DWi-P supports the pedestrian life of Lower Manhattan through sound and movement. DWi-P offers the sound of WaTER, supported by stairs, walkways, and ramps through a transparent community building that welcomes Lower Manhattan visitors to Battery Park City. Sound and a green roof permeated by stairs, ramps and walkways, link the Battery Park City Ballfields to North End Avenue through DWi-P’s WaTER façade: a unique digital artwork, activated through cellphone technologies.
DWi-P’s façade makes an edge to the Murray-Warren Passage, a new parkway link between Murray and Warren Streets. Visitors to DWi-P can walk along the Passage, adjacent to the inscribed score, or move up through the building, using exterior stairs and ramps built into the facade. hMa Principal Meyers catalogs DWi-P and hMa’s collaboration with composer M.J. Schumacher in her recently published book, Shape of Sound (May 2014, Artifice Books London).
DWi-P’s internal program continues the theme of water: the pool room and swim program are the principal program areas in the building. DWi-P is operated by Asphalt Green, an organization that specializes in teaching swimming. Graduates of the program have participated with U.S. Olympic Swim Teams. The program includes visits by previous Olympic team members.
Won Buddhist Retreat is another hMa project with Sound and Movement as part of an overall architectural program. The Won Buddhist Retreat emphasizes sound through a program where sound is programmed. The meditation hall is programmed for silence; other areas are designated for conversation.
At Won Buddhist Retreat, programmed movement is determined through walking paths, courtyards, and shaped roofs. Walking paths include predetermined paths through residential and public courtyards, for silent meditation; and nature paths through meadows, from the residential areas to the public domain of meditation hall and visitor’s center.
Won Buddhist Meditation Retreat’s porches suggest where public walking paths begin. Walking paths suggest mathematically deterministic movements within an open, natural environment. Won Buddhist Retreat presents ‘nature framed’ : an open-ended, natural environment, where subtle distinctions differentiate a series of shaped pathways.
The Oxford English Dictionary defines praxis as ‘that through which theory or philosophy is transformed into (a) practical… activity.’ In architecture, praxis refers to the practice of making buildings in critique with theory and the history of ideas. Praxis in architecture refers to a practice that builds with the integrity of theory behind every detail.
If you are an architect and practice, your work encompasses ideas, philosophies of making, and research. I separate the notion of a studio or atelier, from that of an ‘office’. An office references an architectural practice that intersects with commercial interests. Studio or atelier references a more elevated idea of practice as a philosophical and theoretical critique of building, or praxis.
Ring Collar: Investigation by Meyers. Signature is a mirror - homage to Leonardo da Vinci
As an architect who builds, teaches, writes, and produces art, I see architecture as a finely calibrated mirror. Architecture as praxis is akin to building the opposite side of our selves. By opposite, I refer to architecture as a critical operation: a mold or mask that allows us to see ourselves - as a reflection – similar to the ‘oppositional writing’ of Leonardo da Vinci. Architecture, by this definition, is similar to the butterfly’s cocoon or the Halloween reveler’s mask - a formal registration of our selves, at any given moment in time. By ‘selves’, I refer to the common identity of a larger group of citizens of a broader culture, and not to the singular person.
As a practitioner, I have an architectural practice, hMa, that is a reflection of my own mind, calibrated by a partner - Thomas Hanrahan – Dean of Pratt’s School of Architecture. I teach and am actively involved in architectural education. Until 2005 I was the core-coordinator at Columbia’s GSAPP; more recently I was the David Niland Chair at the University of Cincinnati; previously, I was a professor at Cornell’s School of Architecture.
Professional schools cannot operate successfully without architectural practitioners, both as part-time and tenured faculty – due to the necessary requirements of praxis. Without practicing architecture – it is impossible to understand how or what should be emphasized in the instruction of students of architecture. Praxis involves practice, teaching, and research.
Architects build things. Beyond studying the history of architecture, and doing an apprenticeship with a licensed architect, architects learn their craft by going into the field and making things. Architecture is critiqued in the public realm. Until a graduate of architecture has that experience, she or he cannot understand the process of praxis.
Architecture involves a series of mathematical equations that make space. At hMa (hanrahan Meyers architects), I have built projects, including Infinity Chapel, that reflect areas of human knowledge. Infinity Chapel presents a series of ideas about light, shadow, mathematics, and reflection. Mathematics and the properties of light include E = mc2, an equation that establishes equivalencies between mass, light, and energy.
