· November 2010

November 2010

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Forests of Wind

Edwin Cheong
Designed for Site #2 in Abu Dhabi, between Saadiyat Island and Yas Island.


Design Submission for the 2010 Land Art Generator Initiative Design Competition

Artist’s descriptive text:
The idea of the landart proposal was to experiment with the poetry of making visible the unseen / uncommonly seen occurences.

To be able to “see” wind by day via the windmill kinetic movement.
To be able to “see” wind by night via the lighted spinning cups.
To be able to “see a dense forest” of “trees” in a desert climate.
To be able to “see sand dunes” on a relatively flat relief site.

The landart attempts to “de-materialise” the dune to create possible event spaces during the day and night. During the day, light canvases can be creatively stretch across its lateral tie cables to form shades while during the night, the public will experience being clothed under a “blanket of glittering stars.”


See www.flickr.com/photos/carlerfur/ for this and other videos of the artist’s work, including some constructed variations on similar theme

The “Forest of Wind” LandArt is proposed to be located at Site2 Abu Dhabi. The site is able to accommodate up to 8 modules, each being able to be added in phases. Each module measures around 198x198m and is arranged linear along the water edge. Each module have a density range of
1089 to 4356 “trees”.

Wind speed as little as 3.8m/s is able to charge the turbine. a wind speed of 8m/s is able to produce 414w of energy on each 48v load of windmill “tree”. While the LED will only need 14w at nightfall. The rest of the 400w will be distributed to the grid.

With each tree being able to produce up to 414w (from 8km/s wind), each module will be capable of producing 1.8mw of energy. The maximum 8 modules in the site will be able to produce 14.4mw to support some 8,000 households while glittering beautifully on the site like dunes of stars.

The mills of the “trees” rotates easily on windy days to turn the Permenant Magnet Alternator (PMA) Dynamo located at the shaft. During the day, the goldish brass convex surface of the cups provide a glittering effect to the whole “forest” as they spin. During the night, the cups’ concave surfaces containing low energy LED periodically “charges” the highly bright industrial strength Super Phosphorescent Paint (SPP), thereby giving the “starry sparkles” for the de-materialized dune. The already negligible energy spent on the LEDs is further reduced by the use of SPP.

The creative energy effiecient lighting combo of LED+ super phosphorescent paint works this way –
Super Phosphorescent Paint has an extremely bright glow in the dark paint. It is 5 times brighter than the popular green zinc-based glow in the dark products available in most department stores. Technically, it will continue to glow for days. After a 10 minute charge from 1000lx. It will have a glow of approximately 1000mcd/m2 for the next 10min. Therefore, in working with a led by alternating every 10 minutes, the landart not only saves on energy but has a pleasant light “change” display quality.

PHASES + “UPGRADABILITY”
+ The 8 modules of Landart can be implemented in phases.
+ The Permenant Magnet Alternator inside accessible shaft for servicing and future “upgrades” of more efficient alternators.

low-res version PDF of submitted boards

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Infinity

Zain Karsan
Designed for Site #2 in Abu Dhabi, between Saadiyat Island and Yas Island.


Design Submission for the 2010 Land Art Generator Initiative Design Competition

Artist’s descriptive text:
Infinity relies on the movement of water through a system of turbine rotors to generate electricity. The form is created from an array of curved hollow structural steel members in the shape of an ellipse, inscribed in which is the frame for the turbine rotors. The steel members are arrayed along a path that travels along the site in three dimensions. Half the structure is rooted in a concrete foundation.

The installation is primarily clad in glass and a series of Fresnel lenses that focus light in specific places within the structure. The lenses intensify the sun’s rays and effectively heat a large volume of water within the structure. The water is heated to steam, which travels upwards through the structure, turning turbine rotors every 10 meters. The steam reaches the top of the structure, where the cladding is primarily glass, condenses and begins the cycle again.

The intent of Infinity is to question ideas about perception, the presence of light and its reflection off various surfaces that comprise the installation, water, steel members, is therefore integral to the aesthetic. The idea of transparency is another important feature of the project. Infinity attempts to challenge this concept through its shear size and expansive footprint. The site is almost completely inhabited by the structure, yet the motif of transparency remains through the installation’s materiality.

In another sense, the design attempts to be an alien object for in some way it is disconnected from its surroundings by its form. The installation essentially recreates its environment through its highly reflective skin, yet the world within the chamber created by the cladding is entirely different.

The first stage of construction is essentially a concrete foundation which provides the preliminary support for the structure. The next stage involves erecting the steel columns that support the elliptical members that generate the form of the installation. The support structure comprises of a series of steel members meet in various locations. This can be achieved with standard hollow structural sections welded to large cast steel joints and specialized intersecting members. The diagonal members achieve a level of stability through cross bracing. This is further reinforced with horizontal members that outline the path of the general form, and act as the spine of the installation.

The horizontal bracing also serves the purpose of a channel for electrical equipment to pass through. The horizontal members reach around the entire installation thus allowing each turbine to be connected through the horizontal members to meet at a central hub which can be accessed easily. The third stage involves connecting the elliptical steel members to the horizontal supports and the concrete foundation. The members that are connected to the concrete foundation directly are half ellipse shaped members that are connected with anchor bolts. The remaining elliptical members are welded to the horizontal supports. The turbines are welded to the circular members that are inscribed in the elliptical steel members.

The final stage involves attaching the glass and lens cladding between each elliptical steel member. The Fresnel lenses and glass are supported by a series of spider clamps that are arrayed around the elliptical steel member at 5 meter intervals.

The mechanism that Infinity embodies is a system that cannot exist without the presence of light. Fresnel lenses that clad the steel structure at the ground level heat the volume of water that rests there. The heat initially induces a current but escalates to boil the water. Steam becomes the predominant phase within the system. The steam is forced to rise and travel in a specific direction. Fog catchers act as barriers for steam moving in the opposing direction. The steam travels upwards for the duration of the sunlit hours, condenses at the height of the structure, and travels downwards to begin the cycle again. This process can in some conditions, continue after sunlit hours for the concrete at the base of the structure, having absorbed heat throughout the day, can act in some way as a thermal mass and redistribute heat to the water. A current is induced and the cycle begins again the next day.

In addition, the steel members, being of a highly reflective polish, act as mirrors that redirect light that has bounced off the water. The turbine rotor is held in place by a metal plate that is welded to the circular steel section inscribed in the elliptical steel section. The projected energy production for the installation is upwards from 2.2 MW yearly.

