City planning for the Chthulucene by city_planning_for_the_chthulucene

City planning for the Chthulucene

JEANNE CASAGRANDE SARA SHERIF

City planning for the Chthulucene

JEANNE CASAGRANDE SARA SHERIF

Free Diploma Program Proposal Chairs of Elli Mosayebi Tom Emerson Assitants Amy Perkins Lukas Burkhart Nemanja Zimonjic Co-Examinator Guillaume Habert DARCH, ETH Zurich November 2020

« Tell me why tell me why tell me why Umm why can’t we live together? » Timmy Thomas

https://www.youtube.com/watch?v=cFU-FJzPE80

TABLE OF CONTENTS

episode one What Donna* says

episode two There is more biodiversity in the city than in the countryside.

16 20 31

Biotoptypenkartierung 2020 (BTK) Field trip I biotopes of cultural relevance What does nature even mean? A talk with Christoph Küffer

episode three The systematic tools of city planning. The surface, the line and the point.

35 36 44

Disturbances lead to opportunities. A talk with Philipp Noger Field trip II along the Sihl Kommunaler Richtplan 2040

episode four Ecology of Walls. Life on overlooked verticals.

53 55 78

The potential of buildings envelopes Field trip III learning from walls Tentacular toolbox

84 87

sum of all the episodes City planning for the Chtulucene Abstract

110

Appendix

112 Glossary 116 Readings and encounters

Please find attached in the Appendix the Thesaurus we produced with Donna J. Harawayâ&#x20AC;&#x2122;s key concepts and linguistics that accompanied us throughout the narrative of this document.

We are currently living a historical sanitary crisis, which will for sure leave its marks. The global disturbances leading our everyday life, from the public to the intimate, are only caused by one invisible actor, the new coronavirus. Yet, the virus is solely one of the countless players that regulate our society and the way we live. It might as well just be linked to a much more powerful protagonist, which is climatic mutation. This is a wake-up call, we are not alone on earth but part of a complex set of relations between an untold number of players; abiotic and living. We need to humble our demeanor and start to open up to other stories. While wondering about how architecture could adopt this mind-shift, we came across the fascinating thoughts of the biologist and philosopher, Donna Haraway, and sought advice.

episode one

What Donna* says

ACT I what stories tell stories Seeking for my advice, you first have to be aware that—as Marilyn Strathern stated— «It matters what ideas we use to think other ideas». It matters what knowledges know knowledges. It matters what relations relate relations. It matters what worlds world worlds. It matters what stories tell stories.1 And it matters with what background I will share my point of view. So better for you to know it from the start; I am a feminist and biologist with a Marxist legacy.

ACT II making kin Before getting in the heart of the matter, understanding the idea of Making Kin is an indispensable step to comprehend the rest of my discourse. No species, not even our own arrogant one pretending to be good individuals in so-called modern Western scripts, acts alone; assemblages of organic species and of abiotic actors make history, the evolutionary kind and the other kinds too.2 We have to align with other species because at the end we are all compost.

ACT III the more inclusive story of the ecosystems So talking about architecture, you should reconsider who you are building for. Don’t be self-centred. Sympoiesis3 is the motto! The concept of environmental sustainability is slowly gaining momentum, and you can believe me when I say it makes me glad. However, this little fulfilment is coated with a bitter taste—the taste of Gaias’s complexity and strength as a subject being dissolved by green washing powder. Here, Gaia is only seen as a limited resource that we—humans in the Capitalocene— have to carefully use. But that is a common misconception. Earth/Gaia is maker and destroyer, not resource to be exploited or ward to be protected or nursing mother promising nourishment. Gaia is not a person but complex systemic phenomena that compose a living planet.4 In that sense, how simplistic is it, when looking at a building, to define how ecological it is by calculating its carbon footprint? The short cut is dangerous. Hence, in the frame of the Anthropocene, « Fighting CO2— as the main bad guy » could be perceived as the new epic in which we still are the (anti-)hero trying to save the earth. Please don’t get me wrong. Being aware of our carbon impact is crucial. However, by putting it in the center of attention—only because it is technically measurable—and hence easier to « solve »—contains the risk of outshining other significant actors, just because they aren’t as readily graspable. My friend Ursula Le Guin would point out, that we need to bring other stories on