At hMa’s Infinity Chapel, light-wells frame the walk from an entry at MacDougal Street, through a reading room, through a chapel, to an outdoor garden. Infinity Chapel’s light-wells are holes cut through the concrete floor, manifest as rectangular wood objects of varying heights and shapes at the ground-floor level of the building. The light-wells frame tubes of light that mark the path from street to garden. In the Sunday school below, light-wells appear as illuminated squares and lines in the ceiling. These reflect as formal figures of light on the floor.
hMa’s DWi-P, Digital Water i-Pavilion, is a community center in New York City, opposite the World Trade Center Memorial site. DWi-P is dedicated mostly to swimming, while offering a variety of other community activities. DWi-P’s largest public space is its pool room facing the exterior glass wall. The pools are also visible from a glass wall in the entry to DWi-P, one floor above. DWi-P’s main façade is a 550-foot long, transparent glass wall embedded with a frit pattern, representing a sound-score by New York composer Michael J. Schumacher: WaTER.
DWi-P is a building that unfolds and unravels into the landscape of Battery Park City through a series of ramps, stairs, and glass panels. The building’s roof is a public park with walkways and ramps that lead down to the Ballfields Park, east of the building. DWi-P’s east façade also faces the World Trade Center Memorial site, visible through its glass panels, etched with the Schumacher score.
Part of what defines us as humans is how we move our bodies through space. Contemporary marathons attest to the human capacity to out-run prey in the distant past, not by being faster, but by sustaining a slow, steady run, for days. There are connections for all of us, between walking, thinking, and speaking. As a species, we need to move through space to develop and maintain our brains. DWi-P and InfinityChapel facilitate walking, moving and thinking, through a sound-score at DWi-P, and through light at Infinity Chapel.
By understanding the human walk and limitations of movement, students learn how to detail and create space. The human walk has a certain length, width, and depth. These dimensions determine the basic aspects of building design, including the proper sizing of stairs, openings, and landings. It comes down to the scale of the human body. It sounds mundane; in reality, this is the basis of ephemeral creations, and praxis.
In addition to studies of human movement, light, and sound, hMa pursues the concept of ‘writing’ on/in buildings. Text on buildings captures ideas for future generations. The concept of ‘writing on the building’ partly determined the details of hMa’s glass wall at DWi-P, and the use of light at Infinity Chapel. hMa’s most recent application of writing on built form is a sculpture titled On-In Landscape: a collaboration with noted New York artist, Bruce Pearson. On-In Landscape is literally a constructed text by Pearson: Contains Real Hard Won Insight. hMa’s application of a sound-score to the façade at DWi-P, the use of light at InfinityChapel, and literal text in ‘On-In Landscape’, are examples of praxis.
hMa’s pursuit of praxis includes homage to the ideas of Marcel Duchamp and John Cage. hMa’s linkage between architecture and praxis includes musings on physics, time, and space, cataloged in my book, Designing with Light (DWL). DWL includes discussions with Harvard physicist Dr. Lene Hau whose ideas about light inspired Infinity Chapel. DWL pays homage to the oeuvre and writings of John Cage, Marcel Duchamp, and contemporary composers and artists, including Arvo Part.
Shape of Sound, published in 2014, chronicles hMa collaborations and discussions with sound artists and colleagues, including Stephen Vitiello, Eric Howeler, and Joao Onofre. Sound compositions, like architecture, reflect changing cultural memes. hMa uses sound, light, and text as secondary ‘mirrors’ - or filters - for the architectural process, and we see this also as part of our application of praxis to architecture.
The curriculum in schools of architecture lays the foundation for future architects. Praxis is an inherent aspect of the discussion within any architecture school. A depth of thinking and intellectual discourse acts as a scaffold for architectural education. Remove the practitioners or the theoreticians, and there is no praxis.
An abbreviated list of studios I have taught over the years cover topics investigated in hMa’s work: Line; Library of the Spoken Word; Time/ PassageWay; S o U n d. My design studio programs present a chronicle of ideas, tested in the academic environment, and applied in hMa’s design studio. For any architectural work to be a serious discourse, it must be pursued as praxis: built work, grounded in the history of ideas, theory, and philosophy.
I would like to end with a quote from a favorite poet, as we reflect on the notion of praxis, and how it relates to education and architectural practice:
‘Education is the ability to listen to almost anything without losing your temper, or your self-confidence.’ (Robert Frost).
