2023 AIANYS Design Awards

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CITATION 0 2 3 “The collection of five

contiguous historic buildings comprising Gansevoort Row are tastefully restored to create a vibrant and welcoming series of pedestrian scales spaces.


LaGuardia Community College, part of the City University of New York system, is located in Long Island City, New York.




The preservation of CUNY LaGuardia Community College elongates the longevity of the 100-year-old building while breathing new life into it for its student population and the adjacent community.

The CUNY LaGuardia Community College Façade and Lobby Renovation Project, submitted by Mitchell Giurgola, transformed the One hundred year old, one million square-foot Center III Building in Long Island City into a structure that aims to support the activities of the College for the next century. The Project involved two major scopes of work: the complete replacement of the exterior cladding of the building, inclusive of all aspects of the ground floor, sidewalks, and signature billboard signage at the top of the building; and a reinvention of the entrance sequence and lobby of a building that serves hundreds of occupants daily. On the exterior, years of neglect, patching, inadequate and sometimes damaging repairs contributed to exterior wall failures including chunks of terracotta falling from the building. A sidewalk shed to protect pedestrians from falling objects surrounded the building for over a decade while potential solutions were considered. The design team was directed to develop a new exterior cladding that respected the long history of terra cotta use on the façade, and to incorporate contemporary technology in the form of a unitized curtainwall system. The Project also afforded an opportunity to reinvent the lobby and entrance sequence of the building, improving clarity, security, and flow. Multiple entrances, which created confusion, were reduced to one canopied primary entrance in the center of the front façade, where security was concentrated. This had the effect of opening additional interior space at the well-lit corner of the building for casual meeting, study, and eating space. A two-story signature stair was added, for direct connection to the public spaces of the second floor.


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Introduction......................................... 5 Design Awards Jury ............................... 6 ADAPTIVE REUSE | HISTORIC PRESERVATION Harvard Law School, Lewis International Law Center................ 8 David Rockefeller Creative Arts Center............................... 9 Powerhouse Arts...................................10

PRO BONO PROJECTS Mayukwayukwa Community Center.......... 23 RESIDENTIAL Charlotte of the Upper West Side (470 Columbus Avenue)........................ 24 Narrow House ..................................... 25 Gray House......................................... 26 Brooklyn Mass Timber House ..................27 SMALL FIRMS DESIGN AWARD


Blue Table Chocolates .......................... 28

Arverne East Multi-Purpose Building........ 11

Dixon Roadside ................................... 29

Zero Irving Technology Hub .................. 12 Lasting Joy Brewery.............................. 13

UNBUILT PROJECTS 416 Memorial Park............................... 30


PENN 2 ............................................... 31

East Flatbush Library.............................16

Manchester Environmental Center .......... 32

John A. Paulson Center at NYU............... 17 Princeton University Residential Colleges..............................18 INTERIORS

URBAN PLANNING AND DESIGN SouthWorks ........................................ 33 Hunter’s Point South Waterfront Park.......................... 34

Brooklyn Children’s Museum Auditorium..............................19 Greenwich Village Residence ................. 20 INTERNATIONAL PROJECTS Front & Back Cover:

Kyabirwa Surgical Center Ward................ 21

SHANGHAI ASTRONOMY MUSEUM Shanghai, China Ennead Architects Photo Credit: © Archexist

Shanghai Astronomy Museum................ 22

Left: HUNTER’S POINT SOUTH WATERFRONT PARK Long Island City, New York Photo Credit: © Albert Vecerka/Esto, courtesy of SWA/Balsley and WEISS/MANFREDI Architecture/Landscape/Urbanism

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Annually since 1968, AIA New York State’s 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-five projects were recognized for Citation, Merit, and Honor Awards in the following categories: Adaptive Reuse/Historic Preservation, Commercial/Industrial, Institutional, Interiors, International, Pro Bono Projects, Residential, Small Firms, Unbuilt, and Urban Planning and Design. The 2023 Design Awards jury was comprised of Jury Chair Kamran Charmsaz, AIA, CCCA, LEED AP, Principal at KTGY; Tim Tielman, Executive Director and a founder of The Campaign for Buffalo History, Architecture & Culture, Co-founder of the Buffalo Central Terminal Restoration Corporation, and Principal of Spatial LLC; Melvalean McLemore, AIA, Senior Associate at Moody Nolan, and one of the first 500 licensed black women in the United States and the 16th in Texas; and Beth Tauke, Associate Professor, Department of Architecture, School of Architecture and Planning, University at Buffalo – State University of New York. Peter Arsenault, FAIA, was the facilitator. Out of the 25 award recipients, the jury also selected one project considered to be the “Best of the Best.” Kamran Charmsaz, AIA, the 2023 Design Awards Jury Chair stated, “I am delighted to have encountered such a remarkable array of projects, each possessing outstanding quality that leaves a lasting impact on the community. The ingenious designs, rooted in a deep respect for sustainability, the natural environment, and cultural context, not only exemplify innovation but also resonate with the dynamic nature of our times.” AIANYS 2023 President Paul McDonnell, AIA said, “I am invigorated by the innovative solutions New York State architects consistently bring to fruition, creating a significant and positive influence on the communities they engage with. My heartfelt congratulations to all the deserving recipients of our prestigious Design Awards.”

Image: East Flatbush Library, Brooklyn, NY | LEVENBETTS | Photo Credit: © Naho Kubota

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Clockwise starting from Bottom Left: Jury Chair Kamran Charmsaz, AIA; Tim Tielman; Melvalean McLemore, AIA; Beth Tauke; and Peter Arsenault, FAIA.

