The Regional City - cultural landscaping

WORKSHOP THINKING- a little landscape "paradigm shift" in a city


Critical Garden is a movement that has no real founder nor an exact date of birth. Its origins date back to the early '70s, when the citizens of the great cities of North America and particularly New York, tired of the indifference of the government towards more peripheral areas and degraded, have voluntarily taken the initiative to transform some public lands abandoned - the so-called vacant lots - in gardens / allotments and self-administered municipalities.

From then until now, these "wild gardens", known as "community gardens" have spread and multiplied in many other cities not only in the United States but also in Europe and Australia, and constitute an important resource for citizens, both in terms of landscape and environment, which - perhaps especially - from the perspective of the social fabric, particularly in neighborhoods of low economic value and more productive, and consequently neglected by local authorities.

In fact, these public gardens, often very large, not only accepts many species of plants and vegetables, which contribute materially to improving the quality of life of citizens, but are also a major focus and socialization for children and adults every social background, a truly public urban space, self-managed and shared.



So, thanks to the possibilities of new media on a global scale, the spread of hundreds of blogs and websites are now many activists that reproduce in their cities, though with some variation due to the inevitable local differences, the model of community gardens as a viable alternative, built from the bottom, the green public institutionalized.

In Italy, the name "Critical Garden" want to do echo "Critical mass" - and participated in social movement became known around the world - as a practice born in the city by collecting common need: to restore the public space the function would be responsible for the definition, that of a gathering, place a catalyst for collective activities. In addition to the collective dimension, these practices are bound together by another aspect of the fund and the features: spontaneity.

Like any mass bike ride is a bike ride and spontaneous collective ( "we do not block traffic, we are traffic" reads one of the slogan), so any practice of Critical Gardeners arises from spontaneous action-com subsidiaries: walk in Green area of spontaneous as if it were a public garden, growing plants and flowers in the grass median or roadside, turn an abandoned piece of land or an "urban void" in a green space and live where they exchange knowledge and sociality.

Garden is critical, therefore the name of a movement, or rather a network of movements born about three years ago by the desire of some Italian guerrilla gardening groups to share their passion for the "wild garden" and to enrich their experiences with the experiences other activists in Milan and Bologna, Turin and in Rome, take flower beds and derelict land.

At a first national meeting held in June 2007 in the public space of self-XM24 Bologna, have followed a series of relationships, exchanges and collaborations between different groups that have since continued, each in their own city, to involve new activists, to launch new projects and events, to organize exhibitions and workshops. Until Saturday, June 6, when the Festival Art course directed by Lorenza Zambon, was held the 2nd national meeting of Critical Garden.

In the heart of Parco Nord Milano a farm surrounded by nature for a whole day has hosted exhibitions, videos, workshops, installations, stand for the exchange of seeds and the sale of plants and especially the testimonies and stories of the main groups of gardening abuse currently present in Italy. The event, curated by Michela Pasquali (criticalgarden.netsons.org / wp) and Nora Bertolotti (landgrab.noblogs.org) also attended some of the realities that deal with public parks, shared planning of teaching gardens, therapeutic and social . Among the pioneers of guerrilla green Italy, the Landgrab of Milan, an informal group of gardeners who are distinguished by particular attention to plants as living things that should never be neglected or abandoned when such a bed or a temporary garden intended for demolition. That would Nora and Stephen are responsible for transferring the plants or trees in another empty lot or keep them from waiting for a new place. So far the team has made several flowerbeds Landgrab Island in the district of Milan and in other areas particularly susceptible to an intervention of rehabilitation. Even the plants, flowers and shrubs are carefully selected for their compatibility and their resistance characteristics. Their actions usually lasts an entire day catching the attention of passersby and onlookers who often work together, provide materials and tools, participate in impromptu miniworkshop gardening abusive. One of the main objectives Landgrab effort is to build social relations with local residents who often made aware of these spontaneous action, dealing in first person in the maintenance of flower beds.

