Tag: hanrahan meyers

hMa Recommends: ARNO GIL MÜLLER NEUMANN SCHUMACHER – Modular collaboration for Eyebeam’s Main Space: Opening reception: May 10, 2012 6PM

May 10th, 2012

exhibition diagram from from www.eyebeam.org

ARNO GIL MÜLLER NEUMANN SCHUMACHER – Modular collaboration for Eyebeam's Main Space

Opening reception: May 10, 2012 6PM*
Open to the public: May 11-12, 12PM-6PM
EYEBEAM @ 540 W. 21st Street, New York, NY 10011

Within this collaboration, its participants develop and experiment with a hybrid between sound installation and live performance in Eyebeam's Main Space. Some elements happen in real-time, others are programmed or generated algorithmically. The participants engage in a process of systemic composition, which uses the space as an instrument, encouraging a “topological listening” practice. "Topological listening'" means that there is no focus on sound elements themselves, rather, sounds call attention to the potential for meaning in their relationships to each other, to the space and to the individual listeners engaging with them. A collaborative approach to creating these environments highlights complex interconnections which can hardly be reduced to a single narrative.

Participants:

GILL ARNO (small sound sources as localized islets; and subjective documentation through recordings made by the audience)

WOLFGANG GIL (spectral response, custom spectrum analysis/synthesis software),

CORNELIA FREDERIKE MÜLLER (individual space, headphone sculptures),

DANIEL NEUMANN (feedback apparatus consisting of multiple microphones, filters and delays, as well as large speakers and speaker objects),

MICHAEL J. SCHUMACHER (live response, guitar/synthesizer processed through custom multi-channel sound system)

*(Opening reception is in conjunction with http://eyebeam.org/events/exhibition-wired-frames)

Bios:

GILL ARNO was born in Italy, where he studied art and typography before moving to New York in 1997. His current work includes video, photography, print, sound recording and composition, installations and live performance.

In the project mpld old modified slide projectors are used in a live setting. Static images from found slides become pulsating and fade one into another, while the projectors' mechanical sounds are tapped and processed to reveal their musical possibilities.

Arnò often collaborates on- and off-stage with other artists. He publishes books, recordings and other multiples via his own imprint, unframed, and runs Fotofono, a small studio in Brooklyn where sometimes public events are held.

http://m-i-c-r-o.net/

WOLFGANG GIL is a New York-based Venezuelan sound artist using computer-generated sound and multichannel speaker systems to facilitate the creation of sonic environments. Gil’s aesthetic emphasizes the idea of a sonic environment and its physical correlation to sound, architecture, and audience. More specifically, he is interested in the transformation of sound as a direct consequence of architecture, as well as how audience members transform the sound by their physical presence inside the sonic environment. Gil has presented work in venues such as Diapason Gallery (Brooklyn, NY), Issue Project Room (Brooklyn, NY), the XXI Subtropics Biennial (Miami, Fl), and the Organización Nelson Garrido (Caracas, Venezuela).

For more info please visit http://www.wolfganggil.com/

CORNELIA FREDERIKE MÜLLER

Cornelia Friederike Müller aka CFM ist bildende Künstlerin und Soundkünstlerin, sie lebt und arbeitet in Leipzig.

Nach dem Studium der Philosophie und Psychologie, wandte sie sich als DJ, Redakteurin und Veranstalterin, während ihres Medienkunststudiums, intensiv der elektronischen Musik zu.

Seit 2002 produziert sie Musik, basierend auf Samples von Feldaufnahmen und dem Spiel auf der Midi-Klaviatur, die zum einen als melodische Minimal Music charakterisiert, zum anderen am besten als experimentelle Soundscapes oder Scores bezeichnet wird.

Als Künstlerin im Bereich Konzept-Kunst, schafft sie Objekte, (Klang-)Bilder und Installationen, die häufig gewohnte Sichtweisen, Begriffe und Zusammenhänge des gesellschaftlichen Lebens hinterfragen oder auch die Poesie des Alltäglichen aufspüren.

Das Hörspiel „Die Sicherheit einer geschlossenen Fahrgastzelle“, wofür sie die Musik komponierte, erhielt 2010 den Deutschen Hörspielpreis, den Hörspielpreis der Kriegsblinden und den Online Award der ARD.