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JURY CHAIR | Kamran Charmsaz, AIA, Kamran brings over 25 years experience to his role as a Principal at KTGY, and has collaborated with the nation’s top multi-family and retail developers, as well as single-family builders nationally and internationally. As the principal at KTGY’s Tysons office, Kamran leads the high-density studio, guiding multi-disciplinary teams through local and national projects spanning diverse typologies and construction types. His primary focus revolves around addressing clients’ needs, with a particular emphasis on residential and mixed-use developments. Demonstrating profound insight into workplace strategies and adept project management skills, Kamran values the entire process as integral to the final product. He strives for technical excellence without compromising on quality design. His overarching mission is to forge connections between people and places, offering an enriched human experience and the potential to elevate each design beyond mere functionality. Tim Tielman | Tim has been a central figure in Buffalo’s preservation and development landscape for 40 years. As the Executive Director and co-founder of The Campaign for Buffalo History, Architecture & Culture, he advocates for historic preservation and community-driven planning. Tielman played a pivotal role in establishing the Buffalo Central Terminal Restoration Corporation and successfully preserved H.H. Richardson’s Buffalo State Asylum, the architect’s largest project. He also led efforts to uncover and protect the western terminus of the Erie Canal and its surroundings. The author of “Buffalo’s Waterfront,” Tim has been instrumental in creating historic districts and landmarks, encompassing over 1,000 structures. As the principal of Spatial LLC, he specializes in designing outdoor social spaces, notably crafting Larkin Square, a centerpiece in the reimagined Larkin Soap Company complex. Tielman’s profound understanding of human spatial behavior informs his commitment to shaping local and state policies, reflecting a dedicated preservationist with a keen eye on Buffalo’s cultural and architectural heritage. Melvalean McLemore, AIA | With over 14 years in architecture, Melvalean is a trailblazer as one of the first 500 licensed black women architects in the US and 16th in Texas. A University of Houston alum, she pursues a master’s at Rice University. As Senior Associate at Moody Nolan, she leads higher education projects, emphasizing diversity. Co-founding AIA Houston’s Women in Architecture Committee, she played a key role in creating the Women in Architecture Exhibit. Melvalean co-chairs the Texas Society of Architect’s Equity, Diversity, and Inclusion Committee, and in 2020, she co-created the NOMA National HBCU Professional Development Program. Recognized in the Architect’s Newspaper in 2022, she holds leadership roles on AIA Houston’s Executive Board, HNOMA’s Parliamentarian, and NCARB’s Continuing Education Committee. Awarded TxA’s 2022 Caudill Early Career Achievement, Houston NOMA’s Ambassador, and AIA Houston’s 2023 Ben Brewer Young Architect, Melvalean is not only a professional but also enjoys roles as a wife, mother, food enthusiast, and avid traveler. Beth Tauke is an associate professor of architecture in the School of Architecture and Planning at the University at Buffalo (UB) – State University of New York and project director in the Center for Inclusive Design and Environmental Access (IDeA) at UB. Her research focuses on inclusive design, especially the empowerment of underrepresented groups through design. Tauke served as the co-principal investigator for three National Endowment for the Arts Universal Design Leadership grants. She is co-author of Inclusive Design: Implementation and Evaluation (Routledge, 2018), and co-editor of Diversity and Design: Understanding Hidden Consequences (Routledge, 2016) and Universal Design, New York (NYC Mayor’s Office, 2001). Peter Arsenault, FAIA, is an architect, author, speaker, and consultant with a nationwide practice. His 45-year career includes design and planning for a wide range of clients on governmental, educational, health care, residential, and religious buildings. He shares this diverse experience at seminars and conferences around the U.S. encouraging design professionals to include health, safety, wellness, and sustainability as part of good architectural design. He has over 250 published continuing education articles plus numerous articles in professional journals, magazines, and books. Peter has served at the local, state, and national level of the American Institute of Architects (AIA), the US Green Building Council (USGBC), led AIA Sustainable Design Assessment Team (SDAT) programs across the country and served as a member of the Advisory Board of the AIA+2030 series. He is also the founding President of sustainability advocacy organization known as GreeningUSA.

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CITATION “This adaptive reuse project represents a balanced design that respects the integrity of the original building, while thoughtfully and successfully addressing the needs of present-day and future students.”

Adaptive Reuse and Historic Preservation, a Citation is awarded to Harvard Law School’s Lewis International Law Center submitted by the firm of TenBerke. Located in Cambridge, Massachusetts, this well-used facility has been transformed into a 21st-century learning and work environment. Built in 1957 by Shepley, Bulfinch, Richardson, and Abbott as an extension to the law library’s stacks, the original modernist structure became outmoded with the changing needs of libraries and law pedagogy alike. The adaptive re-use of the Lewis Center goes beyond updating an old structure—it holistically meets today’s social dynamics in law education. The revamped Lewis Law Center has become a porous, open connector at the heart of the Law School campus. Inside the building, several sections of floor were removed to create interlocking spaces that foster collaboration, learning, and co-working. These multi-level openings allow natural light to flow into the core of the structure and enable new vertical adjacencies. Flexible conference and meeting rooms and collaborative areas grouped around these lightwells encourage interdisciplinary work and impromptu connections. At the same time, discreet areas are separated for focused work, including study carrels, private offices, and client consultation rooms. In all, the design re-used the bones of the original structure to extraordinary effect—including the concrete foundation, steel-framed structure, and stone envelope—only demolishing 20 percent of the former building while transforming its identity inside and out. This adaptive reuse strategy has resulted in a 40 percent reduction in embodied carbon emissions compared to new construction using standard industry materials. These savings amounted to roughly one million tons of embodied carbon, which is the equivalent to the annual energy use of 120,000 homes. The reconceptualization of the Lewis Center has transformed faculty and student life, embracing Harvard Law School’s focus on mentorship and collaborative learning. The adaptive re-use of the building raises the bar for sustainable construction as much as for the design of research and learning environments for decades to come.

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A Merit Award in the category of Adaptive Reuse, Historic Preservation goes to the rehabilitation and adaptive reuse of an orangerie at The Pocantico Center. Submitted by FXCollaborative, this building on the historic Rockefeller estate located in Tarrytown, New York, transforms the former Beaux-Arts greenhouse into a highly sustainable multi-disciplinary arts facility. Re-purposed as The David Rockefeller Creative Arts Center, the facility is open to the public and provides visitors with a glimpse inside the artistic process, offering performances and exhibits, and residencies for visual, performing, and literary artists. First built in 1908 and designed by William Welles Bosworth, the orangerie was conceived as a winter greenhouse for imported orange trees – modeled after the 17th century orangerie at the Palace of Versailles. The monumentally scaled pavilion is a two-hundred-footlong symmetrical volume with a twenty-six-foot-high ceiling, ten tall arched windows, six skylights, and large doors scaled for transferring orange trees. Interior steel columns originally supported the wood roof and masonry structure over a gravel floor without a slab. Used for miscellaneous storage since the 1930’s, the building fell into disrepair until it was bequeathed to the National Trust for Historic Preservation in 1979. In 2019, the client announced plans to convert it into a public arts venue.



SUBMITTED BY: FXCOLLABORATIVE Photo Credit: © David Sundberg/Esto; Library of Congress

MERIT AWARD “A carefully considered adaptive restoration of a rare building type that maintains the important interplay between the historic structure and the landscape and tucks a straightforward addition alongside in a way that telegraphs the new use inside.”

The transformative sustainable design for the new center was informed by the history and original use of the building, its new role as a home for the arts, and the client’s deep concern for the environment. The design reuses as much of the existing structure as possible, expanding it in an essential and timeless manner consistent with the building’s ethos, establishes new connections to the landscape beyond, and provides flexibility for a variety of arts programming while being deeply sustainable. The project is certified to meet LEED version 4 BD+C at the Platinum level, achieving the highest LEED score in New York State. It will also pursue LEED Zero Energy certification.

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HONOR AWARD “The preservation of graffiti and materials in the redevelopment preserved the story of the building’s past while the building’s new program and spaces make room for the stories yet to come.”

