I’m glad to find other people who are into art focused on food and gardening in cities. This blog isn’t very big yet, but it will grow, I mean doesn’t everyone want to look at cool art with good food their belly?
Good Farm Movement is the art of the urban agrarian. we are a visual art blog that showcases and celebrates the agrarian avant-garde—the forward thinking farmers, cooks, eaters, educators, activists, and artists reclaiming our land, our communities, and our health.
we believe thought provoking visual art is a powerful means for examining the relationship between people and food in society. therefore, we draw on the visually dynamic mediums of design, photography, film/video, painting, and drawing as wellsprings of education and inspiration.
our ambition is to grow an informal collective of contributors who shift and shape the visual commentary regarding the political, economic, cultural, and social issues of food and farming. every contribution is open for commenting, and hopefully will produce critical thought and meaningful dialogue on and away from the site.
we welcome all well composed contributions for consideration. please send your piece to goodfarmmovement@gmail.com.
Here are some designs for crazy urban agriculture from the past, present, and future
We always laugh at ideas from the past-
This page from the 1982 book, Our Future Needs (World of Tomorrow) by Neil Ardley, describes a world in which we eat factory waste that has been processed into food by genetically modified bacteria. Click here to read the actual article. Taken from Paleo-future.
Robots tend crops that grow on floating platforms around a sea city of the future. Water from the ocean would evaporate, rise to the base of the platforms (leaving the salt behind), and feed the crops.
In the 1982 book Our Future Needs (World of Tomorrow), robots grow and harvest oranges in a desert. No humans are needed! Click here to read the article. (From Paleo-Future)
Today vertical farming seems like a possibility.
Advantages of Vertical Farming
Year-round crop production; 1 indoor acre is equivalent to 4-6 outdoor acres or more, depending upon the crop (e.g., strawberries: 1 indoor acre = 30 outdoor acres)
No weather-related crop failures due to droughts, floods, pests
All VF food is grown organically: no herbicides, pesticides, or fertilizers
VF virtually eliminates agricultural runoff by recycling black water
VF returns farmland to nature, restoring ecosystem functions and services
VF greatly reduces the incidence of many infectious diseases that are acquired at the agricultural interface
VF converts black and gray water into potable water by collecting the water of
evapotranspiration
VF adds energy back to the grid via methane generation from composting non-edible
parts of plants and animals
VF dramatically reduces fossil fuel use (no tractors, plows, shipping.)
VF converts abandoned urban properties into food production centers
VF creates sustainable environments for urban centers
VF creates new employment opportunities
We cannot go to the moon, Mars, or beyond without first learning to farm indoors on
earth
VF may prove to be useful for integrating into refugee camps
VF offers the promise of measurable economic improvement for tropical and subtropical
LDCs. If this should prove to be the case, then VF may be a catalyst in helping to reduce or even reverse the population growth of LDCs as they adopt urban agriculture as a strategy for sustainable food production.
VF could reduce the incidence of armed conflict over natural resources, such as water
and land for agriculture
“We thought we’d bring the farm back to the city and stretch it vertically,” says Work AC co-principal Dan Wood. “We are interested in urban farming and the notion of trying to make our cities more sustainable by cutting the miles [food travels],” adds his co-principal (and wife) Amale Andraos. Underneath is what appears to be a farmers market, selling what grows above. Artists would be commissioned to design the columns that hold it up and define the space under: “We show a Brancusi, but it could be anyone,” says Wood. ::New York Magazine
A “Center for Urban Agriculture” in Seattle designed by Mithun Architects.
According to CEO Washington, The building also would run completely independent of city water, providing its own drinking water partly by collecting rain via the structure’s 31,000-square-foot rooftop rainwater collection area. The water would be treated and recycled on site. And photovoltaic cells would produce nearly 100 percent of the building’s electricity. (From TreeHugger)
This is Gordon Graff’s Sky Farm proposed for downtown Toronto’s theatre district. It’s got 58 floors, 2.7 million square feet of floor area and 8 million square feet of growing area. It can produce as much as a thousand acre farm, feeding 35 thousand people per year and providing tomatoes to throw at the latest dud at the Princess of Wales Theatre to the east, and olives for the Club District to the north. Thankfully it overwhelms the horrid jello-mold Holiday Inn to the west. (From TreeHugger)
One of my personal favorites…
Daekwon Park, seen in the 2008 Evolo skyscraper competition, is a way to reunite the isolated city blocks and insert a multi-layer network of public space, green space and nodes for the city.
