ARCHITECTURE New York State | Q2 | July '19 by American Institute of Architects New York State

NEW YORK STATE

ARCHITECTURE

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A P U B L I C AT I O N O F

Public Architecture

Highlighting Our

Excelsior & Professional Award Recipients

Rockefeller at 9 SUNY Fredonia | Photo Credit: Chris Cooper PAGE | 2 | Arts Q2 | Center JULY 201

LETTER EXECUTIVE DIRECTOR’S

The Annual Meeting of the American Institute of Architects is daunting just by its size. When one enters the enormous room divided up by States, you feel the impact of this important meeting as over 2,000 dedicated architects from around the world file in to do the business of this great organization. There are a thousand moving parts to this meeting, with the outcome being Resolutions Determined, collaborations completed, the AIA is set on a solid foundation to move forward for another year. A huge undertaking with a positive outcome, a shining example of good practice impacting not only the profession but the community of the world. “Topics corresponding with the A’19 theme “Blueprints for a Better Future” took center stage in the delegation’s discussion. A resolution introduced from the floor of the meeting received strong support. It called for AIA to continue and strengthen its efforts to engage architects in addressing the effects of climate change, which has been described as one of the most pressing concerns of our time.” As I look through this publication highlighting the 2019 Excelsior Awards recipients, I’m reminded that the completion of these publicly funded projects are much like the Annual Meeting of the AIA. Many dedicated architects collaborating toward exemplary projects impacting the environment and the communities we inhabit. Please also take some time to reflect on the work of this year’s professional awards. The work of Terrence E. O’Neal, FAIA and his dedication to public architecture through his contributions over the years. As noted, Terry has been an agent of change in advancing the role of architecture through practice and advocacy in a career recognized by numerous awards over a span of 25 years. I had the privilege of working with Terry when he was the President of AIANYS. How appropriate that Pamela Jerome, FAIA should also be awarded the Henry Hobson Richardson Award for her work in restoring New York Landmarks. Her projects have included several National Historic Landmarks including the Guggenheim Museum. Sandra Daigler, AIA has spent her entire career in public service, from her presentations at AIANYS Conferences and SUNY’s Physical Plant Administrator’s Conferences she has been recognized for her work and dedication to good design in public architecture. Sandra is truly an example of those worthy of receiving the Nelson Aldrich Rockefeller Award. This year is a very special year for the Excelsior Awards—it is the fifth anniversary of the awards program—each year showing growth and growing interest. AIA New York State would also like to congratulate the recipients of the Jeffrey Zogg Awards and the members of the Associated General Contractors of New York State, our event partners. Thank you to the members of AIA New York State who support this program recognizing public architecture. Best Wishes,

Georgi Ann Bailey, CAE, Hon. AIANYS Executive Director | AIA New York State

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PAGE | 4 | Q2 | JULY 2019 The Hotel Henry at the Richardson Olmsted Campus | Photo Credit: Christopher Payne/ESTO

CONTENTS

LETTER Executive Director’s Letter.................... 3

2019 EXCELSIOR AWARD RECIPIENTS Historic Preservation | Award of Merit Northland Workforce Training Center...... 6 Historic Preservation | Honor Award The Hotel Henry at the Richardson Olmsted Campus................................. 8 Renovation/Addition | Award of Merit Middletown High School Innovation Labs................................10 Renovation/Addition | Award of Merit Milne Library Interior Renovation, SUNY Oneonta................................... 12 Renovation/Addition | Award of Merit Bronx River Art Center........................14 Renovation/Addition | Award of Merit Tilly Foster Farm Educational Institute Building #8.......................................16 Renovation/Addition | Honor Award Rockefeller Arts Center at SUNY Fredonia...............................18 New Construction | Award of Merit The LEGO Modular Supportive Housing........................... 20

New Construction | Award of Merit Grafton Lakes Welcome Center............ 22 Public Art | Award of Merit Re-Envisioning the Elevated – Four Stations On The Astoria Line........ 24

2019 PROFESSIONAL AWARD RECIPIENTS Daniel Patrick Moynihan Award | Deborah J. Glick, NYS Assemblymember........................ 26 Henry Hobson Richardson Award | Terrence E. O’Neal, FAIA, LEED AP........27 Henry Hobson Richardson Award | Pamela Jerome, FAIA, LEED AP, FAPT, FUS/ICOMOS............................ 28 Nelson Aldrich Rockefeller Award | Sandra L. Daigler, AIA, LEED AP BD+C.................................. 29

Front and Back Cover Photo Credits | Assaf Evron & di Domenico + Partners Q2 | JULY 2019 | PAGE | 5

Sources of PUBLIC financing Public financing was provided in the form of state funding through Empire State Development (ESD), the New York Power Authority (NYPA), and the New York State Energy Research and Development Authority (NYSERDA). The project also received local public financing through the City of Buffalo Community Development Block Grant. Empire State Development provided funding through the Buffalo Billion fund.

Submitted by Watts Architecture & Engineering Photo Credits: Barbara A. Campagna, FAIA and Joe Cascio

Historic Preservation | Award of Merit Northland Workforce Training Center | Buffalo, New York

preparing students for careers in energy and advanced manufacturing

Revitalizing One of Buffalo’s Great Historic Industrial Neighborhoods.

he Northland Workforce Training Center is a partnership between employers, educational institutions, the community, and the government to prepare students for careers in energy and advanced manufacturing. Half of the former Niagara Machine & Tool Works factory complex on the East Side of Buffalo was converted into an advanced manufacturing and 21st century energy-focused trade school with programs in welding technology, electrical construction and PAGE | 6 | Q2 | JULY 2019

maintenance, machine tool technology, energy utility technology, mechatronics, and CNC precision machining. The Workforce Training Center is a mix of classrooms, training laboratories, office support space, and community space. The training labs occupy bays of the former open manufacturing floor, providing each with natural light from one of the building’s sawtooth or monitor windows. The office support space is located on the first two floors of the four-story administration building. The Workforce Training Center also includes a 2,500 sf community room and 5,900 sf gallery space that are available for public events. Gigi’s Northland restaurant occupies a 3,000 sf portion of the building. This represents the reopening of the staple Buffalo restaurant that closed after suffering a fire at its former location in 2015. Some spaces in the building remain available for tenants. The project at 683 Northland Avenue is the first step in the revitalization and

reuse of one of Buffalo’s great historic industrial neighborhoods.