An Honor Award in the category of Adaptive Reuse, Historic Preservation is bestowed upon Powerhouse Arts, which is a new 170,000 square foot art fabrication facility in Gowanus, Brooklyn. Submitted by PBDW Architects, this innovative facility provides workshops for large scale art production in metal, wood, ceramic, textiles, and printmaking. Flexible performance and exhibition spaces support the artists and community. The not-for-profit organization partners with artists and fabricators to create a collaborative arts hub, thus transforming a derelict structure into a vibrant community center for artistic engagement. Built in 1903, the building served as the Central Power Station of the Brooklyn Rapid Transit System. The complex comprised a Boiler House which was demolished in 1950 and a Turbine Hall which was decommissioned in the 1970s and progressively deteriorated. In the 2000s, the building became a destination for graffiti artists and was nicknamed the “Batcave.” The Powerhouse Arts organization acquired the site and charged the design team with restoring the Turbine Hall and designing an addition to accommodate the needs of this new arts institution. Following extensive remediation of the brownfield site and a soil load test confirming the viability of the foundations, the new complex was constructed echoing the original power plant in massing and site usage. The Turbine Hall’s historic steel and masonry structure was stabilized and restored, maintaining the graffiti and patina on the building’s walls. The new pigmented cast-in-place Boiler House addition to the Turbine Hall provides a robust, efficient, and cost-effective envelope to house the workshops. The preservation of the historic building, massing, siting, and use type strengthens the building’s industrial character in an evolving neighborhood context. The zoning and demographics in the Gowanus section of Brooklyn are rapidly changing, with luxury high-rise residential buildings flanking the site in every direction. Powerhouse Arts is one of the last historic structures remaining on the canal and the facility retains and fosters manufacturing and artistic activity, positively impacting the neighborhood and the city.

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In the category of Commercial Industrial, Small projects, less than 5,000 square feet, a Merit Award has been earned by WXY architecture and urban design for the Arverne East Multi-Purpose Building in Queens, New York. This innovative building stands as a versatile meeting space and community center managed by local non-profit organizations. Situated conveniently beside the Beach 44th Street subway station in the Rockaways, this newly built facility is nestled between a pristine Nature Preserve and a vibrant community garden. The agreed-upon goals of the project were to create a resilient, welcoming community hub for the neighborhood at an essential location in the larger Arverne East Plan. The vision was to create an amenity building that is both visible and accessible to its users and comfortable within the ecology of the natural landscape of the sandy biome immediately beyond the dunes. The primary design challenges were focused on flood elevation, accessibility, and energy consumption. This exceptional design solution seamlessly combines resilience, accessibility, and sustainability, creating a welcoming community hub that stands as a beacon for beachgoers, community organizers, and park staff. Untreated, locally sourced wood enhances the beach environment. The project’s innovative approach to flood elevation, accessibility, and energy consumption, with large solar arrays feeding electricity back to the grid, showcases a deep commitment to sustainability. The design not only meets functional goals but also fosters community engagement, making it a vital and inviting space for the neighborhood.



MERIT AWARD The well-designed juxtaposition of apublic new high“A tech factory within the shell of a building that gives back to 150-year-old historic Civil War era the community in aatmultitude shipbuilding warehouse Nanotronics Smart whimsical of ways.Factory From evokes powera generquality to the interior spaces and a ation to flood mitigation to truly delightful building. Re-using the community-based existing building greatlyprogramreduces the building’s carbon footprint ming, this project is awhich greatwas further emphasized with the model of how impactfuluse of sustainably manufactured for the new architecture pods inside the can space.be.” In addition, the building is designed to be cleaner and more efficient than traditional factories offering a great example of smart urban manufacturing. Jury Comment

The building facilitates communal interaction with the surrounding environment and visitors. This establishment offers key amenities to the public, including gender-neutral public restrooms, the Nature Preserve, and the Community Garden. Furthermore, it boasts new administrative quarters for staff associated with the Nature Preserve, Community Garden, and Department of Parks and Recreation Rangers. Additionally, the facility offers extensive storage space, serving the needs of the Nature Preserve, the park, and the neighboring gardens.

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MERIT AWARD “Meant to attract new companies that rely on a rich urban environment to attract and retain employees and do inspired work, Zero Irving adds to that urban richness with a lively termination of Irving Place, a layered street wall, and an open and inviting ground floor with eating establishments.”

A Merit Award in the category of Commercial Industrial, Large Projects, greater than 5,000 sf goes to Davis Brody Bond, for the Zero Irving Technology Hub, an office development within the Union Square district of New York City. This 21-story facility offers 261,000 square feet of rentable office space in a prime urban location. The project, envisioned in support of the goals of the New York City Economic Development Corporation, is designed as a “Tech Hub” integrating a Class A office building on the upper floors supporting a range of users that drive New York City innovation and employment on the lower floors. Zero Irving houses a Food Hall, a community event space, Civic Hall which is a non-profit providing digital skills training and employment development, Step-Up Office Space, as well as Traditional Office Space. The building also includes a roof terrace with additional amenities in the cellar. Conceptually, the building is designed as an extension of Irving Place, both horizontally and vertically. A slideaway glass façade directly opens to 14th Street, providing direct connection between the streetscape through to a terrace in the rear yard. Vertically stacked double height communal “living” rooms form a spine for the project and provide an artful anchor to the building, which is located directly at the southern terminus of Irving Place. Zero Irving intentionally references an industrial vocabulary, providing an authentic, elegant core and shell design that externally engages its neighbors and internally allows for maximum flexibility and adaptation to technological advancement. Two cores bookend a central open floorplate: a communal circulation core at the west set behind the living rooms, and a service core at the east. The result is an efficient floorplate that is reconfigurable and easily supports the distribution of building services for the different program types. Zero Irving is certified LEED GOLD and WiredScore Platinum. The building’s sustainability initiatives are interwoven with its tech infrastructure and will be showcased as part of an interactive display in the lobby that extends out to the street.

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The Honor Award in the category of Commercial Industrial, Large Projects, greater than 5,000 square feet is bestowed upon Lasting Joy Brewery. This exceptional facility is a farm brewery and tasting room located on a large rural property in Tivoli, New York. Submitted by Auver Architecture, the site is a 31-acre parcel of former farmland in upstate New York, which included an existing agricultural storage barn. The project seeks to create a welcoming, inclusive, and hospitable brewery which caters to all types of visitors, beyond just serious beer drinkers. The design team endeavored to take full advantage of the expansive surrounding landscape through the site planning and architecture, and firmly root the project in its Hudson Valley location. The building program includes brewing facilities with staff offices, a tasting room, and a retail shop. The existing barn was repurposed as the brewery portion of the facility, and a new, purpose-built tasting room space was constructed. The tasting room is composed of a glue laminated wood structural frame and a cross-laminated timber roof. The space is defined by this attractive structural system, along with a fully glazed enclosure and exterior weathering-steel cladding. Though the enclosure is entirely glass, the interior has the character of a room made of wood as the trusses are very tightly spaced, and the cross laminated timber roof deck is left exposed. The inversely raised roof floods the space with natural light.



HONOR AWARD “Fantastic project that successfully uses its structure and materials to further enhance the flow and feel of the design. The cross-bracing detail featured in the main space adds a nice rhythm that pulls the user through and onto the inviting patio. This brewery’s overall design feels welcoming to all who might visit it.”

The project repurposes the land for a new contemporary agricultural use and with many of the ingredients for the on-site beer production being grown right on the property. Visitors are introduced to the beer making process and encouraged to explore the open space of the property during their visits. The jury commented that “This architectural achievement exemplifies the architect’s unique ability to combine form and function, providing a design that is both aesthetically pleasing and highly functional.”

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CITATION “Bringing light into the interior changes everything about this space. The architects changed a somewhat foreboding façade into a welcoming community center. The beautiful reading nooks feel like warm hugs.”