the table—more inclusive ones.5 Thus, when defining something as being ecological, it might be worth having a closer look at the etymology of it. Ecology from Greek « oikos » — « house, dwelling place, habitation »—and « -logia »—« study of »—is « the totality or pattern of relations between organisms and their environment »6. So following Ursula’s line of thoughts, an ecological architecture project should be a more inclusive one, taking into account all the present actors. Hence, when you say architecture, I would advice you to think ecosystem in symbiosis. Your project should be designed in the spirit of sympoiesis. Autopoiesis is the technological myth that we invented to pull ourselves away from nature.

ACT IV think sympoiesis, it leads to resilience think resilience, it leads to survival Sympoiesis is a simple word; it means “making-with.” Nothing makes itself; nothing is really autopoietic or self-organizing. Sympoiesis is a word proper to complex, dynamic, responsive, situated, historical systems. It is a word for worlding-with, in company. It describes “collectively producing systems that do not have self-defined spatial or temporal boundaries. The systems are evolutionary and have the potential for surprising change.”7In other words, they are resilient. It implies not putting all your eggs in one basket. It suggests betting on a diversity of actors and connections. I suspect that this praising of diversity will seem conceptually messy to the—even if you argue not to be anymore—heir of Modernism that you are. Because yes, the maintenance of a resilient system requires diversity and redundancy—inopposite to efficiency and monoculture. Here redundancy should be seen as a backup system more than as a useless repetition. That’s what nature always tried to tell us! That’s why an ecosystem inhabited by many different species can still survive even if some of them get lost. That’s why most of our organs work in pairs. That’s why our fives senses are complementary. And that’s why monocultures are dreadfully vulnerable, as one big failure or hurdle may lead to a loss of the whole system. To come back to sympoiesis, it means that each actor has multiple connections. The actors are interweaved with each other. The dense network they form together defines the system in which they are embedded. Returning to the case of architecture, I would like to quote Colin Moorcraft in « Designing for Survival » published in Architectural Design in 1972; « Each element should, wherever possible, be capable of performing more than one function, and conversely, each function should be performable in more than one way ». So, the more your design is interlinked with a diversity of actors, the higher are its chances to survive. Think of what it means in terms of construction, programs, landlords, functions, contextual as well as social exchanges and finally in term of relation with other critters.

ACT V you are Gaia and Gaia is you reach for mutualism and avoid parasitism As expressed before, there is no such thing as nature and culture and in the same way, there are no such things as externalities. It is highly important to grasp the consequences of your actions. What kind of relations are you willing to set up within the frame of your design? The term symbiosis might help us build a parable to reflect on. Coming from the science of biology—no surprise with my background, right?— The word symbiosis defines the biological close and long term relation between two or more organisms living together. Symbiotic interactions can be classified in the main three sub-categories of mutualism, commensalism and parasitism. In mutualism, all concerned parties benefit from the situation—pollination being the most common example. A less known but nonetheless fascinating case is the exchange happening between the trees of a forest and the mycelium expanding in a huge and immensely dense web bellow their ground. Thanks to the mycelium, all the trees are connected. If one of them is in a precarious situation—to small, lacking light or water—the healthier ones will send nutrients to the weakest through the mycelium’s network. In return, the mycelium keeps a certain margin to nourish itself. In commensalism, one of the protagonists (the commensal) profits from the situation without affecting—for better or for worse8—the other parties (the host). Etymologically, it means sharing a table or a meal. Pilotfish, for instance, feed on the leftovers of sharks. In other cases, the host can be used as a dwelling for the commensal—e.g. birds living in tree holes. Finally, parasitism is a type of consumer-resource interaction, where the parasite—usually the smaller protagonist—lives in or on the host that they are harming. Sounds familiar? We are part of Gaia’s symbiosis system, but for the moment most of our actions fall into the parasite-category. I would like to assert that it has to do with our so-called transition from the Holocene to the Plantationocene (also named Capitalocene or Anthropocene). But let’s come back to it later9. For now, it is crucial to considerate which kind of symbiosis you are willing to initiate within and without your design. Why is your intervention important for the context, and why is the context important for your intervention? Aim for mutualism and avoid parasitism! Could different programs cohabit or overlap in one flexible space? Agree to share and not to posses! What is the social importance of your design—do people care for it and does it care for people? Make it an active citizen! What are your construction materials and what does it imply? Close the loop, don’t exploit it! Do you consider, even a minimum, your relation to the biodiversity that you

