Home Builder Developer - Interior Renovation and Design

Gregg Bich, president and founder of Quality PM in Delmar, has built a strong business since he started the company in 2003. But 2020 has been the year of extremes for the contractor. Bichwas forced to shut down for 10 weeks because of the pandemic, but once his crew went back to work, business has been busier than ever before.

"It was very tough when (the pandemic) first hit. During the shutdown we were only allowed one worker on a job site. It was too dangerous, so we didnt get a lot done for eight to 10 weeks," Bich said. "But once that ended, the phone started ringing to a point it has been record calls. Families started noticing things about their homes they didn't like.

Bichdoes property management, remodeling and new construction. Last year, he was named best builder at the Best in Building Awards, hosted by the Capital Region Builders & Remodelers Association. The company was also honored for best overall remodel and best bathroom in the over $40,000 category.

When Bich's team of six went back to work this summer, he realized a long-standing practice - sealing the work zone with plastic, setting up air purifiers and sealing air vents so dust doesn't travel to other parts of the house - had added value during the pandemic. A protocol Biche says he always used for the comfort of his clients now adds a layer of protection to prevent the spread of illness.

Bich says Quality PM does a lot of kitchens, bathrooms and expansion projects. Since the pandemic started, customers have been looking work to their basements and additions for a home office because parents are working from home and kids are doing school work at home.

Work has also picked up in second homes, Bichsaid.

"There are new clients coming into the market," he said. "And people who want to winterize camps they only used in the summer before, and now want to be there year-round."

The demand is coming from the Lake George area, Bich said. He also owns rental properties in the area, all of which were booked by the end of March.

Despite the welcome uptick in work, Bich said it hasn't all been easy because of supply chain issues.

"During the shutdown, we made lists for all the jobs we had going, and the materials we knew we were going to need, we bought and stored. It didn't get as bad as I thought it would, but we were prepared," he said.

Now, months later, lumber is much more expensive and anything that needs to be fabricated - siding, windows, doors, counters - in many cases is going to take longer. Biche advises "meticulous planning before the work begins. If a project involves installing a window or door, his carpenters don't cut the hole until the new piece is in hand.

Bichis optimistic about the future because people are placing more value in their homes.

"Our homes are our comfort zones, why not make it a place you want to be? Do the kitchen remodel, put a deck in, put a pool in - make those yearly vacations less of a priority."

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Remodeler optimistic spike in business will continue - Times Union

The Clark Building, a popular Art Deco building used for community and private events in Hermosa Beach for decades, is due for a major makeover as the city plans to upgrade everything from its kitchen to adding ADA access to the building.

The renovations, discussed during a virtual forum on Oct. 19, include restroom remodeling; installation of new heating, air conditioning and ventilation; and ballroom improvements with new acoustic panels and lighting.

Clark's kitchen needs major work, according to Kelly Orta, the citys community resource manager.

It's been closed for quite some time now because of COVID-19, but even before then we did have very limited usage of it unfortunately, the kitchen has been fully gutted. So it really is just a shell, Orta said.

Orta said how the new kitchen takes shape depends on how the building's main hall will be used in the future.

If the desire is that we expand to allow large scale weddings or that type of event, then we would need to determine what type of equipment in the kitchen would be needed, Orta said.

The building opened officially on May 8, 1937, nearly five years after Mayor Logan Cotton and Councilmember John M. Clark, a former mayor, helped break ground on June 21, 1932.

Orta said the facility has not been formally designated a historical location or site, but whether its ADA or other upgrades, it is the city and architects intention to modernize the facility but with an eye on history.

There are certain elements and things in the facility that we just really want to preserve as much as possible, said Orta, of its Art Deco design elements. So not necessarily that we're required to per se, but the things that are beloved, even so much as the fireplace, some people would say has a historical significance to the facility.

Residents and users of the facility said at Mondays meeting there were various issues with the Clark Building, including noise, trash, and difficulty in finding parking, that should be addressed.

Usually it's noise when there are loud parties, or trash we find in front of the Clark Building on both sides, said a neighbor about the building. That has always been a problem especially when there are private events. Sometimes they will clean up to a great degree and sometimes they won't.

Orta said input will be used to create a final design, which will eventually be presented to the Hermosa Beach City Council. Residents will be able to weigh in on the project at future meetings.

Orta said the tentative start for the project is summer or early fall 2021 with a goal of completion by the end of the year.

