By Amale Andraos, Dan Wood, Winy Maas, Fritz Haeg
Forty years after French protestors took to the streets with the rallying cry Sous les pavs, los angeles plage! (Beneath the pavement, the beach!), a brand new type of radical expression took form at MoMA's P.S.1 courtyard in Queens, long island. Above the Pavement--the Farm! finds the groundbreaking efforts of structure enterprise WORKac and their crew of greater than one hundred fifty collaborators--farmers, politicians, horticulturists, technicians, soil scientists, engineers, structure scholars, and artists--to create a operating city farm, hoisted 30 ft excessive, utilizing business cardboard tubes jam-packed with greater than 50 kinds of in the neighborhood grown vegetables and fruit. known as Public Farm 1 (P.F.1), this new breed of sustainable infrastructure, able to producing its personal strength, recycling rainwater, cultivating plants, and inspiring relaxation, validated that even the main impossibly utopian visions of eco-friendly urban residing are inside of our reach.
Above the Pavement--the Farm! offers a tasty diversity of principles and concerns positioned on the intersection of structure, urbanism, and nutrients. that includes a full of life mlange of voices depicting the making of P.F.1--with contributions via artist and agricultural activist Fritz Haeg, architectural historian Meredith TenHoor, architect Winy Maas, and head chef Michael Anthony of latest York City's Gramercy Tavern--this publication introduces a brand new period of ecological considering and concrete sustenance.
Amale Andraos and Dan wooden are the founders of recent York City-based paintings structure Company.
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Extra info for Above the Pavement - the Farm! : Architecture & Agriculture at P.F.1
The nature of the project made it attractive to so many different organizations and so many people on a lot of different levels. It brought a lot of enthusiastic, like-minded people together. 35 now we have to build it Marcel Van Ooyen: I don’t know that Dan and Amale are an example of every architect you’d work with. I think they didn’t have a lot of ego in this project because they had no idea what they were doing, but they were very smart in reaching out to a lot of people and asking for help.
Melani Pigat: Day one, we went out there and I would say we were a little bit shocked, because it was Sarah and me and all these tubes. We put our masks on and started lacquering away. Sarah Carlisle: At first we thought we had to do one coat of lacquer on the tubes. The very first day, I remember painting the first strokes of lacquer on the tubes and I was so excited. Melani and I were taking pictures: the first stroke! Then we found out that we had to do three coats. Then the sea of tubes was delivered a couple of weeks later.
That was kind of daunting. Anna Kenoff: So we called Dan at LERA and said, “Okay, you helped us convince them that this thing would stand up. ” Dan Sesil: This was the first time we had worked with a paper structure, but it was more than just about the material. That particular repeater, the tube unit, is a very common construction material used to build concrete forms. To me, that was a part of the interest— 37 now we have to build it to take something that is otherwise very mundane, very common on a construction site, and assemble it in a way that’s more sensitive.