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 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 company 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 toes excessive, utilizing business cardboard tubes jam-packed with greater than 50 kinds of in the neighborhood grown vegatables and fruits. 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, proven that even the main impossibly utopian visions of eco-friendly urban dwelling are inside our reach.
Above the Pavement--the Farm! offers a tasty variety of principles and matters located 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 recent 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 latest York City-based paintings structure Company.
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40 years after French protestors took to the streets with the rallying cry Sous les pavs, los angeles plage! (Beneath the pavement, the seashore! ), 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 company 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 toes excessive, utilizing business cardboard tubes full of greater than 50 sorts of in the neighborhood grown fruit and veggies.
Rem Koolhaas (Rotterdam,1944) studied structure on the AA in London--where he went directly to develop into a lecturer--and on the IAUS in long island, in the course of Peter Eisenmans time there. Koolhaas has continually been attached with the speculation of structure, as lecturer on the leading edge AA, as a speaker, and together with his released paintings: Delirious manhattan, a retrospective manifesto for long island (1978) and the hot S, M, L, XL (1995).
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Additional info for Above the Pavement - the Farm! : Architecture & Agriculture at P.F.1
Art Domantay: Just when I started to think about where I could build it, the company on the bottom floor of our studio went out of business. I told our landlords about the project, and one of them became interested and agreed to rent it to us for a couple of months. After officially committing to the project, I started to clean up the warehouse. It was an old sweat shop, 9,000 square feet. Luckily there was an elevator, so after we cleaned it up, everything from my wood shop just went straight down to the bottom floor, including my bathrobe, because I knew I was going to be sleeping down there a lot.
1 Soil and soil scientists are amazing. I think we take for granted the intricacies of soil. Paul Mankiewicz: I am a biologist and was involved in research in the late ’70s and early ’80s, when there was a lot of talk about farms on rooftops. Soil is sand, silt, and clay, plus organics. Sand and silt are silica dioxide, basically just glass, they don’t add anything in terms of nutrient. They form the physical structure that holds the clay and the organics and allow space to hold water and for roots to penetrate.
The way we varied the sizes—to make the tight, compact fits that we were looking for—was to vary the thickness of the paper wall. If we wanted it a little thicker, we just asked them to lay a little bit more paper on it. While our variable was a coarse fit, we made it a fine fit by varying the amount of paper they rolled around the cores. Haviland Argo: Even with all of the calculations, we somehow ended up one night realizing that there was still a quarter inch of separation between the actual diameter of one of the tubes and the way we had drawn them to fit together.