Our desire is to get it up and running as soon as possible, Orta said.

For more information on the project, visit hermosabeach.gov/clark.

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Hermosa Beach readies for major renovations to its Art Deco Clark Building - Beach Reporter

Shelter From The Storm / Holland Harvey Architects

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Text description provided by the architects. Shelter from the Storm is a London based homeless shelter that provides 42 beds, freshly cooked food and holistic support to its guests to help them reintegrate back into society. Shelter From The Storm (SFTS) approached us with a challenging site, a disused supermarket to be transformed into a permanent home for the charity. The brief was to re-provide the shelters current facilities that would open during the daytime as a new community caf to serve local residents. At the heart of this project are the people; in order to develop the design, it was fundamental to understand the mindset of a guest entering the shelter for the very first time.

Sensitivity, domesticity and warmth became driving principles. Whilst the caf has a large and open frontage, the shelter entrance is intended to be private and familiar, identifiable by a homely red front door. Upon arrival, guests are greeted with an entrance space that is domestic in scale with a smaller private room directly adjacent if needing to compose themselves before entering the shelter. As you move through the shelter, the scale of each space slowly increases, aiding a smooth transition to the open kitchen and dining area. Throughout the project, each detail was carefully considered ensuring robustness as well as dignity and a sense of ownership for the guests. Bedrooms and bathrooms are based upon typical domestic typologies. For example, sinks and mirrors are separate providing guests with something of their own within a communal space.

An essential part of our undertaking was to understand and respond to preconceived ideas around homelessness and the homeless. Our approach to this was to embed the idea of transparency into the scheme. This was achieved through the insertion of new windows and internal openings that allow views in, out and through the space. Similarly, the dual use of the shelter as a community caf aims to open up the shelter to the wider community. By inviting the general public into the shelter, they are simultaneously invited into the debate about how to demystify homelessness.

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Shelter From The Storm / Holland Harvey Architects - ArchDaily

Increased car and foot traffic coupled with rising sea levels have driven parts of the Tidal Basin area underwater. Sam Kittner/Tidal Basin Ideas Lab hide caption

Increased car and foot traffic coupled with rising sea levels have driven parts of the Tidal Basin area underwater.

Five landscape architects unveiled proposals Wednesday to save the sinking Tidal Basin on the National Mall in Washington, D.C. The plans run the gamut from a conservative approach to radical reimaginings.

The Tidal Basin connects centuries of American history and includes memorials to Thomas Jefferson, Franklin Delano Roosevelt and Martin Luther King Jr. Some 1.5 million people walk along the basin's rim during the annual Cherry Blossom Festival each spring. But with increased car and foot traffic, the ground underneath is dipping. As sea levels rise, the walkways flood daily.

A walkway at the Tidal Basin is covered with water. Elizabeth Blair/NPR hide caption

A walkway at the Tidal Basin is covered with water.

"After 130-some years, we've got pathways that are too narrow," says Teresa Durkin, executive vice president at the Trust for the National Mall. As a result, visitors are forced onto the grassy areas. "The trees get trampled," says Durkin. "The trees get flooded with the brackish water from the flooding. So there's a myriad of issues and problems here."

Sensing the urgency, the National Trust for Historic Preservation, Trust for The National Mall and National Park Service joined forces last year to create the Tidal Basin Ideas Lab.

Five leading landscape architects DLANDstudio, GGN, Hood Design Studio, James Corner Field Operations and Reed Hilderbrand agreed to come up with proposals that would rescue the vast land and waterscape. The firms were paid modest fees through a $750,000 grant from American Express. American Express is also an NPR sponsor.

While their aesthetic philosophies differ, each proposal addresses the very real ecological challenges.

"Let the waters be free," writes Walter Hood in his proposal. "It could start with living in a wetland rather than draining it." Hood, whose Hood Design Studio is based in Oakland, Calif., also calls for "a prophetic aesthetic ... that is really telling the truth about a place." He envisions, for example, "replacing the classical design of the romantic and baroque with other stories embedded in the American landscape and integrates storytelling around Hush Harbors, antebellum places where African American slaves went to practice their religion at Potomac Plantations."

In one of the possible future design scenarios presented by James Cormer Field Operations, nature would take its course, and a walkway would be built around the Tidal Basin for visitors to observe. James Corner Field Operations/Tidal Basin Ideas Lab hide caption

In one of the possible future design scenarios presented by James Cormer Field Operations, nature would take its course, and a walkway would be built around the Tidal Basin for visitors to observe.