The association Roman 4Cantoni (4cantoni.blogspot.com), consisting of three architects, a forester, a graph and an economist Rather, the purpose of raising awareness of people through the transformation of an everyday place, but anonymously, in a place approved and participated. Their actions consist mostly for temporary installations of trails built with wooden benches and flower beds or mobile carts which are then filled with soil, seeds and plants inviting citizens to participate. The 4 cantons have also created a collective vegetable garden in Salerno, and promoted several initiatives aimed at raising awareness of citizens to their own ecological footprint through recycling art. Finally were the protagonists of the initiative Stop by the silence, an installation in the gardens of Piazza Maggiore in Palermo, in collaboration with AddioPizzoper protest against the conspiracy of silence that accompanies the racket of lace.

More heterogeneous group of Shovels Badola (badilibadola.ning.com), about thirty activists among gardeners, laborers, engineers and students of Turin and its province. This collective training more recently, acts almost always at night planning their actions in the network, through their website, forums and exchanges of mail migration.

The circle closes with the collective Crepe Urban (crepeurbane.noblogs.org) which among others stands for a particular location within the urban area and a footprint more markedly political. Cracks Urban was born about two years ago in Bologna in the public space and is active as a self-XM24-resistant urban ecosystem production flow dominant, the logic of speculation, all those dynamics that continually steal the land to its inhabitants and vice versa. Inspired by plants and trees which arose spontaneously in the former vegetable market now abandoned for nearly ten years, these activists have wanted to claim the material value but also symbolic extensive documentation photographic atlas of natural plants for the use of inhabitants of Bologna for survival in an era of crisis. " The exhibition created in 2007 was made this winter the Urban Center of Bologna.
Cracks in these two years Urban has consolidated their presence in the territory, and in particular within the Bolognina, historic working-class district of Bologna, characterized by a strong popular today and multicultural hit by a radical urban transformation that will certainly have consequences its inhabitants. These activists have taken part in the first round table of participatory planning that preceded the approval of the project proposes a self-ortho garden inside the huge park that will be done right next to XM24.

Subsequently, they continued to "guard" the area of the market - that, pending the actual implementation of the park, will remain abandoned for many years - through numerous social and cultural rights of primary interest to local residents. Cracks Urbane is an independent magazine that after the first two issues has doubled its cover to include the additional magazine field (www.campiaperti.org), named after the homonymous association of producers and consumers who work and commitment to support organic farming and farmers.

The magazine was founded in fact, precisely in order to expand the concept of crack urban reality to all those who exploit the margins, the gaps and holes in the management of the rational exploitation of the territory to create new forms of social relationship and not necessarily related to the ratio of production consumption. In all this perfectly fits the experience of open fields that mix producers and consumers, cities and countryside, producing fruits and vegetables but also social and culture through the three markets, direct sales and organic appetizers that are held weekly at XM24, Vag61 and the School of Peace in the neighborhood Savena.

These are the realities of movement are now well established for some years that they face during the day at the park north of Milan, but there were also the novelties and surprises including safe signals from the infant project Playground.

Playground is a garden city born a few months ago in one of the patches of land between the houses that are resistant asphalt of the city of Milan. To animate and 'a bunch of people who have seen growing out the plants and seeds on their balconies and in the face of such abundance, have felt the need to invade playfully urban space. For young activists Playground "a garden is a microsystem, consisting of common work, planning and dreams. The seeds reproduce and barrier-free travel as if they were shared files in a P2P network. The fruits and flowers of a garden are numerous, colorful and spread through rhizomes. Food waste turned into fertilizer and fertile soil, smelling like a forest ". So through cooperation within an urban garden space is constructed both physical design where concrete networking practices, knowledge and fruits.

Masdar in comparisment to Hjortekær

Hi Laura
I understand you ambition to make a eco-zero waste, zero carbon city.

