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Architects: Daniel Lyman
- Year: 2010
Text description provided by the architects. In its essence, the installation’s seemingly un-orchestrated subtle movements are reminiscent of a field of grass or trees reacting from the wind. Though each rod sways independently to its own rhythm, each individual maintains harmony with the whole; all swaying together in a symphony orchestrated by the supple forces of nature - no one part more important than the whole.
The rods are aligned on a thirty inch square grid, representative of the urban layout of Salt Lake City and surrounding areas. Individual rods created out of moly-filled nylon that pitch themselves over ten feet into the air to create a defined but open space. Though each rod is very thin, one inch in diameter, the nylon composition provides resistance without hindering motion. For ground support each rod is cemented into a concrete footing with minimal disturbance to the site. The sharp rays of sunlight cast hard shadows that are diffused on the gravel floor. Nighttime lighting is provided from security floodlights on the theatre wall and street lamps lining the walkways.
The soft subtle movements of an evening wind are pressed through the opening between the building to the west and the restaurants to the north, and is then dispersed throughout the site in swirling movements until finally finding a few constricted openings between the trees to the south.
Whatever time of day or season the experience of entering into this field can create a feeling of being transported to a different realm within the urban cityscape. The installation’s is completely open to the interpretation of each person within the field. Some may find a feeling of being lost while others may enjoy being encompassed all about by the flowing movements all around them. Because of the spacing between rods, adults will likely be required to meander through the site while children will enjoy running around brushing the rods. Whoever you are, you’ll be able to take an active role creating the movements by pressing against the rods and watching them undulate in diminishing reactive movements. The creative movements have been sway’d.
