Articles

• Gardens of Interstitial Wildness

  This paper looks into ‘gardens of wildness’ that have been established in metropolitan interstitial spaces. These unused, unfunctional urban spaces could be considered as spatial-temporary interstices of the metropolitan landscape. These ‘interstitial spaces’ possess the potential to host diverse social-ecological minorities that tend to be excluded by regulated urban spaces. The ecological qualities of interstitial spaces are recognised by French garden designer Gilles Clément, who regards spontaneous ecologies, which emerge in neglected spaces of the city, as cherished reservoirs that diversify and sustain the urban ecology. Specifically, this paper discusses the value of making gardens of interstitial wildness. If the garden is a potential design approach magnifying the quality of the place, what would be the role of interstitial wild gardens? Furthermore, how do these gardens respond to the relationship between interstitial spaces and the metropolitan landscape? In this paper we will analyse Gilles Clément’s garden design of Jardins du Tiers-Paysage (Gardens of The Third Landscape), located on the roof of the repurposed submarine base of Saint-Nazaire (FR). Reading Saint-Nazaire’s urban context and examining the design from ecological and experiential points of view, this paper shows how the gardens re-introduce the submarine base as a place in the metropolitan landscape of Saint-Nazaire. Orchestrating the experience of the site’s spatial characteristics and the emerging wildness, the gardens elicit an appreciation of the autonomy of non-human agencies and simultaneously reflect upon the heterogeneity of the metropolitan landscape.

   

  This paper looks into ‘gardens of wildness’ that have been established in metropolitan interstitial spaces. These unused, unfunctional urban spaces could be considered as spatial-temporary interstices of the metropolitan landscape. These ‘interstitial spaces’ possess the potential to host diverse social-ecological minorities that tend to be excluded by regulated urban spaces. The ecological qualities of interstitial spaces are recognised by French garden designer Gilles Clément, who regards spontaneous ecologies, which emerge in neglected spaces of the city, as cherished reservoirs that diversify and sustain the urban ecology. Specifically, this paper discusses the value of making gardens of interstitial wildness. If the garden is a potential design approach magnifying the quality of the place, what would be the role of interstitial wild gardens? Furthermore, how do these gardens respond to the relationship between interstitial spaces and the metropolitan landscape? In...

  This paper looks into ‘gardens of wildness’ that have been established in metropolitan interstitial spaces. These unused, unfunctional urban spaces could be considered as spatial-temporary interstices of the metropolitan landscape. These ‘interstitial spaces’ possess the potential to...

  Sitong Luo, Klaske Havik

  9-22

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• Absorbed in the Limestone Garden

  The term landscape metropolis and its associated practice of reading the city through the terminology and ‘lens’ of the landscape rather than the normal conventions of urban studies is generally applied to the contemporary city and its expansion beyond the historic centre. Yet, this approach also chimes with the peculiarities of the historic island city and the close relationship such cities have with the restricted, liminal ground on which they are founded. This paper explores the hypothesis that an island city can be understood as a metropolitan landscape as a consequence of peculiarities of geography, ecology, culture, place, and resiliency. By focusing on one such city, Valletta, a heightened case, in which a 16th Century metropolis was founded as Renaissance ‘ideal’, the paper examines the reciprocity between this projected ‘ideal’ and the actual landscape where the metropolis is fused and, indeed, confused with the landscape so that the spatial coherence between city and landscape determines the nature of the metropolis.

  The term landscape metropolis and its associated practice of reading the city through the terminology and ‘lens’ of the landscape rather than the normal conventions of urban studies is generally applied to the contemporary city and its expansion beyond the historic centre. Yet, this approach also chimes with the peculiarities of the historic island city and the close relationship such cities have with the restricted, liminal ground on which they are founded. This paper explores the hypothesis that an island city can be understood as a metropolitan landscape as a consequence of peculiarities of geography, ecology, culture, place, and resiliency. By focusing on one such city, Valletta, a heightened case, in which a 16th Century metropolis was founded as Renaissance ‘ideal’, the paper examines the reciprocity between this projected ‘ideal’ and the actual landscape where the metropolis is fused and, indeed, confused with the landscape so that the spatial coherence between...

  The term landscape metropolis and its associated practice of reading the city through the terminology and ‘lens’ of the landscape rather than the normal conventions of urban studies is generally applied to the contemporary city and its expansion beyond the historic centre. Yet, this...

  Adrian Hawker

  23-40

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• Situated Practice

  The ground is both the surface occupied by urban development and a physical media – soil – in which plants grow. Since housing density is a mechanism by which to maximise a site’s financial yield, construction covers the real ground. Consequently, the soil is provided to residents in containers on terraces or balconies. However, the properties of natural ground and simulated ground are different, affecting gardening activity and the kind of material and spatial outcomes resulting from it, the synthesis of which is called “the viridic” by the author. Gardening has health benefits for people. Correspondingly, because different soil conditions affect gardening, this benefit’s qualities are also inflected by access to and type of soil.