Kathryn Gustafson of the Seattle-based firm GGN takes a measured approach. "Making small changes now will buy us time for the long process of getting projects built in D.C.," Gustafson says in her video presentation. "Then our design can adapt and evolve over time as we gain new knowledge." She also points out that the Tidal Basin hasn't "ever been looked at as an ecological whole." The GGN plan introduces new "flood plain forests" that would "slow flood waters while fitting into the national capital aesthetic." She continues, "We want the environment of the Potomac River to be part of this, allow a certain amount of flooding to come in to introduce the new ecology, but still preserving major cultural institutions."

In a proposal that might make historic preservationists tremble, James Corner introduces a scenario he calls "create entropy or create the inevitability of flooding, decline and decay." In other words, let nature take its course. Corner's New York-based Field Operations envisions an "elevated circular walk" where visitors can view monuments that would inevitably become ruins. "The monuments in this scenario will gracefully age and decay, melancholia prevails, sitting as entropic ruins, a natural time where daily flooding is absorbed as part of nature's cycle," Corner says in his presentation.

The Tidal Basin was built in the 1880s to solve flooding (ironically). According to the National Park Service, the reservoir was built "to harness the power of the tides in the Potomac River to flush silt and sediment from the Washington Channel."

Looking out over the Tidal Basin from the steps of the Jefferson Memorial, Durkin explains that to create the land on which we're standing, "Everything west of the Washington Monument was filled in. The Potomac River was actually filled in." If the Tidal Basin hadn't been built, "we would be standing in the Potomac River right now," Durkin says with a laugh.

GGN imagines a plan in which the Tidal Basin would be monitored and adjustments like, perhaps, a walkway over marshy waters made over the rest of this century. GGN/Tidal Basin Ideas Lab hide caption

It does make you wonder what early Washington architects were thinking. James Corner says that looking at historic maps of the capital, you can see that "the National Mall is actually on the old mouth of what was the Tiber Creek as it met the Potomac. And most of that land was marshland and mud. Very, very low lying land and, of course, subject to flooding."

The Tidal Basin Ideas Lab is not a design competition but rather, says Durkin, "a creative collaboration of the best minds that we could bring to the table." The goal is to foster conversation with architects, designers, urban planners, environmentalists and the general public.

Katherine Malone-France, chief preservation officer of the National Trust for Historic Preservation, says that during the pandemic, she and her colleagues have been struck by "how much people are interested in engaging with places digitally." She hopes people will ask tough questions. "Should we move the cherry blossoms? What would be the best way to circulate around the Tidal Basin?"

As part of its design package, Reed Hilderbrand imagines a "pedestrian bridge that draws the geometry of the city into the park." Reed Hilderbrand/Tidal Basin Ideas Lab hide caption

As part of its design package, Reed Hilderbrand imagines a "pedestrian bridge that draws the geometry of the city into the park."

There isn't much time to waste. According to the Tidal Basin Ideas Lab, "the cherry trees in the grove gifted to the U.S. by Japan stand daily in 3 feet of water at high tide. By 2040, the Jefferson Memorial is projected to be submerged daily in 4 feet of water; by 2070, the MLK Jr. Memorial in 6 feet of water at high tide; and by 2100, they will likely stand in 9 feet of water under the same conditions."

"This isn't something that we're looking out for in 10 or 50 years' time," says Corner. "It's already with us. And so how we address it now is critical ... not simply as a Band-Aid but as something that can be truly transformative and become a legacy for future generations."

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The National Mall Tidal Basin Is Sinking; Experts Unveil Solutions - NPR

