by Matteo Giusti [contact: matteo.giusti [at] gmail.com]
The project proposes a wide range of theoretical solutions based on urban resilience which find practical application in Henna’s (Finland) urban area. Governance networks, social dynamics, metabolic flows and built environment are separately analyzed to ultimately restore, and maintain over time, the equilibrium between human demands and ecological lifecycles.
But the project also challenges current urban planning practices as it states the city’s future requirements to be unknown. As a result, it identifies “the development-process as a dynamic flow instead of a static state”. Time scale for urban planning is therefore included within an evolving spatial design.
The project description elaborates: “As a result, the planning is not static anymore. It is not a blueprint, not a collection of architectural elements to create an hypothetic Henna out of the current mindsets and needs, but a multitude of tools, methods, opportunities, options, to define a sustainable developing strategy to meet future’s demands. We keep an eye on time, its complexity and we humbly admit we cannot foresee future; we can only provide guiding principles from current scientific understanding to define a social ecological urbanity capable of sustainably moving on with unique identity.”
All these theoretical premises ends up in Henna’s planning. This includes an energetic smart grid based primarily on Enhanced Geothermal Systems (EGS); community-managed greenhouse areas to enhance food local self- reliance; low-diluted sewage system to reduce water consumption; efficient reuse of municipal solid waste to reach the Zero waste goal; and a problem solving centre to analyze ever-changing social ecological demands. Time is included in space, people in their natural environment, urban services in ecological processes. An harmonious cycle of growth and decays.
Things grow, and things fall apart. One often neglected aspect of ecological design is embracing decay. The New York Times writes about Dutch garden designer Piet Oudolf who does embrace decay in A Landscape in Winter, Dying Heroically. The article also includes a photo gallery.
“Normally, people who garden would have cut this back by now,” he said. “The skeletons of the plants are for me as important as the flowers.”
For Mr. Oudolf, in fact, the real test of a well-composed garden is not how nicely it blooms but how beautifully it decomposes. “It’s not about life or death,” he said, admiring the dark, twisting lines of the fennel. “It’s about looking good.”
Over three decades, Mr. Oudolf’s sometimes unconventional ideas about what looks good have helped make him a star in Europe — where his work has inspired an “ecology meets design” gardening movement called New Wave Planting by its followers — and have also begun to win him fans and jobs in the United States. He has done the planting design for important new gardens in Millennium Park in Chicago and the Battery in New York, and for the park that will cover the elevated High Line rail bed in Lower Manhattan when it opens in September. These landscapes, like all his projects, embody and advertise his fundamental aesthetic doctrine: that a plant’s structure and form are more important than its color.
“He’s gotten away from the soft pornography of the flower,” said Charles Waldheim, the director of the landscape architecture program at the University of Toronto. “He’s interested in the life cycle, how plant material ages over the course of the year,” and how it relates to the plants around it. Like a good marriage, his compositions must work well together as its members age.