A Design Philadelphia 2011 Lecture about the need to renew the urban environment. Andy and Andy are making a wig-wam like studio made of recycled materials found in the city to be installed on Broad Street, Philadelphia, summer 2012. Materials; glass bottles, concrete, and images of abandoned homes printed on ceramic tiles.

2. Renewed Urban Studio
Tent (RUST)
By Andy Heisey and
Andy Walker

4. The Sublime is a knowledge of something greater than oneself. The Hudson
River artists understood this notion and understood this force represent the hand
of God. The artist duty was to represent this “Sublime” world and in doing so the
viewer can also become closer to God. Man is in charge of this world.

6. “God blessed them, saying: ‘Be fertile and multiply; ;ill the earth and subdue it. Have
dominion over the ;ish of the sea, the birds of the air and all the living things that move on
the earth…See I give you every seed‐bearing plant all over the earth…” (Genesis 1, chapter
1, line 28)
Most of the artists of the Hudson River School didn’t acknowledge what was happening to
America and its wild lands but some did such as Edith Wilkinson Cook. Having man in
charge of our environment can be a challenging problem.

7. Joseph Beuys and Social Sculpture
The work of art is the greatest riddle of all, but man is the solution. Here is the threshold, which I want to call the end of modernity, the end of all traditions.
Together we will develop the social concept of art as a newborn child of the old disciplines. We view the traditional disciplines as entailing architecture, sculpture,
painting, music, and poetry, the group of muses which here too appear from behind an iron curtain so that a child may be born: social art, social sculpture, which
sets itself the task of apprehending more than just physical material. We also need the spiritual
soil of social art, where every single person experiences and recognizes himself as a creative, world-determining being, for building, sculpture in bronze or stone,
theatrical presentations, and our speech (p. 44). Joseph Beuys as quoted in a book In Memoriam Joseph Beuys Obituaries Essays Speeches.
• Some of the 7,000 Oaks planted between 1982 and 1987 for Documenta 7 (1982)
• Joseph Beuys's Honigpumpe am Arbeitsplatz (Honey Pump at the Workplace), 1977

8. Rozel Point, Utah
Smithson was interested in entropy (the gradual decline into disorder). This a site created by both death
and life. Today the Dia foundation is dealing with the problem of trying to restore the site or let it fall
into an entropic state.

9. Mark Dion-“Neukom Vivarium” (2006), a permanent outdoor
installation and learning lab for the Olympic Sculpture Park, was
commissioned by the Seattle Art Museum.
DION: I think that one of the important things about this work is that it’s really
not an intensely positive, back‐to‐nature kind of experience. In some ways, this
project is an abomination. We’re taking a tree that is an ecosystem—a dead tree,
but a living system—and we are re‐contextualizing it and taking it to another
site. We’re putting it in a sort of Sleeping Beauty cof;in, a greenhouse we’re
building around it. And we’re pumping it up with a life support system—an
incredibly complex system of air, humidity, water, and soil enhancement—to
keep it going. All those things are substituting what nature does—emphasizing
how, once that’s gone, it’s incredibly dif;icult, expensive, and technological to
approximate that system—to take this tree and to build the next generation of
forests on it. So this piece is in some way perverse. It shows that, despite all of
our technology and money, when we destroy a natural system it’s virtually
impossible to get it back. In a sense we’re building a failure.

10. Henrik Håkansson, Fallen Forest, 2006.
Courtesy the artist, Galleria Franco Noero,
Turin and The Modern Institute/ Toby
Webster Ltd, Glasgow. Photo: Yann Revol
Henrik Hakansson turns nature on its side
to show how nature has become
unbalanced and made perform unnatural
tasks.

11. Mel Chin takes the next step in
the development of the concept of
Social Sculpture by working with
scientists, corporations, art
organizations and everyday people
to solve real life problems such as
toxic waste.
Mel Chin, Revival Field, 1990 until present, satorimedia.com

12. Rick Lowe’s idea of Social Sculpture goes further than the physical transformation of the
neighborhood. As Ms. Richards said about her experience in the program as an unwed
mother:
Well, I had heard Rick was an artist when I got there, but I thought, what kind of art does
he do? Then I realized we were his art. We came into these houses, and they did
something to us. This became a place of transformation. That’s what art does. It
transforms you. And Rick also treated us like artists. He would ask, ‘What’s your vision
for yourself?’ You understood that you were supposed to be making something new, and
that something was yourself .
Lowe creates beauty where there once was ugliness when he transforms the old
dilapidated shotgun houses and turns these houses to places of physical beauty. He takes
the next step by helping others to live creative lives. Ms. Richards is currently completing
her Ph. D. in Sociology.
Project Row Houses, Houston, photo by Stephen L. Clark, Dewan, 1995

13. Andy Heisey
Reclaimed

14. Fallen

15. Fallen

16. Conglomerate

17. Conglomerate II

18. Conglomerate II

19. Lego Torso

20. Layers

21. Pressure
Points

22. The Urban Egg Project

27. Andy Walker
“Interiors on the Exterior”
2010
Hamilton Platforms
Broad Street, Philadelphia PA

28. “Houses in Need of Help”
2011

29. “House in Need of Help”
2011

31. RUST
Renewed Urban Studio Tent

32. The Studio

33. The Studio

34. Kickstarter Project