful design and engineering of the building systems and enclosure ensures that workers enjoy comfort in a workspace that provides abundant natural light, low humidity, filtered fresh air, and maintains temperatures at constant 24 degrees Celsius or 77 degrees Fahrenheit. Thorough testing of the airtightness and remote monitoring of the ongoing energy usage have provided quantitative verification of the building performance, confirming projected operational cost savings for the client and vastly upgraded workplace environmental standards for the employees. The agenda was to assemble an integrated project team including local architects, engineers, fabricators and builders to encourage technology transfer and demonstrate the feasibility of high performance building in the region. By promoting the project and inspiring the local building industry, there is a clear path to both reducing carbon emissions and putting an end to worker “sweatshop” conditions.

Project: STAR GARMENT INNOVATION CENTER PASSIVE HOUSE, Katunayake, Sri Lanka Photo Credit: © Jordan Parnass Digital Architecture; Ganidu Balasuriya Photography

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Project: NEIGHBORHOODS NOW – BEDFORD STUYVESANT RESTORATION CORPORATION, Brooklyn, New York PAGE | 32 Photo Credit: © James Corner Field Operations


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“Notable for its community engagement process. The jury appreciated the diverse responses to the pandemic— from proposals for tactical urbanism at a small scale to implementation of community-led projects. The graphic communication pamphlets were especially appealing. These projects identify small, concrete steps that architects can make to improve their community and are replicable in many other cities.” Jury Comment

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Posters communicating Covid-19 related protocols

Pamphlets relaying vital information and federal, state, and city recommendations; and

A Digital toolkit containing proposals and strategies to create meaningful public spaces with longer-term solutions promoting principles of wellbeing

Photo Credit: ©James Corner Field Operations

They also implemented: The partnership with the Bedford Stuyvesant Restoration Corporation helped address Covid relief in a neighborhood already dealing with social inequity by empowering the community to respond to their immediate needs while contributing to city-wide pandemic response strategies. Under the Neighborhoods Now initiative, developed by the Van Alen Institute and Urban Design Forum, the multi-firm team established an open and continual communication process with Restoration, stakeholders, and the community-at-large to address community concerns and identify challenges and opportunities. They created a series of proposals tailored to the needs of Bedford-Stuyvesant and the community-at-large in the hopes that some solutions could extend beyond the pandemic. This resulted in design recommendations, prototypes, and installations that contribute to a safe, equitable, healthy, and vibrant neighborhood. The effort culminated in a series of user-friendly materials that were distributed to the wider population:

Virtual workshops for educating small businesses

The “Be a Good Neighbor” program to encourage cooperation among businesses; and

The idea of “land swaps” for repurposing underutilized spaces to benefit the neighborhood, and a support system that can emerge from sharing resources.

They established community build days to implement graphic wayfinding, greening efforts, and the first phase of the Adopt-a-Square murals. Partnering with RestorationArt and local artists, these “living decals” use greening and planting for de-densification, beautification, and as graphic cues and physical barriers for navigation and encouraging social distancing and provide a sense of vibrancy and life. The partnership with Restoration continues today, and the team continues to offer support in finding additional resources, including legal, graphic design, public health, and other services.

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Project: DENIZEN, Brooklyn, New York, Photo Credit: © Photos by Imagen Subliminal; Photos by Eric Laignel





“The simple massing of this handsome building is well scaled to its context. The vertical texture of the concrete cladding enlivens the facade with shadow play balanced by the large framed window boxes.” Jury Comment

Photo Credit: ©Scott Frances/OTTO; Pavel Bendov; Tim Waltman for Evan Joseph Images

Sitting at the bustling intersection of Kenmare and Mulberry streets in the gritty heart of NoLita, 75 Kenmare is an 83,000 square foot seven-story residential building with thirty eight apartments ranging in size from 600 to 3,000 square feet. Knit into the urban and architectural fabric, the building’s massing speaks to the neighborhood’s scale while contrasting with its surroundings through a distinctly detailed contemporary façade. Imaginative detailing gives concrete -- the humblest of materials -- a timeless and robust presence. Simple linear channel-like forms, referencing shade and shadow in contextual architectural details, modulate the play of sunlight across its surfaces to create a sense of joy for passersby. The plan features six windowed facades and a second-floor garden that flows visually and spatially into the surrounding neighborhood and adjacent public park. This strategy makes softly edged and generously permeable spaces that generate engaging views throughout and within the neighborhood and building.