The passage of vapor through the chamber occurs several times per day if a barrier is used at the height of installation. A fog catcher serves the purpose of preventing vapor from passing through without condensing first. As the vapor collects and condenses the water moves to the bottom of the structure and the cycle begins again.

low-res version PDF of submitted boards

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Javier Sánchez Merina, Héctor García Pastor, Paco Ruiz Vicente, Halldóra Arnardóttir, Carlos Bausá Martínez
Designed for Site #3 in Abu Dhabi, on Airport Road near Masdar City.


Design Submission for the 2010 Land Art Generator Initiative Design Competition

Artist’s descriptive text:
For the past decades, huge man-made landscapes have become characterized by a static image of commodity that can only be recognized from a satellite view, like the popular Google Earth or the NASA World Wind.

Our proposal addresses the notion of landscape as communication of human activities. It is a project that instigates a dynamic look: A person participating in the landscape should be prepared to interact with it.

Hence we suggest a change in the observer’s standing point, a change to recognize a new indicator of time and scale in relation to the site and the earth in a worldwide context.

On the SITE 3, situated between the Airport Road Near the Masdar City Site, “Landscape as communication of human activities,” proposes this dynamic change to take place through human interests: art installations and music festivals, games and sport competitions, writing messages to loved ones, conferences… activities, which thanks to new technology, can be enjoyed on a global scale.

The project is the confluence of Communication, Space and Biomimetism.

COMMUNICATION
“Landscape as communication of human activity” lets free the imagination. We make use of sensors of movement, light and sound to connect to the outer world throughout a multi-pixel colour screen that can show an art installation, a spatial play of interaction, creative writing of non-lineal narrative…

This communication can be appreciated around the world and people are invited to interact with its message. Although an activity occupied only by 1m2, it would achive a global scale and multiply its audience. However, the change of scale is not only metric but also within its content and ways of transmission: the exciting final of the UAE Open, Federer vs Nadal, played with the CTRUS C1 ball technology, can be followed simultaneously at the place and on satellite as a tennis strategy board; the lecture STRANDBEEST at TED will be a walk accompanying Theo Jansen’s works while the landscape becomes a text; a concert would transform the site into a festival of colours.
New geographic information programmes will evolve and show life on-line, not merely static images of past events. The aim is to have people experience things together, regardless of their location.

SPACE
Arab architecture has been a continuous lesson of modernity, yet now forgotten by many: The space in the Mosque of Córdoba is defined by columns, organised in an abstract mesh that dissolves the concept of axial and limited space. The resulting vistas of columns and arcades create a mysterious space.

Echoing this “stone forest”, our inner space is created by 34 structures of Carbon Fibre Composites. An interior landscape of 40m tall columns generates a network relationship and different activities that together give a sense of unity. Organized in staggered formation (80x140m), there is enough space between them to arrange a football pitch. Thus, the landscape can offer several events at the same time.

The roof is made of more than 31.000 Sunlight Concentrators. Each concentrator consists of a parabolic dish, 2,5m diameter joined to another following a “Mocarab” pattern. Under this roof, the inner space makes up a landscape of 170.000m2, having the qualities of being fresh, protect from the sun, and with reduced humidity: An ideal surface full of possibilities.

The structures’ elevation follows fractal geometry, from the trunk to the concentrators, which enables a maximum coverage to be achieved through the economy of the material and its repetitive construction. Each structure includes:

• Touch Screens attached to the sides of the trunks, ground level. From the interior, the audience will see the effects of their actions reflected on the inferior side of the roof.

• Lavatories and storage areas are inside the trunks (rhombus 6,80×6,80m), ground level. A storage water tank is located inside each trunk.

• Water Atomizers are installed inside the trucks to reduce the temperature by 10ºC.

• Sensors of movement, light and sound in the “branches” of the structure send the message of change, according to the human activity taking place.

• The branches incorporate draining system that collects condensed water in the roof to be recycled in the building.

• The Sunlight Concentrators that build up the multi-pixel landscape of rapidly changing colours can be used as educational facility, drawing people together around the world to learn about the new technology.

BIOMIMETISM
This project is a step into learning from natural mechanisms: the Baobab Tree. The way it recollects water and storages it, its photosynthesis, radiation of heat, distribution of liquids, allowing the wind to pass without frictions, provoking breeze…
Our collaboration with a specialist in Ecological Technology has carried out a research on design with the following achievements:

• Chameleon-like, its surface changes colour: The use of Electrochromic paints permits our Sunlight Concentrators to change colour. Opalux Inc. offers us their electrically activated technology that, based on the diversity of colours offered by the opal stone, utilizes structured photonic crystals to produce devices that can be electrically tuned to reflect any colour in the visible, UV, or IR spectrum.

When a voltage is applied, the active polymer increases or decreases in size, and this dimensional change will shift the frequencies of light that are reflected from the material. In this way the concentrators can reflect any colour in the visible spectrum, depending on the voltage applied, being in any case very low power requirements (<1,5 Volts, microamp currents). • Leave-like, its crown transforms sun light into energy: By concentrating sunlight onto a small area of high-efficiency solar cell material, SolFocus Inc. systems dramatically reduce the amount of expensive and often supply-constrained solar material used in the system. Our collaboration has developed towards providing high-energy output and maximum energy production per area of land. The results of 31.492 Sunlight Concentrators with parabolic shape of 2,5m diameter are enough to provide power to 6.220 homes in the UAE. The energy consumption in the production of SolFocus CPV systems is the lowest of all solar technologies, reaching only 22gCO2eq/kWh. In terms of Water Consumption, SolFocus CPV systems do not consume water in the electricity generation process because they are passively cooled; water is only used for panel cleaning, a water that will proceed from condensation. • Cactus-like, its appendixes provoke condensation: Due to the high relative humidity, the dew point is close to the current air temperature. At night, the parabolic dishes will act as cold spines that collect the condensation water in both of their sides. Although the rainfall in Abu Dhabi is very small, it is important also to collect and store the water of the few rainy days along the year. • Flat Bones-like, its skin gets reinforced. Composite provides “green” alternative to traditional building materials. The total life cycle assessment of composite material can place it above traditional products, under green building initiatives in Energy and Environmental Design. When the amount of energy consumed to produce, install and maintain a composite structure is taken into consideration, it uses far less than other traditional materials. The lightweight composite as a building material contributes to overall savings due to lower transportation costs, faster construction, less dead weight requiring smaller and lighter building structural requirements, and lighter lifting equipment. It is also resistant to rust, rot and corrosion. By doubling the useful lifespan compared to other products, composite’s durability reduces the need for replacement, repair or repainting; it is a low conductor of heat, fire-retardant, virtually maintenance free, and the strongest material available per unit of weight. Our collaboration with Carbon Fiber Manufacturing is in the line of working with BioResins, using soybean and corn feedstocks to replace the oil and natural gas derivatives. Much work of this project will be accomplished by moving towards natural materials and the use of recycled thermoplastics as a reinforcement. low-res version PDF of submitted boards

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The Luna Sea

Yintsu LU
Designed for Site #2 in Abu Dhabi, between Saadiyat Island and Yas Island.