are part of? Propose an alternative to the ground you borrow—or that has been borrowed by your ancestors! Believe me, it’s a win-win situation. A project—or what am I saying? An ecosystem— with a positive symbiosis on a variety of different levels will be better anchored into the ground.

ACT VI refuge for multi-species required Anna Tsing argues that the Holocene was the long period when refugia, places of refuge, still existed, even abounded, to sustain reworlding in rich cultural and biological diversity. Perhaps the outrage meriting a name like Anthropocene is about the destruction of places and times of refuge for people and other critters. I along with others think the Anthropocene is more a boundary event than an epoch. The Anthropocene marks severe discontinuities; what comes after will not be like what came before. Let’s accept it and be resilient. I think our job is to make the Anthropocene as short/ thin as possible and to cultivate with each other in every way imaginable epochs to come that can replenish refuge. Right now, the earth is full of refugees, human and not, without refuge. Maybe, but only maybe, and only with intense commitment and collaborative work and play with other terrans, flourishing for rich multispecies assemblages that include people10 will be possible. The edge of extinction is not just a metaphor; system collapse is not a thriller. Ask any refugee of any species.11

ACT VII use what you have the means of tomorrow are just before your eyes Inspired by Bruno Latour’s and my ideas, Design Earth12 rightly stated that: «New technologies are usually assumed to be without faults and to have the potential to change climate ».13 Do you remember when petroleum was presented as the hero of the modern era able to advance the economy and democracy? I fear that new green technologies might be perceived with the same romanticized eye. We can’t help but welcome them with open arms, as the hero that will solve the issues of our time. The problem is that we never considered seriously enough the consequences of such inventions or even the potential of our existing means. The illusion created by the flamboyant myth of the hero sadly rules our westernized society. But it’s a frantic race that we have to stop. Start to care for what is already existing. Again, as Ursula Le Guin would state, we need to make the other— maybe less spectacular—stories visible too. The tools of today are the only ones at your disposal to think of tomorrow. We are more in need of a cultural revolution than a technological one, trust me.

ACT VIII learn from Cat’s Cradle train your sense of response-ability and build on what exists Cat’s Cradle— jeu de ficelle— is a game I love to play with Bruno Latour and other thinkers such as Félix Guattari and Isabelle Stengers. « The game consists of two or more players making a sequence of string figures, each altering the figure made by the previous player. The game begins with one player making the eponymous figure Cat’s Cradle. After each figure, the next player manipulates that figure and removes the string figure from the hands of the previous player with one of a few simple motions and tightens the loop to create another figure. Most of the core figures allow a choice between two or more subsequent figures. The game ends when a player makes a mistake or creates a dead-end figure, such as Two Crowns, which cannot be turned into anything else. »14 What we need to get of this, is the idea to build on what the other players or thinkers gave you— sometimes conserving, sometimes proposing and inventing.15 It trains your sense of response-ability. The string figures—SF16—of Cat’s Cradle compel us to think-with. Not having the full control constrains us to be resilient. Analyze the potential that the city offers you. Act wisely. Map the territory. And always ask yourself: « Did I really play my hand before ending the game? ». Cheap nature is at an end17 and we can’t be blind to the consequence of demolishing and rebuilding endlessly. I once read that: « Resilient cities evolve in a very specific manner. They retain and build upon older patterns or information, at the same time that they respond to change by adding novel adaptations. They almost never create total novelty, and almost always create only very selective novelty as needed. »18 This sounds just like an architectural adaptation of Cat’s Cradle. Don’t you think so?