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Multi-story bronze window frames set into the concrete skin respond to the proportions and architectural language of NoLita and give the building an inviting human scale. The facades combine AKA’s love of basic materials, elegant proportions, and thoughtful detailing with handcrafted workmanship to create a building that both inspires and gives to its neighborhood. Seventy-five Kenmare creates architecture that is deeply rooted in a sense of place. It is both generous to its surroundings and inseparable from its context, demonstrating AKA’s conviction that buildings must be timeless and new, engage the senses, delight the eye, and lift the spirit of all -- creating a sense of joy for passersby.




Photo Credit: ©Photos by Imagen Subliminal; Photos by Eric Laignel

Denizen is one of the largest residential projects in New York City. In Bushwick, Brooklyn, known for its artists and authentic charm, ODA took two city blocks and created a destination for the largest display of public art in the city. What was originally thought of as a residential dwelling was transformed into an artistic playground for the local community and the two thousand residents living there. Through a series of courtyards and public parks, water features and amenities, this one point two million square foot community was transformed by 15 seven-story murals painted by local artists. It provided the opportunity to impact a developing neighborhood, but also to envision a more connected future. Situated on the former site of Brooklyn’s Rheingold Brewery, Denizen contains one million square feet of apartment units, twenty percent of which are affordable. ODA recognized from the start that it had to be inclusive of the community around it, while providing a sense of ownership

and security for the people living there. Through art, public space and community involvement, ODA created something with a feeling of transparency rather than isolation. The guiding principles of the design was to create something that encourages both leisure and discovery. The site was carved up to resemble an old town core, with a sequence of interconnected courtyards and meandering paths that create a unique sense of place. The project also hosts a multitude of communal spaces open to the neighborhood, including a seventeen thousand 17,850 square foot public park that bisects the development and connects the blocks through a green promenade. Single-loaded corridors are the backdrop for the monumental paintings. The porous landscape, with retail and food and beverage at the ground floor accessible to tenants and community, brought about a symbiotic state. The landscaping at Denizen ranges from landscaped courtyards and food halls to a 60,000 square foot rooftop with great views of Manhattan.

“For such a dense housing project, the Denizen does a great job of creating a very restrained palette and regimented fenestration interrupted by a diagonal structural rhythm. As you enter the site, the project unveils wonderful courtyard spaces aligned with transparency to beautiful murals created by well planned single loaded corridors.” Jury Comment

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“A project that successfully connects to the site and ties with the surrounded landscape. We loved the use of materials in this house, especially the interior thatched wall that reflects the grasses surrounding the site. The warmth of the wood elements is present both on the exterior and interior. The design technique used in this project resembles vernacular architecture taken into a contemporary approach.” Jury Comment

The goal of the project was to reference the agrarian history of the site in the architecture and landscape design, principally by dividing the site into zones in a similar fashion to the original pasture parcels. In the same way that the parcels had different maturities of grasses due to the rotating grazing, the scale and density of the plantings in each zone were designed to vary based on modern needs: high grasses and shrubs provide a visual and acoustic buffer from the road, medium height grasses screen the house from the approach, and low grass and groundcover open up views where appropriate. The massing of the house is broken up into smaller volumes, each of which relate to one of the landscape zones: public spaces, private spaces, and guest or service spaces. The interconnected gabled structures reference the connected barn vernacular precedent but are adapted for a modern experience. The steep roof pitches allow for ample second floor

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Photo Credit: ©Bates Masi + Architects

space uninterrupted by collar ties. These traditional gable forms are subverted by cuts through the ridge to bring in natural light. In the same way traditional forms are adapted, so too are historic materials transformed. The shingle siding common to the region is exaggerated in scale. In reference to the grasses of the pasture, traditional thatch siding is employed but it is packed neatly between the exposed exterior framing in a modern interpretation. The rhythm of the exterior framing is continued on the interior in the structure of the stair and the bath vanities. With its holistic approach to both architecture and landscape, the design translates the history of the place into a unique architectural vocabulary. In the process, it preserves the pastoral character of the site, creates a record of the past, and enriches the family’s home with deeper meaning.