Design Submission for the 2010 Land Art Generator Initiative Design Competition

Artist’s descriptive text:
People try hard to find the way to live on this poor land. The effort to discover the resources for living is appreciated. To find the way to survive is the instinct of creature. Then the project I named “the luna sea” to remind people to pioneer the new and proper way to live for the new age.

The landscape is like the crater on the moon and the scar left on the earth surface after people over developed. How to transform the actions from injuring to protecting the environment is the concept of this project. It is the new medium people interact with the nature to find the resource to live.

The resources in the desert most deficient is fresh water. Now the fresh water underground will be dry out in few years if there’s no way to find the new source.
This landscape is the medium to create the most valuable resource as the fresh water for living in this poor land by natural process as vaporization and steam collection.

The round metal roof are the plate shape to collect the sun heat at daytime. The heat will vaporize the sea water flow into the pools during the ocean high tides through the sea water flume into steam. At night time, the round roof become the cooler to congeal the steam at the bottom side of the roof to fresh water. The curve shape will collect the water to the fresh water temple as the showroom and the recreation room to have activities as the oasis in the desert.

The landscape like the scar left on the earth when we see that from sky. To remind people how harmful we have done with earth. But the landscape is actually our future when we stand by it and enjoy the results like fresh water. It’s the temple to remind people our future lies in our own hands.

low-res version PDF of submitted boards

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Towers of Light

Carpenter / Lowings Architecture and Design
Luke Lowings, Iljana Eggert, Rudi Bergermann
Designed for Site #2 in Abu Dhabi, between Saadiyat Island and Yas Island.


Design Submission for the 2010 Land Art Generator Initiative Design Competition

Artist’s descriptive text:
Spaces are crafted from a clean and elegant technology, and combined into a potent experience of light, shadow, colour and sound. The intention is to connect the individual to the immense scale of the landscape and the process of energy production; to start to reconcile technology, ecology and culture.

The artwork is a complex sequence of linked events, that can be appreciated individually or in concert:

Firstly, the towers are seen from a great distance as three poised, fluid forms in light, reminiscent of columns of flowing water;

Secondly, the collector surfaces are seen as tilted prismatic planes of glass from the road during the day, or etched with delicate lines of retro-reflected light from cars against the night’s darkness;

Thirdly, for the engaged visitor slowly pacing out the immense dimensions of the land under the diaphanous membrane of glass, the work is manifested as projected and reflected lines of coloured light and patterns of shadow;

Fourthly, directly under the tower, the intense sound of rushing air, with the flickering, twisting light, creates a climactic experience that intensifies the changes that occur in the natural light over the course of the day and through the year.

The technology we propose to use is simple, requiring little maintenance and no energy in use, to leave the site as untouched as possible. The totality is site-specific: the process and artwork are sensitive to the land, climate and culture in which they are built.

Energy from the sun is clean and safe: we can occupy and learn from the spaces that create it.

The Artwork/Generator:
The collectors are arrayed toward the western part of the site, aligned with the slight curve of the road, to leave the eastern end empty. The latter is the highest part of the site. Visitors will arrive by boat or by car, approaching from the east where a floating jetty is placed at the end of the bridge. A simple informal path leads up to a small triangular shade structure at the top of the rise, commanding views of the sea and capturing breezes. This structure serves as an orientation point and viewing platform with toilet facilities and seating. From there a straight path leads toward the first tower, under the edge of the solar collector and onto a long shallow ramp into the earth.

The portion of the glass collector over the ramp is covered with a semi-opaque pattern to form a shaded canopy. The air under the collector gets gradually hotter toward the tower so, as the ramp descends, a second layer of glass at ground level separates the lower half of the ramp from the heated air in the collector above, and carries a second pattern that, with the first, forms soft hexagonal shadow patterns which blur and coalesce, dappling the light. Cooled air is drawn from shaded tubes underground through the pedestrian space. Strips of coated glass on the collector split the sunlight into its component colours, transmitting and reflecting blue and gold bars of light onto the landscape, leading the eye toward the tower.

Almost under the tower the shadows deepen again, as the passage constricts before the visitor enters a simple hexagonal room containing a raised triangular reflecting pool. Above a clear glass ceiling, the interior of the tower rises vertiginously to the sky: bars of bright light loop and float across undulating petal-like surfaces, toward the intense blue sky at the centre. The sound of the turbines spinning, the rushing of the air, the sense of heat above, and the space rising one hundred and fifty metres through streaks of light like sparks in a fire, combine into an intense sensory experience.

Technology:
The concept uses simple technologies that are well understood and tested: the greenhouse, the chimney, turbines. Energy as light passes through the glass surface of the collector, warming the ground, and the air above it. The warm air tries to rise and the gentle slope of the collector guides it toward the chimney. At the same time the high temperature at the base of the chimney and the cool temperature at the top create a pressure difference which draws the air up through the turbines, creating electricity. The advantages of this method are its simplicity, longevity, low-maintenance and minimal impact on the landscape. The elegance of the conversion of light to energy is striking.

The temperature difference between the air at the perimeter of the collector and the heated air at the tower base is approximately fifteen degrees centigrade; the speed of the air is roughly twenty-four metres per second at the turbine. This means that maintenance can be carried out without stopping production of electricity, and if mitigated cleverly the conditions would be quite tolerable for visitors. We have proposed progressively increasing the shading and a simple passive cooling system as part of the experience of the access ramp and visitor space.

The solar chimney technology has been developed and refined for many years, and a full-scale prototype roughly the same size as the towers we are proposing here, was built and tested in Manzanares in Spain for the EU between 1982 and 1989. This is a fully-considered proposal at every level.

The energy production is highest during the day, corresponding to maximum air-conditioning use, but still continues at a lower level at night due to the heat storage effect of the ground itself. Experience has shown that wind-borne dust does not have a significant effect on the energy production, as it blown off periodically. Water for washing is not required.

The heat is mitigated for visitors using a process known since ancient times in the Middle East, whereby cool air is drawn by the action of the solar tower through long, shaded tubes under the access ramp and into the observation space at the base of the tower. The cooling effect is most active when most necessary, and uses no external energy.

The rooms required for electrical equipment are located at the base of each tower at ground level in the space between the turbines.

