Solar Today Winter 2016-17 : Page 38
of the twentieth century—a view of nature as a thing to manage and of people as consumers—is counterproductive to climate solutions, we have a frustrating road ahead in the twenty-first century. The global free market has shown that it isn’t capable on its own of quickly providing the incentive structures that can make it a mechanism for achieving harmony with nature. Given the limited time that we have to get things right, we could take a lesson from the triumphs of large-scale public-sector investment and policies that led to the midcentury golden era for the middle class. If every “high-carbon world” country implemented a new Sustainable Works Progress Administration (SWPA) we could mobilize collective action with the force of a planetary patriotic duty. Within decades we could build our new energy infrastructure, establish regenerative economic policies, and give our cities the long-term resiliency they need to prosper. The United States has made this kind of public-sector investment many times before. It’s just that it is usually mobi-lized for destructive rather than constructive ends. This time we need a war on climate change. Similar to the WPA in the 1930s United States, 15 an SWPA project offers the opportunity to realize the potential for infrastructure projects to provide an outlet for creative expression and contribute to our culture in meaningful ways. Imagine the majestic beauty of the massive infrastructures that will power our prosperity for the next hundred years, regeneratively designed with input from creatives, that will allow the planet to heal. In every sense, design is the key driver of positive change and climate action: design of infrastructure, design of buildings and cities, design of regional plan-ning systems, design of closed-loop industrial systems, design of waste manage-ment, design of cradle-to-cradle consumer goods, and the design of good public policy and regulations. Cities that recognize the value of arts and culture have long benefited from percent for art programs. It has become expected (and in many cases required) for large-scale development projects to invest at least 1% in the arts, especially when there is public funding involved, either by bringing an artist onto the proj-ect team to produce an on-site work, or by investing in a fund that is pooled for larger projects throughout the city. As we increase our focus on large-scale environmental and climate design sky + music + fountain + water A submission to the Land Art Generator Initiative 2016 competition for Santa Monica Team Oliver Ong Team Location Brisbane, Australia Energy Technology Point Absorber Wave Energy Converter (similar to CETO™) Annual Capacity 6,000 MWh, less energy used for water spray effects and sea organ The sound of a choir of dolphins and whales makes its way across the surface of the water from pipes erected in the middle of the sea. It echoes across the sea to the beach. Beautiful sprays of water accompany the chorus, their direction always changing. A power buoy wave energy system operates under the water’s surface, safe from large storms and practically invisible from the shore. The fully submerged buoys drive pumps and generators contained within the buoy itself, with electricity delivered back to shore through subsea cables for export to the grid. The sky + music + fountain + water buoy design uses a translucent acrylic hull illuminated to mimic jellyfish. Some of the energy is diverted to a pump that expels water and air. The seawater creates a con-stantly changing fountain while air is discharged through organ pipes. Visitors can take turns conducting this choir of sound and water from an organ-like keyboard on the Santa Monica Pier. 38 WINTER 2016-2017 SOLAR TODAY Copyright © 2014 American Solar Energy Society. All rights reserved.