Photo Credit: ©Michael Moran

At the end of the nineteenth Century, a private beach community was established from over one hundred acres of coastal farmland. Large specimen trees, winding roads, early colonial architecture, agricultural buildings, and views of a large pond and the Atlantic Ocean create a bucolic setting. It was here that a family with a passion for art decided to build a home for their family, including future generations, and their art collection. They requested it to become a family heirloom. As such, the home must anticipate the family’s growth, providing space and privacy for guests, the couple’s adult children, and their future grandchildren. It must be durable. It must also be elevated in anticipation of the future flood risk while preserving a connection to the landscape. Finally, the home must provide large openings to take advantage of the sweeping views, and at the same time limit direct sunlight on the art.

ed to the couple and the two future families of their children. Each volume has it’s own staircase to the unconnected second floor spaces, which include bedrooms, lounge areas, laundry facilities, and kitchenettes. These separate self-sufficient volumes are connected on the main level by an art-filled circulation spine that opens to larger display spaces around the stairs. To provide indirect natural light, continuous clerestory windows along the spine allow diffused light from the north to filter through a carefully detailed exterior shingle screen.

“We all appreciated the incredible level of craft in this house. The material decisions were based on performance criteria for this multigenerational house. Attention to assembly methods, natural light and the overall spatial sequence are equally balanced. We also note its elegant design resiliency solutions.” Jury Comment

To ensure the home as an heirloom will endure, it is clad in durable materials that are applied in redundant layers. Cedar boards are installed like shingles in layers over a weathertight shell. The family will grow and change, as will their art, but the home will endure as a place of appreciation for both.

In response, the house was divided into three separate gabled structures dedicat-

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“The scale, symmetry and innovative layout of the spaces were design characteristics that highlight this project. The use of each space was carefully thought out to maximize all uses. The juxtaposition between solid and void in the façade and how it related to the site was a great balance in the site plan. The articulation and use of materials made this house a good platform for contemplation and retreat.” Jury Comment

Photo Credit: ©Bates Masi + Architects

A granite milestone distinguished an otherwise ordinary lot, one in a series of historic markers along a road connecting two villages. Just as milestones punctuate the roadside, the house is conceived as a regularly spaced series of insertions in the landscape. The resulting sequence of solid and void defines private and public areas of the home. Solid volumes contain bedrooms and service spaces, while glazed and screened gaps between accommodate the living room and screened porch. This spatial configuration promotes circulation within public spaces, minimizing hallways for an efficient plan. Metal standing seam shingles define the solid volumes and carry onto the interior walls of the living spaces, connecting them with the outside. Their projected vertical seams, low profile, and flat horizontal seams emphasize the verticality of the solid volumes as they spring from the ground, especially as the sun rakes across their surface. The house is sited so the massing’s cadence runs parallel and synchronizes with

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the milestones. Floors lie two feet above grade to safeguard against inundation from the harbor across the road and raise the foundations above the high water table. In deference to the harbor’s ecology, plantings graduate from low-maintenance native species to more manicured lawns as they progress from the harbor toward the house. A compact footprint also reduces impact on the site. In a community with a rich heritage of domestic architecture, the house connects to its place not though a reproduction of traditional styles, but by referencing the mechanics of the town’s early wayfinding system. Drawing on the most immediate historic reference, the milestone, yields a design that is more relevant and conceptually bound to its context.





Photo Credit: ©Tim Wilkes / portfolio.timwilkes.com

and to selectively frame a neighborless vista.

A modest, site-attuned dwelling to Passive House standards was designed as an extension of the family’s homesteading commitment. The home occupies a small clearing pressed against a deep forest, sited to provide space for homesteading. The dwelling was perched by the forest edge to encourage casual childhood adventures, sheltered by the wooded slope to be shielded from winds, angled to collect and store winter solar rays, and earthbermed to enhance insulation, direct run-off, and silence road noise. A simple plan-diagram was developed for the home—two squares are bisected by the line of entry, then refined by need. To the north is the sleeping tower; its basic form and minimal openings respond to its prosaic functions. To the south is a single living space, lifting up to a south-facing window positioned to regulate solar gain

To keep size to a minimum, many elements take on a double duty. The entry hall is also the main circulation spine and the mudroom. The wheeled dining table can be tucked under the kitchen island for daily meals or pulled out to accommodate eight or more. The first floor bathroom can be divided by a door into a front guest half bath; with a master bath beyond. The master closet is also the laundry room and the children can slide a single door in their bedrooms to reveal either a clothes closet or desk.