What is the greater social value of the project? The former Niagara Machine & Tool Works Factory at 683 Northland Avenue in Buffalo is significant as an intact representative example of a large-scale tool and machine factory, designed and built during the first half of the 20th century. The company played an important role in defense contracting for World War I and World War II, as well as in the development of the East Side of Buffalo along the Belt Line railroad. Noted Buffalo architectural firm Green & Wicks designed the original buildings with additions from local civil engineers H.E. Plumer & Associates. The complex includes an exposed reinforced-concrete-framed, four-story office building with fire-proof construction, concrete and brick walls, reinforced concrete floors, and a flat roof with a parapet. The manufacturing spaces

are a mix of exposed concrete and steel structure with concrete and brick walls and a series of steel-framed sawtooth and monitor skylights. Preserving the historic character of the structure was at the forefront of the design principles. As part of the restoration, complete abatement and replacement of all existing doors, windows, skylights, and monitors occurred. The new windows are aluminum and were designed to match the original steel as closely as possible. A historic mullion cap was custom-created for the project to mimic the profile of the original steel skylight and monitor frames. Simulated divided lites and operable hoppers were added along the north (Northland Avenue) elevation of the building to mimic the original steel windows from the 19101912 era. The wood block flooring that existed in the factory space was contaminated and had to be removed. In order to pay homage to the historical flooring, a wood floor inlay was created in the public gallery space within the building. The factory building was structurally sound; however, it required some structural retrofits to meet current building code. The rehabilitation also included a complete roof replacement with similar materials. As a polluted industrial site, the environmental footprint of the building was also taken into consideration in the design process. The project is pursuing LEED certification and was designed using sustainable materials. Most of the exist-

ing walls and structure in the building were retained. The building envelope was designed to limit energy use using insulation and thermal glazing. The existing factory skylights provide daylight to the laboratory spaces. The white roofing material minimizes heat island effect. The building is also easily accessible by public transportation.

Center, demonstrates that the city and state are looking to improve their quality of life and resources. Community input was received throughout the design process in the form of community meetings. The goal was to make the Northland Workforce Training Center a project that the community was excited about and could benefit from as much as possible.

Preserving and repurposing this structure as the Northland Workforce Training Center is important to a community that was built on manufacturing. Niagara Machine & Tool Works played an important role in the development of the Beltline industrial neighborhood, representing economic stability and prominence when it operated as a factory throughout the twentieth century. The hope is that it will now provide individuals with the tools and education needed to achieve economic stability in their lives.

Employment and poverty rates in the Northland Beltline community remain higher than national averages, with 25.6 percent living below the poverty line and 17.2 percent unemployed in 2013. The goal of the Northland Workforce Training Center is to provide low or no-cost education to help individuals obtain well-paying jobs upon completion of the programs. Jobs starting at $35,000 salaries are promised through partnerships with local manufacturing companies.

How does the project contribute to the life of its surrounding community? The Northland Workforce Training Center represents a revival in an industrial neighborhood that was once considered forgotten by its residents. The East Side of Buffalo, within which the Northline Beltline Neighborhood is located, has not seen the level of development that many other areas of the City of Buffalo have seen in the last decade. The commitment to rebuilding this neighborhood, starting with the Northland Workforce Training

The 683 Northland Avenue property, along with many of its industrial neighbors, was vacant for over 20 years. These properties, rich in history and space, present the opportunity for a development hub in a neighborhood in need. At 683 Northland, the reuse of a former prominent machining and tool factory as an energy and manufacturing workforce educational center maintains the historic industrial use and significance of the complex. The building was deteriorating and is now bringing people to the area and giving the neighborhood residents something to be proud of, and opportunities to better their economic situation. Q2 | JULY 2019 | PAGE | 7

Sources of PUBLIC financing The Richardson Olmsted Campus is a $102.5 million redevelopment funded by $76.5 million in New York State funds, $17 million in federal and state historic tax credits through M&T Bank, and philanthropy, including support from Stanford and Judith Lipsey. Sevety-five percent of the total construction cost comes from New York State public funds.

Submitted by Deborah Berke Partners | Buffalo, New York Photo Credit | Christopher Payne/ESTO

Historic Preservation | Honor Award The Hotel Henry at the Richardson Olmsted Campus | Buffalo, New York

A FORMER ASYLUM BECOMES A BOUTIQUE HOTEL

Celebrating the History and Architecture of a Monumental Structure Designed by Henry Hobson Richardson.

he former Buffalo State Asylum for the Insane has been reborn as a boutique hotel, conference center, and destination restaurant.

What is the greater social value of the project? The project transformed the central portion of the National Historic Landmark Richardson Olmsted Campus into the Hotel Henry, a boutique hotel that celebrates the history and architecture of the monumental structure designed by Henry Hobson Richardson. The project brings new life to a longabandoned architectural masterpiece, originally designed as the Buffalo Asylum for the Insane, adding to the revitalization of the city and reinforcing Buffalo as center of great American design. A new glass and steel entrance acts as a beacon and establishes a new connection to the landscape and a discreet parking PAGE | 8 | Q2 | JULY 2019

guestrooms, and the wide, light-filled hallways were preserved. In the hallways, cabinet-like bump outs were added to accommodate bathrooms for the guest quarters, while custom carpets with an abstract pattern and cool gray and green colors evoke the Olmstedian landscape.

area. At night, the new addition glows like a lantern, while the illuminated towers give the building a heightened presence from a distance. The new entry pavilion uses a light and highly transparent architectural language that is clearly contemporary in contrast with Richardson’s masonry building. Inside, the scale and grandeur of Richardson’s design is respected, while discreet additions and subtractions transform the building for new uses. The lobby includes a food service marketplace and moveable furniture for flexible configurations and a restored grand staircase. The 191,000 sf project includes 88 hotel rooms, conference facilities, a fine dining restaurant, and a grab-and-go café. Small former patient rooms were combined to create modern

Alcoves in the guest rooms double as dressing areas with moveable desks. Furniture throughout the guestrooms is spare and low, emphasizing the scale and character of the architecture. Above the headboards, custom acoustic panels are painted with images of Richardson’s designs. Art by Buffalo-based artists add local character to the spaces. On the top floor, large loft-like suites with high sloped ceilings are tucked under partially exposed beams, which reveal internal structure of the building.