Environmental Impact:
The physical impact on the landscape is minimised because the bases of the towers occupy a very small area on the site (0.005% of the total), and the collectors are supported from slender posts with drilled foundations which require no excavation.

The foundations of the publicly accessible tower are approximately 10m below ground level. Those of the other two are no more than 3m below. The single pedestrian access ramp is long but narrow, so the excavations would also be minimal.

Maintenance is very low on this kind of structure because the only moving parts are in the three turbines, easily accessible at the base of each tower – continuous access across the landscape would not be necessary. Vehicles would be restricted to the zone parallel and immediately adjacent to the road.

The towers are steel structures; structurally efficient to avoid waste; prefabricated in segments offsite, and fully recyclable. The collector is generally unlaminated glass (except over the visitor access ramp) and could also be recycled. Both elements could be produced locally.

It is anticipated that there would be no significant impact on the water table due to the construction, and there is no water consumption in use. There is no production of pollutants or CO2 emissions in use. The fabrication of the tower and collector would of course produce CO2 but the long lifetime of the project, low-maintenance, and zero emissions in use would mitigate this.

The temperatures under the collector would clearly be elevated and particularly around the tower base, which would have an unavoidable effect on the existing flora and fauna in the long-term. However, the extreme temperature fluctuation common in dry, hot landscapes would be reduced and the environment under the collector would develop its own particular characteristics over time. The proximity of the sea would make it possible to collect condensation at times, which could aid the growth of specific plant types.

We are taking the approach that the natural environment should be left untouched to the greatest extent possible and allowed to develop naturally without promoting any particular planting vision – the infrastructure should become an integral part of the landscape.

low-res version PDF of submitted boards

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Sema Orouk
Designed for Site #1 in Dubai, near Ras al Khor Wildlife Sanctuary.


Design Submission for the 2010 Land Art Generator Initiative Design Competition

Artist’s descriptive text:
This project merges with the natural surroundings. It creates a retreat where harmony between man and nature can be experienced. Visitors can experience a different sensibility of the man made environment; the treatment of both space and form takes into consideration the human senses of sight, hearing and touch. Entering the building is a beginning of a journey that takes the visitor away from the chaos of the city into the silence of nature.

It starts from where the building is placed. There, paths continue at different levels connecting different spaces. From the path that splits the land into two parts, one that represents the city and its chaos and the other representing nature and its silence starts the journey. Taking a boat, the path opens up to the side of nature taking you away from that cost into the heart of silence passing through the mangroves that the birds inhabit. It is an experience that consists of a sequence of events that stimulate the peoples senses and help them be in contact with nature.

People will be able to sense the combination of water, vegetation and architecture in one place. It gratifies the human desire for a world that is visible and tangible. Architecture constructs a landscape that is inhabited. The landscape becomes both interior and exterior.

The form of the building is intended to develop as a device that integrates with the surrounding landscape while at the same time cerebrating its different physical features. it carves into the land to create different spaces that allow for different activities and experiences.it is mainly a series of concrete walls that orient the visitor through a series of galleries which are exhibitions of work that explains the nature of the site, and views where nature itself becomes the exhibited object for the viewer.

The steel skin that wraps around the spaces is both conceptually and physically a connection to the land. It acts as a secondary structure that supports the cantilevered structures. It also acts as a shading device with ventilation abilities in the parts where it has tilted perforated steel cladding. This tilted cladding would allow people to view the site and provide appropriate ventilation through the air movement across the spaces.

This skin also becomes an energy generator. The tubes of which the skin is constructed are filled with algae that is taken from the same site. This algae would be used to produce alge fuel to generate energy.

low-res version PDF of submitted boards

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Fallen Leaves

arsprogetti
Laura Nicolini, Daniele Fanciullacci, Patrizia Barucco
Designed for Site #3 in Abu Dhabi, on Airport Road near Masdar City.


Design Submission for the 2010 Land Art Generator Initiative Design Competition

Artist’s descriptive text:
The installation is the result of choices between artistic sensitivity and architectural culture, as well as of technical and scientific competence.

The artistic project was inspired by Master Marco Gastini’s work. Gastini in born in Turin in 1938. His works and installations have been exhibited in many museums and galleries worldwide. The leitmotiv of his artistic activity is the inspiration from stratification and to the “fossil” essence of objects. In his installations the key factor is the desire to create tensions.

The idea of this intervention is to create an artistic installation inspired by the local organic world and, at the same time, able to communicate the contemporary language of architecture. In this installation nature inspires artifice. Between “natural” and “artificial” a series of matches and dependencies are created, which create mutual constraints.

Therefore, the guidelines of the composition were:

1) TO CATCH THE PECULIARITIES OF THE SITE;
2) TO DEFINE THE SITE THROUGH ARCHITECTURAL ELEMENTS SUGGESTED BY NATURE;
3) “[…]TENSIONS, STRATIFICATIONS AND SEEMING CASUALITY TO DEFINE THE RELATIONS BETWEEN DIFFERENT ELEMENTS […]” by M. Gastini.

Concepts and elements of the new landscape redrawn in modern terms:

We wanted to enhance the desert character of the place, reshaping the area with three big dunes, on which there are some installations made by elements in tension between them.

These dunes are scenic platforms where visitors can gaze at the new landscape during day and in particular during night.

Groups of “fallen” leaves lied down on each dune are sustained by a complex structure, that looks like the mimetic insects.

There are also long sticks, lied down in apparent randomness, used to assemble the different parts of the reshaped site and they are suitable sheltered paths, through which you can reach the installations placed on the top of the dune.

Characteristics and material of the installation elements:

The “leaves” are photovoltaic ceiling made with two different types of photovoltaic technologies:

1. Middle: polycrystalline silicon photovoltaic panels particularly dimensioned; and
2. Around: textile Sunshade.

These leaves shade the place on which they lay and they allow the complete use for different aims: temporary expositions, teaching activities and at the same time they serve as locations for movies or spots, fashion shows, trading activities and more.

The centre of the leaves:

– The leaves are sustained by structural backs in corten steel with beams. This complex structure is tested by a tension analysis.
The corten steel allows wide flexibility in the choice of support points and the structural development and it has the merit to be particularly resistant to corrosion. It appears from the outset in a color “copper-burnished”, which is an excellent placement for a chromatic insert in the landscaping.

– The whole structure is further tightened by special “light bolts” with steel core. These are the most surprising elements, both for their illumination and coloration mode that give a particular night impression to the site. They light up thanks to a technology that combines the use of L.E.D. (Light-Emitting Diode) and L.E.P. (Low Emissivity luminescent Polymers, used in the coating of “light bolts”).