I would also like to end by giving a special ‘thank you’ to Professor Mara Marcu, whose serious and astute study and production in architecture provides an excellent example of praxis.
and there is no praxis., The curriculum in schools of architecture lays the foundation for future architects. Praxis is an inherent aspect of the discussion within any architecture school. A depth of thinking and intellectual discourse acts as a scaffold for architectural education. Remove the practitioners or the theoreticians
Above: section - perspective through the facade of DWi-P: Digital Water i-Pavilion, by hMa. DWi-P takes on overtones of movement, thought, and time, and contemporary cell phone technologies.
Above: The facade of DWi-P. DWi-P: invisible buildings disappear as landscape; disappear as sound. DWi-P is Platinum LEED certified and located in Battery Park City's North Neighborhood. hMa are the designers for DWi-P and the North Neighborhood Master Plan.
Above: Marcel Duchamp's Large Glass, possibly the most famous work of art in the 20th Century. This piece by Duchamp suggests ideas about time, movement, space, and Einstein's Theory of Relativity, as well as a possible parable about male and female sexuality. Duchamp's painting presents thin metal forms captured between two panes of glass, within an ordinary, off-the-shelf, metal frame window.
Above: View from inside hMa's DWi-P. The Frit pattern on the wall is also a sound piece by New York composer, Michael J. Schumacher.
Above: DWi-P: a building, or a landscape behind glass. Is it simply sound? Is it water?
Above: DWi-P captures a human figure on the Murray Street ramp. At DWi-P, figures move through space with the secondary overlay of the Schumacher score. The score can be heard, through a cell-phone App.
Above: The delamination of DWi-P, at the southern end of the building, including the Passage that passes in front of the building. Layers of movement are captured within and through DWi-P's glass wall.
Above: hMa's study for the massing of the North Neighborhood. This study also depicts the 'sound field' reach of the DWi-P App. The area where visitors can hear the Schumacher score: WaTER.
This is not unlike the Duchamp Roto-Relief project: an exercise in understanding sound as form.
Above: the Entry Level plan for DWi-P. The Entry to the building is the only room that rises above the level of the roof. The roof is a Battery Park City park.
Above: 'Playing' the facade at DWi-P; to the right: a screen shot of the DWi-P App.
Above: two more screen shots of the DWi-P App.
Above: View of Entry to DWi-P's Ballfield Terrace Park.
Above: View of the olympic-size pool from the entry : the main program for the Center is swimming, or Water.
Above: View of the pool and the Entry.
Above: the main level plan - reached by 'descending' - a staircase.
Above: comparison of two main stairs at DWi-P, designed to capture the act of 'Descending' from one space to another.
above: hMa : movement of the body through space.
Above: Main stair, inside DWi-P.
Above: Main Corridor along the glass wall, inside DWi-P.
Above: Olympic size pool : human movement through water.
Above: one of three ramps at DWi-P, from the Dance Studio: human movement.
Above: children play along the exterior ramp in front of DWi-P.
Above: Invisibility: the transparency of DWi-P's glass facade.
Above: Cevdet Erek - There. From the show 'Tactics of Invisibility' ; co-curated by Daniela Zyman and Emre Baykal. The show is co-produced by the Vehbi Koc Foundation, and Thyssen-Bornemisza Art Contemporary. Erek's installation touches on the idea of invisibility.
Above: DWi-P at night: human movement inside and outside in the Passage.
Above: DWi-P : view to the World Trade Memorial Site, across West Street. Left: view of one of the fountains at the Memorial Site: both projects feature water.
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Invisible Buildings: architect Victoria Meyers and hMa collaborate to design buildings that 'disappear' - in plain sight. How do you make the 'slight of hand' work when the object you are trying to 'disappear' is a building?
hMa does this at Won Buddhists through details that mask their buildings, and blend the reading of the buildings into landscape. A series of screens act as camouflage, and make building edges that have the thickness and non-specificity of trees. Trees and plants have very complex edges. By studying the biological edges of plant matter, hMa developed a series of operations that screen their buildings from public view.
In addition to non-specific edges of buildings, hMa's roads are gravel, from the original gravel pits on the site. And the landscape plans for the site include the planting of tall meadow grasses and trees to mask the built areas of the site.
Meyers is in discussion with artist Mary Temple, about possibly painting one of Temple's shadow paintings, on one of the buildings to enhance the aspect of 'invisibility' - by creating false shadows, to further mask the built form on the site. Below: artist Mary Temple produces one of her famous shadow paintings, for Rice University.