“Restrained but beautiful wood palette with great proportion and scale. Inspirational passive house design incorporation. Reasonably modest house. Planned spaces and storage for a family of four to live comfortably within 1,200 square feet.” Jury Comment

Extreme insulation, thermal mass, and synchronized air-exchange were employed. A wall-mounted air-source heat pump is the only heat source other than a small wood stove. A cord of firewood was the only fuel burned in littleHOUSE’s first winter. Through all these measures, insite architecture met the family’s vision of independence, lifelong stewardship, and closeness to nature. PAGE | 43

Project: 862 FENIMORE ROAD RESIDENCE ADDITIONS AND RENOVATIONS, Larchmont, New York PAGE | 44 Photo Credit: © Albert Vecerka/Esto


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“The need to conserve modern structures has been recently recognized by Docomomo. This is a good example of a small project that reinforces the original language of the house, repairing deterioration and extending to bring cohesion to new areas of the house. Thoughtful gestures to the landscape were applauded. The jury appreciated the distinction in the drawings and captions between existing and new. Because of its location on a heavily traveled street, it inspires passersby to refresh their appreciation of the site.” Jury Comment

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Photo Credit: ©Albert Vecerka/Esto

This design involves additions and renovations to a 1958 modernist home that acquired a series of 1980s additions by architect Paul Rudolph. As the scope involved small yet conspicuous additions— primarily lower level expansions with link between the house and garage—a decision was made to blend the new extensions with the existing work. Though establishing clear differentiation between new and old is common, here the approach was informed by that of Rudolph himself. His additions, though expressive, nonetheless extended the existing language and materiality of the original. Similar to Rudolph’s earlier interweaving, a decision here was made to considerately supplement the existing elements by extending the spatial, material, and formal language of minimal wall and roof planes and informally-distributed apertures to resolve client demands while respecting and restoring all important elements in the predecessors’ work. A cohesive whole is thus achieved.

Morphologically a series of grounded planes define the new additions as balanced counterparts to the loftier existing, elevated planes, most notably the dramatic series of Rudolph-designed entrance canopies covering a meandering, stepped entry sequence. Redolent of his Sarasota work, though in this context badly deteriorating, these have been restored to pristine condition. Other additions by Rudolph that transformed the home’s interior-exterior relationship were also preserved and fully-restored or, in the case of irreversible deterioration, rebuilt. Internally the renovation work sought to grant a cohesion to what was an uncoordinated series of spaces, most not by Rudolph. Externally, the new connection to garage, roof decks, and stairs was designed to resolve a complicated knot of circulation between various zones. This juncture offers the most conspicuous evidence of the addition, but the deployment of elements in the vein of the earlier architects enable this to read as one of well-considered, evolutionary accretion to the prior phases.

Project: 862 FENIMORE ROAD RESIDENCE ADDITIONS AND RENOVATIONS, Larchmont, New York Photo Credit: © Albert Vecerka/Esto

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Project: LOFTED AMBITIONS: BETWEEN UTOPIA, Salt Lake City, Utah PAGE | 48 Photo Credit: © UNITEDLAB Associates


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“This is a brash and ambitious set of ideas—the jury was fascinated by the graphics and the scale of the proposal. Re-wilding the city is an exciting idea, and the potential for strategic depaving at the street level is demonstrated clearly. The jury appreciated the inventive approach and the incentive this project provides for architects to think critically about their own existing downtown core.” Jury Comment

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Photo Credit: ©UNITEDLAB Associates

This proposal aims to inject a multi-use connective complex into two adjacent city blocks in downtown Salt Lake City. Despite the Utopian ideals that spawned the city’s conception, early visions of a promised land were soon replaced with the overly pragmatic tenets of need, availability, and function, shaping the city as we know it today; the last fertile grounds have since been haphazardly relegated to the urban in-between. This project uses these interstitial spaces to re-establish Utopian ideals by resurrecting a lost urban topography, encouraging the return of natural phenomena as a benevolent guiding force towards positive human-scale development. Existing urban schema in the region present obstacles to attaining this ideal state: large streets and blocks inhibit pedestrian activity, making the city difficult to grasp. Ideally, this proposal would serve as a pilot study to revitalize downtown Salt Lake City, block by block, in a manner that honors nature and the human experience.

The initial foundation of this proposal is a resurrection of the region’s endemic landscape; the site’s interstitial spaces would take the form of Utah’s rolling topography. Beneath this topographical layer, functional street-level programming like structure, parking, and city amenities will take root. Above this landscaped complex, a public plinth would be lofted in mid-air and connected to the ground plane with ample vertical circulation. The plinth would be supported by towers programmed to replace buildings displaced by the topographical resurrection. Navigating the project would be a hybrid experience between an organic, flowing landscape and a bustling urban environment, framed in vast, narrow vignettes that approximate the experience of a canyon. By densifying and elevating, we reintroduce human agency to the site, employing interstitial urban cracks as seeds for growth to build on the Utopian foundation of Salt Lake City.