– The covered walkways are designed with metal frame and bricks particularly shaped to the arched roof for the sunscreens that allow to filter light and wide visibility. The entire surface area is coated with CIGS Thin Film Material.
These pathways are lit at night with an intense blue light produced with LED technology.

The installation achieves an overall height of 32 m, remaining well below the 55 m max. It is never lowers below the actual level of the soil and does not create problems to the aquifer.

The modeling of soil use only local sand: in this way the visual impact is limited and increases the contextualization of art installation.

The materials used for the installations are:

CorTen steel
Prefabricated bricks elements
PV modules
Textile Sunshade
CIGS Thin Film Material

low-res version PDF of submitted boards

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Solar Clouds

JIINYI HWANG, and HIDEYUKI KISHIMOTO
Designed for Site #1 in Dubai, near Ras al Khor Wildlife Sanctuary.


Design Submission for the 2010 Land Art Generator Initiative Design Competition

Artist’s descriptive text:
Mirage – visual connection to the city

Strong sun heats at the ground changing the density of air which brings a displaced image of distant objects.

In addition to generating solar energy and providing shaded pavilions, Solar Clouds create mirage by curvature glass façades through day and night.

During the day, the reflection of undulated ground and paths mimics visions of street which are changing according to the sun angles. At night, embedded LED lights illuminate frontal Solar Clouds façades. In distance, lights array imaginatively like upside down skyscrapers lightings.

The visual coherence enhances the unique sense of location and bring potentials of night activities. Solar Clouds extended existence of the sun to the night with a new type of mirage.

Urban strategically the large site offers an opportunity for developing a connection to the city. Besides, the location of site has distinguished views toward city skylines and surrounding nature.

Solar Clouds proposed an urban infrastructure which integrated with visions, solar technology, information technology, landscape geometry, irrigation and drainage system. Solar Clouds acts as media to restructure the urban fabric connecting the city and suburb sceneries.

In response to topography, Solar Clouds correspond and amplify geological formation. Two high positions in the site are set as view points. Suggested paths work as visual channels accentuating viewing towards the city.

In addition to tourist information, eco-cultural and eco-recreational programs are proposed as seeds to activate the awareness of environment. Programs consist of eco-information center, environmental arts, eco-recreation facilities. Diversity of Solar Clouds prototypes are counterpoints of various activities.

low-res version PDF of submitted boards

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Robert K. Scott, Hyeun J. Lee, and Lisa Tilder
Designed for Site #1 in Dubai, near Ras al Khor Wildlife Sanctuary.


Design Submission for the 2010 Land Art Generator Initiative Design Competition

Artist’s descriptive text:
ENERGY STRATEGY
By employing an innovative system of electrostatic harvesters, we harness energy from a resource that is native to Dubai: sandstorms.

The process begins when airborne particulate from a sandstorm moves against polypropylene coated metallic rods. These rods collect a static charge in much the same way as a child’s balloon becomes charged when rubbed against her hair. Each of these rods are connected to a wiring harness that transfers the charge to a bank of capacitors, which then charge a large underground battery.

CULTURAL REVERENCE
The harvesters are positioned in a dispersed field set within the desert terrain. The site will not be invasively planted, and will be left free to grow whatever native plants take root. It will take a future form of its own choosing that embodies the authentic character of Dubai.

Within the larger field of electrostatic harvesters are five occupiable ones, dedicated to each of the five daily salawat. Inside of these are spaces for quiet reflection and prayer. Here, members of the Islamic faith may practice, while other visitors are free to observe the beauty of the harvesters, be moved by the spirituality of the interior spaces, and experience Dubai in its most genuine, unadulterated form.

CONTRASTING SKYLINES
The site is located along the Ras Al Khor Wildlife Sanctuary, with a clear view of the Dubai financial district. From this vantage point, visitors to the area will be left to contemplate these two competing skylines. One represents excess and invasiveness, while the other suggests minimalistic intervention coupled with a celebrated cultural identity.

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Austin-Smith: Lord
Mark Sciberras, Andreja Beric, India Aspin, and Jack Pannell
Designed for Site #2 in Abu Dhabi, between Saadiyat Island and Yas Island.


Design Submission for the 2010 Land Art Generator Initiative Design Competition

Artist’s descriptive text:
WHAT IS THE VALUE OF ELECTRICITY?
We view the production of electricity for the UAE in relation to its consumption; any amount a Land Art installation could produce would simply be a drop in the ocean.

The ambition of this Land Art Generator initiative is laudable. While the technology we employ could be used to create electricity (and does so for lighting) we would like, with the competition jury’s permission, to shift the focus.

IS ELECTRICITY THE PROBLEM?
As technology and global thinking shift towards renewable energy production, the UAE finds itself fortunate in its abundance of solar energy. Its natural resources ensure that electricity production will never be a problem.

IF NOT……THEN WHAT IS?
The UAE is burdened by a lack of one resource that is essential to its future growth: fresh water. The UAE currently uses a huge proportion of its electricity consumption (approx. 25%) on the energy intensive process of seawater desalination.

INCREASE PRODUCTION OR REDUCE CONSUMPTION?
With the largest population growth rate in the world and the highest rate of water consumption in the world the UAE’s dependence on desalinated seawater is total. The solution of increasing the production of water and energy indefinitely to meet demand is unsustainable. There must be an alternative solution.

THE LAND ART [RESOURCE] GENERATOR
We aim to inspire a society to question the processes that support their lifestyle. Our proposal is a physical representation of a natural cycle that harnesses solar energy to generate fresh water. By providing low energy alternatives to industrial desalination we can still generate an excess of electricity for the grid.

THE سراب IN THE DESERT
We aim to create an experience at three scales:
From the distant surroundings our installation is a sparkling mirage on the horizon, a vaporous form that shimmers by day and de-materialises by night.

Closer up, at a captured moment between two urbanised landscapes, where desert and city dweller meet, this becomes an encounter with a cloud. Its language is of a process that connects the sea, sky and ground and produces buoyant water droplets that contrast with the continuous skyline.

Within it is not the vision but the atmosphere, the sensation of when water touches the skin, experienced as a rain shower that is triggered each evening by the setting of the sun.

WHY WATER NOT ELECTRICITY
The legend of Abu Dhabi reminds us everyday of the reliance on fresh water. Protecting this resource should be at the heart of its culture, so we have chosen to remark on its preciousness. Through our resource generator, we can demonstrate the harvesting of sea water to produce thousands of litres of desalinated fresh water for irrigation purposes. So why water not electricity? Through this manifestation of the hydrological cycle, we can offer low technology, low energy alternatives to industrial desalination processes. These therefore counter balances the amount of electricity needed to produce desalinate water through energy intensive means. We don’t produce electricity, we simply save it!