Mary Temple, artist, installing 'invisible trees' - through shadows - at Rice University, above.
Won Buddhist Temple: wood column as a tree.
Won Buddhist Retreat: wood column as a tree.
Won Buddhist Retreat: wood buildings sit among trees.
Trees + buildings blend. That blending = invisibility. Invisibility = Infinite Bleed of Edge. Infinite Bleed of Edge increases the perception of the 'space' of the retreat - to an infinite horizon.
It is the 'infinite horizon' that hMa was seeking in their development of the Buddhist project.
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At Won Buddhist Retreat, hMa focused on an idea of invisibility and how invisibility is related to zero carbon footprint. But also literally - a series of wood buildings, placed on a wooded site, possibly the way to make them disappear is by installing wood screens in front, to blur the line between building and trees - using Asplund’s Woodland Cemetary as a precedent, for this procedure.
Let’s look at wood screens, and - what hMa refers to as: ‘Infinite Bleed of Edge’.
Above: A diagram of hMa's courtyards at the Won Dharma Retreat. hMa designed the courtyards to incorporate diagonal walking paths, building to building. The concept was that practitioners walk from void to void - in a z-shaped path.
Entry into the Permanent Residents' courtyard (above):
In the courtyard (above):
Porches and steps: everything is sustainably harvested wood:
Porches and steps: Won Buddhist Retreat is as much about the materiality of wood, as it is about the effort required to attain Zero Carbon Footprint. (the project is also a Brownfield Mitigation project).
back to where we started the journey: at the Won Buddhist Retreat Administration building courtyard.
Architecture itself Is education and references ideas by its existence. For education, we present work by hMa Principal Victoria Meyers' students at the University of Cincinnati. Above: Images from Meyers' Seminar, 'Sound Urbanism/ Sound Ecology', at the University of Cincinnati. Meyers' seminar spent Spring 2014 ‘mapping’ sound sections through significant neighborhoods in Cincinnati.
Above, top of the image: student drawing of the Bridge over the Ohio River, separating Ohio and Kentucky. This is an area of intense industrial activity and shipping. Below, left side of the drawing: the Viaduct that crosses train tracks that lead to the main train station in downtown Cincinnati. When the Mid-West was a center of industrial manufacturing, there were hundreds of trains /day passing below this viaduct. Today there are a few trains/ day, and the train station is a museum. The sounds generated by trains coming through Cincinnati are different than they were 100 years ago.
In addition to drawings, students also made sound recordings of each section. The goal was to generate sections that explore visually and through sound, areas that register significant change to Cincinnati.
Above: Meyers' 2012 Graduate Studio at the University of Texas: Manhattanville M(w)EE. Students were asked to design a new Subway Station for the 125th Street Subway Stop in Manhattan. This is an area where the NYC Subway is elevated above ground. 125th Street is the lowest elevation in NYC.
This has become a significant stop on the # 1 Train because Columbia University is building a new Campus here. Students were asked to design a subway stop capable of handling 10,000 people /day. Each Student also developed a program to go with their stops.
We show two projects: one imagines a new Bio-Engineering Lab as a linear bridge over the elevated subway. The other project is a translucent Cube - an arts building - that hovers around the stop, with the subway passing through the base.
Meyers' Spring 2014 Studio, above. Meyers asked students to design a ‘Hacker-Maker’ building in downtown Brooklyn. The studio concentrated on the design of roofs, and open spaces for working.
The project from Meyers studio above, has a roof with fractal openings, where crystalline shaped skylights drop through the roof into the Hacker-Maker space. Hacker-Makers get randomly placed cubes to work in. The interface between two systems of form: the formalism of cubes and rectilinear space, juxtaposed to fractals and crystalline forms - creates a dynamic space for creative work.
Research is how we test our environment. It is ultimately - how human cultures grow. We are showing, above, hMa’s project - DWi-P - opened in 2014. DWi-P is a building that presents a complex overlay of Sound Composition / Glass// and Cell Phone Technology. DWi-P's glass Wall has a score etched on it, is embedded with Bluetooth, and has an App. The DWi-P App will read where visitors are in space, and visitors can point cell phones at the wall, and play the Schumacher composition, WaTER, etched on the glass as a frit pattern.
The image above shows Dr. Lene Hau, at Harvard. Dr. Hau is a Physicist doing research on the speed of light at Harvard. In 2006 hMa Principal Meyers wrote ‘Designing with Light’. For research on DWL, Meyers had several conversations with Dr. Hau.
hMa continued our conversations, and Dr. Hau had great influence on how hMa designed Infinity Chapel.
