BUILDING BIODIVERSITY - LEARNING BIODIVERSITY – CREATING BIODIVERSE ENVIRONMENTS
COACH - PROFESSORSHIP AT THE ACADEMY OF FINE ARTS, VIENNA
Design Studio IKA Academy of fine Arts, Vienna
Masters Summer Semester 2023
Students
Moritz Schafschetzy,
Mona Prochaska
Lukas Otrzonsek,
Fabian Schwarz,
Taiman Ching,
Johannes Wiener,
Vincenz Hofmann,
Pierre Dumoulin
GUESTS Final Reviews
Werner Skvara – Vierektor, Sustainability and Infrastructure, AKBILD
Rita Mayrhofer – Head of Landscape Planning, BOKU
Clive Spash – Social Ecological Economist, Chair of Public Policy, and Governance at the WU
Chiara Desbordes – Head of Content, Architektur-Aktuell
Ingo Vetter – Sculptor and Professor at the HFK Bremen
Waltraud Novak –Specialist in Biodiversity and Chemicals at Global2000.at
Ferdinand Klopfer – Alumni of the IKA
Mona Steinmetzer– Alumni of the IKA
Andrea Lumplecker – Klasse für Alle, Angewandte
GUESTS Midterm Reviews
Eva Sommeregger, IKA
Valerie Messini, IKA
Adam Hudec, Dusts Institute und Alumni IKA
Rene Ziegler, Statiker IKA
BUILDING BIODIVERSITY - LEARNING BIODIVERSITY – CREATING BIODIVERSE ENVIRONMENTS
The naturalist, E O Wilson, once said that,“if all humans were to disappear, the world would quickly regenerate back to the rich state of equilibrium that existed ten thousand years ago. But if insects were to vanish, the environment would collapse into chaos". Wilson passed away in 2021, the same year we learned that 70% of all insects in Europe had been extinguished.
Biodiversity is the variety of all life forms on earth—the different plants, animals and microorganisms, their genes, and the terrestrial, marine and freshwater ecosystems of which they are a part. Biodiversity is not static; it is constantly changing. Increased by genetic change and evolutionary processes and reduced by habitat degradation, population decline and extinction. Even though humans make up only 0.01% of all living biomass on earth, human-made mass now exceeds all global living biomass.
Our countrysides have become deserts of biodiversity. In comparison, our cities, often house differentiated and varied forms of habitat. Why have so many cities—the most artificial and human dominated of all Earth's ecosystems—grown rich with wildlife, even as it has faded from most of the rest of the world? And what does this paradox mean for cities, people, wildlife, and nature on our increasingly urban planet? A handful of hardy wildlife species have always thrived in urban areas, but most were driven out as cities grew bigger and denser. By the mid-twentieth century, fewer animals than ever before lived in the world's most developed cities. This arrangement started to seem natural, but then, beginning around 1970, Wild animals that had not been seen there for decades— or in some cases ever—were showing up. Conservationists called these creatures flukes, or described them as the last gasps of a natural world choked by smog and buried under concrete. When most people picture "ecosystems," they probably think of forests, deserts, coral reefs, or other natural environments. Yet the influx of wildlife into cities has made it clear, in the eyes of many creatures, that cities are ecosystems too. They receive sunshine and rain; they have rocks, soils, and water; they recycle energy, nutrients, and organic matter; and they contain diverse species that interact in complex ways and change over time. In some ways, cities resemble more-natural ecosystems, than the ones we call natural today.
Contemporary efforts to include other life forms in cities are most often restricted to cultivated plants contained within well-defined borders outside buildings or inside them in pots. The viability or value of a building is usually judged on the ability to keep it “clean”, a practice that involves the removal of many forms of life, like insects, spiders, bats, algae, and mosses, or pests as we usually define them. Conversely, our studio investigated how to let more non-human life into the hearts and lungs and cells of buildings, proposing new forms of interwoven cohabitation. The studio's approach, is a departure from this conventional thinking. It seeks to explore new possibilities for incorporating non-human life into the very fabric of buildings. This idea challenges the traditional notion of urban spaces as purely human-dominated and emphasizes the importance of cohabitation and coexistence between humans and other species.
This shift in perspective not only has ecological implications but also raises questions about our relationship with the environment and our willingness to share urban spaces with diverse forms of life. It encourages us to reconsider how we design and interact with our built environments, and seek out approaches that benefit both humans and the broader ecosystem.