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Lisa Moffitt
Designed for Site #2 in Abu Dhabi, between Saadiyat Island and Yas Island.


Design Submission for the 2010 Land Art Generator Initiative Design Competition

Artist’s descriptive text:
Clouds, Lattices & Plumes capitalizes on the abundance of two natural resources available on the desert coastal site: sunlight and saltwater. The primary strategy for limiting the environmental footprint of the project is to treat these clean site resources (sun, clouds, water) as the dominant building materials of the project.

All elements on site follow radial geometries that overlap and converge, creating central nodes and perimeter moirés. A series of heliotropic, sun tracking mirrors, organized in radial arrays, focus light on solar power towers, generating roughly 10 megawatts of electricity for the local grid. The heliotropic mirrors, sun and cloud tracers, mechanically follow the trajectory of the sun, and are visible aerially from viewing platforms at site nodes.

A series of pools occur where the radial geometries overlap. Small-scale desalination pavilions at these pools generate clean water and highly saline water. Clean water is pumped to wading pools for recreational use on site. Saline water is pumped to salt ponds, where halophytic organisms thrive, creating shifting plume paintings in the landscape. Salt crystals collect and grow on sculptural towers set in the saline ponds.

Clean electricity is produced through Concentrating Solar Power Towers, which use heliostatic (sun-tracking) mirrors to focus light onto a thermal receiver placed on a power tower. This focused heat boils water and produces steam, which powers a standard turbine and generator in order to produce electricity that is fed into the local grid.

Four radial arrays of heliostat mirrors focus light on solar power towers. Each array consists of roughly 1500 3 meter diameter heliostats, totally 10,600 m2 of mirrored surface. These tracking mirrors focus light onto their respective 200 foot tall towers (wind tower components can be repurposed for this use), producing roughly 2.5 megawatts of electricity per solar array; approximate 10 megawatts of electricity is produced on site. The towers double as gnomens in a giant sundial, casting shifting shadows across the site. At the base of each tower, turbines and generators are housed in a lightweight production shed.

Plumes: Salt Ponds, Desalination Hubs & Wading Pools – Salt water is in abundance in Abu Dhabi; fresh water is not. Typically, desalination is an energy intensive process with high ecological tolls: the highly saline byproduct of production is recirculated at the point source, increasing the salinity of the local water source and negatively impacting the local marine ecology.

Clouds, Lattices and Plumes uses a low-energy, scalable method of water desalination to produce clean water for on-site recreation, while also retaining the saline water on site as striking visual elements in the landscape, rather than discharging it back at point source.

Using the Seawater Reverse Osmosis (SWRO) process , seawater is pumped to the desalination pavilion, filtered for large particles, pumped with a high pressure pump through membrane filters, and circulated into holding tanks. Each membrane filter (10cm diameter x 80 cm long) can process 1000 liters of water/day. 1000 liters of processing requires roughly 3.7 kwh of energy, provided through on-site electricity production.

Clean water is pumped into adjacent wading pools. Highly saline discharge is pumped into adjacent salt ponds. The highly saline water collects halophytic organisms that transform the saline water into pools of saturated, shifting plume paintings.

The pavilions are open-air in order to encourage visitor observation.

Lattices : Sculptural Salt Towers – Sodium chloride (NaCl) is in abundance in seawater. Due to it’s high ionic bonding and crystalline structure, salt collects and grows readily. A series of materials were tested for their ability to facilitate / encourage salt growth, and while the crystal structure varied by material, NaCl readily grew on any medium, forming cloud-like aggregations.

Steel structures with wool felt inlays, located in the salt ponds according to the radial geometries of the site, provide infrastructure to encourage salt crystal growth, a spectacle that shifts over time as salt collects and overtakes the salt towers.

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Air Pipe Forest

Fai Lam
Designed for Site #3 in Abu Dhabi, on Airport Road near Masdar City.


Design Submission for the 2010 Land Art Generator Initiative Design Competition

Artist’s descriptive text:
50% of energy used in UAE goes to cooling. We proposed a new type of energy plant other than simply producing electricity.

The project starts to work on the major electricity use burden, i.e. cooling. The pipe forest proposes a new way but also Arabic ancient way of cooling air through the cool underground earth and water table. Electricity from wind power and solar power are minimized for supporting system.

The project questions the traditional way of power plant design and it proposes a new way to supply energy directly to the users.. The project proposes cooling air for the twin city by using the cool earth and water table below the desert. Numerous Wind Catchers are planted into the soil and draw in hot air from the sky into the soil. All the fresh air caught is compressed into air tank which is drawn below the underground water table. Cool Air from the storage tank are distributed (like main water supply) into the city buildings through insulated vent air duct along highway, then to the city centres.

All wind catchers are powered by the solar panels and the wind turbine towers. Extra energy from the PV panels and wind turbine towers are transmitted into the national electricity grid as clean electricity energy to the city.

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Living Ribbon

Adam Pelissero and Brett MacIntyre
Designed for Site #2 in Abu Dhabi, between Saadiyat Island and Yas Island.

land art generator
Design Submission for the 2010 Land Art Generator Initiative Design Competition

Artist’s descriptive text:
At the intersection of land and sea life flourishes. Flora and fauna rely on the delicate balance of moisture and nutrients found only at this terrestrial horizon.

However, the precise water salinity that fosters this unique shoreline is being disrupted; rapid industrialization and climate change are exacting a heavy toll on a sensitive coastal condition. As the salinity of the water along the Site 2 coastline increases, native species that once flourished are disappearing.

land art generator

We propose a lightweight structure that will harvest electrical energy from the sun and re-introduce fresh water back into the coastal habitat. This fresh water will help regulate the salinity of the shoreline and encourage the re-growth of vegetation. Balancing along the shifting edge of land and sea, earth and sky, the Living Ribbon serves to mediate between technology and nature, innovation and preservation.

The Living Ribbon is a tensional integrity structure that stretches 1.6 kilometers along the coastal boundary of Site 2. It will support an array of photovoltaic fabric panels and fog harvesting nets. The long spans that are achievable with tensegrity minimize ground connections thereby reducing the negative impacts to the land.

land art generator

For approximately 6 months of the year fog is a presence along Site 2. This fog can be used to regulate the salinity of the shoreline by introducing fog harvesting nets. As this fog passes through these nets, it will condense and drip onto shoreline to mediate the salinity of the coastal waters.