How does the project contribute to the life of its surrounding community? The project revitalizes one of Buffalo’s great architectural wonders, which had been abandoned for decades, and returns it to public use. It anchors the redevelopment of the entire site—which is still ongoing—and signals and contributes to the renewal of Buffalo more broadly.

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Sources of PUBLIC financing The project was financed through public bond financing which were partially reimbursed through Building Aid from the State of New York, covering approximately 60% of the overall cost.

Submitted by KG+D Architects, PC Photo Credit | © David Lamb Photography

Renovation/Addition | Award of Merit Middletown High School Innovation Labs | Middletown, New York

AN UNDERUTILIZED COURTYARD BECOMES A LEARNING COMMONS

Creating Community Hubs for Next Generation Learning and Collaboration. supported this progressive programming with the implementation of $25 million dollars’ worth of additions and renovations to their regional high school. The district is classified as high needs and high poverty; an overarching project goal was to ‘build out the feeling of poverty’ and create a larger vision of a high school that didn’t feel economically restrained. The project developed a 10,000sf, technology infused, learning commons at the high school’s center as well as a 28,000sf addition with a 1760sf innovation space, new entry sequence and connection to a new classroom wing.

n 2012, the Middletown Enlarged City School District won a federal Race to the Top-District grant. The program, established by Former President Barack Obama, invested nearly $400 million dollars in schools targeting leveraging, enhancing and improving classroom practices and resources and sought to create models for personalized learning to

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enable students to engage their interests and take responsibility for their success. Giving Every Child a Fair Shot: Progress Under the Obama Administration’s Education Agenda” acknowledged the Middletown School District for their application of the grant funding in support of their blending learning model and Project Lead the Way programming. The District also

The first addition, a multifaceted learning commons, was developed in an underutilized central courtyard. The interior space utilizes clerestory windows to provide natural light and the large use of glass walls lends itself to an open, bright and flexible floor plan. The addition, which is visible from the 2nd and 3rd story classrooms, features a green roof which promotes environmental stewardship and functions as a green teaching tool.

A second, 28,000sf addition, created a third-floor innovation space with break out meeting and small group spaces, a new main entry sequence and connection to a new classroom wing. The innovation lab also utilizes glass walls and window walls to create a striking, open, light filled space. The lab has three 8-panel screens and multiple collaborative desk height and computer powered stations. Adjacent breakout spaces feature graffiti walls, desk and technology space and moveable furniture to facilitate small group collaboration.

In keeping with the Race to the Top initiative to create models for personalized learning, the learning commons features a range of next generation learning spaces. The space includes a large innovation lab with a 16-panel viewing screen. Student’s work can be projected from the individual stations onto the larger platform for discussion and collaboration. A glass wall between the learning suite and the corridor creates a gallery space for displaying student work. The furniture features desk and counter spaces at varying heights, moveable seating and an information desk for instructor support. Ancillary spaces to the central learning suite include digital labs, graphic arts classrooms, a fabrication lab and a lecture/ presentation space.

The new main entry sequence, positioned directly below the third-floor innovation space, provides a distinct sense of arrival and identify while creating a single secure point of access. The innovation space also links the existing building to new classroom wing. The classrooms feature flexible furniture with varying desk and seating heights and configurations corresponding with the classroom subject in order to effectively support the curriculum and classroom cooperation.

What is the greater social value of the project? The social value of these dynamic new spaces created learning environments that reflect the district’s investment in each Middletown student’s inherent potential. The renewed and expanded high school provides a range of advanced and practical education spaces that will allow Middletown students to obtain a competitive edge in the increasingly competitive global marketplace.

How does the project contribute to the life of its surrounding community? As a whole, the project contributes to the life the Middletown High School community in providing its literal and figurative center. The Next Generation spaces function as community hubs for next generation learning and collaboration; they are studentcentered, and faculty powered and enable community learning, relationship building and the collective development of life-long learning and teamwork skills.

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Sources of PUBLIC financing The project was funded through the 2014-15 Legislative Budget making process, with 100% of total construction cost coming from public funds.

Submitted by architecture+ Photo Credits | Gary D. Gold

Renovation/Addition | Award of Merit Milne Library Interior Renovation, SUNY Oneonta | Oneonta, New York

IMPROVING THE STUDENT EXPERIENCE FOR ACADEMIC SUCCESS

Addressing the Evolving Needs of Students Promoting Learning, Research, and Study.

he Milne Library renovation at SUNY Oneonta was undertaken to enhance core library function spaces while improving the student experience with the addition of new program areas throughout the three story building. Program areas introduced into the library included the Academic Success Center, Accessibility Resources, and a Learning Commons within the existing 95,000 sf of space. The Academic Success Center functions as a professional and peer tutoring center. Accessibility Resources functions as a testing center and provides accommodations for student needs. The Learning Commons functions as a central social hub with different study opportunities arranged by varying levels of public, semi-public and private work zones.

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What is the greater social value of the submission? As student demographics and pedagogical approaches change on library campuses, studentsâ&#x20AC;&#x2122; learning, research, and study support needs have evolved. Campus libraries need not only to reconsider how services are delivered, but also the kinds of services and spaces they offer in order to provide the users with the best experience. A realignment of the reference collection on the first floor allowed for a Learning Commons to be developed, creating a new student-focused collaborative working destination on campus. The vibrant Commons incorporates break-out study booths, group study rooms, classrooms, and a mix of both collaborative and individual seating options that enhance social interaction and cross-disciplinary learning outside of the classroom. The reference desk and associated collection

off-hour studying and computer access. The circulation desk maintains its direct relationship with the main entrance to the building as a primary touch point for service. Establishing a visual connection to the Learning Commons and reference desk supports student service.

anchor the Commons with staff readily available for consultation and support. Accessibility Resources was introduced as an accessible destination at the south end of the first floor. It boasts a new state-of-the-art testing center, providing accommodations to address student needs. Cross-purposing space allows the center to be available to all students for

A new User Experience touch point greets the patrons upon their arrival on the second floor. This destination was created to provide research support proximate to the collection located on the upper floors. The Academic Success Center seamlessly integrates at the south end of the second floor, providing professional and peer tutoring services. The print collection is maintained primarily at the north end of the second and third floors. Table and soft seating areas are developed along the perimeter of the collection to take advantage of the natural light and views, thereby creating desirable reflective study destinations.