I think there is a some very important measures to take into account when comparing Norman Fosters Masdar project (besides the ovious fact that he used cheatcodes and had unlimited funds)


There is some issues that especially comes to my mind when comparing the Masdar and Hjortekær projects.

One is the holistic understanding of the city we see in Masdar. The city as a closed entity, maybe even more closed than what we see in the traditional centerorientated city. It even has city walls! People live and work in the same city, you have all options at hand, culture as leisure.

But is this the right way to understand the modern european city? We still have the remanence of the historic city, but the cities has long since grown beyond this entire form. The new city areas are growing towards a new shape, where agglomerations are connected throughout the landscape by their inhabitants ways of living, independent of the historic center. People can get all their needs fulfilled, in IKEA and so on.

”The economic and social life of the region increasingly bypasses its supposed core. The techno-city is truly multi-centered, along the pattern that Los Angeles first created.”
Robert Fishman

Therefore I think it is important not to see Hjortekær as one whole city as Masdar, but as a fragment of a city, with its specific role in the network-city. And to strenghten its role as this significant fragment.

Even in our fortunate situation as students, with a unlimited fantasy budget, is Masdar then the cityform we want to study?



FIBERCITY a new city planning paradigm shift

view this amazing site:www.fibercity2050.net/eng/fibercityENG.html
to understand more :
Graduate School of Frontier Sciences, The University of Tokyo
Fibercity is a proposal aiming at a paradigm shift of urban planning and architectural design away from
their modernist thinking. Although many criticisms and proposals have been made against the modernism of
the early 20th century, it has still been held as the major principle in society and economy, as well as in the
field of art. It is still convincing that the role of modernism has not yet been fulfilled since the idea of
freedom or equality which formed the basis of modernism has not yet been realized in a perfect manner in
the world. However, environmental problems, the decrease of population in some countries, and the credit
crunch of the last year have aroused mistrust in the concept of growth which has been the backbone of
modernism. It is my understanding that modernism cannot resolve all of the problems in the ‘real world’ with
only partial fine-tuning.

NORMAN FOSTER’S GREEN DESERT UTOPIA In Abu Dhabi

Foster+Partners, Norman Foster, Sustainable Architecture, Sustainable Urbanism, Green Building, green Design, Abu Dhabi Future Energy Company, Masdar, Zero Carbon, Zero Waste, Walled City

Foster + Partners is at it again with their design for Masdar in Abu Dhabi, the world’s first zero-carbon and zero-waste city. The new 6 million square meter walled sustainable development Masdar was driven by the Abu Dhabi Future Energy Company and will contain their new Headquarters along with a new university devoted to new ideas for energy production. Additional planning incorporates a variety of special economic zones and a center for innovation. We’ve seen sustainable structures from Foster before, from his Green Library in Berlin to the proposed Entertainment Center in Kazakhistan, but this takes Foster’s green initiatives to a whole new scale.

Foster states, “The environmental ambitions of the Masdar Initiative – zero carbon and waste free – are a world first. They have provided us with a challenging design brief that promises to question conventional urban wisdom at a fundamental level. Masdar promises to set new benchmarks for the sustainable city of the future.”

To remain zero-carbon within its walls, the city will be entirely car free. Carefully planned public transportation will ensure that none of the city’s inhabitants will have to walk more than 200 meters before meeting some part of the transportation link. Included in the transportation system will be a network of shaded walkways and narrow streets, creating a pedestrian-friendly atmosphere for those who prefer to travel by foot. All of the transportation system is offset with the inclusion of personalized rapid transport, ensuring rapid transit within the city limits. Outside of the walls, the development of the city was strategically sited to link to Abu Dhabi’s principal transport infrastructure, the center hub of Abu Dhabi, and the international airport via the existing road infrastructure and new public rail routes.

Along with the carefully planned intersection of transportation is the conscientious incorporation of wind, photovoltaic farms, research fields, and plantations, allowing for the Masdar to be entirely self-sustaining.