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In the category of Institutional Buildings, a Citation is awarded to the firm of LEVENBETTS for the Brooklyn Public Library East Flatbush Branch Library Renovation which is also part of the Design Excellence Program initiated by the New York City Department of Design and Construction. The project scope includes a full renovation of the entire exterior façade and roof as well as the 8,000 square foot interior. The project design process began with a series of listening sessions between the design team and the librarians as well as meetings with the local community of East Flatbush to understand the specific needs of all stakeholders in the project. Through this process, it was determined that the new and improved library would require more meeting spaces for adults, teens, and families as well as designated spaces for children’s and toddler reading programs. The original 1988 library building had an unwelcoming facade that was closed off from visual access to the street and when inside, there was no natural light. The design approach for the renovated library was three-fold. First, to create a more open and inviting façade that would make a direct connection to the street and community by allowing passersby to see into the reading room. Second, to bring in as much natural light as possible. As a single-story library with low rise neighboring buildings, the existing roof was transformed by cutting six large north-facing skylights that provide natural light and views of the sky throughout the central reading room. Third, the plan is organized with all support spaces, both public meeting rooms and staff and librarian offices, orbiting around the central naturally lit reading room. All rooms have either direct or shared light from this central space providing for an equity of light throughout the library where all rooms - like people - are created equal and have a right to light and views.

A Citation also in the Institutional Category goes to the John A. Paulson Center at New York University designed by Davis Brody Bond and Kieran Timberlake. Centered around Manhattan’s Washington Square Park, NYU’s various programs are dispersed across purpose-built and leased buildings, many functioning with far less space than the University’s peer institutions. The Paulson Center, at the campus’s southern edge, meets NYU’s academic needs and enhances community engagement. Designed to optimize interactions between diverse student groups and academic disciplines, the Center includes classrooms, informal study spaces, performing arts theaters, rehearsal and practice rooms, varsity and recreational sports facilities, as well as faculty and first-year student housing. These programs are organized into “neighborhoods” connected to an expansive commons that provides collaborative study, meeting, and dining places. The Center’s design takes advantage of its 360-degree relationship with the neighborhood by placing circulation along its transparent perimeter and programmatic spaces in the interior of the building. This reversal of conventional building organization provides users with one-of-a-kind city views while also giving outside observers a sense of the building’s activity. This distinct layout, along with the building’s prominent stairways, creates a sense of connection by encouraging the casual encounters and intellectual exchanges that are at the center of the NYU experience. Outside, the design continues to develop connections through a new pedestrian “greenway” that reconnects the street grid along the building’s west side.



CITATION “This complex project was informed by various stakeholders throughout the design process, and the inclusive approach resulted in a beautiful, performative building.”

In addition to using cleaner energy, the building was designed to minimize its carbon footprint. The transparent facade and its glare- and heat gain reducing design lowers energy use by relying primarily on natural light during the day. Similarly, the Center’s series of green roofs and terraces naturally cool the building and its surrounding landscape while also helping to manage rainwater runoff. Together, the Paulson Center’s passive and active sustainability strategies reduce overall site energy use by 13 percent.

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MERIT AWARD “This is a great project for which the modern aesthetics of the two new residential colleges’ exteriors are seamlessly integrated into the overall campus, while the interior spaces of each building successfully reinforce the goal of creating a “welcoming and inclusive college experience that truly reflects the needs of today’s students” and align with the university’s mission to “recenter campus life within the residential colleges.”

A Merit Award in the Institutional category is bestowed on two New Residential Colleges located at Princeton University, submitted by TenBerke. These buildings represent not only a major expansion for the campus in Princeton, New Jersey but also help constitute the University’s mission to recenter campus life within the residential colleges. Conceived of as a village, the Princeton University Residential Colleges forge connections: to campus, to woodlands, to recreation, and most importantly, between students. An open and visible ground floor connects public and common spaces with arts facilities and other program spaces while engaging passersby. By allowing students to make visual connections to activities within and without, they are empowered with choices in how to participate and build community on their own terms. Interconnected walkways traverse the site’s challenging 20-foot grade change without requiring stairs, maximizing accessibility. Within, quiet innovations in everyday spaces prevail—bedroom arrangements on hallways form virtual suites when students open their doors onto shared common spaces; restrooms are gender-neutral and designed in configurations that offer both access and privacy. The jury noted that “Its contemporary yet harmonious design, featuring warm grey brick and wood-formed concrete facades along with whimsical interior landmarks, fosters a distinctive sense of belonging. More than just aesthetics, the project stands as a noteworthy contribution to sustainability, prioritizing green infrastructure and low-impact development. This exemplar demonstrates how design can wield a positive influence on both the campus and the broader community, cultivating a culture of creativity and collaboration.” Although the new residential colleges echo some of the forms and textures of other parts of campus, they are designed resolutely in a contemporary idiom. They are intended to say, “these were built for you, in your time; you belong.” This is the central achievement of the design: to create a welcoming and inclusive college experience, a place that supports authentic and enduring communities.

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Moving to the Interiors Category, a Citation goes to the Brooklyn Children’s Museum submitted by Studio Joseph. Founded in 1899, the Brooklyn Children’s Museum is the world’s first children’s museum. The newly designed Auditorium is an architecturally dynamic insertion into a pre-existing building shell. The interior now includes a series of “shingled” Glass Fiber Reinforced Gypsum panels that line the interior volume. They slope in two directions to accommodate the hall’s pre-existing volume. These panels warp as they shingle along the walls and sloping ceilings. Between the panels are ribs of full-spectrum LED lights. The seamless integration of mechanical systems, fire safety, theatrical spots, and acoustic treatment keep the interior clean and bright, so all focus is on the staging. The auditorium is the forward-facing programmatic solution to helping a challenged, underserved community. The raw shell of the auditorium remained unfinished for a decade due to exiting issues that did not enable the programmatically desired number of 180 seats. The architectural solution was to insert a balcony along one side of the hall, creating a second egress to the museum’s second floor. This solution avoided exterior construction and the related city agency review processes. Hung from the existing roof trusses by thin, cross-shaped steel straps, the balcony accommodates additional seating, ADA access to the upper level, staff oversight, and an accessible path to the theatrical lighting control stations. The designers broke through a conceptual barrier by offering the asymmetrical mezzanine that provides necessary egress but also enlivens the auditorium at the same time.



CITATION “The designers broke through a conceptual barrier that had stymied the project for 10 years by offering an asymmetrical mezzanine that provides necessary egress that enlivens the auditorium at the same time.”

Notwithstanding the technical issues, the museum wanted a space to capture the joyful spirit of the families they serve with a bold, practical, and playful design. The client asked for robust materiality and a mature, comfortable atmosphere to embrace the full latitude of the institution’s theatrical intentions for children’s programs, films, and lectures to varied constituencies. In the overall scheme, this new facility is not just for kids.

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HONOR AWARD “The architect’s design approach emphasizes creating a seamless flow between spaces, marrying light and material texture with architecture. The design aims to provide clarity to the space, featuring a warm material palette and sophisticated lighting strategies that characterize the program.”