How does the project contribute to the life of its surrounding community? Programming workshops were facilitated with all of the current library occupants as well as those being introduced. The

programming effort focused on establishing the location of functions within the building, and qualitative and quantitative evaluations to understand and prioritize constituentsâ&#x20AC;&#x2122; needs to drive the planning process. In addition, there was an exploration of the benefits of the successful integration of academic support services into the library. Major themes introduced at the meetings included the need for updated furniture with integrated power, collaborative space and a variety of study opportunities for students, incorporation of support services, and rethinking circulation patterns to decrease cafĂŠ congestion. The themes ultimately informed design responses for creating a functional and impactful environment. The reimagined campus library addresses the evolving needs of students for promoting learning, research, and study through the integration of student services and layers of different work zones based on public and private space with a central social hub. Overall, the transformation of Milne Library has contributed a positive user experience for the campus community since its completion in September 2018.

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Sources of PUBLIC financing One hundred percent of the total construction cost came from public funds. Financing was provided by the City of New York and was administered by the New York City Department of Design and Construction (DDC) and the New York City Department of Cultural Affairs (DCA).

Submitted by Sage and Coombe Architects Photo Credits | Alexa Hoyer

Renovation/Addition | Award of Merit Bronx River Art Center | Bronx, New York

IMPLEMENTING AN INSPIRING MISSION TO ELEVATE ARTS EDUCATION

Bringing Professional Arts Programming to a Culturally Underserved Population Since its Founding in 1987.

he Bronx River Art Center (BRAC) is a 100-year-old 20,000 SF warehouse building that sits adjacent to the Bronx River. Originally a multi-family residential structure, the building was converted into the Bronx River Art Center in 1987. BRAC is an independent non-profit, multi-arts organization dedicated to providing art and environmental programming for residents of the Bronx. The renovation project was fully funded by the City of New York. Efforts were guided by several overarching objectives including building code compliance; building envelope integrity; structural stability; heating, cooling and power efficiency; building security and institutional identity. BRAC has several programs contained within its walls. The first floor is the main exhibition floor with visual art galleries and a multipurpose gallery. Since the existing cellar fell within the 100year flood zone making water

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penetration a constant challenge, the cellar was infilled with flowable fill and the new foundation and slabs were waterproofed. All mechanical, electrical and plumbing systems were replaced with high-efficiency equipment. The second floor houses classrooms, staff offices, and a large lease space and the third floor is dedicated to rental artist studios. The fourth floor is the main educational floor, and holds two workshop studios and additional staff spaces. The roof, envisioned as an outdoor classroom, is partially covered with modular green roof palettes that control stormwater runoff and enhance the roofscape. An elevator was incorporated into the core of the building in order to make the building ADA-accessible and ease the movement of artwork and supplies between floors. All windows were replaced with operable aluminum frame windows with high per-

formance insulated low-E coated glass. A layer of perforated vinyl film adhered to the exterior of the window glazing acts as a sun shading device on every floor above the first while preserving unobstructed views to the exterior. The existing openings on the first floor were retained and infilled with a new aluminum storefront system and an existing opening was reduced by a third in length to create more exhibition/display space. A new penetration was introduced to open the multipurpose/gallery space into the existing garden, allowing the interior and exterior spaces to flow into one another. On the second, third and fourth floors, existing openings were enlarged and a new opening created to take advantage of river views and northern light, as well as to increase cross ventilation within the interior spaces.

What is the greater social value of the project? The Bronx River Art Center (BRAC) has a clear mission: to foster arts education within a framework of environmental stewardship. Inspired by this mission, environmental and architectural strategies were developed to work in tandem. To take advantage of the project’s visibility from East Tremont Avenue and the Greenway, as well as from the elevated subway that circumnavigates the site, the building will be wrapped with a super-graphic that announces the Center and its mission.

The design includes flexible and day lighted classroom studios, a media lab, a pottery studio and several multi-purpose classrooms. Offices for the staff were placed in counterpoint to the open classrooms for supervision and to create a sense of community while rental studios and tenant offices provide the institution with income. On the ground floor a public event space opens onto the garden and the Bronx River. The public gallery faces East Tremont Avenue, providing the Center with a strong and visible presence and link to the community it serves. In addition, the building will be brought into compliance with current standards for life safety, egress and accessibility. In addition to its social function, and in keeping with BRAC’s environmental mission, the building uses green strategies to reduce energy consumption. A planted roof serves to reduce the energy required for heating and cooling by increasing insulation, as well as to curtail the amount of stormwater runoff. Low-E coating on the windows cuts down on solar gains, and operable glazing provides natural ventilation to the interior spaces. The perforated vinyl treatment on the windows further reduces solar gains. The light-colored exterior is intended to minimize heat gain to reduce the amount of energy required to cool the structure. To the greatest extent possible, materials used had a high recycled content and come from a sustainable source, and the bathroom fixtures utilize water-saving technologies.

How does the project contribute to the life of its surrounding community? The Bronx River Art Center (BRAC) provides classroom and studio space for adults and children and has brought professional arts programming to a culturally underserved population since its founding in 1987. Despite the lack of visibility of its decayed headquarters, the Center has served a vital social function within the West Farms community. Our aim was to highlight the presence of this important institution on its site by transforming the building into a beacon of its mission. A challenge of this tightly budgeted project was to identify the most cost-effective means to make the identity of the Bronx River Art Center visible on the exterior of the building while still providing all necessary interior renovations to meet the other goals of the project. Working with BRAC’s Graphic Designer, a super graphic was developed using BRAC’s logo and signature colors of green, gray and black. The design was applied to the exterior of the building, giving the building an immediate street identity and announced the institution’s presence across a wider context. Simultaneously relating to the individual passerby and engaging in a larger urban dialogue continues to be a guiding goal whose ultimate aim is to enhance the contribution of the Center to the cultural life of its community.

