However, these agents were recognized – and debased - by the West to be trade-worthy objects of history - objects that can be measured, crated, bought and sold. Prime Mover - In Aristotelian philosophy, the self-moved being that causes all motion.Īncient Egyptian obelisks are agents of culture and history, endowed with sacred spiritual meaning and designed to transcend time. 3D (Maya) rendering of deployable structure (within the parameters of a 6’圆’ palette), Wide angle photograph of NY city skyline with Urban Lodestar visible as a central point.
Visible by day and night, the Urban Lodestar will gently pulsate in tempo with the heartbeat of one who is deeply at rest, and so provide a calming, rhythmical index to combat the stress and anxiety so often attendant with urban centers in the 21st Century. Green lights and lanterns are universally recognized as signifiers for safe passage, and the affirmation or commencement of a voyage. Intermittent green emanations will serve to differentiate the Urban Lodestar from other, natural celestial bodies. Using a deployable, expanding design of reflectors and lenses, this satellite will redirect energy from the sun, and be sufficiently bright to cut through typical urban atmospheric conditions. We propose to launch a low orbit, geo-stationary satellite directly above our chosen city, Manhattan. With seemingly irreversible and ever-expanding urban sprawl, and the resulting cultural malaise, city dwellers are in danger of losing sight of any lodestar to inspire galactic awe and wonder, and recapture a sense of the beyond. Rather than looking out and above-both literally and metaphorically-the 21st Century urbanite becomes alienated and distanced from the primary source that has provided humanity with an orientation point for millennia: the ancient starlight of the celestial vault. The fog of artificial, urban lights too often contracts ones focus to close range effects. SMITHSONIAN AMERICAN ART MUSEUM PROJECT HISTORY- Beyond Granite: Global Approaches to Public Art, Placemaking, and National Commemoration (Tribute in Light presentation starts at 23:20)Ĭitizens of major metropolitan areas increasingly entombed within the sodium haze of artificial lights and other atmospheric pollutants. THE MUNICIPLE ART SOCIETY PROJECT HISTORY Initiative, and served as the principle conceptual designs and preliminary plans, to help concerned citizens and members of New York city government pre-visualize and grasp the emotional impact and phenomenalogical effects that it was believed this ephemeral Public Art work and light memorial would offer.įor more on the project history, presentations, articles and reviews: All of their artist renderings were created on behalf of the T.O.L. This image sparked the inspiration to launch the Towers of Light Initiative, later re-titled The Tribute in Light. The first conceptual image of the Tribute In light, was rendered by Julian LaVerdiere and Paul Myoda and appeared on the cover of The New York Times Magazine, on September 23rd, 2001. The principle production support for the launch of this iniative was provided by two non-profit arts and cultural institutions Creative Time & The Municipal Art Society. The creative team behind the Tribute in Light Initiative consisted of Artists Julian LaVerdiere and Paul Myoda, Architects John Bennett, Gustavo Bonevardi and Richard Nash Gould, and Lighting Designer: Paul Marantz. The two enormous beams of light were generated by twin arrays of fourtyfour xenon spot lights that radiated from a site one block north of Ground Zero into the night skyThis public artwork was subsequently selected to become a permanent addition to the WTC Memorial and is now annually illuminated on the week of September 11th. The Tribute in Light memorial was first launched on March 11th, to memorialize the six-month anniversary of the World Trade Center disaster and to both honor those lost on September 11th and celebrate the spirit of all the New Yorkers who had worked to rebuild and restore the City in that terrible time.
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