Daekwon Park clips on to the exterior of existing buildings a series of prefabricated modules serving different functions would be stacked on top of each other, adding a layer of green space for gardening, wind turbines or social uses to make new green façades and infrastructures.
There are modules for vertical gardens and connections to other buildings through a network of skywalks;
Wind turbine units and program units that could serve many public functions.
The concept of adding a layer of complexity and usefulness to the under-insulated glass dinosaurs that are sprouting up everywhere may save them and their owners from the inevitable hike up 24 flights of stairs with their meagre rations. via ::Prunedand ::Archinect
There are lots of awsome skyscraper designs at Evolo
Last but certainly not least, is the Vertical Farm project
Several of the designs we have looked at come from the Vertical Farm project, which promotes local fresh and healthy foods in gravity defiying ways. This project was started by a professor at Columbia, Dr Dickson Despommier. His theory, that ‘skyscraper farms’ could provide plentiful food organically, without herbicides, pesticides or fertilisers, has attracted venture capitalists and scientists from around the world, intent on making the theory into reality within 15 years.
Designed by Chris Jacobs for the Vertical Farm Project. Check out this great article in the New York Magazine for lots of pictures, interviews, and breakdowns of the design.
A French documentary called “The World According to Monsanto” caused quite a stir in the US alternative agriculture community this week. Dubbed “A documentary that Americans won’t ever see,” this hour-and-fifty-minute documentary is available free through google video.
Pretty cool if you ask me, but I haven’t watched the whole thing.
Monsanto was founded in 1901 by equally scary looking John F. Queeny.
The film first aired on ARTE, a French-German cultural channel on March 11 and made its way to the states by early April where many Americans saw it. This doumentary about scary mega agribusiness corporation, Monsanto, was made by French journalist and film-maker Marie-Monique Robin. The fact that there is not that much else out there about the film probably suggests that not many other people have watched the whole documentary either. I’ll have to watch it and get back to you…
Protesters fighting to remove Monsanto’s milk hormone rBGH from the market
Monsanto has been around for ages and is a leading force behind so-called “conventional agriculture.” There’s lots of people fighting against this blackhole of a company around the world.
The company’s profits for fiscal year 2007 are a disgusting $1.06 billion.
Fritz Haeg. artist, architect, gardener, superhero.
Today for $29.95 you can can join the 3.5 million families and businesses getting everlasting happiness from their Trugreen lawns. Every month a man will come to your house and spray a delightful mixture of toxins and fertilizers to kill anything that might live in your lawn and green the stuff thats too dumb to die. (Incidently at the bottom of the Trugreen website a little blurb reads, “TruGreen ChemLawn is now TruGreen, because one word is all you need for a great lawn. We have shortened our name to make it easier for you to remember that we are the experts of lawn care. While we are known as “TruGreen”, the name ChemLawn will always be a part of our Company.” trugreen.com)
Sheep on the White House lawn during Woodrow Wilson’s Administration
The American lawn has been an institution in suburbia since suburbia began. Historians believe that this preocupation with low growning, uniform turf grass stems from 17th century Europe, when the ruling royals flaunted their wealth by surrounding themselves with lawns “Lawns did a great job of showing off castles and manor homes. They also let the neighbors know that the lawn owner was so wealthy that he could afford to use the land as a playground, rather than a source of food. Thus, the lawn became a status symbol.” (Donaldson). They are the sign of wealth, materialism, order, and perfection that America thrives on. When the push mower came on the scene in 1870, suddenly almost any property owner who wanted to could have a lawn. So the lawn became a symbol of the American dream, the land of wealth and prosperity, where anyone can have a lawn not used for practical purposes. The USDA and Garden Clubs of America pushed the lawn by holding best-kept lawn contests and writing about the desire to conform and achieve status through a beautiful lawn. The land of wealth and prosperity became the land of excess, wastefulness and materialism. When chemical pesticides and fertilizers came onto the market after World War II, lawns got artificially greener and began to pollute landscapes everywhere. Fertilizer run-off created problems in all waterways and disrupted the balance of ecosystems. For a long time is was thought that agriculture was the main source of pollution to waterways. Only recently did scientists realize the extent to which individually fertilized lawns affected the ecosystem.
Haeg has been traveling around the country on a crusade against the American lawn in his project, Edible Estates. Instead of these scary unproductive barren patches that we all insist on keeping in front of our homes, Haeg creates beautiful organic edible landscapes that will liven up the whole neighborhood and hopefully make your neighbors jealous. When I think of the words “edible landscape”, an a Charlie and the Chocolate Factory image appears in my head of carefully sculpted unicorn topiaries made out of strawberry plants or at least a giant bush shaped like a yorky terrier similar to the one outside the Guggenheim in Bilbao.