Even the development phase of Masdar has been made sustainable through a two-step phasing process, the first of which is dependent on the development of a large photovoltaic power plant which will later become the site for the second of the city’s phases, encouraging urban growth while avoiding low density sprawl.

+ Foster + Partners


The cluster-city

Per Svenssons city of non-gravity

"The unmediated and unplanned clash between self-contained systems based upon opposite logic provides the familiar open and poorly-defined spaces in which the productive disturbance fields' may spontaneously develop something new" Thomas Sieverts 2008

I have been working with a term I call the cluster-city in Hjortekær in relation to the regional city.

The cluster city is a consequence of the regional city, the fragmented urban landscape. It is not a trying to work against the development, but instead exploid and use the strenghts and uniqueness of the new city. In the regional city people can freely choose or "shop" values, urban spaces including housing enclaves, are defined as selectable interest-and identity-based communities. The selection exist as a consequence of the ultimate accessibility in the regional city.

The definition of values can therefore become a important planning tool, or perhaps rather the creation of space for users to invoke values onto.

My idea of the cluster-city in Hjortekær has besides the accessibility, two main values. A valueframework for the city to work within. It is the community and the landscape. The city is divided into a number of smaller enclaves that offers different variations of the valueset. Some rates the community highest, other prioritise the proximity to nature, others are more private and intimate and so on. But the common value framework, the community and the landscape is what ties the enclaves together as one city. You choose the valueset if you choose to live in Hjortekær.

The cluster-city mixes qualities traditionally connected to the rural open landscape as space and scenic beauty with the urban quality as proximity and accessibility of communities and institutions, the grocery just around the corner, the schools and the pizzaria.

The cluster-element, is a hybrid between the parcelvilla roads community, where you have streetparties and you know your neighbor, and the regional citys fragmentation into selforganised enclaves and the accompanying segregation. The city demands a new framework, where the fragmentation can be understood as a segregation within the community. The entropic citylandscape, where clashes, differences and segregation can be a driving force. In between the enclaves is where the dialog occurs, in the edgearea, the freezones, the uncoded commonzones. In the forrests, the clearings, the open spaces, on the squares, the roads and the parkinglots. The citys surplus areas.

Thomas Sieverts is discussing the surplus areas and the edgeareas in this text about his work “Zwischenstadt”.

‘cultivation of the fracture surfaces’ is not an attemt to repeal these fractures and barriers and to harmonize the contradictions in-the framework of an overall picture. Rather, they see something very special characteristic of fracture surfaces: Only through a staging of fracture surfaces and their fragmented nature, is ‘die Zwischenstadt’ classified! This group refers to ‘die Zwischenstadt’ has its own - although quite young - special historical uniqueness, which is essentially characterized by a self-determination and autonomy of its major elements. ‘Zwischenstadt’ implies an important charge as experiential everyday world aswell as on the urban narrative. The importance charge can be used both in form-operating purposes and as a qualifying factor. fracture surfaces and contrasts can be cultivated and staged.

Here is a link to a danish translation of the text, which although a terrible translation, it is quite interesting. Unfortunatly most of Thomas Sieverts work is not translated from german at all, so who am I to complain.



A in-between city?

SUBSTRATE by Jared Tarbell, fractal generated urban pattern


“Two new types of urban structure are emerging in Germany, as the old system of a well balanced hierarchical order of towns typical for West-Germany is disappearing:

On the one hand we have, especially in East-Germany a “thinning-out” of the settlement system to such low densities, that the usual services of distribution, schooling and medical care cannot be financed any more and have to be substituted by a system of mobile services in combination with “centres” and “satellites”.