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Sources of PUBLIC financing Putnam County Legislation created bonds to pay for the project. Building renovation cost was $1.2 million; the entire project including site improvements (septic, water, electrical, road, and landscaping increases the total cost to $2.2 million.

Submitted by Putnam County Department of Highway and Facilities Photo Credits | Ben Harrison, AIA, NCARB, RA

Renovation/Addition | Award of Merit Tilly Foster Farm Educational Institute - Building #8 | Brewster, New York

A PUBLIC INSTITUTE DESIGNED AND BUILT BY AN IN-HOUSE TEAM

An Educational Institute that Provides Diverse Educational Experiences and Self-Sustaining Opportunities for Local Tourism and Community Gatherings.

he Tilly Foster Farm Educational Institute was designed by the County’s in-house Planning and Design Department, working in conjunction with other County Departments including the County Executive’s office, Purchasing, Law, and Code Enforcement. The County’s facilities workforce performed the construction with the exception of some small specialty areas such as the kitchen exhaust hood system. The existing building required major updates in infrastructure with the new additions housing updated bathrooms and kitchen requirements. The site updates including utilities, roads, and landscaping were also completed by the County workforce. The building is divided into two levels with a restaurant on the main level and an assembly space in the basement. The building incorporates modern elements such as LED lighting amongst nostalgic details of exposed existing wood structural elements. In the joining of farm

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feel with craftsman details, the building adds wood millwork details, earth tones, and older style details like exterior metal lighting. The exterior continues the idea of a nod to the past with the use of Hardie Board lap siding and a cover front porch for a typical farm appearance.

What is the greater social value of the submission? Since Tilly Foster Farm is a County owned project, the County utilized the facility as a flagship to promote its own workforce from design to construction when renovating the building. By designing and constructing the entire project in-house, the County saved money and developed a new process and approach for future construction and planning for county municipalities.

How does the project contribute to the life of its surrounding community?

A design-build renovation project on a County owned 199-acre farm created the County’s first public institute for career education. Known as building #8, the 11,200 SF facility is used as an Educational center for Culinary Arts Training and Bioscience Education for Putnam Northern Westchester BOCES, an event space, and a restaurant. The BOCES Culinary Arts program is the first program of the Educational Institute and provides diverse educational experiences for high school students and special need students. At the Ribbon Cutting event for the Institute, Cathy Balestreri, BOCES Tech Center Director, noted the architecture and design and said “the attention to detail, the marrying of function and aesthetics, were impressive and went beyond expectations.” Besides the BOCES Culinary Arts program, future programs include environmental and veterinary science through the Cornell Cooperative Extension. In addition, the renovation includes a County owned restaurant called Tilly’s Table which provides farm-to table dining featuring local farmer produce. Putnam County’s Tilly Foster Farm Educational Institute not only provides diverse educational experiences, but self-sustaining opportunities for local tourism and community gatherings. Q2 | JULY 2019 | PAGE | 17

Sources of PUBLIC financing The project had a $33.5 million construction cost. One hundred percent of the construction cost comes from public funds provided by the State University Construction Fund.

Submitted by Deborah Berke Partners Photo Credits | Chris Cooper

Renovation/Addition | Honor Award Rockefeller Arts Center at SUNY Fredonia | Fredonia, New York

UTILIZING CONTRAST TO CONNECT CAMPUS AND COMMUNITY Respectfully Adding on to a Leading Performing Arts Venue Designed by I.M. Pei.

he New York’s State University Construction Fund hired the team at Deborah Berke Partners to design a significant addition to and a dramatic reconceiving of a 1968 I.M. Pei arts complex on the State University of New York’s Fredonia campus. The solution, a linear addition at the west façade, allows the former back and service side of the building to become the new primary entrance which strengthens the building’s connection to the campus and reinforces the role of the arts at the institution. The design solution respects the austerity of the Pritzker Prize-winning predecessor’s building yet uses a strategy of subtle contrast to update it to meet contemporary needs. A palette of zinc metal and glass walls with accents of concrete details inverted the existing material language of long concrete walls. Metal fins provide sun shading and add texture and depth to the facades. Recognizing the history of cast-in-place concrete

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construction on campus, the design team worked with local contractors to develop distinctive board forms with diagonal striations, deliberately differentiating the pattern from Pei’s. The 60,000-square-foot addition includes classrooms, sculpture and ceramics studios, performance spaces for music and dance, and a variety of shops and other shared facilities, including areas for set design and construction. The building’s sun-filled dance studio has floor to ceiling window walls, which allow rehearsals to be visible to the campus, and turn the building into a beacon at night. Corridors are lined with tackboard surfaces, so they

double as critique spaces and informal galleries. Ceramics studios and workshops are unadorned and designed for the heavy use of art making.

providing vastly improved and expanded facilities for making and appreciating art, the project elevates the role of the arts on campus.

What is the greater social value of the project?

How does the project contribute to the life of its surrounding community?

The building acts as a beacon for the arts on campus. The large dance studio has a monumental window wall, making the activities of the building visible to the community. A new glass connector links the building to the existing music building, allowing temperature controlled movement of instruments from building to building (which is important in Fredonia’s cold climate). In addition to

The Rockefeller Arts Center is the leading performing arts venue in this region of Western New York. The addition’s new entrance provides a stronger connection to both the campus and the larger community.

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Sources of PUBLIC financing The total development cost came from the NYS Housing Finance Agency (HFA), THE NYS HFA Medicaid Redesign Team (MRT) Housing Capital Program (HCR), the NYS HFA accrued interest, the NYC Department of Housing, Preservation and Development, the Federal Low Income Housing Tax Credits (LIHTC) Equity and a Deferred Developer Fee. Ninety-two percent of total costs came from public funds, and 35% came from NYS HFA funding sources.

