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, long island. Above the Pavement--the Farm! finds 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 business cardboard tubes packed with greater than 50 types of in the community grown vegetables and fruit. referred to as Public Farm 1 (P.F.1), this new breed of sustainable infrastructure, in a position to producing its personal strength, recycling rainwater, cultivating plants, and inspiring relaxation, verified that even the main impossibly utopian visions of eco-friendly urban residing are inside our reach.
Above the Pavement--the Farm! provides a tasty variety of rules and concerns located on the intersection of structure, urbanism, and meals. 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 ebook introduces a brand new period of ecological considering and concrete sustenance.
Amale Andraos and Dan wooden are the founders of latest York City-based paintings structure Company.
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Additional resources for Above the Pavement - the Farm! : Architecture & Agriculture at P.F.1
He came in jeans and goggles, with his own personal Sawzall, and it turned out the tubes just cut like butter. The real problem became figuring out the angles to cut them at to fit them all together. Art Domantay: WORKac determined that all of the tubes had to be cut at a seventeen-degree angle, but we still had to figure out how to make sure we were cutting them all consistently. That was pretty difficult. I think I spent two days building two giant jigs for cutting the Sonotubes. Anna Kenoff: Art’s warehouse crew, who are really the best at building stuff—there was a violin maker and guys who do the Christmas windows at Saks—couldn’t get their heads around what went where.
61 bolts Art Domantay: I’m just the builder. To some extent I had to worry about the money, but really I think that one of Dan and Amale’s most important roles was to sell the project and figure out where the money was coming from. It was such a small budget, you know. It was tiny tiny and everyone knew that. Dan and Amale needed me to construct; I needed them to figure out where my supplies were coming from. Patrick Hopple: This was not only my first time working as a project manager, but the uncertainty of the material itself also made it extremely stressful.
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. It was just so overwhelming. 1 Art Domantay: The warehouse was for manufacturing, but it was also for storage.