The Quayside is an innovative, mixed-use development that promotes a healthy work-life balance with dining, entertainment and relaxation in the heart of Kowloon East, Hong Kongs CBD2. The CBD2 is envisioned as Hong Kongs largest commercial district, overtaking the existing CBD on Hong Kong Island. As a whole, CBD2 will ultimately double the current size of the Central Business District in terms of commercial floorspace.As a development project that fits into the governments plan to establish Kowloon East as a smart city pilot site, The Quayside is packed with sustainable, high-tech features. Here, work-life balance is not merely a utopian concept, its an approach that shapes every aspect of the project by CL3 Architects, from planning to operation, to create an efficient, eco-friendly and healthy commercial and living space for users and occupants, as well as residents of the Kowloon East district.The development is integrated into a convenient and accessible network, where streets and public transport are linked with pedestrian walkways and cycling tracks. This enables users to make the most of sustainable mobility, and the whole community to enjoy leisurely moments with a stroll or a bike ride along a scenic waterfront that inspires innovation and creativity. This goes towards making The Quayside the incarnation of sustainability and wellbeing, where innovative elements of greenery relieve the monotony of the typical concrete and steel commercial buildings A passive solar design with brise-soleil filters heat around the perimeter of the building. At the same time, the third level 4,300m podium garden boasts a jogging path with views of the sea, one of the standout elements of this project that contributed to its WELL-CS gold pre-certification. WELL certification includes the concepts of air, water, nourishment, light, movement, thermal comfort and mind to achieve a healthy workplace amidst a stark, industrial backdrop that is undergoing massive change.The project by CL3 Architects extends from the office lobby on the ground level to retail on the first and second levels. It culminates in the already mentioned large green podium on the third level, with a grand spiral staircase leading up to it. The architects created circular openings to visually connect and integrate the various functions on different levels.In addition to WELL GOLD pre-certification, The Quayside also received LEED Platinum certification and BEAM Plus Platinum rating. BEAM (Building Environmental Assessment Method) is the Hong Kong rating tool for green buildings. It is a voluntary private sector initiative conceived in 1996, that has developed into an internationally recognised suite of rating tools for green buildings. It provides guidance and options for building owners and developers to plan, build and create a green building with a lower environmental impact than a comparable code building.With The Quayside, CL3 Architects created a new, cutting-edge, smart complex with a green heart that runs through every indoor and outdoor environment, with great style and harmony.

Christiane Brklein

Interior Design Firm: CL3 Architects Limited (https://www.cl3.com/)Designers: William Lim, ClintonTsoi, Howard ManProject Location: Kwun Tong, Kowloon, Hong KongSite Area: 6,843mCompletion Time: July 2019Photographers: Nirut Benjabanpot, Kris Provoost

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Living well and living green The Quayside by CL3 Architects | Livegreenblog - Floornature.com

Landscape Architects of Color on How to Combat Erasure

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Over two days, approximately 500 online participants together set the agenda, formed and dissolved discussion groups, and shared knowledge and resources. With the assistance of an open space facilitator, this is how Cut|Fill, a virtual "unconference on landscape architecture, unfolded.

Organized by the Urban Studio and Ink Landscape Architects, Cut|Fill was meant to raise questions we all want to discuss, explained Andrew Sargeant, ASLA, a founder of Urban Studio. One of those important questions: how can landscape architects design with empathy and end dismissive behavior towards people of color?

The goal of these questions was to get designers to think harder about how to stop intentionally or unintentionally erasing communities of color, which are often purposefully made invisible, and instead get them to truly see these communities, co-design with them, and empower them.

Imagine the place you love is erased. This has happened to people of color for generations, said Justin Garrett Moore, executive director of the New York City Public Design Commission, during the opening panel. Moore said that erasure, which has taken the form of urban renewal, displacement, and gentrification over the past few decades, takes work. Some groups of people need to invest time and money to make a community disappear.

He also spoke of the pain of feeling personally erased. A video was produced of a planning and design panel he was on with a number of white speakers. The organizers cropped the video so only the white panelists remained. It took work to do that it was done with intention. He called these erasures, both personal and communal, death by a thousand cuts.

For Maria Arquero de Alarcon, an associate professor of architecture and urban and regional planning at the University of Michigan, erasures of communities can be combated through new ways of teaching planning and design. One important methodology is co-creating and co-producing knowledge together in spaces of inclusion. Online technologies also now offer opportunities to become radically inclusive with marginalized communities.

In many places, erasure has been happening for many generations, but there are cultural remnants if you know how to see. For example, there is so much of Africa in the landscape of South Carolina, commented Austin Allen, a founder of DesignJones, LLC and associate professor of landscape architecture practice at the University of Texas at Arlington. Slaves brought from Africa also brought their rice farming knowledge, which shaped the southern American landscape. Allen said landscape architect Frederick Law Olmsted, on his tour of the South, traveled through South Carolinas rice plantations and wondered, what is this place?

Despite erasures, the legacy of marginalized peoples remains waiting to be rediscovered. Allen said this upcoming generation of landscape architecture students is exploring intersectional issues related to race, landscape, and memory with a new level of openness.

In the next panel, the discussion moved from erasure and invisibility to empowerment.