CFM arbeitet/e mit FZML, Hof Klang, Gewandhaus zu Leipzig, Heike Hennig & Co, Hörbild Verlag Berlin, Kammerakademie Potsdam, Bühnen der Stadt Gera, MDR Figaro, Theater in der Josefstadt Wien, Bless Showroom Milano und veröffentlichte DJ Mixes, Remixes und eigene Tracks bei, Doxa Records, tellerrandmusik und nowthatiam.

http://www.corneliafriederikemueller.de/about-connie-muller/

DANIEL NEUMANN is a Brooklyn-based sound artist and audio engineer, originally from Leipzig, Germany. In Leipzig, besides getting his degree in media art at the Academy of Visual Art, he co-organized ‘AlulaTonSerien’, a platform for sound art and electro-acoustic music that featured concerts, workshops, soundwalks, CD releases and a radio show. He also studied electronic music composition under Emanuelle Casale in Catania, Sicily.

In his artistic practice he is using conceptual and mostly collaborative strategies to explore sound and sound material and it's modulation through space and media. Pieces are developed in different formats and variations as ongoing processes, which can result in performances, installations, or radio shows amongst others. The leitmotif for these processes is the development of a poetry of the fragile, and a skepticism towards demonstrations of power. Impermanence is understood as temporal fragility. For his collaborative practice Daniel coined the term ‘modular collaboration’, which describes a non-hierarchical and decentralized form of organization, where collaborators interact as equals. Context and site are important parameters and often used as a starting point.

MICHAEL J. SCHUMACHER is a composer, performer and installation artist based in New York City.

He works predominantly with electronic and digital media, making computer generated sound environments that evolve continuously for long time periods. In their realization, Schumacher uses multiple speaker configurations that relate the sounds of the installation to the architecture of the exhibition space. Architectural and acoustical considerations thereby become basic structural elements.

Schumacher was recently the Edgard Varèse guest professor at Berlin’s Technical University. While in Europe he had exhibitions at Q02 in Brussels, The Hermitage in St. Petersburg and at Ultraschall Festival in Berlin. Recent publications include a shared LP (with Jerome Noetinger) released by Entr’acte of London and a CD, and “Weave” also on Entr’acte. XI Records has published a DVD set of five sound installations as computer applications, playable on up to eight speakers, which may be installed on a computer to create sound environments in the home. Schumacher’s latest project is the band “Else” with Timur Yusef, drums and Nisi Jacobs, bass.

www.michaeljschumacher.com

www.diapasongallery.org
hMa Recommends David Teeple: Dialogue with a Collection “Thinking Water: Poetry Systems and Politics” at the University Museum of Contemporary Art

February 14th, 2012

David Teeple: Dialogue with a Collection "Thinking Water: Poetry, Systems and Politics"
February 1 – March 16
Tuesday – Friday, 11:00 AM – 4:30 PM, Saturday/Sunday 2 – 5 PM Closed Mondays and Spring Break
free

University Museum of Contemporary Art
Fine Arts Center University of Massachusetts
Amherst, MA 01003

Exhibition view: David Teeple "Mississippi River with Border, Farms and Triangles", 2012

This exhibition is a series of exhibitions at the University Museum of Contemporary Art in which artists are invited to integrate their own works with pieces they select from the museum's works-on-paper collection, which includes over 2600 contemporary prints, drawings, and photographs. It features work by David Teeple alongside works he has selected and placed in direct dialogue with his own sculptures and works on paper.

Exhibition view: (L) David Teeple "Mississippi / Louisiana Border 2", 2010 (R) David Teeple " Verb/Noun List – Emotions", 2012

Teeple’s works will reference rivers, aquifers and the hydrologic cycle in context to systems of economy, society, nature and science. It will include the construction of glass tanks containing water, video images, sculptural pieces derived from bathymetry, vector drawings based on satellite imagery, and laser cut objects. Moreover, the exhibition will include paintings and silk-screens of river systems to create interwoven patterns and structures.

David Teeple has been a practicing artist since 1980, and has created dozens of mid- and large-scale projects. His work can be found in public, private, and corporate collections both nationally and internationally. From 1996 until 2008 he was founder and president of Atelier Lumiere Inc., an art and architectural design, consulting, fabrication and installation firm. Teeple’s most recent work, Water Music, spans a rail-road bridge in downtown Northampton, MA.