Strategically placed rocks contain this water to foster the growth of indigenous flora and fauna. Photovoltaic fabric that stretches across the ribbon generates electrical power. Based on current standards, this project could produce up to 888kW of electricity per day.

land art generator

Our proposal does not seek to create another monument, but rather celebrate the natural beauty imbued in the landscape of Abu Dhabi. By utilizing technology to nurture this coastal region, we hope to develop a harmonious synthesis between modern technology and the land.

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Lotus Flower

Andreij Herzog, Viktor Shnal, Lidia Taposchnik, and Alexander Bolsho
Designed for Site #1 in Dubai, near Ras al Khor Wildlife Sanctuary.


Design Submission for the 2010 Land Art Generator Initiative Design Competition

Artist’s descriptive text:
There is a dream of an oasis, a missing paradise in the desert. It is a green paradise where it gives much clean drinking water. This installation tries to let this paradise come true.

Lotus Flower is a symbol for intact environment and clean water. It is the main element of this installation. The feature of this aquatic plant to stretch its flowers to the sun is here translated directly as a solar mirror.

The solid concrete elements in the immediate surroundings of the solar mirror are very different in their volume. They represent stones of a river and refer to a part of her function: the production of freshwater. In addition, they show the growing meaning of improved storage media as a whole.

It is a risk and a challenge to the imagination to relocate an aquatic plant to the desert. Nature gives us sufficient incentives to this. In this installation these incentives are used. The task of art is creating sensory and intellectual contrasts anyway. These shall show us nature’s core, her mutability.

Electricity generation of the system guarantees a closed turbine with lava jets. The body of the turbine is the core of a generator at the same time. Drive is here caused by heating and cooling of a special fluid. The circulation of the liquid and the rotating turbine produce electricity.

A latent concrete storage serves for the recording of the solar energy below the turbine as well as reconciles concrete tanks at the surface.

Unlike other systems in which water is heated up to transform its thermal energy into power, the Lotus Flower uses thermal energy for the cooling and capture of the available saltwater.

This water at the condensation process in the turbine will be heated first to produce electricity and then cooled down to circulate through the system again.

The humidity from the hot air is obtained in the form of freshwater during the cooling process. So the system uses the surplus energy for the production of freshwater.

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Solarbird

Miroslaw Struzik, Tadeusz Zdanowicz, and Kazimierz Kociolekhev
Designed for Site #1 in Dubai, near Ras al Khor Wildlife Sanctuary.


Design Submission for the 2010 Land Art Generator Initiative Design Competition

Artist’s descriptive text:
Solarbird is a three dimensional form. It is a structure composed of modules. The main dominating element is a vertical structure. It is accompanied by a horizontal structure, also consisting of the identical modules. Each module is a spatial form with a characteristic soft surface deflection and waving shapes.

The dominating vertical element 75 meters high is square to the motorway axis and thus can be seen by the drivers, even from a distance. In this way it can become a recognizable sign before entering the city. The installation as a whole is a readable, aesthetically sublimed form, referring to the ornamentation derived from Islamic culture.

The design takes into account a motorway exit to a viewing platform that is raised 10 meters above the ground level. The visitor gets the developing views of new forms lighted up by the sunlight. It is the clear impression of flushing birds. A shade of these forms casted onto a desert sand suggests an outline of a tree.

The structures consisting of the precise, multiplied modules, illuminated at night will give the specific show of changing effects, from red through blue to dominating green – casted against the background of the sky.

The particular quality of the installation is the usage of the specific shape module. It enables constructing such structures that bring to mind various associations, depending on the viewpoint, e.g.sea waves (horizontal structure),birds, fish and a tree (vertical structure) etc.

Solarbird combines thus the artistic concept with an attention to details. Solarbird captures energy from nature (the sun) and converts it into electricity


scale model of structural form

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i/green

Maria José Zapiain Gonzalez and Rodrigo Segura
Designed for Site #2 in Abu Dhabi, between Saadiyat Island and Yas Island.

land art generator
Design Submission for the 2010 Land Art Generator Initiative Design Competition

Artist’s descriptive text:
The proposal is based upon the idea that small actions summed together can lead to immense and amazing results. A Set of structures made of thousands of small electrical generator windmills are laid out in such a way that seen from afar they create patterns of light: reflected form the sun during the day, and the light they generate during the night. Parallel to the spectacle of light, the windmills generate electricity that can be directed into the grid and distributed to the city.

land art generator

This makes the whole project a statement of the concept itself, even better would be to involve the inhabitants of the city to collaborate with the project, purchasing one of the windmills, making it even more clear that small acts can create great things.

land art generator

land art generator

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Sage and Coombe Architects
T. Kelly Wilson, Timothy Dunne, John Parker, Richard Kress, Peter Hansen, Christoph Timm, Peter Coombe, Allen Slamic, John Reed
Designed for Site #2 in Abu Dhabi, between Saadiyat Island and Yas Island.

land art generator
Design Submission for the 2010 Land Art Generator Initiative Design Competition

Artist’s descriptive text:
One edge of this site is the line between two extreme conditions: the Rub al Khali and the Arabian Gulf. Here the desert meets water. The forms of our proposal are drawn from the interaction of the environmental conditions and the unique land forms of the Arabian Desert’s Empty Quarter.

Solar Sound Field responds to the scale of the site and creates an alternate landscape of forms that will be seen from afar while providing an unexpected and sublime experience for an individual visitor. The composition of objects across the site is reminiscent of geological forms found in the desert, the Jebel Tuwaiq for example. We created these primal forms as a child may play on a beach: we dig to expose water; we smooth the sand to create a protected place; we mound the sand to make a landscape; and we dig by the sea and watch as it invades.

land art generator

To generate electricity we harvest the most prevalent source of energy on the site- solar radiation. It is well established that all the energy stored in Earth’s reserve of fossil fuels from petroleum to coal, is matched by the energy from just three weeks of sunshine. Each square meter collects the approximate energy equivalent of roughly a barrel of oil each year, or 6 kilowatt-hours of energy every day in the desert.

Solar chimneys will capture energy from the sun’s heat and photovoltaic cells create energy from the sun’s light. We want to transform the latent energy of the site into a medium that can be seen, felt and heard. We give voice to the desert: we propose five musical machines and five accompanying musical compositions.