  Using Yin’s “theory building” case study model, two gardens by a landscape architect in Girona are discussed: one on a terrace in containers; the other on the natural ground in a public reserve nearby. Comparing and contrasting these gardens allows for the consideration of the relationship between soil and gardening technique. In addition, the process of abstraction of the ground implicit in site development may also be considered, as well as the implications of such a process on the way in which residents cultivate their gardens and the limitations of private gardens in contributing to local microclimatic and environmental qualities. The paper concludes by refining the model of the viridic based on soil and how soil mediates the relationship of the viridic to urban development.

   

  The ground is both the surface occupied by urban development and a physical media – soil – in which plants grow. Since housing density is a mechanism by which to maximise a site’s financial yield, construction covers the real ground. Consequently, the soil is provided to residents in containers on terraces or balconies. However, the properties of natural ground and simulated ground are different, affecting gardening activity and the kind of material and spatial outcomes resulting from it, the synthesis of which is called “the viridic” by the author. Gardening has health benefits for people. Correspondingly, because different soil conditions affect gardening, this benefit’s qualities are also inflected by access to and type of soil.

  Using Yin’s “theory building” case study model, two gardens by a landscape architect in Girona are discussed: one on a terrace in containers; the other on the natural ground in a public reserve nearby. Comparing and...

  The ground is both the surface occupied by urban development and a physical media – soil – in which plants grow. Since housing density is a mechanism by which to maximise a site’s financial yield, construction covers the real ground. Consequently, the soil is provided to residents in...

  Julian Raxworthy

  41-52

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• Designing with Hybridity, Scalar Paradoxes, and Complex Dynamics

  Belonging to the small-scale and private sphere, gardens are usually omitted from urban and regional landscape plans. Yet, we argue that the assemblage of everyday gardens – the garden complex – is an inherent component of the landscape metropolis that holds the potential to become a powerful landscape agency. This potential is enclosed, among others, within three particular qualities: hybridity, scalar paradoxes, and complex dynamics. Practicing these qualities as concepts for landscape design and analysis helps to expand the imaginaries of everyday gardens to more purposefully reflect and negotiate the condition of the landscape metropolis. By means of two case studies – two domestic gardens – we demonstrate that designing with hybridity entails versatility, simultaneity, and multiplicity, thereby engendering a richness of meaning and experiences. This pluralism is also inherent in the scalar paradoxes we observed. Cross-scalar interactions evoke design implications that transcend the confines of the private plot, surpassing individual, human gain, and making individual gardens enter into dialogue with each other and with their surroundings. Lastly, by working with an enlarged set of complex dynamics, the two case studies prove that a garden can be a driver of change and innovation, and thereby a valuable source of resilience.

   

  Belonging to the small-scale and private sphere, gardens are usually omitted from urban and regional landscape plans. Yet, we argue that the assemblage of everyday gardens – the garden complex – is an inherent component of the landscape metropolis that holds the potential to become a powerful landscape agency. This potential is enclosed, among others, within three particular qualities: hybridity, scalar paradoxes, and complex dynamics. Practicing these qualities as concepts for landscape design and analysis helps to expand the imaginaries of everyday gardens to more purposefully reflect and negotiate the condition of the landscape metropolis. By means of two case studies – two domestic gardens – we demonstrate that designing with hybridity entails versatility, simultaneity, and multiplicity, thereby engendering a richness of meaning and experiences. This pluralism is also inherent in the scalar paradoxes we observed. Cross-scalar interactions...

  Belonging to the small-scale and private sphere, gardens are usually omitted from urban and regional landscape plans. Yet, we argue that the assemblage of everyday gardens – the garden complex – is an inherent component of the landscape metropolis that holds the potential to become a...

  Bieke Cattoor, Valerie Dewaelheyns

  53-74

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• Amidst Things

  This visual essay explores the making of a new garden in a small secluded space deep within Danish housing estate Farum Midtpunkt. Through a series of digitally produced drawings the author unfolds origin and current material condition of the site in question, and speculates on the site’s possible future as a new garden for humans and the landscape metropolis’s unnoticed animals and plants. The design approach for the new garden is experimental, maintenance-based and open-ended, aiming to achieve a high level of biodiversity and to balance preservation and renewal attending to the site’s legacy and pre-existing qualities.

   

  This visual essay explores the making of a new garden in a small secluded space deep within Danish housing estate Farum Midtpunkt. Through a series of digitally produced drawings the author unfolds origin and current material condition of the site in question, and speculates on the site’s possible future as a new garden for humans and the landscape metropolis’s unnoticed animals and plants. The design approach for the new garden is experimental, maintenance-based and open-ended, aiming to achieve a high level of biodiversity and to balance preservation and renewal attending to the site’s legacy and pre-existing qualities.

   

  This visual essay explores the making of a new garden in a small secluded space deep within Danish housing estate Farum Midtpunkt. Through a series of digitally produced drawings the author unfolds origin and current material condition of the site in question, and speculates on the site’s...