Related Event:
March 2, 7 PM – Walking Water, a performance by David Teeple and seminal Fluxus work Drip Music by George Brecht, performed by members of Switch.

http://www.davidteeple.com
hMa Recommends NYT : A Master of the Stone Wall Discusses the Perfect Fit

August 16th, 2011

photo of Andrew Pighills: Suzanne DeChillo/The New York Times

Here is an excerpt from the article:

"Andrew Pighills has devoted much of his life to stone walls. He began building them as a boy, on his father’s farm in the Yorkshire Dales, in north England. Now, at 56, he is the North American representative of the Dry Stone Walling Association of Great Britain, a group dedicated to the art and preservation of dry laid stone.

“A dry stone wall is a wall built without mortar,” he said. Unlike a mortared wall, which those in his profession refer to as a “wet wall,” he said, “only two things hold a dry stone wall together: gravity and friction.”

Mr. Pighills, who lives in southeast Connecticut, creates landscapes of garden and stone for private and public clients and teaches walling at workshops throughout New England. We spoke with him about his work.

Why did you start building stone walls?

I am the son of a farmer, and I had to build walls to retain the stock on the property. And having had to do it, I found that not only was I good at it, but I also enjoyed it.

What brought you to this country?

I came over to visit a friend, literally for a couple of weeks, and he said, “Oh, no, you should stay at least a month or more.” So I asked him if he knew anybody who might like some stonework done, to pay my way, and he put me through to a gentleman who had quite a large property. I did maybe a week’s work for him. He invited me back the following year to repair all the walls on his property, and while I was there I met my now-wife and eventually moved over here to live full time.

You hold workshops in New England, where there are lots of stone walls. Why is that?

The original walls were nothing more than a heap of stone that was cleared from the land so farmers could plant; they’re what I call clearance walls. Then they became boundaries. Farmers would build a little better than clearance walls to retain the stock, and then, as farming became more profitable and farmers had a little more time — it was probably second or third generation before they got to this stage — they started building actual walls. If you walk through the woods in New England, you will see all three types.

Click here to read the article in full on nytimes.com

Below are two views of hMa's Holley House in Garrison, New York, which incorporates an existing dry stone wall into its minimalist tableau. The house design features two stone landscape walls that grow out of the ground plane. To either side of this three-dimensional occupied wall, pavilions project into the landscape. The house is designed as an atmosphere of nature: the ancient stone wall in the landscape becomes a centering device for dwelling.

Holley House, photo by Michael Moran

stone wall at Holley House click here to see more photos of Holley House on hanrahanmeyers.com
hMa Recommends NYT : A Master of the Stone Wall Discusses the Perfect Fit

August 16th, 2011

photo of Andrew Pighills: Suzanne DeChillo/The New York Times

Here is an excerpt from the article:

"Andrew Pighills has devoted much of his life to stone walls. He began building them as a boy, on his father’s farm in the Yorkshire Dales, in north England. Now, at 56, he is the North American representative of the Dry Stone Walling Association of Great Britain, a group dedicated to the art and preservation of dry laid stone.

“A dry stone wall is a wall built without mortar,” he said. Unlike a mortared wall, which those in his profession refer to as a “wet wall,” he said, “only two things hold a dry stone wall together: gravity and friction.”

Mr. Pighills, who lives in southeast Connecticut, creates landscapes of garden and stone for private and public clients and teaches walling at workshops throughout New England. We spoke with him about his work.

Why did you start building stone walls?

I am the son of a farmer, and I had to build walls to retain the stock on the property. And having had to do it, I found that not only was I good at it, but I also enjoyed it.

What brought you to this country?

I came over to visit a friend, literally for a couple of weeks, and he said, “Oh, no, you should stay at least a month or more.” So I asked him if he knew anybody who might like some stonework done, to pay my way, and he put me through to a gentleman who had quite a large property. I did maybe a week’s work for him. He invited me back the following year to repair all the walls on his property, and while I was there I met my now-wife and eventually moved over here to live full time.

You hold workshops in New England, where there are lots of stone walls. Why is that?

The original walls were nothing more than a heap of stone that was cleared from the land so farmers could plant; they’re what I call clearance walls. Then they became boundaries. Farmers would build a little better than clearance walls to retain the stock, and then, as farming became more profitable and farmers had a little more time — it was probably second or third generation before they got to this stage — they started building actual walls. If you walk through the woods in New England, you will see all three types.

Click here to read the article in full on nytimes.com

Below are two views of hMa's Holley House in Garrison, New York, which incorporates an existing dry stone wall into its minimalist tableau. The house design features two stone landscape walls that grow out of the ground plane. To either side of this three-dimensional occupied wall, pavilions project into the landscape. The house is designed as an atmosphere of nature: the ancient stone wall in the landscape becomes a centering device for dwelling.

