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, l. a. plage! (Beneath the pavement, the beach!), a brand new kind of radical expression took form at MoMA's P.S.1 courtyard in Queens, big apple. Above the Pavement--the Farm! unearths the groundbreaking efforts of structure enterprise WORKac and their group of greater than a hundred and fifty collaborators--farmers, politicians, horticulturists, technicians, soil scientists, engineers, structure scholars, and artists--to create a operating city farm, hoisted 30 ft excessive, utilizing commercial cardboard tubes packed with greater than 50 different types of in the neighborhood grown fruit and veggies. referred to as Public Farm 1 (P.F.1), this new breed of sustainable infrastructure, able to producing its personal energy, recycling rainwater, cultivating plants, and inspiring rest, tested that even the main impossibly utopian visions of eco-friendly urban residing are inside our reach.
Above the Pavement--the Farm! provides a tasty diversity of rules 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 e-book introduces a brand new period of ecological pondering and concrete sustenance.
Amale Andraos and Dan wooden are the founders of recent York City-based paintings structure Company.
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Additional info for Above the Pavement - the Farm! : Architecture & Agriculture at P.F.1
He was the last piece in the puzzle. 1. I’ve worked on a lot of outdoor projects, and I knew that in two months’ time you’re dealing with all kinds of weather that can really slow down the project. I told them that if I did take it on, there were two requirements: one, that we build it somewhere indoors; and two, that I needed to build a temporary ramp on-site to put it all together. That ramp and the space were both going to increase costs, and I knew that every dollar counted. Those two conditions were both necessary safety factors.
Anna Kenoff: Once the tubes came in from lacquering, they would gather the sizes they needed and place them on the sloped template to start assembling the daisies. 57 enter Art Domantay Sarah Carlisle: There were three main guys working there; they became incredibly skilled. From the outside, it looked really confusing: they were standing on the ramps one minute, inside a tube with this huge wrench the next, then you’d look over and one guy would be on his stomach with his head inside the tube and two drills in his hands.
We didn’t have heat in our apartment, but we were working a lot, so when we were home, we really just slept. We had each other, and we made it work. Art Domantay: The crew started small. First I brought in two really great carpenters, Tim Daley and Grady Barker. We figured out what was necessary to get it going. Then we built up the crew. Everyone had done big projects before, but none of these people knew what it was really going to take. Melani and Sarah really helped out. Dan and Amale were busy trying to find money, working on other aspects of the project and running the office.