Renderings: ©Weiss/Manfredi Architects

The La Brea Tar Pits and Museum are sites of exploration and an enduring source of wonder. The proposed re-imagination of the park and museum emerges from a close analysis of what is present, inspiring a commitment to preserve and magnify the site as an ever-changing site of discovery. The Loops and Lenses form a triple mobius that links all elements of the park to redefine Hancock Park as a continuously unfolding experience, connecting three identities that are latent within the park today: Research and Revelation – the site of the excavation pits and Pleistocene Garden, Community and Culture – where the museum and central green are located, and Spectacle and Urban Fictions – where the lake pit and mastodons join the public imagination on Wilshire Boulevard. The identities of the loops embody journeys, with programming that appeals to diverse interests. The new one kilometer pedestrian path connects the existing elements of the site, brings drama to the crossing of the

Lake Pit, frames views into the museum, enhances amenities for community engagement and research, and reveals the riches found in the tar pits and museum. As a vibrant public park, active exploration is complemented with lookout platforms along the loop to provide more intimate spaces for reflection. The Page Museum rejuvenation and expansion is conceived as a contemporary Wunderkammer, a treasure chest of stunning fossils and artifacts. Like a magnifying glass, exhibition spaces bring artifacts into focus and make visible the museum’s treasures to the public.

“The vision to unify and expand the park makes this project phenomenal, weaving together all disparate parts to make a whole. Organic geometry beautifully resolved. Not overly showy, but impactful.” Jury Comment

As flexible armatures, loops and lenses connect and reveal, forming a continuous journey that tells the story of La Brea Tar Pits and Museum: the continuum from prehistoric time to our contemporary moment. The museum treasures will be revealed to visitors, bringing the museum to the park, and the park into the public imagination. PAGE | 51



“Notable undertaking for an emerging practice to develop their own project. The jury appreciated the adaptive reuse of an historic structure, the Mass timber research, application of Passive House and minimizing the carbon footprint.” Jury Comment

Photo/Rendering Credit: ©Schiller Projects

Possessing an understanding of the life cycle of construction materials and products is vital to altering the widespread economic and environmental impact of our industry. The Brooklyn Mass Timber House is an adaptive reuse project focused on sustainable and speedy construction methodologies utilizing mass timber, an alternate construction approach using prefabricated, solid-wood panels. Mass timber is a process which involves the lamination and compression of multiple layers to create solid panels of wood. This 3,500 square foot single-family home will feature a three-story Douglas Fir laminated stair and bridge, along with divine views of New York City’s few Gothic Revival style cathedrals. A moment synonymous with Paris in the heart of Brooklyn. The existing structure, initially a carriage house, dates back to 1873. Although, the front façade has been altered over the years as usages have changed. The approach includes refurbishing the frontage in cooperation with The New York City Landmarks Preservation Commission, with the interest of maintaining the structure’s

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historic integrity. During the demolition process, computer scanned measurements were taken on site and transmitted to our studio, where we modelled the new building components. These specs were then provided to a prefabrication facility in New Hampshire. The floor packages and wall packages, with windows pre-installed, along with a new rear facade and roof, will be fabricated and flat packed onto a semi-truck for site delivery. Once the components arrive on site, the installation will require just two carpenters and one crane to fully assemble and seal the structure within approximately four days. Following trades will be equally sped up as all pathways and cut-outs for plumbing, electrical and mechanical will come pre-drilled and, in certain cases, pre-installed. The estimate for this delivery methodology will save approximately 35.8% of time over standard site-built construction methods and reduce labor hours.

Project: BROOKLYN MASS TIMBER HOUSE, Brooklyn, New York Photo Credit: © Schiller Projects

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Project: ST. PETE PIER, St. Petersburg, Florida PAGE | 54 Photo Credit: © 2020 Rich Montalbano / RiMO Photo, LLC; Chad Baumer


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“Excellent built example of climate and coastline resilience, activating a community asset with a variety of program elements and extensive connectivity to multiple communities. Incorporates community feedback in design. Includes a variety of relationships to water by sculpting ground-plane and a variety of ecological systems.” Jury Comment

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Photo Credit: ©2020 Rich Montalbano / RiMO Photo, LLC; Chad Baumer