On the other hand we have, especially in the agglomerations, a transformation of the old System of “towns” and “suburbs” into a new “network-city”, which becomes more or less independent of the “mother-city”, developing forms of mutual co-operations. Here also the balanced hierarchy of services loses its meaning, and it is this new structure I want to talk about.”
-Thomas Sieverts

I start this tekst with a quote from Thomas Sieverts issuing a paradigme change in the way we understand the city. It ask for a new model for the city, a rethinking of the urban fabric. The definition city is no longer valid. What we see is that the city-meaning is moving towards a network of smaller independent clusters, interconnected and spacially growing. Proximity is replaced with accesibility.

Sieverts calls this the Zwischenstadt, or “in-between city”, as it exists between old historical city centres and open countrysides, between place as a living space and the non-places of movement, between small local economic cycles and the dependency on the world market”

But can we define this network of clusters and the shrinking landscape in between as one whole, as the regional city. If we understand landscape and cityscape as one, can we then plan a cultural landscape called the regional city?

We see a growing tendency to think in regional terms, one of these is Ringbyen. But, where the big problem normally is politic and local administrations
, where local authorities is competing in between, the ringbane project is a example of how the municipalities can work together to strenghen the regional profile, it is in this perspective we can start to consider Hjortekær, as a part of the regional city.

What is then the role of Hjortekær? When the city is seen as fractal clusters, what kind of concequence does that have on the site-specific cityscape?

What is then the role of Hjortekær? Can we define define the site-specific “home” in the fragmented urban landscape. And is it relevant? What does people define as their base? Is it a more subtle meaning than the 4 walls of a house or the road they live on? Is it a identity? What is the timescale of a "home" in a city of persistent transform?



The building in relation to the cityscape

Arne Jacobsens Søholm 1

Architects have always been fascinated by the internal external relationship in reference to the private, one of danish most admired architects Arne Jacobsen was a master of this disciplin as shown on the picture above from his house in Gentofte. But I find the reversed discussion just as fascinating; the internal-external relation in reference to the public, through wich we get the cultural landscape, the cityscape.
If we take the typical danish parcelarea, every house will relate to its own parcel. The relationship is a introvert relationship, a controlled cultivated landscape extending the borders of the internal to the hedge. But if we remove the hedges, we suddenly place the houses in a landscape. Since we don’t want the houses to appear as objects on a plane, one important question appears, the relation between the elements in the landscape. The spaces between the houses. What ties the people living in the cluster of houses together, what makes us define it as a society or city?



The urban spaces is one place to start, for those of you how saw both Jonas from Polyfo
rm and Rune from Cobes presentations, you saw that one of their first thing they did in the planning fase was to place the important public areas. But what I find just as important is the border between the build and the ground level. How can we think the build as part of the cityscape?

How the building meet the ground. Especially in lower build residential areas, I see this area as being one of the sockets for a area to function as a lively cityscape but equally as a important I see it as a socket to support the democratic functions of a society. This treeshold between the private and the public, the dialogue, spoken as spacial between these two factores appears. How can we as planners work with this subject? There is often a freight towards shaping the building in the planning process, to leave the interpretation of the plan open to the building architects. But this creates a separation in the design fase leaving the overall impression or the experience of the city, weakened in the planning process. Can we in our schoolwork get closer to the build while still shaping the overall picture of the city in the planning process, or even work above the planning concept.
Jens Kvorning is discussing the planning process in the judge commentary from Öresundsvisioner 2040 below (freely translated to english)


The Planning discussion that are at game is characterized by discussing the concepts: strategy, plan, project. If the strategy is defined as very open indications of the direction to be chosen, and the project is defined as the precise and definitive description of how a given area should be developed, the plan is somewhere between, with more concrete statements than the strategic, but still more open than the project. Plan may with advantage be omitted in favor of the general strategic guidelines at the regional level and project-like statements at local level?”


I know Jens is discussing at a higher level planningvise (and interlectual needless to say) but why is there a limit of how close we can go in the “projects-like statements at local level”.
Getting closer to the concequense of the architectual guidelines we describes in the planning process, and investigating the local relationship between the elements in the cultural landscape we project, could or should stenghten the overall architectural concept.