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An Honor Award in the Interiors category is bestowed on the Greenwich Village Residence, in New York City, submitted by Desai Chia Architecture. The design concept for this exceptional living space marries light and material texture with the architecture. The design firm collaborated with a local lighting fixture company to develop a custom surface-mounted light for concrete slab ceiling conditions that provides down lighting, directional wall washing, and art lighting in a discreet compact housing of milled oak wood that matches all the built-ins and flooring throughout the home. The clients wanted a home interior with an open flow of light that would make the three-bedroom apartment feel as spacious as possible. The design team maintained long sightlines from one end of the apartment to the other, drawing natural light across the home. They also sheathed the central core in custom oak panels that have a three-pronged batten relief inspired by the client’s three children and the branches of the trees in the building’s courtyard. The light casts shadows across the battens and gives depth to the surface. A cantilevered seating bench at the entry way and display shelving on the other side of the wall create volumes of light within recessed cubbies. The kitchen is a luminous volume defined by a soldier-course marble mosaic backsplash and island. It is sculptural and highly functional with ample storage. The “column” of wood that hides the cooking ventilation and gas riser is an elegant anchor for the kitchen and conceals the cooking area from the dining area’s direct view. Above the dining room, a commissioned light fixture by artist John Procario floats like the outline of a billowing cloud; its hand-laminated, sinuous wood shape expands and contracts from different viewing angles while providing generous lighting to the table below. Overall, the jury found this to be “a warm and inviting cohesive interior design that showcases carefully selected furniture pieces and light fixtures that bring the entire design together.”

In the category of International Projects, a Citation goes to the second phase of the Kyabirwa Surgical Center Ward located in Kyabirwa, Uganda. Submitted by GKG Architects, it is designed as a replicable, self-sustaining surgical facility. This innovative facility generates all its electrical power through solar panels, it collects and stores water for its internal use, and it manages all of the waste generated.


Collaboration with regional architects and employing local contractors during the building process ensured compliance with local customs, laws, and health regulations while also supporting the local economy by providing jobs.

Photo Credit: © GKG Architects/ Selemani Construction

Physicians at the Mount Sinai Hospital in New York City supplement the care provided at Kyabirwa Surgical Center Ward with periodic live consultation and surgical guidance during complex surgeries. There is also collaborative learning between the institutions through discussion of uncommon cases and shared surgical knowledge. The surgical center is located near the famous White Nile River rapids in the village of Kyabirwa, Uganda. The new Ward building will house an overnight stay ward, a state-of-the-art pathology lab, and a medical simulation lab with a training center. As can be seen from the form of the secondary roof, natural air flow is the primary design driver of this surgical ward. The building itself combines local materials with innovative design to create an environmentally efficient, ecologically friendly, sustainable, and beautiful structure. Construction is based on using locally available materials and labor. The exterior is clad with locally manufactured clay tiles made in a traditional manner. An art installation by a local artist will be installed in the recovery bay room, reflecting the region’s Nile River, village life, and the local community’s artistry. The kitchen will be outfitted with an induction stove top powered by solar panels to reduce energy use and the building’s carbon footprint. The secondary roof steel work and curved corrugated tin sheet placement is meant to provide solar heat gain protection for the building.


CITATION “A high-impact project that leverages a dynamic roof structure to elevate the simple design of this much-needed surgical center. The local material selection, approach to ventilation, and even the rainwater collection system exemplify how thoughtful and practical design offerings can add great value to a project.”

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HONOR AWARD “This is an incredibly beautiful and sophisticated project that marries well form, function, and aesthetics. This awe-inspiring museum creatively leverages architectural innovation to support its goal of popularizing scientific knowledge and fostering a deep appreciation of the natural world.”

An Honor Award in the category of International Projects is bestowed upon Ennead Architects for the Shanghai Astronomy Museum located in Shanghai, China. This exceptional building engages visitors in the powerful subject matter of the universe through dynamic, inspirational architecture that draws from scientific principles and highlights real encounters with astronomical phenomenon. Introducing its modern, typically urban audience to the profound magnitude and grandeur of the cosmos, the museum utilizes architectural devices that illuminate the earth’s fundamental relationship to the sun and its orbital motion around our star by shaping sunlight throughout the day and year. The three-fold mission of this civic institution is to popularize scientific knowledge, encourage future exploration, and foster an appreciation of the natural world. These aspects are all manifest in an engaging public work of architecture that creates both a memorable landmark and iconic civic space for the community. Outside of the building, a major civic plaza fronting the entry to the Museum features a monumental sundial within the building called The Oculus. Together the plaza and timepiece constitute the quintessential town square and clock tower for the neighboring community. Thus, the Museum becomes a civic center that connects humans to elements of the natural world, reminding us of the infinite expanse that lies beyond our daily consciousness, and the unique conditions that allow for life to exist on earth. The singular design for the 39,000-square-meter Museum resides in the new Lingang area of the city, located about forty-five minutes southeast from the central business district of Shanghai. As the world’s largest museum, entirely dedicated to the subject of astronomy, the visitor experience includes extensive exhibit halls, a digital planetarium theater housed in a 30-meter diameter sphere, extensive campus grounds for outbuildings such as an overnight youth camp hosting sky-watching sessions, a solar telescope to observe the sun, and a one-meter optical telescope for night observation and research. Jurors described this building as stunning, incredibly beautiful, and sophisticated.

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In the category of Pro Bono Projects, a Citation is conferred upon the Mayukwayukwa Community Center located in Mayukwayukwa, Zambia submitted by GKG Architects. This facility is intended to serve mainly as an agricultural training center for refugees from the Mayukwakyukwa refugee settlement. The program for this Community Center incorporates an existing multipurpose room and a new program of three classrooms, volunteer sleeping quarters, and a training kitchen. The new building features a unique layout where designated program spaces surround a central courtyard. This central courtyard provides a private and intimate open space for community gathering activities. Construction was carried out using locally available wood, tin sheets, and concrete blocks. All occupied areas benefit from maximum cross ventilation in the central courtyard. Electrical power is generated by small solar panels, and rainwater is collected for toilet flushing and irrigation. Additionally, the new building has been carefully designed to blend in with the existing multipurpose room, creating a seamless flow throughout the community center. Maximum preservation of the existing mature trees is also a consideration in the shape and location of the new building. Overall, the new construction has a well-planned layout with public spaces on the north and private volunteer dorm rooms on the south. The open porch at the entrance and the open dining and kitchen areas on the opposite side form an axis that separates the two sides. The central courtyard serves two functions – first it creates an intimate interior court for gathering and second it serves as a space to display agricultural education plantings for educational purposes.



CITATION “The designers should be commended for effectively implementing accessible circulation throughout the site and for creating a building that seamlessly blends with the surrounding environment and cultural context.“

The Community Center is a great example of how impactful and transformative architecture can be. Its commitment to utilizing locally sourced materials and traditional cooling techniques, prioritizing community integration, preserving the environment, and providing essential resources for refugees not only addresses the immediate needs but also contributes to long-term community development in a thoughtful and holistic manner.

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MERIT AWARD “The Charlotte of the Upper West Side project features an innovative blend of traditional architectural elements with modern elements, resulting in a cohesive design that dialogues with the surrounding architecture. Moreover, its commitment to sustainability and health helps establish new benchmarks for residential buildings in NYC.”