An example of 21st century urban design, the St. Pete Pier is both an investment in equitable open space and a catalyst for economic development. The project replaces an aging structure with a new, dynamic public landscape and leverages programming for a layered set of users. Increased connections to public transportation energize the city’s downtown revitalization and anchor a larger district development strategy. The design bridges this cultural and demographic shift by establishing a topography of art installations, playgrounds, food and drink options, shopping areas, and other amenities that appeal to children, retirees, families, tourists, and young professionals. Rather than an isolated attraction at the terminus, the team created three buildings and four major landscapes, including a beach-front, spread across the twenty six acre public pier. From the welcome plaza, visitors traipse through a ramble of educational and recreational programming, including the Tampa Bay Watch Discovery Center, dispersed along the 1,380 foot-long pe-

destrian pier. At the terminus, an eleven thousand square-foot Pier-head features a large, tilted lawn for concerts and film screenings, a fishing deck, a restaurant, and outdoor gathering spaces, including a rooftop deck with three hundred sixty degree views. Whether it’s an afternoon at the beach, a brief jog, or a night out, the pier has something for everybody The Pier is also an investment in the city’s ability to recover from rising sea levels and increasingly major storm surges. The new infrastructure includes flood resistant features and drainage capabilities to minimize flooding impacts to ensure that recovery from one hundred year storms and Category four hurricanes is possible. The design also minimizes construction impact to existing ecological resources and secures long-term net environmental enhancements through modified operational pier policies to build capacity for coastline resiliency.

Project: ST. PETE PIER, St. Petersburg, Florida Photo Credit: © 2020 Rich Montalbano / RiMO Photo, LLC; Chad Baumer

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Peter Pennoyer Architects Salutes the Moynihan Train Hall Team Client: Empire State Development in a public-private partnership with Vornado Realty Trust, The Related Companies, Skanska, the MTA, the Long Island Rail Road, Amtrak, and the Port Authority of New York and New Jersey Skidmore, Owings & Merrill l Skanska USA Civil l Severud Associates Schlaich Bergermann Partner l Langan Engineering & Environmental Services, Inc. Jaros Baum & Bolles l Building Conservation Associates, Inc. Higgins & Quasebarth l Code Consultants Professional Engineers, PC BNP Associates, Inc. l Domingo Gonzalez Associates l Pentagram Mijksenaar USA l Van Deusen & Associates l Cerami & Associates Systra Consulting, Inc. l Thornton Tomasetti/Weidlinger Protective Design Practice Ducibella Venter & Santore l Billings Jackson Design WSP l Rockwell Group l Watson & Co.

Peter Pennnoyer Architects 136 Madison Avenue, 11th Floor, New York, NY 10016 212.779.9765 | www.ppapc.com

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AIA NEW YORK STATE 2021 Officers, Board of Directors & Strategic Councilors President Illya Azaroff, FAIA

Bronx Josette Matthew, Assoc. AIA

President-Elect Pasquale Marchese, AIA

Brooklyn Jordan Parnass, AIA

Vice President Government Advocacy Peter Wehner, AIA

Buffalo/Western New York Michael Anderson, AIA

Vice President Communications & Public Awareness Jeff Pawlowski, AIA

Eastern New York Scott Townsend, AIA Long Island Martin Hero, AIA

Vice President | Emerging Professionals Ofé Clarke, AIA

New York Tonja Adair, AIA Danei Cesario, AIA Jenna Wandishin, AIA

Secretary Jaclyn Tyler, AIA

Peconic Nilay Oza, AIA

Treasurer Manuel Andrade, AIA

Queens Richard S. Kruter, AIA

Immediate Past President Joseph J. Aliotta, FAIA

Rochester Nate Rozzi, AIA

AIA Strategic Council Victor Han, AIA Kirk Narburgh, FAIA Willy Zambrano, AIA

Southern New York Andrew Harding, AIA

Executive Vice President Georgi Ann Bailey, CAE, Hon. AIANYS

Westchester + Hudson Valley Richard Torres, AIA

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

Associate Director Tannia Chavez, Int’l Assoc. AIA

General Counsel Michael De Chiara, JD Zetlin & De Chiara LLP Anthony DiBrita, Esq. Of Counsel Zetlin & De Chiara LLP

Staten Island Nell Taranto, AIA

New York Rep to YAF Christopher Fagan, AIA National Associates Committee Regional Associate Director Ebru Sulker, Assoc. AIA Student Director Rahmah Blessing Oshioneh Gimba, AIAS


Vice President | Education Paul McDonnell, AIA

Central New York Anthony Rojas, AIA

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