Submitted by James McCullar Architecture, PC Photo Credits | Aislinn Weidele

New Construction | Award of Merit The LEGO Modular Supportive Housing | Bronx, New York

REGAINING STABILITY & RECOVERY THROUGH GOOD DESIGN

Modular Supportive Housing that Provides New Homes to Residents and New Life for a South Bronx Neighborhood.

ith its reflective metal panels, accented by alternating red and blue metal window surrounds, the 8-story LEED Gold supportive housing provides a home for 62 residents and brings new life for an older neighborhood in the South Bronx. The supportive housing is owned and managed by a non-profit agency that provides social services in residential settings for underserved populations in New York City that include the formerly homeless and returning veterans. The 30,107 SF development, located on a former open used car lot in a mixed-use district, was publicly funded and planned under New York City housing agency guidelines with a program of residential units and supportive resident services. To maximize the number of studio units within allowable zoning, the depressed site is partially excavated to create a Lower Level â&#x20AC;&#x153;cellarâ&#x20AC;? space exempt from

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zoning floor area. The U-shaped floor plan in turn adapts to the narrow but deep site, with typical floor lobbies that overlook a south facing courtyard. The Lower Level contains social services and resident common indoor and outdoor spaces. A Security Office overlooks the entrance and provides a 24/7 presence for residents. Large windows in studio units and elsewhere enhance the sense of space and natural light. A roof terrace overlooks the street. To expedite the construction process, modular design was incorporated with factory applied exterior metal panels. Typical 17-ft. by 42-ft. modules, the largest that could be transported over city streets, include two studio units separated by a corridor. Modules welded together and supported on Lower Level concrete foundation walls form a unified seismic design. As much of the building consists of blank lot line walls, six standard panel colors were selected, with no adjacent

colors to create an Armani like pattern that enlivens the façades and expresses the modular interiors. The building is fully accessible with 5% of the units designed for mobility impaired residents and 2% for sensory impaired residents. Compact building services with a trash lift are located at the lower front of the building and the envelope is well insulated with sound attenuated fiberglass windows. Efficient MEP systems include residential gas P-TACs for heating and cooling with individual room thermostats; VRV system for public spaces; through wall continuous bath and kitchen ventilation; rooftop domestic hot water boiler; and Energy Star lighting and appliances.

What is the greater social value of the submission? The social services client has long placed emphasis on the physical design of its housing facilities, drawing from their previous years of experience and surveys of residents. Approximately two-thirds of its residents are referred by psychiatrists and many are formerly homeless from city shelters and returning veterans in need of housing. Owing to their histories, the ordinary things one takes for granted— having a key to an apartment, a name on a mailbox, one’s own bathroom, and no curfew are new experiences for many residents. For many this is their first home. The agency’s Senior Vice President of Behavioral Health has identified the role of design as critical to its mission:

“Good design is a prescription that gives residents the opportunity to regain stability and recover from past experiences. These individuals have had such a long journey; they will feel good about themselves from the architecture itself. For example, residents will take an interest in the gardens. They will water, take care of, and sell the products at the farmer’s market. They beautify by placing flowers—home provides that stability. Nothing can happen without being safe and having a place to lay your head. Home is just instrumental to someone’s wellness.” Since the project opened, it has met the expectations of the staff and resident users. The design has encouraged respect, social services have helped individuals readjust to society, and the social and educational programs have provided new opportunities for residents. Projects such as this also have a payoff for everyone involved in their realization. “We all live in a house, an apartment which we call home. Everyone understands these needs. This is gratifying. This will help change people’s lives. And that’s a good thing.”

How does the project contribute to the life of its surrounding community? The project has been well received by its neighbors who nicknamed it the “Lego” building while watching a crane lifting modules over a former used car lot.

The project has brought a new life to this long neglected neighborhood in the heart of the South Bronx. Viewing the project’s colorful exterior introduces the visitor to the facility’s urban sophisticated yet lighthearted mood in an older manufacturing district recently rezoned for mixed-use residential. The fact that it’s so different from the masonry and vinyl clad buildings of differing scales in the neighborhood has allowed it to stand out but not upstage its neighbors. “It’s a cheerful addition to the personality of the neighborhood that has put a smile on people’s faces” the owner’s interior designer has observed. “There’s a strength, a playfulness - a comfort level, elegance, cleanliness with the modern color - it is not formal, but approachable.” By departing from while honoring the neighborhood’s existing aesthetic, the project at once makes the statement that low-income residents value beauty, deserve respect, and are worthy neighbors in this culturally diverse area. When the project was first proposed to the local Community Board, there was an expression of fear in bringing more formerly homeless individuals to the area. However, since its completion, the community has embraced the project and its residents as good neighbors that have contributed to the area’s revitalization and encouraged the redevelopment of adjacent underused sites.

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Sources of PUBLIC financing One hundred percent of the construction cost came from public funding.

Submitted by Saratoga Associates Photo Credits | Bishop Beaudry Construction & Donald F. Minnery

New Construction | Award of Merit Grafton Lakes Welcome Center | Cropseyville, New York

CREATING A SPACE WHERE COMMUNITIES GATHER & LEARN

An Accessible Gateway to Outdoor Activity that Promotes Educational Excellence.

he Grafton Lakes Welcome Center was envisioned and crafted as a gathering space for the community by providing educational services, exhibition and assembly spaces, park information and offices, as well as public restrooms. The enthusiasm that the staff shared and their passion to educate patrons about the environment inspired the design team to develop a facility that creates visual and physical connections to the unique surrounding ecosystems.

What is the greater social value of the submission? Not only does the facility house educational exhibits, but the building itself provides a means from which patrons can learn about green building technologies. A variety of sustainable approaches in both its design and operation are utilized. Large overhangs shield the south from direct heat of the summer sun while

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allowing passive solar gain in the winter to provide a comfortable interior environment year-round. Low operable windows on the south facade permit natural ventilation through the exhibit space and exhaust out the automated clerestory windows to the north. The center also employs a variety of other important sustainable mechanical systems including geothermal sourced radiant heating, solar panels to generate electricity, and rain gardens for storm water management. These systems are all explained in various displays educating visiting students about these and other sustainable infrastructure systems.

How does the project contribute to the life of its surrounding community? The surrounding project site continues its educational theme, as interpretive and informative exhibits complement an

environmentally sensitive boardwalk. This boardwalk allows visitors to experience the wetland and vernal pools just steps from the facilities backdoor. Information about the native plants and animals inhabiting these wetlands is displayed while allowing patrons to enjoy the beauty of this natural environment that would otherwise be off-limits.

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Sources of PUBLIC financing 100% MTA local funds.