On the basis of our discussions, students were asked to propose an area in the city for their research and to proposed interventions that would welcome biodiversity more fully into the life of the city. And, because life, biodiversity and architecture are not liner pursuits, at the same time, they were also asked to construct an Oasis of Biodiversity in the city in front of the Hinterland gallery in the fifth district, the Krongarten. We also laid down our tools, left our studio and departed on an excursion to Manchester, the city where the industrial revolution, and some would say the Anthropocene, began.
Excursion to Manchester, Neighbourhood Initiative at India House
Krongarden - A biodiverse oasis replaces the space for two cars
HINTERLAND in Vienna’s fifth district is an independent art space and platform dedicated to the promotion of intercultural and interdisciplinary projects with emerging and established artists from the Middle East, with a focus on Iran. Every year HINTERLAND asks artists to design and install an oasis on the space for two cars in front, and this year it was the turn of the CMT Platform. True to the Iranian emphasis, we created a biodiverse version of a paradise garden.
Made principally from found materials from the immediate area, many of which have been rendered useless by changing demographics, habits and rising rents, as well as demounting and reusing the materials from the previous Krongarten, we did the same to the signage from the neighbouring pet shop. This oasis is truly anchored in its neighbourhood. True to our decision to invite non-human life into our construction rather than keeping it out as would normally be done, we decided to experiment with building against the grain. The old Oriented Strand Boards, known for their strength in only one direction, were turned in the “weak direction” to allow the easy entrance of water and provide multiple habitats for non-human life. Bound together with long threaded rods, they were surprisingly stable, and when we looked at them more closely they were already thriving with microscopic life.
Although this oasis responds obediently to all the constraints imposed by the city, we have performed one hidden act of public disobedience. We have extracted some paving stones in order to plant some of the trees directly into the ground and camouflaged them as plants in pots. It is hoped that if we can keep them there for long enough, 2 years, the city will be obliged to conserve them and the space will never again be ceded to cars.
Response to Krongarden by ChatGPT
The description of "Krongarten," the biodiverse oasis replacing space for two cars in Vienna's fifth district, is a fascinating example of art and sustainability intersecting in an urban setting. Here are some thoughts on the description:
Art and Sustainability Fusion: This project beautifully combines art and environmental consciousness. It transforms a typical urban space used for cars into a biodiverse paradise garden. This fusion of art and sustainability challenges the traditional use of urban areas and promotes a more harmonious relationship with nature.
Resourceful Use of Found Materials: The project's commitment to using found materials from the local area is commendable. Repurposing materials that would otherwise go to waste is not only environmentally responsible, but also highlights the changing dynamics of the neighbourhood, symbolizing adaptability and resourcefulness.
Inclusivity of Non-Human Life: The decision to welcome non-human life into the construction is a unique and thought-provoking aspect of the project. Using materials that encourage the habitation of microscopic life signifies a deeper connection to the environment and a willingness to share urban spaces with other species.
Public Disobedience for a Green Cause: The act of extracting paving stones to plant trees directly into the ground is a bold move. It reflects a commitment to environmental preservation and challenges the city's priorities regarding space usage. It's a form of quiet resistance with the hope of reshaping the cityscape in a more sustainable direction.
Long-Term Vision: The project's aspiration to maintain the planted trees for an extended period to prompt the city to preserve the space for greenery is forward-thinking. It demonstrates a commitment to the long-term health of the urban environment and encourages a re-evaluation of the space's purpose.
In summary, "Krongarten" is a remarkable initiative that showcases the potential for creative and sustainable transformations in urban areas. It challenges conventional urban planning and encourages us to rethink the way we use and value urban spaces, emphasizing the importance of coexistence with nature.
GARDENING IS LABOUR
MULTISPECIES ENTANGLEMENT
Sven FLÜCK und Lukas OTRZONSEK
For studio Building Biodiversity, MA CMT S23
with Michelle Howard
This project reflects the complexity of the entanglements of a natural ecosystem and acts as a model for solidarity-based housing. It is inspired by, 1Housing the Co-op, A Micro-political Manifesto, Sascha Delz, Rainer Hehl, Patricia Ventura, Ruby Press, 2022
Mobilising actors and networks
A1. Activate micro-political networks.
the shared responsibility for parts of urban nature weaves a social network of co-production through sharing and participation.