Each machine is designed and placed to address a unique condition of the site and provide a different orientation to the ground plain. The generated sounds, ordered and organized into modern compositions, and are acoustically matched to the spatial idea and position of the viewer as he moves from one chamber to the next.

land art generator

The Machines
Each machine is a composition of three components: an acoustic chamber, a glass skirt and an array of chromium steel pipes- 60 meters tall. The elements of the site- water, sand and air are represented in glass, concrete and polished steel. The glass skirts will float above the sand like a mirage of water. The colour of water, sand and sky are reflected and distorted in the mirror finish of the pipes. The pipes will dissolve into the sky. The concrete is made from the surrounding sand and will be come a part of the ground.

land art generator

Air underneath the glass skirts at the base of the pipes will be heated by the sun and an upward directed airstream created by the hot and buoyant air wanting to rise. This airflow, similar to an organ, provides the means to sustain a musical note through the resonance chamber in each solar chimney. The pipes will channel the airflow that drives a simple turbine and generates electricity. Water storage underneath the glass skirt will be used to store heat so that the stack effect continues throughout the night. The harvesting energy will be felt and heard throughout the day.

In addition to the turbines, electricity is generated by of 24,000 square meters of photovoltaic cells placed below the glass skirts. The electricity created will provide power needed on site. Excess power will be fed to the grid.

land art generator

Parking Area
A continuous dune, made from the excavations or spoils from the sound chambers, lines the parking and provides an acoustical barrier to the road. Separate entrances punctuate the dune. A visitor, upon leaving the parking area, would pass through the dune and follow pathways that link each machine. Descending into the cool shade of each chamber the visitor will find a symphony of sound, space and light.

Machine 1 Amphitheatre remains an ‘instrument.’ The available sound is offered the visitor to manipulate, and to be used by visiting sound artists and musicians who come with the purpose to explore the form of generated sound.

Musical Composition 1:
Suspension Chamberland art generatorland art generatorland art generatorland art generatorland art generator
Here the unpredictability of the converging counterpoints – disparate and dynamic voices unpredictably bouncing off one another – form moments of intense epiphany and inner-directed rumination engendered by an encounter with the surrounding spaces and energy.

Machine 2 Water permits the confluence of tidal water within the sound chamber, low frequency notes at the limit of human hearing visually observable on the surface of the water, registering their notes with pressure.

Musical Composition 2:
Performance Chamber
Out of the stillness of the water grotto rises a sonic wave of resonating low frequencies. The cluster of tones first presents itself as an inaudible sound wave somewhere that sends ripples over the surface before modulating and becoming humanly audible. Our eyes are presented with one image of water and faint light and our ears remind us of their voluminous powers.

Machine 3 Sky slides land beneath an inverted dome that is pierced by an oculus, brings the visitor to direct their gaze toward the sky.

Musical Composition 3:
Water Chamber
With a blast of direct sunlight at the center of this massive disc the heavens cut through our senses like the bright, soaring major harmonies created by layers upon layers of melodic threads. The sun’s radiance appropriately trails-off into the sounds of creation – birds of the sky.

Machine 4 Wadi develops a long and gradual swale to pass gently under the land, slowly approaching the sound field beneath the pipes above where the slow gradient of descent compliments the gradient of sound.

Musical Composition 4:
Sky Chamber
Two wind instruments, like comforting messengers from the heavens directed columns and conversing a tonal language at home in the Arabic culture, beckon the visitor along a graded pathway leading further into a blissful unknown.land art generator

Machine 5 Canyon directs the visitor into a deep trench down a ramp, to cross a bridge poised exactly at the mid point between top and bottom of the trench. With equal measures of space above and below, the visitor is placed in a suspension from ground and sky.

Musical Composition 5:
The vast stretch of upwards and downwards space is not inert but charges with the sound of arching and jubilant brass. Suspended and locked into some kind of celestial dance above the insistent gravitas of the string bass pizzicatti the stifled awe of an encounter with the sublime is given over to joyously pulsating celebration.

Scientific Principles: Solar Updraft Function of LAGI
The basic function of LAGI is to use the heating of air as in a greenhouse to produce power from updraft to turn a turbine.

The project consists of five differently geometrically shaped machines which operate independently from one another. They are located at distances of 100 to 400 meters apart.

Functional Principles
The function of each of the five machines can be divided into three parts, each of which derives from traditional and conventional technology.

1. Greenhouse– heating of the air,
2. Chimney– upward motion of hot air through the towers, and
3. Turbines– generation of electricity by turning of a turbine.

Greenhouse
The solar radiation penetrates the glass roof of a greenhouse a heats the air below. This is similar to what happens in a car parked in the sun, the air will heat up until there is an equilibrium of the energy irradiated into the box and the total of the energy radiated out of the box and the energy loss by heat conduction through floor, walls and roof.

The real model must include the loss of the hot air to the actually not enclosed “box”. A dynamic flow model includes inflow of cold air into the greenhouse, transport of that air through the greenhouse structure while the air is heated, and loss of hot air from the greenhouse to the chimney(s).

Chimney
Hot air rises as it is less dense than cold air. The rising hot air from the greenhouse or glass skirt turns powers the turbines.

Turbines
To calculate the potential for energy production from the turbines placed in the solar chimneys we have looked for existing installation that may serve as precedent.
Power Calculations and Precedent Projects

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RE_GENERARTE

Hector Paredes Gutierrez and Eduardo Gaitan Tronco
Designed for Site #1 in Dubai, near Ras al Khor Wildlife Sanctuary.


Design Submission for the 2010 Land Art Generator Initiative Design Competition

Artist’s descriptive text:
The idea of generating an artificial project in a natural environment always forces the need to adapt and integrate without trying to imitate it. Using the enviromental factors of within, this enviroment helps us to develop this integration between natural and artificial thing.

How to integrate artificially an enviroment that owns a dynamiism based on natural energies?

If we focus our attention towards this element only having a temporary function it would be a poor idea. We should be able to reach an evolutionary artificiality totally integrated in the enviroment. If we work in this way, it will be generated and regenerated in, creating as a result an artificial, evolutionay and ephemeral element.

In the life’s cycle, three intrinsic acts can be found, to be born, to grow, and to die. If we could compare an artificial element with an alive entity and his life cycle, we find the lack of this intermediate part of growth, its evolutionary part, taking this evolutionary part as a point of connection between the natural and the artificial, by achieving the growth inside this artificiality, it carries out mutations and events, where the passage of time itself is also a part of this artificial, evolutionary, changeable and multiplied element. It manifests and unchains daily events that make us think that it’s alive, and it is then that we find this connection between the natural and the artificial thing.

Let’s try to use these natural energies, not only to generate energy, but also as means of adaptation, integration and evolution of an artificial element. This artificial and evolutionary element generates and regenerates natural situations and effects through the passage of time that remind us of these natural and ephemeral events in chain through the artificiallity that has been generated within it.

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