Submitted by di Domenico + Partners Photo Credits | Assaf Evron & di Domenico + Partners

Public Art | Award of Merit Re-Envisioning the Elevated: Four Stations on the Astoria Line | Astoria, New York

RENEWING CONNECTIVITY BETWEEN COMMUNITY & TRANSIT

The Reconfiguration of Spaces, Introduction of New Materials and Integrated Technology Establish a Standard for Future Station Design.

he New York City subway system moves more than six million people a day through 472 stations. Four stations on the Astoria line serve more than 10.1 million people a year. The Astoria stations introduced integrated design and construction in the station renewal process. Decluttering years of accumulated equipment and utility conduits coupled with elegant yet simple design opens up the public spaces of the mezzanine and platform allowing for visual connectivity throughout each station. Art panels were utilized as the exterior walls, elevating public art to the scale of infrastructure and integrating art and architecture. Information screens and utility wireways with entry canopies were integrated into the mezzanine and platform area. To expedite the process and promote design excellence, a set of architecture

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and engineering reference documents was prepared in advance and issued to the Design Build team. The team was a working group of collaborators—the client, builder, architects, industrial designers, engineers, lighting designers and subcontractor/fabricators. Included in the station project were critical repairs to the line infrastructure. Regular meetings proactively addressed issues of technical concern and visual quality—all intended to enhance the customer experience. The customer mezzanines are open with clear glass and wire mesh fare lines that expand the feeling of openness. Small waiting areas with technology integration shelter travelers waiting for trains. Gone are the decades of clutter such as conduits and cables left behind during incremental changes. Rigorous attention to visual quality has organized utilities out of sight or routed in a designed wire-

way. The reconfiguration of spaces, introduction of new materials and integrated technology have established a standard for moving forward.

What is the greater social value of the submission? Elevated stations were once an integral part of their communities with open, well-lit mezzanines and a panorama of the community. Stations became increasingly isolated from their communities in the 1980s. The above ground stations, once the crossroads of neighborhood activity and commercial hubs, were walled off with corrugated metal from their communities below with mezzanines stripped of glazing and replaced with opaque walls. These four Astoria line stations, 39th Avenue, 36th Avenue, Broadway, and 30th Avenue, change all that.

How does the project contribute to the life of its surrounding community? These stations are the first on elevated lines to introduce innovative design and technology with new customer amenities with the intent to evaluate the results of these “pilot” stations and move forward with the approach in future station design. The new Astoria stations renew the connectivity between the community and transit. These stations, more than 100 years old, now have the technology to provide customers with real time travel information and a station environment that is appropriate for a world class transit system. Q2 | JULY 2019 | PAGE | 25

Professional Awards

DANIEL PATRICK MOYNIHAN AWARD Deborah J. Glick New York State Assemblymember

The Daniel Patrick Moynihan Award recognizes public officials or individuals who, through their efforts, have furthered the public’s awareness and/or appreciation of design excellence in public architecture. This award is intended to recognize members of the public who make contributions to architecture.

eborah J. Glick is a Democratic member of the New York State Assembly representing the 66th Assembly District in Lower Manhattan, including the neighborhoods of Greenwich Village, the East Village, the West Village, Tribeca, and Battery Park City. Glick is a lifelong resident of New York City and has lived in Greenwich Village for over 40 years. A graduate of the City University of New York’s Queens College, she received a Masters of Business Administration degree from Fordham University. Glick owned and managed a small printing business in Tribeca before becoming Deputy Director of General Services at the New York City Department of Housing, Preservation, and Development, where she worked until May 1990.

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Glick’s political activism began in college and she is still strongly involved in grassroots organizing. Glick first ran for the State Assembly in 1990 and won, becoming the first openly gay state legislator in New York State. She has served in the legislature for 28 years, championing a number of progressive legislative causes as well as key local issues.

Her position as Chair of the Higher Education Committee affords her the opportunity to advocate for better schools, knowing how important higher education is to the fabric of our society.

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Legislative Record Glick serves as the Chair of the Assembly’s Higher Education Committee, which oversees all private and public higher education institutions, financial assistance for students, and professional licensing, a position she has held since 2007. Additionally, Glick serves on the Ways and Means, Rules, Governmental Operations and Environmental Conservation Committees. She also serves as the Chair of the Assembly’s Intern Program, overseeing the Assembly’s student interns. As an Assemblymember, her legislative priorities have focused on women’s rights, including expanding access to reproductive healthcare; LGBTQ rights; environmental preservation and protection; the protection of animals, especially those in shelters; higher education; tenants’ rights; increasing pedestrian and traffic safety; maintaining and expanding open space; and support for the arts.

Professional Awards

HENRY HOBSON RICHARDSON AWARD

Terrence E. O’Neal, FAIA, LEED AP Managing Principal, Terrence O’Neal Architect LLC (TONA)

The Henry Hobson Richardson Award recognizes AIA members licensed in NYS and practicing in the private sector who have made a significant contribution to the quality of NYS public architecture and who have established a portfolio of accomplishments to that end.

errence O’Neal FAIA, LEED AP is managing principal of Terrence O’Neal Architect LLC (TONA) based in lower Manhattan. TONA is a full-service architecture and design firm that focuses on supportive housing, schools and healthcare facilities. For over 25 years, TONA has designed numerous projects for the NYC School Construction Authority, Covenant House NY, as well as affordable and supportive housing throughout the five boroughs. The firm recently completed the design for the Lorraine Montenegro Women and Children’s Residence, a newly constructed five-story building in the Bronx.

He represented CB6 on the East Midtown Steering committee which developed guidelines for East Midtown rezoning, and is now representing CB6 on the East Midtown Public Realm Governing Group approving public realm improvement projects funded through the rezoning. Terry serves on the board of the New York Building Congress and is a trustee on the AIA Trust Board which oversees insurance programs nationwide for the AIA. As president of AIANYS in 2006, Terry’s outreach efforts resulted in a highly successful conference, setting the foundation for ongoing interaction between the architectural community and the public realm, and producing the “Guide to New York State: Livable and Sustainable Communities.”

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Terry has been an agent of change in advancing the role of architecture through practice and advocacy in a career recognized by numerous awards over a span of 25 years.