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In the Category of Multi Family, Multiple Dwellings, a Merit Award is awarded to BKSK Architects for the Charlotte of the Upper West Side building. This nine-story mixed use building features a modern interpretation of the traditional district’s architectural typology by using warm materials, modern detailing and concepts of screening which appear throughout, especially in the jewel of the design: cleverly disguised, heroic glass windows. Intended to dialogue with the surrounding architecture, the design drew inspiration from traditions of sculptural brick and terra cotta details, planes of masonry, and robust cornices. The brick piers are interwoven with horizontal terra cotta baguettes to create a suspended rain screen that conceals large, contemporary windows, framing openings that mirror the punched windows of adjacent tenement buildings. Inside, the horizontal screening is a modern serene quality with layers of masonry giving way to contemporary wood. The project sets new standards for energy performance, occupant comfort, and indoor air quality. Charlotte’s namesake is a real child; the building’s focus on sustainability, and health and wellness, is a purposeful endowment toward her generation’s future. The design team utilized Passive House design standards leading to a Passive House Institute Low Energy Building Certification. Passive House design relies on a nearly airtight building envelope, with robust insulation and, in this case, street-facing windows with four panes of glass. Filtered fresh outdoor air is supplied to rooms by a separate ventilation system, distinct from the heating and air conditioning system, substantially raising the indoor air quality. One of the first condominium buildings in New York to introduce Ultraviolet C energy to irradiate germs and viruses, the project is the first Landmarks Preservation Commission approved condominium built to Passive House standards in Manhattan.

Moving to the Category of Residential Single Family Detached, less than 2,500 square feet, a Citation goes to “Only If” for the design of “Narrow House” located in Brooklyn, New York. This urban residence is situated on an atypical lot measuring 13 feet-4 inches wide by 100 feet deep, which is more slender than the norm for New York City lot sizes. Since 1961, New York City’s Zoning Resolution has generally prohibited new residential buildings on lots less than 18 feet wide. Despite its non-conformity, the previously vacant lot site met other specific criteria which enabled development. On such a constrained site, the main design problem of the Narrow House is not form or outward appearance, but rather daylight and circulation. In fact, the zoning regulations mostly dictate the exterior volume of the building, which is primarily finished in black stucco. The remainder of the façade, facing the street and rear yard, consists of glass curtain wall, which maximizes daylight to the inside and is detailed flush to the adjacent stucco. Aside from two lateral walls, the house is characterized by an absence of interior walls, rooms, and corridors. The openness—exactly 11 feet clear inside—enables daylight penetration throughout, but also an unusual lack of separation. In lieu of walls, the split-level section creates spatial distinctions between different domestic functions. The vertical void inside the central, perforated steel staircase becomes a lightwell, further introducing daylight towards the middle of the plan.



CITATION “Perhaps most important is that the architects mapped 3,600 similar sites in the city; their project demonstrates how these sites might be more efficiently used.”

The lateral walls consist of reinforced CMU, and floors are composite concrete and corrugated metal deck spanning close to the maximum limit of the structure without requiring additional beams or support. Without interior shear walls, the building is braced at the front and rear façade for lateral stability. Three diagonal steel braces are also exposed behind the front façade. The Narrow House represents a specific architectural proposition but is also a prototype for infill and a polemic on the potential for architectural invention in constrained residential urban spaces.

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CITATION “The Gray House project stands as a commendable example of adaptive design, adeptly addressing the evolving dynamics of household compositions. It highlights innovative architectural solutions that not only cater to contemporary living requirements but also maintain a profound connection with the surrounding environment and cultural context.”

In the Category of Residential Single Family Detached, 2,500 square feet and over, a Citation goes to Ted Porter Architecture for the Gray House located in Litchfield, Connecticut. This inspiring residence was designed for two related senior adults who are not a couple. The site, on a road just outside the town’s center, is relatively flat and adjacent to a large field that is protected by a Connecticut Agricultural Conservation Easement. The clients requested a house that would harmonize with its semi-rural setting. They wanted the primary spaces to be on the ground floor, but agreed that for efficiency, flexible spaces could be on a limited second floor. They also wanted a house flooded with natural light that could be naturally ventilated during mild months. The architects oriented the design towards the south with views to the protected fields while the north façade addresses the access road. This orientation allows for large southern windows that enjoy inherent privacy and smaller windows on the other facades that allow for varying natural light and cross ventilation. The U-shaped plan creates maximum separation between each occupant’s bedroom wing with common spaces linking the wings. This form also results in a three-sided courtyard facing the expansive view yet protected from north winds. The continuous gabled form refers to the many vernacular farm buildings in the area visible on the approach to the house. The exterior of the house is clad in relatively maintenance-free gray Accoya Wood Siding. The name-giving gray color complements a nearby darker charcoal Accoya house on the same road. The owners readily accepted the architects’ recommendations for energy efficient components such as high-performance custom windows and high R-Value insulation, yet they also accepted more standard materials such as conventional wood-framing, finished gypsum wall board , and average-grade wood floors for budgetary reasons. Overall, the clients are very happy with the resulting lofty spaces contained in the recognizable gabled-house form.

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A Merit Award in the category of Residential Single Family Detached, 2,500 square feet and over is awarded to Schiller Projects for the Brooklyn Mass Timber House located in Brooklyn New York’s Clinton Hill neighborhood. This project is distinctive as the first single-family residence built using mass timber methods in New York City. It serves as a case study in adaptive reuse of historic structures implementing modern technologies.


To achieve this distinction while remaining competitive in cost to more standard, higher carbon content building methods, the project team took it upon themselves to source the project materials directly. They looked up and down the East Coast to find projects happening at institutional scales where they might be able to leverage their scale costs for this house. They landed on a large dormitory project at a historic New England university that was scheduled to start construction first. They were able to get the supplier to agree to simply stock more of the university’s project panels on their trucks heading to New England, where they were picked up directly off the trucks, brought them to Brooklyn and installed them in a matter of six days.

Photo Credit: © Frank Frances Studio

Material inventions and experiments highlight the project. The flooring is recycled hardwood from the building’s original structural beams. The project team removed the water and fire damaged parts of the original structure, took it to a local mill shop less than 4 miles away and returned it to the project to produce 100 percent of the flooring.


MERIT AWARD “This adaptive reuse project presents a harmonious blend of modern technology and sustainable thinking within a historical context. The design is both sophisticated and elegant. The design carefully converts a former garage space into a welcoming residence that thoughtfully incorporates mass timber throughout, most notably featured in the stairway of the home’s atrium.”

The Mass Timber House represents what modern architecture can be – a marrying of the past and future through design and sustainable thinking. The building exemplifies how modern methodologies can be used to repurpose and enhance existing historic structures. Instead of replacing history, it is possible to refresh what is already here. We can use technology to update existing structures quickly and efficiently, rather than start from scratch, and still come to a beautiful, sustainable result.

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CITATION “An exquisitely crafted and detailed project. The sensorial qualities of Blue Table Chocolates overwhelm in ways that evoke the bliss of chocolate melting in one’s mouth. Exquisitely crafted and detailed.”

