Over 250 submissions have gone online for the LAGI NYC 2012 competition to design public artwork for Freshkills Park. Some submissions go from the surreal to the amazing, with the majority of the submissions creating large scale installations to match the grand scale of the Freshkills Park. In July LAGI held a shortlisting evening in which a team of professionals got the submissions down to the top 25 submissions with the winners of the 2012 competition to be announced on October 25 in New York City. We has some of the submissions below for your review.
Heliofield is an energy-generating network of solar modules that rise out of the prairie grasses of Fresh Kills Park. The topography and tabula rasa quality of the former landfill site make it ideally suited to collect the locally abundant and renewable solar energy that shines on Staten Island.
The conventional approach to utility-scale PV arrays involves locating them in an isolated site and removing all traces of plant and animal life for the sake of easy installation and maintenance of the collection system. Whether this means clear cutting woodland areas or covering a large field with ballast, this practice effectively creates a site that is, in ecological terms, a monoculture.
As we approach Fresh Hills the undulating mounds look to be natural elements growing from the earth. The closer we get, however, it is clear this structure, like the mounds below it, are not native to Fresh Kills. Its form rests lightly on the existing topography and creates definition across the expansive horizon. It caresses the East mound creating a seamless integration between utility scale energy harnessing and a program filled landscape. It creates a harmonious relationship between earth and wind.
Fresh Hills is a remedy for the typical turbine farm that so often isolates the landscape and deters communities from engaging the space. The artificial landscape reaches upward towards levels of increased energy potential. The points of lift reach higher at latitudes where more predominant wind speeds and duration exist. It is a direct relationship between energy and land. The apparatus is generated from the grafting of Fresh Kills windrose data onto the site, creating a seamless exchange between the site specific data and the structure used to harness that information. The project is site specific but the scheme can transcend the global landscape.
Scene-Sensor | Crossing Social and Ecological Flows
Key interactions of human and ecological energies, above and below the surface of Freshkills, drive complex environmental flows, allowing us to question how to sense, channel, and harness their energies in a productive tension, revealing their interconnected fluctuations in beneficial ways.
Scene-Sensor situates itself at the intersection of flows joining and separating opposing landforms: as a channel screen, harnessing the flows of wind through the tidal artery, and as vantage points, staging crosswise pedestrian flows through the park, the two acting in combination as a mirror-window, reflecting and revealing the scene of Freshkills’ fluctuating landscape back to itself.
The aim of the «Solar Loop» is to expose more surface as possible to the solar rays during the day. The shape comes directly from the solar diagrams, and deals easily with the sun following it with the best angle, almost like a frozen artificial sunflower. The shape is designed to be the most efficient solution, calculating the angle of the sun’s rays as the average of the angles of the winter and the summer solstice.
The aesthetic of the sculpture is the result of this dialogue that becomes synthesis between the solar power and freshkills park.
This landmark will organize the park life inside and outside.
Trees are a symbol of renewal and the interconnectedness of all things. At Fresh Kills Park, nature is literally being restored by manmade intervention. A large tree could provide shading for the visitors and serve as a symbol for the park. However, the landfill cap at Fresh Kills contains only enough soil for grasslands and is not deep enough to support the large roots of a wide canopy tree. However, if that tree were artificial, it could generate electricity, provide lighting, provide shading, and not require the deep roots that a real tree would need. Our solution: a 90ft tall tree made of recycled industrial balloons and PVC pipes. This artificial tree simultaneously alludes to the manmade past of the site and the role of the park as renewal of the natural while also providing shading for the visitors and harvesting energy through the swaying and bending of the branches.
“99 dreams I have had,
In everyone a red balloon,
It’s all over and I’m standin’ pretty
In this dust that was a city.
If I could find a souvenir
Just to prove the world was here
And here is a red balloon
I think of you, and let it go” (99 Luftballoons, Nena, 1984.)
An excerpt from the 1984 song “99 Red Balloons”, this verse evokes visions of loss, hope, memory, and the perseverance of dreams for a redemptive and meaningful future. Inspired by these images, “99 Red Balloons” is a thoughtful proposal for a metaphorical souvenir – proof that something redeeming and beautiful can rise out of the ‘dust’ that has been placed on the land by human activity and the accumulation of society’s waste.
99 Red Balloons sway softly in the afternoon breeze, playfully reflecting sunrays and casting dancing shadows on the North Park grounds. Rising 100 feet in the air, the shimmering orbs seem to brush up against the drifting clouds, dwarfing visitors below and creating a startling and whimsical landmark for distant air, sea, and road travelers. Tethered to poles the balloons are anchored to the land by a tapering steel plinth. As visitors walk amongst these beacons of energy, balloons curiously fade away and reappear in the sky.
All the submissions are available online at LAGI NYC