A2. Grow Social Capital
social capital through cooperative production that grows and expands with each new tenant, while existing knowledge endures through documentation and sharing.
A3. Mediate public and private interests
a public platform for the promotion of awareness of the “multispecies entanglements” of a city. social interest and resources will be created, more than just the sums of experiences.
B1. Claim Housing as a common resource.
instead of economic conditions, the project places ecological demands on the inhabitants of the house, sees the work of gardening as rent, a currency of ecological nature. Housing is thus not “free”, since it also requires labor, as in the case of rent. Ecological “care-work” is understood here as adequate currency for living space.
B3. Promote circular flow of capital resources.
designed to generate financial resources in addition to ecological labor. Ecological labor creates value, which can be monetized through the sale of wood, flowers, honey, and other goods created on the plot.
B5 engage practical skills and civic engagement / combine innovation and production.
a unification of production and innovation, room for manoeuvre and possibilities for reorganisation should also be included in the planning from the beginning.
C2. Claim responsibility through collective ownership.
The housing concept explores rented care or responsibility as rent, the responsibility of care ends when one moves out of the building. Vacancy would create the non-perception of an area of responsibility.
C4. Take management for sustainable management and ecological concerns.
A multitude of circulation systems, the organic waste is added to the substrate for the gardening of the plot through waste pipes and is taken out on the first floor, the rainwater retention systems serve as a natural backside cooling of the building, the building sits away from the porous fire wall to provide protected space for non-human life.
SHADING THE BAROQUE GARDEN
UNBUILDING THE AUGARTEN PARK
Pierre DUMOULIN
For studio Building Biodiversity, MA CMT S23
with Michelle Howard
The Augarten Baroque garden in the second district in Vienna displays the dominance of certain people over nature and other people. They were designed to display high social status and wealth. The way paths, trees or plants are shaped with a system of symmetry, strict lines and sharp geometries conveys power and domination over nature. The Nazi regime added another layer with the infamous Flakturm, using the strict lines and perspectives, the towers embody powerful layered propaganda, and not just an air defence system.
In this context, the project asks how biodiversity can develop in such a pressurised context and proposes ways to support its growth, while questioning the position of man's relationship with biodiversity and construction. After analysing the existing ecosystem and the maintenance of the park, the project uses the tools of the baroque garden to deconstruct it. Using the Flak Tower as a model, smaller towers will be constructed to provide shade and a starting point for changing the landscape. Built over time, using materials from the site, these towers allow biodiversity to develop on, in and around them. They are not built from an aerial perspective but a peripatetic one, how we can transport the materials and how they can help develop what is already there. One tower guides and supports the construction of another, with the possibility of adaptation.
The garden will no longer be maintained in its original form, native species will develop, growing through the asphalt, replacing the lawns. Paths are cut each year for people to walk through the park, respecting the development of biodiversity.
WAYS OF WATER
REFUGE FOR PLANTS AND ANIMALS
SOURCE OF NOURISHMENT AND MICROHABITATS
VITAL FORCE SHAPING LANDSCAPES AND CONNECTING ECOSYSTEMS
Mona Prochaska
For studio Building Biodiversity, MA CMT S23
with Michelle Howard
≈
Vienna, a huge trench, a narrow water vein
The Wienfluss - once vibrant and flowing
Reduced to a dry and barren channel
But there is more to the trench than immediately meets the eye.
Mosses thrive in this unlikely habitat.
They inhabit surfaces - the small space where earth and atmosphere first make contact. This meeting ground between air and land is known as the boundary layer. Being small enough, this layer allows the mosses to experience a warm, moist and windless habitat.
By mimicking its rudimental, yet effective forms, water finds new places to stay, to drop or run.
Slowly, rain by rain, the river prolongs vertically as well as horizontally. Nestling its new veins amidst the bustling cityscape, claiming ground and air.
The permeable clay serves as an extension of those vessels, offering a fertile space, providing surface, stability and protection. The water acts as a conduit of life, transporting essential elements and fostering growth. Together they create a new ecosystem, sustaining and nurturing the emerging life within.
THE RING OF BIODIVERSITY
no monument is an island
Vinzenz HOFMANN
For studio Building Biodiversity, MA CMT S23
with Michelle Howard
The work originates from the location of Erdbergstraße 29 in Vienna's 3rd district. This is one of the last relics of the industrial revolution in Vienna. From this time, the separation of human and non-human coexistence started. The factory site and the immediate neighbouring buildings form a closed block in the urban fabric. A high wall surrounds the factory site.