In the Small Firms Design Award Category, a Citation is presented for The Blue Table Chocolates boutique, located in Buffalo, New York, submitted by Arch&Type. This creative design takes visitors on a sensory journey into the world of artisan chocolate. The space, divided into three zones, transcends the superficial aspects of chocolate by tapping into its emotional impacts. The design team delved into chocolate’s emotional and physiological impacts, seeking to elicit these sensations through materiality and spatial composition. The journey began with the client’s evocative vision of untempered crystallized chocolate—melted, silky, and flowing. This image became the guiding star, resulting in a warm, textured ambiance. Soft matte white oak, complemented by subtle lime-wash paint, large aggregate concrete, mirrored metal, and accents of gold, create an atmosphere that amplifies the richness of the chocolate experience. The parametric river ceiling, adorned with gold, not only ties the space together but also resonates with the initial inspiration of molten chocolate’s golden glow. What sets this project apart is its commitment to celebrating local resources. Rather than lamenting the costs of custom elements, the designers embraced their “in-house” craftspeople and collaborated with the University at Buffalo’s SMART fabrication lab and local metalworkers. This added a unique, handcrafted dimension to the space and led to iconic elements that elevated the project beyond its original vision. Every element was meticulously crafted, from custom millwork to utilizing CNC robotized routers, showcasing how merging handcrafted and robotic methods create efficiency and detail. Adjusting design and building practices toward the limits of locality resulted in a space greater than the sum of its parts. By leaning into the resources available, Blue Table Chocolates’ shop is distinctly Buffalo despite lacking elements typical of Buffalo architecture. Yet, the project came together thanks to a large team of hands, using a variety of methods—digital and physical, typical and atypical—to turn a shared mental image into a space that celebrates chocolate and architectural craft.

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A Citation in the Small Firms Design Award Category also goes to Glickman Schlesinger Architects for the Dixon Roadside located in Woodstock, New York. Under the guidance of its new owner, and the talents of the architects, this popular restaurant was poised for a fresh and exciting transformation. After a structural analysis revealed that the wood building was far too deteriorated to be salvaged, the project pivoted to a new building built on the exact footprint of the old one as mandated by the town. The client, who had previously worked with the architects renovating another nearby diner, wanted a building that evoked the essence of mid-century roadside restaurants, with equal outdoor and indoor seating. The building is nearly square in plan with one third back-of-house space, one third indoor dining, and one third outdoor dining. The exterior form is dominated by a single broad sweep of a roof that opens towards the view of the wooded hills surrounding the restaurant, across Tinker Street. Half the dining room is exterior, which benefited the restaurant almost immediately as it opened just before the Covid pandemic. For the interior, an updated palette of raw polished concrete floor, perforated powder-coated steel in green gold for wait-station enclosures, a zinc bar, and upholstered seating, work in concert with the mountain environment in which it is situated, and create a breezy open space connected to the surrounding natural landscape. The construction contractor was brought on during design and worked to make sure the project stayed on budget. The shape of the roof was determined almost immediately, and wood frame construction was ultimately agreed upon with large Douglas fir glue-lam columns at the front. The contractor was a PHIUS-certified (feeus) passive house builder, and while passive house was not possible for this project, especially given the open facade, vapor control and insulation was informed by passive house practices. The facade was constructed as a rainscreen with a drainage plane behind tile and stucco exterior finishes.



SUBMITTED BY: GLICKMAN SCHLESINGER ARCHITECTS Photo Credit: © Glickman Schlesinger Architects; Chris Mottalini

CITATION “The architect’s ability to provide a variety of dining experiences within a single space is a testament to their design expertise, and the seamless transition from indoor to outdoor dining adds to the overall charm. The midcentury American roadside restaurant typology, and the custom-designed furniture, along with innovative design elements, all contribute to an aesthetically pleasing exterior and functional interior.”

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CITATION “A dynamic project that poetically transforms physical to provoke an emotional response. This memory place utilizes the organization and layout of the cultural park to successfully honor the lives of those lost in the Sewol ferry disaster while educating and inspiring its visitors.”

In the Unbuilt Category for Complete commissioned architectural design work, not yet built, and completed by architects licensed more than 10 years, a Citation goes to UNITEDLAB Associates, Vtrilloarquitectos, for 416 Memorial Park, located in Ansan, South Korea. This vibrant space is a cultural park comprising a complex of exhibitions, educational facilities, and a columbarium to commemorate and share the pain of the victims of the Sewol ferry disaster in 2014, a tragedy that claimed the lives of over three hundred people, predominantly schoolchildren. The memory of the Sewol ferry sinking is indelible, but that scene cannot be recreated. Instead, the goal is to transform the moment of the disaster into a physical space. For those who lost their loved ones, those who perished without reason, and those who witnessed it, the 416 Memorial will be constructed as a place of sublimation rather than a simple memorial site. Sorrow is not an isolated emotion; therefore, the design team endeavors to craft a poem that transmutes feelings of resistance, anger, and sadness into a reflection of the times. The rooftop garden serves as a metaphor for the birth of new life, and, in line with sustainability principles, two-hundred and fifty birch trees are planted as a tribute to the victims. The layout of 416 Memorial Park enhances the visitor’s experience by following a sequence of movement. The architectural building gradually descends from the entrance to the memorial space below, and the inclined ramp leading downward serves as a deliberate metaphor for both a gradual sequence and an inclined ship. The central pop-up event space acts as a public hub connecting educational, event, and exhibition facilities. Upon passing through a corridor that transforms into a private zone, visitors enter the realm of shared social memories and ultimately reach the Commemoration and Enshrinement Space. This outdoor area features an upper pyramid section open to the outside, allowing the natural seasons and the passage of time to create a phenomenal experience.

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A Merit Award in the Unbuilt Category for Complete commissioned architectural design work, not yet built, and completed by architects licensed more than 10 years is awarded to the comprehensive redevelopment of THE PENN DISTRICT, PENN 2 in Manhattan which is reimagined as the future of the workplace. Submitted by MdeAS PENN 2 serves as an anchor to the larger PENN DISTRICT masterplan coupled with PENN 1 to offer a robust amenities package across a connected campus that is located directly above Penn Station – the busiest transportation hub in North America. As such, the 1.75 million square foot restoration and expansion will breathe new life into the gateway of Seventh Avenue. The new PENN 2 would unify the district to the city, re-establish the site as a monumental public space, and provide world-class offices and amenities to its customers. It would engage with the Metropolitan Transportation Authority , Long Island Railroad , Amtrak, and Madison Square Garden to negotiate the site and clarify circulation. The project would also target LEED Platinum certification and meet Local Law 97 carbon emission limits, while minimizing waste. Recycling the existing structure minimizes waste and preserves embodied carbon while providing the opportunity to create a new, fully sustainable building. PENN 2 is thus an exemplar of a mixed-use urban center.



NEW YORK, NEW YORK SUBMITTED BY: MdeAS Photo Credit: © Rendering by DBOX for Vornado Realty Trust

MERIT AWARD “PENN 2 reinvigorates one of the busiest transportation centers in the U.S. with a monumental public space. Designed as an urban sanctuary, PENN 2 combines civic life with an indoor/ outdoor work environment unlike anything else in the area.”