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Materials make Reference to the world. Buildings (and landscapes) have meaning by how they are detailed with materials.
Materiality is important in hMa's projects, and is also important when we teach. Tactility refers to how we read space with our hands. The haptic sense is a way to understand space.
Glass is different from stone. Above, we show human hands, in reference to both materials. On the left - a hand touches glass; on the right, we show hand imprints on a stone cave wall in Patagonia.
Musicians and people who deal in sound understand materiality as timbre. Timbre is a term that describes the materiality of sound.
Timbre is affected, for example, by the materiality of a Musical Instrument. A metallic instrument wired for electricity sounds very different from the same instrument as an analog.
In architecture - timbre is registered through footsteps, or the voice. These can be ‘live’ and echo; or muted and soft. Both reactions are ‘soundings’ that give very different spatial readings. This reading relates partially at least, to the materiality of the space.
Large stone halls like Cathedrals sound different from small, informal residential spaces, where sound is muted by fabrics, and materials that absorb sound, and prevent reverberation.
Each space and each object in the hMa Diagram, above, has a ‘Timbre’: WaterFall Table has stainless steel beads that reference water; DWi-P is a glass façade that represents WaTER; the LightScore is a series of light waves, 'played’ onto concrete surfaces, at the Kitchen in NYC.
hMa uses stone, glass, steel and wood in projects, as a conscious way of referencing materials and Timbre in space. Trees are living organisms - cut using calibration to impose mathematic scaling onto an organic system. Digital Water i-Pavilion's (DWi-P) façade is a sound wall scored into equal divisions. At hMa's Holley House in upstate New York, parallel stone walls make a house.
Program is – whatever you - as the designer - make it. Program is like a movie script - it’s a fantasy. The program does not exist until the designer envisions it.
I will show four hMa Programs. The first program, shown above, is: Flatness of Space, or Infrathin, demonstrated by hMa's DWi-P and hMa's design for the Queens Museum of Art. Both of these are projects with complex programs, compressed within thin, compact sections, or Infrathin// or the 'Flatness of Space'.
hMa's program of 'Repetition' is demonstrated, above, by the Won Buddhist project, where repeating channels of wood as screens - and punched windows - create a clear sense of repetition in the buildings. To the right, benches and light lines at hMa's Infinity Chapel located in downtown Manhattan, create repetition. Above, the frit pattern of the Schumacher score on the facade of DWi-P, along with the repetition of steel mullions, creates a pattern of repetition at hMa's DWi-P, at Battery Park City in NYC.
hMa also creates programs based on 'Embedded Objects'. At the left, above, is hMa's Infinity Chapel, where a series of embedded spheres create a room with curved surfaces that filter light. At the right, Pratt Pavilion sits as an embedded object between two existing 19th century industrial brick loft buildings, at Pratt Institute, in Brooklyn, NY.
Above, we show an hMa project to demonstrate 'buildings with sound as their program'. Shown above is hMa's Ojai Pavilion also referred to as : - ‘Sound Vortex’.
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hMa has spent our career working on projects that approach - Zero - as in Zero Carbon Footprint, or Invisibility. hMa’s Logo consists of two crossing lines that represent the Cartesian Grid - with a series of wave forms crossing the x-axis. The waves represent energy - including our research and focus on sound and light.
hMa are Master Plan Architects for Battery Park City’s North Neighborhood. We Designed a Master Plan for the North Neighborhood including LEED energy standards for buildings and Green Street standards for streets.
This is Victoria Meyers' ‘Sound and Light Score’ designed to be played as blasts of light at the ‘Kitchen' space for performance and art (http://thekitchen.org/) in NYC.
hMa’s LightScore led to more complex collaborations with the composer who invited hMa to present at the Kitchen, Michael Schumacher. hMa hired Schumacher to write a score : WaTER - for hMa's design for a new community center, DWi-P (Digital Water i-Pavilion) at Battery Park City.
hMa placed a transcription of the Schumacher digital score for WaTER, onto and into the façade of our building, DWi-P, at Battery Park City. Above is hMa’s drawing of ‘the event horizon of connectivity’ through the glass façade of DWi-P.
Sound, a form of Energy Wave, has been a focus of research for hMa Principal Victoria Meyers for 20 years. Meyers presents her research on sound in her new book Shape of Sound. The diagram above shows the ‘sound field’ - generated by DWi-P at Battery Park City in New York.