  Asbjørn Jessen

  75-94

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• Land of Chabot

  In the contemporary metropolitan landscape of Rotterdam, the open landscape spaces that once surrounded the city have been reduced to components in a hybrid field. When the polders were still expansive, with an omnipresent horizon, and big skies, they were depicted extensively by the Dutch landscape painter Henk Chabot (1894-1949). Chabot is the Rotterdam painter of an oeuvre that is associated with angular, realistic expressionism of many layers of paint in hard colours, who painted heavily emphasised skies over poor countryside, or monumental portraits of refugees or farmers. For fifteen years, he lived and worked in a studio by the river Rotte. Now, only a relic of the farmland where he lived remains: an interstice between motorways, recreation parks, and suburbs that seemed to be overlooked in the frenzy of urban planning processes. The reason this interstice still exists is that it has been reserved for a future motorway for the last 30 years, and in the not-so-distant future will become the tunnel entrance for the new A16 motorway. As a left-over space, the terrain seems non-descript. However, it does have the implicit characteristics of a ‘landscape theatre’: introducing the processes and the scale of landscape as self-evident elements of the city, and heralding the open polder landscape twenty minutes away. It borrows its physical boundaries from the Rotte river dyke, the heemtuin (botanical garden) adjacent to the Ommoord apartment blocks, the access road to Ommoord, the industrial estate, and residential area in Terbregge. Such a “borrowed boundary” can be seen as a defining trait of the landscape theatre. The open space that is defined by this borrowed boundary and the central point of the tunnel entrance, is a secluded, self-contained place, removed in time and space, insulated against the everyday reality and, aside from the public realm of streets, squares, and parks, from the hustle and bustle of urban life: a place “outside”.

   

  In the contemporary metropolitan landscape of Rotterdam, the open landscape spaces that once surrounded the city have been reduced to components in a hybrid field. When the polders were still expansive, with an omnipresent horizon, and big skies, they were depicted extensively by the Dutch landscape painter Henk Chabot (1894-1949). Chabot is the Rotterdam painter of an oeuvre that is associated with angular, realistic expressionism of many layers of paint in hard colours, who painted heavily emphasised skies over poor countryside, or monumental portraits of refugees or farmers. For fifteen years, he lived and worked in a studio by the river Rotte. Now, only a relic of the farmland where he lived remains: an interstice between motorways, recreation parks, and suburbs that seemed to be overlooked in the frenzy of urban planning processes. The reason this interstice still exists is that it has been reserved for a future motorway for the last 30 years, and in the not-so-distant...

  In the contemporary metropolitan landscape of Rotterdam, the open landscape spaces that once surrounded the city have been reduced to components in a hybrid field. When the polders were still expansive, with an omnipresent horizon, and big skies, they were depicted extensively by the Dutch...

  Saskia de Wit, Andre Dekker

  95-112

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• Garden Thinking in Cities of Tomorrow

  Since the middle of the 19th century, when the term ‘landscape architecture’ began to replace the hitherto common term ‘garden art’, the garden as a work of art and gardening, understood as a predominantly decorative activity, stood in the critical discussion about the future of the metropolises. It was not only architects and urban planners who repeatedly questioned the value of ornamental gardens in the city. Against the background of the enormous growth of the cities in the industrial age and the accompanying social problems, leading European landscape architects in the 20th century like Leberecht Migge (1881-1935), Ernst Cramer (1898-1980), and Dieter Kienast (1945-1998) stated that gardening is neither artistic work nor scientific planning, neither modern nor progressive. Given the respective historical context as well as the particular conception of city and society, this criticism is comprehensible. In the 21st century though, the garden as a living component in the ‘network metropolis’, and gardening itself, especially ‘urban gardening’, were experiencing a remarkable renaissance. Against the background of today’s rapid development of the ‘Zwischenstadt’, it turns out that the basic principles of garden thinking never really lost their relevance.

   

  Since the middle of the 19th century, when the term ‘landscape architecture’ began to replace the hitherto common term ‘garden art’, the garden as a work of art and gardening, understood as a predominantly decorative activity, stood in the critical discussion about the future of the metropolises. It was not only architects and urban planners who repeatedly questioned the value of ornamental gardens in the city. Against the background of the enormous growth of the cities in the industrial age and the accompanying social problems, leading European landscape architects in the 20th century like Leberecht Migge (1881-1935), Ernst Cramer (1898-1980), and Dieter Kienast (1945-1998) stated that gardening is neither artistic work nor scientific planning, neither modern nor progressive. Given the respective historical context as well as the particular conception of city and society, this criticism is comprehensible. In the 21st century though, the garden as a living component in...

  Since the middle of the 19th century, when the term ‘landscape architecture’ began to replace the hitherto common term ‘garden art’, the garden as a work of art and gardening, understood as a predominantly decorative activity, stood in the critical discussion about the future of the...

  Udo Weilacher

  113-130

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