If you inhabit a black body or are disabled, you are so invisible. That is until youre not. In an instant, anything you do can be the focus of critical feedback. You could be eating skittles or going on a jog and be made very visible, explained Tamika Butler, director of planning in California and director of equity and inclusion with Toole Design Group.

She added that Black people are used to sliding in and out of a space invisibly, but to stay where we are, we need to claim space.

For Ulysses Sean Vance, an associate professor of architecture at Temple University, who focuses on universal and inclusive design, the planning and design world has created massive voids of erasure. Too often, involvement is done to a community; engagement is done to them. He added that places that experienced generations of erasure arent ruins, but places to be inhabited and re-inhabited.

In these communities, we can instead intentionally unbuild disenfranchisement. To accomplish this, communities must be real participants in the planning and design process, and their input must be reflected in outcomes. Through inclusive processes, the feeling of being invisible and marginalized can be overcome, and people can feel comfortable and confident.

Butler elaborated on the concept of intersectionality, which came up a lot during Cut|Fill and is a key framework for creating more empowered visibility. On streets, intersections are where conflict, friction, and struggle happen. If there is a poorly designed street intersection that is leading to pedestrian deaths, we arent like, this is just too complicated. No, we go in and solve the problem. To solve intersectional social and environmental justice issues, diverse designers and planners need to create brave spaces, not safe spaces that open up the difficult conversations.

Architect Steven Lewis, a principal at ZGF, offered a meaningful perspective on the entire discussion. There is self-realization as a young Black person that jars you. You realize you are not like the white characters you watch on TV. You become aware that you are different. You realize that there is a parallel Black universe and you now need to navigate between white and Black universes.

George Floyds death created a wormhole in which everyone was sucked into the Black universe, Lewis said. The walls crumbled, and were all in one place right now. (Butler added that constantly transitioning between these two universes can be exhausting. We are tired and can make some mistakes.)

While white people have work to do and need to become comfortable with being uncomfortable, Black people can be sherpas or guides in the Black universe, Lewis said. If white people have their hearts in the right place, we can be patient and loving.

He believes empathy and caring can lead to learned and gained familiarity and then love for each other. But he cautioned that this process of developing empathy and understanding requires life-long effort; there is no quick prophylactic or therapy.

This article was originally published as "Designers of Color on How to Combat Erasure" on The Dirt. Also, we invite you to check out ArchDaily's coverage related to Architecture and Race.

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Landscape Architects of Color on How to Combat Erasure - ArchDaily

Its been nearly two years since we last heard new music from Architects. Now, they are back with their hard-hitting new single Animals.

As well, Architects have subtly confirmed their next album is on the way.

2018s Holy Hell was a true triumph for Architects. Featuring hits such as Doomsday, Hereafter and Royal Beggars, the album marked an evolutionary period for the band following 2016s All Our Gods Have Abandoned Us.

Now, Architects are back after nearly two years with their surprise new single Animals, which highlights the existential crises we deal with in life. Architects have also dropped an ominous video, directed by drummer DanSearle, for the new single which truly showcases their growth and creative development as a band.

Were just a bunch of fucking animals, Sam Carter sings on the new track. But were afraid of the outcome. Dont cry to me because the fiction that were living in says I should pull the pin.

Eagle-eyed fans seem to have spotted a major hint about Architects forthcoming album. Although no release date for the LP has been shared yet, fans spotted the albums title in the videos metadata.

According to the video information, Architects next album is called For Those That Wish To Exist. Along with the speculated new album and Animals, the band also recently dropped some new merch for this next era.

Fans last heard new music from the band last year when they released an acoustic version of A Wasted Hymn which appears on Holy Hell. As well, they also put out two Spotify singles in 2019 that were recorded at the historic Abbey Road Studios in London.

Animals is available to stream below.

What are your thoughts on the new Architects single? Let us know in the comments below.

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See Architects return in the ominous new video for Animals - Alternative Press

Architects have announced that they will play a special livestream show from the Royal Albert Hall in London next month.

The news comes after the five-piece announced yesterday (October 21) that their latest album For Those That Wish To Exist will arrive on February 26, 2021.

Architects will perform in the Royal Albert Hall on November 21, with the show set to screened around the world via the streaming service Veeps.

Tickets to access the Architects livestream will go on sale tomorrow (October 23) at 9am from here.

Architects (Picture: Ed Mason)

Architects new album is their first since 2018s Holy Hell, and the record was previewed earlier this week by the release of its lead single Animals.