Holley House, photo by Michael Moran

stone wall at Holley House click here to see more photos of Holley House on hanrahanmeyers.com
Happy New Year 2011!from hanrahanMeyers architects to you

January 5th, 2011

2010
What we did:

Infinity Chapel
Grand Opening July 2010
2010 Honor Award Faith & Form Magazine

Won Buddhist Center
2010 Design Award Faith & Form Magazine

Amrhein / Swenson Bridge-Studio
Easton, PA

Digital Water Pavilion (DWiP)
Featured article for Platinum LEED design, Dec 7 2010 New York Post
The Education of the Architect: Bio-morphism vs. Anthropomorphism

January 5th, 2010

Holley House by hanrahan Meyers architects: bio-morphic design: bringing outside inside and using glass to connect interior to the exterior space. built using sustainable, local materials

ON THE EDUCATION OF THE ARCHITECT

This past December I sat on juries at a few different schools of architecture, a bi-annual rite of passage that happens across the country in December and again in May. For those who never studied architecture, this bi-annual event is a time of maximum anticipation and anxiety for students of architecture, when they are all required to withstand the rigours of a ritual not unlike defending a Ph.D.

After a full semester of sorting through issues of an investigation set by a studio critic – either a life-long academician, or a practicing architect who has chosen to return to academia for a semester or two of intellectual renewal – students are required to draw up a building based on a program and site, and defend their designs. Inevitably, after visiting these reviews, visitors leave with a profound appreciation for a younger generation of architects coming through the ranks.

As I visited various programs and studios, what struck me was the work of one student who had chosen a highly anthropomorphic language of design. For me it was a non-starter from the get-go, and I had to recuse myself from the discussion.

left: a biomorphic airplane design; right: Philip Johnson’s AT&T Building in midtown Manhattan

For me, anthropomorphism in design (not to be confused with bio-morphism – an area of research that hMa endorses and pursues in their work) is akin to religious fundamentalism. That sort of design takes me back to Post-Modernism and its worst sins against intelligent design.

For the general public who may not remember post-modernism or know what this refers to, this was a sad period of design that dominated architecture during the 1970’s and 80’s. It was a sad, disconnected period of design wherein the practitioners inveighed in highly emotional terms for a return to Renaissance and Baroque inspired decorative elements on buildings, many of which were built out of a degraded material called ‘Dryvit’.

I still on occasion see buildings from this period (many of them have been torn down or remodeled), the saddest of which is the Portland Building, a building that resulted from a competition won by Michael Graves in the late 1970’s. At the Portland Building a decision was made – based on the post-modernist aesthetic in fashion at the time – to make the (already overly small) windows in the facade of Graves’ competition-winning building design – a very dark green tint. The result was (and is) not pretty. A multi-story monument to the foibles that architectural practitioners have and will fall prey to when they allow the language of academicians interested in aesthetic philosophies to lead their design thinking.

The Portland Building was built in 1980 with a facade ‘criticized for unpleasantness’. ‘The building’s failings are the subject of ..contempt by the civil servants who work there who describe it as cheaply built (ie: Dryvit) … and difficult to work in (because they can’t see out the tiny windows that are tinted almost black…).

For me – this period of design can be likened to the political extremism of religious fundamentalists. It’s an extremist point of view about design that comes out of an emotional and reactionary way of creating design, with no grounding in intelligent or rational thinking.

I view myself as a benign secular thinker and maker, and attempt to apply logical ideas and improvements to architecture. I’m not interested in architectural dogma. My interest – even when it’s aesthetically driven – relates back to abstract, non-anthropomorphic places of origination. By going to that place of formal origination it places my work within a mileau stripped of the baggage of humanist associations, and frees the work to incorporate sustainable design forms and materials.

I started my practice in architecture as an engineer, after growing up reading and believing the writings of Frank Lloyd Wright, my hero. I had the fortune or handicap of knowing who and what I wanted to do and be from the time I could speak. I announced that I was going to be ‘an architect’ by the time I was 5 years old. I collected and read through the writings of Wright, the most famous architect when I was growing up, and it was through Wright that I determined how I would pursue my architectural education. Wright never went to architecture school but instead graduated from an engineering program because he was convinced that schools of architecture were places of brain-washing, and not very good at educating future architects. Following in Wright’s footsteps, my undergraduate degree was in Civil Engineering / Art History.