Although it does not appear to be a life-sustaining environment, it was nevertheless possible to detect life and signs of life at the site through intensive analysis. Especially behind and in the perforations, impressive worlds opened up, containing a far-reaching diversity of non-human life. This enormous potential of the perforations is pursued by the project through a wide variety of interventions.
The hermetic core of the factory site in the urban fabric provides an insufficient amount of important habitat for non-human life in the urban context. By unsealing one side of the footpaths, the industrial urban plot will be embraced by habitats in the future. Bridges will ensure the continuity of habitats around the site to further ensure access to the buildings.
In addition, the density and ultimate positioning of the perforation will also preface the profound question of whether non-human life has a legal right and standing to sue in the context of urban space. By breaking up the asphalt surface of the roadways, large-scale spaces are created for non-human life in the urban context.
The asphalt chunks resulting from the unsealing of the asphalt surfaces are used to increase the biodiversity around the factory wall. Inspired by stone layered historical walls, by raising the surface and creating diverse spaces, the factory wall becomes a tremendous pole to enhance and attract non-human life.
One of the last monuments of industrialization
and the associated displacement of non-human life
becomes a
monument of biodiversity
and a magnet for the diversity of non-human life.
ECOTONE: 3rd environment. Dismantling the legacy of monarchy.
Nikol DLABAČOVÁ
For studio Building Biodiversity, MA CMT S23
with Michelle Howard
An area where an ecosystem (or community) changes abruptly from one to another is known as an ecotone. Due to the more diverse ecological characteristics, the diverse flora, and the number of landscape elements, there is a higher density and biodiversity along the ecotone.
A sealed surface dividing two opposite worlds. The higher one facing the sun is heated and makes me very thirsty. You cannot look in front of you without sunglasses or a hand providing a bit of shade of your eyesight. The lower one facing Wien Fluss and shivering over humidity, shadow and coolness is existing on its own terms without tourists. To describe this duality I produced the perspective section and animation.
A forecourt representing the preserved fossil, serving nowadays as an empty scenography for invasive tourism and consumerism, giving us the fake idea we are free. There is no place to hide, on this 99 m wide bridge introducing us to the star of cultural heritage in Vienna - the Schönbrunn. In the middle of this field, there is around 6 000 square meters of desert being maintained in the sense of getting rid of all life and patina once in a while. The axis, together with emptiness, flatness and materials radiating heat give it a representative impression. The buxus bushes planted on the sides are gradually dying of desert-like weather conditions.
Monarchical heritage and monumental “vorplatz” with all its dirty history invading human rights seems ridiculous the longer I stand there and observe the space.
When I chose this site, assuming it must be biodiversity-less, I was surprised how much life is happening after looking a bit closer. The goal? Support it, focus on it, give up this space. I took a footprint of the older version of this bridge which was destroyed in 1904 and used it as an area to dismantle. It is an intersection of two environments, creating a border, a refuge, a shelter for non-human life. I am to confront the contemporary idea of human-focused building as we always forget we are not separated from nature. We build for or against, but together with nature we stand on the same side.
Building biodiversity while dismantling the monarchical legacy with very simple principles of water retention techniques and material usage. It is raw, dirty. The purpose is no longer visual.
THE MANUAL:
Draw a floor plan of the previous version (before 1904) of Schönbrunner Schloßbrücke on the desert island in the middle of a sea of cars.
Dig out the hole together with water channels. Dismantle areas of cladding where necessary to reach the ground. The digged out aggregate is later used as a filtration component.
Make the necessary reinforcement of the sides of the new hole. The whole arc is removed respecting the internal forces of load-bearing arc. Finnish the surface with lime plaster.
Bring in a bit of sedimented biomass from the sides of Wien Fluss channel.
Stop rain water to leave the surface immediately in sewage, but redirect it via filtration channels into the new hole to Wien Fluss. Let it go the longer way.
Build the wooden scaffolding/railing construction from upcycled slats together with a simple wooden water storage going around the border, connecting it to water channels.
You can plant a few seeds of various plants serving as food for pollinators. Sedum and other weeds. You can enrich the soil by bringing in the biomass under the bridge.
Let it be. Don’t interfere.