Speaking about For Those That Wish To Exist, the bands Dan Searle explained that this album was me looking at our inability to change to a way of life that would sustain the human race and save the planet.

I wanted to look in the mirror and ask ourselves the question of what are we going to do, as opposed to trying to point the finger at politicians. Change has to start on a personal level. The world has developed a culture of wanting someone else to deal with it, when we need to take our own responsibility. It has to start there.

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Architects announce special livestream show from the Royal Albert Hall - NME

The new Winter Visual Arts Building at Franklin & Marshall College was envisioned as a pavilion on the park by Steven Holl Architects (SHA). Rising between canopies of old-growth trees and their driplines in south-central Pennsylvania, the art center seemingly floats above the landscape of the campus and Buchanan Park. The 32,000-square-foot project is wrapped in SHAs signature translucent channel glass to provide an ethereal illumination for art students.

Housing galleries managed by the Phillips Museum of Art, the project also includes a cinema, classrooms, film production spaces and teaching studios for the Art, Art History, and Film departments. A gradual exterior ramp connects from the campus Old Main axis to a second-floor entrance in the new building. On the ground floor, the building opens up to the surrounding community of Lancaster with both a forum space and suite of galleries for art exhibitions. This design was made possible through a lightweight, two-story box-kite steel frame where the entire roof structure is exposed. Overhead, tongue-and-groove Douglas fir planks and operable skylights bring natural light and warmth into the common spaces and studios.

The star of the Visual Arts Building is its luminous concave facades. Glass covers more than 70 percent of the building envelope, and the design was realized through channel and structural glass systems, as well as a recycled glass aggregate envelope. The suspended structure features cantilevered trusses with 16-foot-tall structural glass units manufactured in Poland. As the first building on campus thats naturally ventilated during mild seasons, the project was made with an insulated envelope working alongside geothermal heating and cooling to reduce overall energy demand.

The arts center utilizes a two-layer U-plank system that has never been done before. Instead of traditional interlocking U shaped glass, the facade is composed of two U-Plank extrusions in which the cavity between them is filled with Okalux translucent insulation. The result is 19 percent light transmission for the studios and a high thermal performance that minimizes heat gain in the summer and harnesses solar gain to reduce heat loss in winter. In turn, low-level site lighting is provided by the spill from the buildings interior lighting where more than 75 percent of spaces are daylit. Balancing form and enclosure, the Visual Arts Building becomes a new campus destination for students with space to gather, learn and grow through the universal language of art.

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Steven Holl Architects's scalloped Winter Visual Arts Building showcases the first-ever two layer, u-plank facade - The Architect's Newspaper

AIANY Calls on American Architects to Stop Designing Unjust Spaces of Incarceration

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The Board of Directors of AIA New York has recently released a statement discouraging the design of criminal justice facilities that uphold the current system. Taking a stand against designing unjust, cruel, and harmful spaces of incarceration, AIA NY solicited architects to reflect on the broader social implications of their work.

Stating that for too long, architects have been complicit in upholding intrinsic racism within the American criminal justice system [] good design alone is not enough to remove or overcome the racism inherent within the criminal justice system, the AIA NY is taking actionable steps to address the current situation. Noting that architects are not responsible to alleviate an unfair structure and that it is beyond their scope of work, the Board of Directors has called upon American professionals of the field to no longer design unjust, cruel or harmful spaces of incarceration within the current United States [] such as prisons, jails, detention centers, and police stations.

We [] urge our members to shift their efforts towards supporting the creation of new systems, processes, and typologies based on prison reform, alternatives to imprisonment, and restorative justice. -- AIA New York.

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The decision, effective until more comprehensive policy changes are made on a national scale, the application of the law occurs without racial bias, is completed with several initiatives by AIA New York. The measures will include examining architectures role in the criminal justice system, limiting construction of new criminal justice facilities, focusing on large-scale justice issues, advocating the cause so that fellow chapters adopt similar positions, etc. Read more on the AIA NYs policy here and discover AIAs code of Ethics and Professional Conduct here.

While we recognize that the United States is not the only country with a flawed justice system and that architects have been complicit in bias and mistreatment abroad as well, we hope these changes in chapter policy will further advance racial justice within our city, state, and country. -- AIA New York.

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AIANY Calls on American Architects to Stop Designing Unjust Spaces of Incarceration - ArchDaily