The new PENN 2 is monumental within the district yet human-scaled in its function through purposeful design and selection of materials. The lobby will be relocated to the northeast to clarify circulation and mitigate conflict with public activities. The triple-height glass fin enclosure will anchor the busy corner where Seventh Avenue meets the newly pedestrianized Plaza 33. By closing 33rd Street from 7th Avenue to mid-block, a new district public space will be created between PENN 1 and PENN 2. New triple-height retail storefronts and stone clad portals to Madison Square Garden and beyond, will activate the plaza with lively shopping, food and beverage options, ensuring that it is a safe and inviting public space.

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CITATION “The project’s substantial positive impact on the community, serving as an educational and collaborative sustainability hub, is truly commendable. The architectural achievements are remarkable.”

In the Unbuilt Category for Commissioned architectural design work not yet built by practicing emerging architects licensed 10 years or less, a Citation goes to GKG Architects for the Manchester Environmental Center and site in Manchester, Connecticut. The primary objective is to strike a harmonious balance between sustainability and cost-effectiveness. A space is envisioned that exudes a friendly and inviting atmosphere, welcoming people from the local region and beyond to engage with and learn about the natural environment. Central to this vision is the creation of a high-performing facility that doesn’t pose a financial burden on the community. The aim is to establish a safe, inviting haven that fosters conversations about our natural environment, ensuring its educational value for generations to come. This project embodies a fully self-sustaining environmental center, intended to set a benchmark for similar centers in the region. The core focus lies in reducing the carbon footprint, minimizing energy consumption, and efficiently utilizing natural resources in the center’s day-to-day operations. To achieve this, the design employs a high-performance building envelope, featuring triple-pane insulated glass and thermally broken exterior walls and roof assemblies. These elements significantly enhance the center’s energy efficiency and overall sustainability. In terms of heating and cooling, the team is committed to employing high-efficiency heat pump systems, completely eschewing the use of fossil fuels. Additionally, the plan is to implement an innovative rainwater collection and recycling system. The harvested rainwater will be repurposed for toilet flushing and irrigation purposes, showcasing a dedication to resource conservation and sustainable practices. By embodying these principles and practices, the project seeks to inspire and educate visitors about sustainable construction and operation, paving the way for a more environmentally conscious future. It aspires to set an example for others in the community, encouraging the widespread adoption of sustainable approaches in the development of similar environmental centers.

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In the final category of Urban Planning and Design, a Citation is conferred upon Kohn Pedersen Fox for SouthWorks located on the South Hill in Ithaca, New York. This urban development undertakes the adaptive reuse of an underutilized, historic industrial manufacturing site into a destination neighborhood and regional economic catalyst. Blending repurposed buildings with new construction across a 95-acre site, SouthWorks will create nearly two million square feet of research, maker-space, fabrication, commercial, mixed-income housing, and public space on thirty-two developable acres. The site’s framework will be built in multiple phases over several years— focusing on the creation of distinct, holistic neighborhoods, and a planned diversity of housing types and densities. Addressing Ithaca’s underserved housing market, the development will include over 900 planned units of affordable, workforce, and market rate housing. Each neighborhood provides diverse transportation options, such as biking, shuttles, and buses, reducing the need for private vehicles The innovative project also takes advantage of the site’s walking proximity to downtown Ithaca plus a proposed trail connection to Six Mile Creek Preserve and Buttermilk Falls State Park. As the heart of SouthWorks, the ‘Chainway’ neighborhood will encompass 28 adjacent industrial buildings constructed between 1906 and 1973. This 850,000 sf complex was used to manufacture industrial chains for bicycles and cars, as well as aircraft during World War 1. The varying age and materiality of these buildings provides a fascinating web of highbay space, mushroom columns, and original factory-style windows with breathtaking views to Cayuga Lake. The plan preserves the historic character by selectively removing infill buildings, creating a central public streetscape with courtyards, diverse programming, and natural light. The central network is overlaid with a ‘Sky Chain’, an elevated zig-zagging bridge, to provide an accessible means of traversing the site’s steep grading while providing public access to the Chainway spine and views that otherwise would be afforded only to tenants.



CITATION “SouthWorks provides impressive and practical solutions to overcome several design challenges in the transformation of an industrial manufacturing site into a multifaceted, sustainable, and community-focused development. This project demonstrates innovation in urban planning and revitalization on a significant scale and adds great value to the community.”

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HUNTER’S POINT SOUTH WATERFRONT PARK LONG ISLAND CITY, NEW YORK SUBMITTED BY: SWA/BALSLEY AND WEISS/MANFREDI WITH ARUP Photo Credit: ©Albert Vecerka/Esto, courtesy of SWA/Balsley and WEISS/MANFREDI Architecture/Landscape/Urbanism; ©SWA/Balsley and WEISS/MANFREDI Architecture/Landscape/Urbanism; ©David Lloyd, courtesy of SWA/Balsley and WEISS/MANFREDI Architecture/Landscape/Urbanism; ©Wade Zimmerman, courtesy of SWA/Balsley and WEISS/MANFREDI Architecture/Landscape/ Urbanism; ©Barrett Doherty, courtesy of SWA/Balsley and WEISS/MANFREDI Architecture/Landscape/Urbanism


“The project transforms post-industrial waterfront land into a model for urban ecological practices. The merging of architecture and landscape results in a park that acts as a threshold between the water and the city. The beautiful edge transformations invite both active and passive programs that enrich the connecting neighborhood.”

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An Honor Award in the category of Urban Planning and Design is bestowed upon Hunter’s Point South Waterfront Park in Long Island City, New York designed by SWA/BALSLEY and WEISS/MANFREDI with ARUP. This forward-thinking project is envisioned as an international model of urban ecology and a world laboratory for innovative sustainable thinking. The design for the Waterfront Park incorporates a broad array of sustainable initiatives, transforming 30 acres of post-industrial waterfront into a program-rich public space that simultaneously acts as a protective perimeter for the neighboring residential community. For this rapidly growing residential neighborhood, which is the largest affordable housing building project in New York since the 1970s, the Waterfront Park provides a new cultural fabric that offers places of retreat and invites intimate connections with nature. The northern precinct is designed as a heavily programmed space that accommodates a greater amount of daily use than the passive landscape of the southern precinct. The park’s central green, designed to accommodate floodwaters, is framed by a pavilion and café with views across the river. An urban beach, rail garden, dog runs, and play areas offer places of active recreation at the water’s edge. The waterfront promenade connects a diverse set of landscapes. From a shaded grassy promontory, a new island is reached by a pedestrian bridge, and a meandering causeway offers a continuous walk along the river’s edge and protects nearly 1.5 acres of newly established wetlands. The design leverages the site’s dramatic topography with a cantilevered overlook that hovers above the wetland and offers panoramic views. The park connects to the residential community at each cross street with entry foyers marked with distinct plantings and wood benches, and in strategic locations, extends down to the water with a wood boardwalk seating area. New ecological corridors run parallel to the water’s edge, linking the northern and southern ends of the site with multiple systems of paths. Existing industrial concrete bulkheads are strategically replaced with wetlands and paths to create a “soft” edge of natural infrastructure.

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