Which takes me back to my experience at the recent reviews and my reaction to that anthropomorphic project.

left: Frank Lloyd Wright’s Fallingwater, a building floated over water
right: hanrahan Meyers architects’ Pratt Design Center, a building floated over the lobby below

For me, the strongest educational stance a student in architecture can take today is to leave the architecture studio, walk over to the engineering quad, and engage the engineers in a discourse around materiality, energy use, and ways that we might envision taking architecture toward a future that is moving – much like the car industry – toward a model based less on hype and fashion – and more on a maximization of sustainable techniques for energy use and materiality.

Whereas hMa will always support the intelligence of bio-morphic design – we oppose academic fashions whenever they rear their ugly heads and take charge of the field of architecture. When the academicians rule, there is no longer an appreciation for intelligent areas of investigation. Architects can and must lead the way into a sustainable future. This is my advice to the architecture students of today. Read widely, experience the world first-hand, and design environments that respect our limited resources.
Urban Reserve in the Wall Street Journal

June 16th, 2009

The following is from an article published
in the Wall Street Journal on 5/01/2009.

" Some residential suburban communities
insist on tiled roofs; others dictate color palettes and lot sizes. Often, the
goal is to capture the look of a time in the past, before modern living and
high housing costs changed tastes and materials.

But a small number of new developments is
taking the opposite tack. Here, buried amongst a middle-class community and
near the Central Expressway, is a street where the construction of Colonials
and Tudors is expressly forbidden. Even mid-century modern is considered passé.
"Make no mistake. It's a dictatorship and I make the rules," project
developer Diane Cheatham says half-jokingly.

The result is Urban Reserve, a 13-acre
development devoted to contemporary design. Pass a neighborhood of standard
issue brick tract ranches and turn onto Vanguard Way and suddenly one confronts
what looks like scene from a science fiction movie…." -written by Nancy Keates

Click here for the full article and slideshow at wsj.com

Top
left: Exterior of See-Thru House, hMa's design for the Urban Reserve
development. Above : Interior view, See-Thru House

Learn more about See-Thru House on hanrahanMeyers.com
Liz Gerring Dance Company : MONTAUK Feb 5th – 8th at Baryshnikov Arts Center

February 9th, 2009

Liz Gerring Dance Company
MONTAUK
Baryshnikov Arts Center
Howard Gilman Performance Space
450 West 37th Street (at 10th Ave.), NYC
February 5-8, 2009
Thu – Sat at 8:00 PM, Sun 3:00 PM matinee
Admission: $20 or $15 for students & seniors
Available from www.Smarttix.com, 212-868-4444
Tickets $10 at the door for dancers and musicians.

The Liz Gerring Dance Company presents the new work MONTAUK at Baryshnikov Arts Center, February 5-8, 2009. The work for dancers Elizabeth DeMent, Tony Neidenbach, Jessica Weiss & Liz Gerring features a score by composer Seth Nehil and set design by visual artist Vittoria Chierici.

Inspired by a memory of place, MONTAUK is a landscape unfolding between the grouping's of three dancers. The work is characterized by its demanding physicality and attention to detailed gesture, often derived from everyday experiences. Non-narrative, abstract and highly technical, at its core MONTAUK is based on the emotions derived from the evocation of a time and place, expressed through the relationship between dancers.

More information is available at www.lizgerringdance.org

Look for an interview with Liz Gerring as part of hMa's new "Cultural Conversations" video series. COMING SOON.

pictured are hMa's WaveLine (top) and Arts International Headquarters (bottom); both spaces were designed for arts presentations, including dance
Upcoming : hMa Spring Client Event

May 13th, 2008

PICTURED: JOE AMRHEIN'S WINKING ANACHRONISMS; COVER OF 'PIEROGI PRESS,' EDITED BY SUSAN SWENSON

hMa is hosting their third event for hMa clients. Selected clients are invited to hMa's office meet artists, artisans, and specialty consultants who collaborate on hMa projects. This soirée will feature painter Joe Amrhein and writer Susan Swenson who together own Pierogi Gallery in Brooklyn and a wine tasting featuring organic selections from Union Square Wines. Our in-house kitchen consultant Cara Fitzpatrick will prepare a selection of hors d'oevres.

Invitations are in the mail today, we hope you can join us!
hMa Home Design : Holley House Video Tourcontemporary residential architecture; minimalist architecture; green house design

October 22nd, 2007