As far as I know, Haeg has never made an edible landscape of that sort. His are beautiful, productive, well organized, and lasting. Unlike Trulawn, they invite creatures of all sorts into the front yard, don’t dump toxic chemicals into local waterways, and produce lots of good things to eat. “Haeg is taking over one domestic front lawn at a time… in an attempt to completely overthrow the American institution of front lawns by creating a living exhibit that reflects his personal concerns about our environment and the effort that needs to go into protecting it (Thornton).”
Edible Estate #3 in Maplewood, New Jersey (Photo by Fritz Haeg)
“I’m interested in what happens when a garden is placed in a location where it becomes a threat to the industrial/commercial system that we are embedded in.” Said Fritzy in an interview with Creative Time, “For some neighborhoods, it is a very provocative gesture that is upsetting. I think that a society that cannot grow it’s own food or that is threatened by a garden is in deep trouble. Most American homes will hide their kitchen garden in the backyard, if they have one at all. This project gets them out in front, a display created in an attempt to demonstrate the aesthetically pleasing aspects of pratical gardening. And it works. Haeg’s gardens do just what they set out to do, and sometimes I wonder why he doesn’t have a million screaming fans following him everywhere.
Stan and Priti Cox stand in front of their suburban home with Edible Estate #1 in Salina, Kansas.
To represent America as a whole, Haeg decided he wanted to build gardens evenly all over the country. He started in pretty much the geographic center on the country: The first edible estate was built in Salina, Kansas in 2005. Since then five other gardens have been built in Lakewood, California (Southwest); Maplewood, New Jersey (Northeast); London, England; Austin, Texas (South); and Baltimore, Maryland (East) respectively. There is also a demonstration garden in Descanso, California. Not only does Fritz Haeg build and advertise the edible estates that he designs and creates, but he also encourages others to do the same. His website has an entire section titled “how to make you own” with plans, costs, advise, and references.In a way, the edible estates Fritz has created are advertisements for vegetable gardening in suburbia. “Haeg calls his Estates “franchise projects” because they can be applied anywhere. They’re the product of a sort of global localism that draws its meaning from the indigenous.” (Metropolis)
Haeg’s garden design for Edible Estate #6 commissioned by The Contemporary Museum in Baltimore
Haeg came to Baltimore to plant an edible landscape for The Contemporary Museum’s exhibit Cottage Industry. Many home owners applied for the privilege of having an awesome garden planted in their front yard by a group of eager volunteers from all around the area. To know about the selection process listen to the radio article by Maryland Morning below. So an apparently awesome couple, Clarence and Rudine, were chosen to have Edible Estate #6 planted the front yard of their suburban house and The Contemporary Museum paid for everything. On Thursday, Fritz gave a talk at the museum about the Edible Estates project.
Clarence and Rudine, happy caretakers of Edible Estate #6 in Baltimore
Then on saturday, a whole hoard of volunteers showed up to help and they got the entire garden finished in one day. I found out that the project was happening on saturday afternoon as the last veggies were planted. My bad luck. But I did get a nice email saying I could come check out the garden anytime… Well, at least it saved me the embarrassment of screaming and running around after Fritz Haeg, or fainting on the spot, or being otherwise unable to control myself in his presence…
The happy Baltimore volunteers minus a certain student of urban agriculture who should have been there. (April 11, 2008)
An addition to the wonderfully successful Edible Estates projects, Fritz Haeg has other programs. In 2001, Haeg created the GardenLab on-campus community garden program at the Art Center College of Design in Pasadena to get art and architecture students and faculty more in touch with their environmental surroundings. “Faculty, students and staff were encouraged to claim one of 30 designated plots within the school’s 175 wooded acres and use it as “a laboratory for messy experimentation and observation of natural cycles.” (Morgan) Haeg’s new Animal Estates project connects city-dwellers with wildlife. There is currently an Animal Estate exhibit at the Whitney Museum, in New York City. He just published about book about Edible Estates from Metropolis Books. A native Minnesotan, graduated from Carnegie Melon in 1992 with a Bachelors of Arts in Architecture and now lives in Los Angeles.
Haeg says, “I like the idea that my projects are better known than I am. More people probably know what the Edible Es-tates project is than who I am, which inverts what’s more common today, where you can know someone really well but have no idea what they’ve ever done.” In an era that loves to make stars, “artists are going to want to circumvent that and posit alternative ways of making art or being creative—for example, does art always have to be solitary?” (Metropolis)
Sprouts in the Sidewalk 