This is hMa’s first major public project, Chattanooga Nature Interpretive Center, designed to showcase sustainable solutions to energy use. The building featured solar panels for sunlight, and wind and water turbines - all as passive energy sources for the building. Chattanooga Nature Interpretive Center is a building designed in response to temperature, sunlight, water collection, and environmental factors.
Victoria Meyers and her new book Shape of Sound are featured in a new post on Life.Style.Design. The Art of Living. Check out the post: http://www.lifestyledesignexperience.com/shape-of-sound/.
The post includes texts from Meyers's 2014 Shape of Sound, as well as her 2006 book, Designing with Light.
Designing with Light, Victoria Meyers architect
The piece describes Meyers as a visionary exploring sound as a medium to expand contemporary space design. Meyers has been at the forefront of using sound in hMa projects, since 2006, with the installation of 'Sound and Light Wells' in hMa's Infinity Chapel, located near Washington Square in the Greenwich Village area of New York City.
above: Infinity Chapel, including detail of hMa's Sound and Light Wells
In addition to applying sound manipulation to public projects, Meyers also applies concepts related to sound design to residential design, including hMa's Downtown NYC loft project, finished in 2012.
Above: Downtown Loft by hMa: sound technologies create a sound isolated interior
Meyers' latest foray into complex architectural design incorporating sound includes hMa's DWi-P located at Battery Park City, in NYC. DWi-P features a 550-foot long glass facade with embedded blue-tooth technology to support visitors reading the facade using cell phones. The facade is imprinted with a sound-score by NYC Composer Michael J. Schumacher, who is also the Founder and Executive Director of Diapason Gallery in Brooklyn.
Above: Digital Water i-Pavilion, hMa: Architecture of Movement; Sound Urbanism
DWi-P is a new Community Center at Battery Park City designed to welcome visitors from the World Trade Center Memorial Site to the parks at Battery Park City. The building, which houses a series of pools to support the swimming programs of Asphalt Green, has a composition embedded in the facade titled: WaTER.
Meyers recently presented hMa's works at FIU (Florida International University) in Miami, where she was hosted by Professor David Rifkind. Meyers's lecture, titled SEMPER (system, energy, materiality, program, education, research) reviewed hMa's works, including the founding principals' (Meyers and Hanrahan) dedication to education as part of their approach to design, architecture, landscapes, and master plans.
Ryoan-ji Temple + Stasis; hMa's Pratt Pavilion + Dynamic Space
Above: hMa projects contrast Dynamic and Static Formal approaches to design
Above: hMa's Infinity Chapel, designed for Tenth Church of Christ, Scientist, in NYC:
Using Sound + Light Wells to direct human movement from Street/ to Chapel/ to Garden
above: hMa's Won Buddhist Retreat: Spiral forms direct walking meditation through Nature
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Victoria Meyers: Designing With Light
New York Architects Victoria Meyers and Thomas Hanrahan believe that architecture is an environment, 'pure space', manifested in nature. The principals of hanrahanMeyers architects (hMa) have established themselves as unique visionaries, incorporating light and sound into their arresting designs of pure forms. Founded in 1987, the firm specializes in residences, art centers, and community spaces. They design spaces from a vision that connects visitors with the natural world.
Victoria Meyers: Shape of Sound Architect Victoria Meyers analyzes the shape of sound; architecture and sound; form; materiality; windows; the urban sound scape, its politics, aesthetics and social character; reflection; virtuality; sound art; and silence.
Shape of Sound on Amazon
Victoria Meyers: Shape of Sound Victoria Meyers architect (Los Angeles, Ca.), principal of hanrahan Meyers architects (hMa) explores sound as it effects architecture, urban spaces, and landscapes. Contributors include hanrahan Meyers architects (featured on the book cover), Stephen Vitiello, Michael J. Schumacher, David Mather, Neil Denari, Bruce Pearson, Howeler and Yoon architecture, and Joseph Ketner.
hMa : Green Initiatives / Sustainable Architecture
The Conservation Fund As part of our nature based vision for architecture, hMa gives a percentage of the firm’s annual revenues to nature initiatives. This year, hMa funded ‘Wildlife Corridors’, through the Conservation Fund. ‘Wildlife Corridors’ provide natural zones through cities and towns that link animals with adjacent nature preserves. This initiative is one of several cutting-edge planning initiatives that forward thinking architects will be adopting as we seek to harmonize human habitats with nature and create sustainable development.
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