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Outside of his practice, Terry has firsthand experience engaging with civic leaders to bring architectural and design thinking to social issues. He was chair, and remains a member of, the Land Use & Waterfront committee of Manhattan Community Board 6 (CB6) where he’s led CB6 in the community’s response to many issues.

In November 2018, Terry received the highest award granted by AIANYS, the James William Kideney Gold Medal Award for demonstrating a lifetime commitment to making the community a better place in which to live and take a leadership role in the profession and the professional society at the local, state or national level.

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Professional Awards

HENRY HOBSON RICHARDSON AWARD Pamela Jerome, FAIA, LEED AP, FAPT, FUS/ICOMOS President, Architectural Preservation Studio, DPC

amela Jerome, FAIA, LEED AP grew up and studied in Greece. Upon returning to the US in 1980, she began her career in NY working on the adaptive reuse of SoHo lofts. She is now President of Architectural Preservation Studio, DPC, an NYC-based architecture and preservation firm that is a certified WBE. Her expertise is in masonry conservation and waterproofing. Pamela has made a reputation restoring NYC-designated landmarks. She believes that historic structures anchor communities and provide a sense of place. Her work has impacted the public sector by enhancing these attributes. She has taken derelict buildings for the NYC Department of Design and Construction (DDC), and through her restoration efforts returned them to their communities as active sites. These include the Jamaica Performing Arts Center and the Hunterfly Road Houses of Weeksville.

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An individual with a high level of energy, intelligence and passion, Pamela Jerome has contributed to the philosophy that will affect New York’s public landmarks for generations to come as well as to the physical preservation of some of the state’s most important buildings.

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Pamela’s exterior enhancement and restoration of the National Historic Landmark (NHL) Solomon R. Guggenheim Museum won five awards including the 2009 AIA NYS Honor for Architectural Excellence in Historic Preservation and 2009 AIA Westchester/Mid-Hudson Chapter Honor Award. She is currently involved in the design of exterior repairs for the 1895 Brooklyn Museum of Art. Pamela’s leadership on the Holland Tunnel Ventilation Building for the Port Authority of New York and New Jersey, a 1927 NHL, involved the restoration of three pairs of monumental bronze doors including meeting ADA requirements as emergency exits. On the civic front, Pamela oversaw the feasibility study for blast-resistant window upgrades at the Alexander Hamilton US Custom House, a 1907 NHL. For the 1914 Manhattan Municipal Building, she worked on the interior finishes’ restoration of the two ground-floor lobbies. Pamela also worked on the design of the interior finishes’ restoration of the 1927 New York County Courthouse. She is currently collaborating with LTL Architects on a DDC-led enhancement and exterior restoration of the 1903 Brownsville Public Library. Pamela’s work has made a significant contribution to the quality of New York State public landmarks.

Professional Awards

NELSON ALDRICH ROCKEFELLER AWARD

Sandra L. Daigler, AIA, LEED AP BD+C Director of Upstate Planning Design and Quality Assurance, DASNY

The Nelson Aldrich Rockefeller Award recognizes licensed architects employed in the public sector in New York State whose work on projects within their jurisdiction has furthered the cause of design excellence in public architecture.

andra Daigler has served the public all her professional life. She is the current Director of Upstate Planning, Design and Quality Assurance for DASNY. Prior to her position as Director, Sandra held the positions of Associate Architect and Chief Architect at DASNY and has been with DASNY for over 20 years. Prior to joining DASNY, she was employed by the Design and Construction Group of the NYS Office of General Services as a Senior Architect for 16 years, and prior to that, she was an Assistant Architect for NYS Office for People With Developmental Disabilities. Sandra is also a certified Code Enforcement Official in New York State and a LEED Accredited Professional. In addition, she holds a GPRO Certificate in Construction Management. Ms. Daigler is a member of the American Institute of Architects and the American Society for Quality as well as being a member of the Uncle Sam Toastmasters organization in Troy, NY.

Sandra’s commitment to her community and her profession are exemplified by her being DASNY’s liaison to the New York State Chapter of the American Institute of Architects where she chairs the quarterly joint AIANYS/DASNY meetings since 2015 but has been the liaison for almost 10 years. She was also honored by the Professional Women in Construction’s national organization at their August 2008 meeting. In addition, Sandra has been a mentor for young architects at DASNY in their summer intern program. Sandra holds a Bachelor of Architecture from Rensselaer Polytechnic Institute.

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Sandra has spent her entire career in public service performing design, review, management and administration of a wide variety of public projects from minor maintenance through premier capital projects such as Binghamton University’s $376M East Campus Housing Project.

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While at DASNY, Sandra has presented to SUNY’s Physical Plant Administrators at their summer and winter conferences on a range of topics including “Campus Planning,” “Best Practices in Delivering Quality Projects,” and “Current Trends in Student Housing.” She also presented to Northeast Association of College & University Housing Officers (NEACUHO) 2003 conference “Sound Beginnings Bring You Sound Residence Halls” as well as the presentation “Avoid Construction Pitfalls by Design” to AIANYS.

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Tri-State Conference

SHARE YOUR IMPACT. Win up to $10,000 and a screening in Chicago. Rebuilding coastal communities, creating cost-effective housing, designing secure schools—architects partner with civic leaders to address today’s most pressing issues. The AIA Film Challenge invites design professionals to share how they’ve improved communities. The Grand Prize and the People's Choice Award winners receive $5,000 and a screening at Chicago Ideas—win both for $10,000! each finalist receives $500.

Is your firm working on a net zero energy single family or multifamily residence?

NET ZERO ENERGY The September issue of â&#x20AC;&#x153;Architect New York Stateâ&#x20AC;? will highlight net zero energy single and multifamily residential projects. If you have completed a project or are in the process of designing one, and have an interesting story to tell, contact Robin Styles-Lopez, Director of Communications at AIA New York State by July 15, 2019 to share your ideas about an article. rstyles-lopez@aianys.org or 518.449.3334

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Q2 | JULY 2019 | PAGE | 33

Q 2 | J U LY â&#x20AC;&#x2122; 1 9 Architecture new york state is a quarterly publication developed by AIA New York State, 50 State Street, Albany, NY 12207. For questions, comments and editorial content ideas, contact Robin Styles-Lopez, Director of Communications at rstyles-lopez@aianys.org or 518.449.3334.