ACT IX what is your big enough story Both the Anthropocene and the Capitalocene—which are too big stories—lend themselves too readily to cynicism, defeatism, and self-certain and self-fulfilling predictions, like the “game over, too late” discourse I hear all around me these days, in both expert and popular discourses, in which both technotheocratic geoengineering fixes and wallowing in despair seem to coinfect any possible common imagination. Too big stories invite to odd apocalyptic panics and even odder disengaged denunciations rather than attentive practices of thought, love, rage, and care. As a response to this, we need just big enough stories that are able to gather up the complexities and keep the edges open and greedy for surprising new and old connections.19 I propose the Chthulucene as an alternative. The Chthulucene is made up of ongoing multis-

pecies stories and practices of becoming-with in times that remain at stake, in precarious times in which the world is not finished and the sky has not fallen—yet. The Chthulucene is the product of interweaved stories and your architectural intervention should be one of them. The scale of your project is as important as the size of my story. It needs to be big enough to be desirable, but small enough to be plausible. It’s the addition of the fragments that will help rethink the whole. I guess that the big question for you will be: « How to build a resilient and inclusive ecosystem made out of the weaving of diverse interventions with(in) a defined territory? » June 2020 Donna*; Jeanne and Sara

1 Donna J. HARAWAY, « Staying with the Trouble », Tentacular Thinking, Duke University Press, 2016, pp. 34-35 2 Donna J. HARAWAY, Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin, Environmental Humanities, vol. 6, 2015, pp. 159-165 3 see act IV 4 Donna J. HARAWAY, « Staying with the Trouble », Tentacular Thinking, Duke University Press, 2016, pp. 43 5 Ursula Le Guin in her essay The Carrier Bag Theory of Fiction 6 definition on Merriam-Webster 7 Donna J. HARAWAY, « Staying with the Trouble », Tentacular Thinking, Duke University Press, 2016, pp. 59 8 « Some biologists argue that any close interaction between two organisms is unlikely to be completely neutral for either party, and that relationships identified as commensal are likely mutualistic or parasitic in a subtle way that has not been detected » wikipedia 9 see act VI 10 Donna refers to all living critters—not only humans. 11 Donna J. HARAWAY, Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin, Environmental Humanities, vol. 6, 2015, pp. 159-165 12 collaborative practice led by El Hadi Jazairy and Rania Ghosn. 13 Rania GHOSN & El Hadi JAZAIRY, Geostories, Actar, 2018, pp.16 14 wikipedia 15 Donna J. HARAWAY, « Staying with the Trouble », Tentacular Thinking, Duke University Press, 2016, pp. 34 16 SF is Donna’s main methodology of thinking. stands for speculative fabulation, science fiction, science fact, speculative feminism, soin de ficelle, so far, storytelling and fact telling 17 Donna J. HARAWAY, Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin, Environmental Humanities, vol. 6, 2015, pp. 159-165 18 Michael MEHAFFY & Nikos A. SALINGAROS, « What Does “Resilience” Have to Do With Architecture? », Metropolis, 2013: link 19 Donna J. HARAWAY, « Staying with the Trouble », Tentacular Thinking, Duke University Press, 2016

Benjamin Verdonck, Dooi Vogeltje, Brussel 2004

From now on, Donna sets the tone for our architectural attitude. Cohabitation is the motto.

Zurich is an attractive city for a multiplicity of living beings such as money launderers common swifts, lizards and ferns. These different actors are all tempted by the plurality of conditions, and hence habitats and refuges, the urban landscape has to offer. But concretely, what do we understand under habitats? And how to map them in Zurich? These questions led us to forge a strong friendship with Grün Stadt Zürich (GSZ), which we kindly annoyed every second day to request information. That’s how we discovered the Biotoptypenkartierung 2020 (BTK), a document mapping and rating the city’s different biotopes. With this tool in our backpack to guide our inexperienced architect gaze, we were now ready to explore the city. But where to begin?

episode two

There is more biodiversity in the city than in the countryside.

Biotoptypenkartierung 2020 (BTK)

Biotoptypenkartierung 2020

1:50’000

ECOLOGICAL BIOTOPE QUALITY Biotoptypenqualität 66 Extraordinary importance

Potentially worthy of an inventory

55 Particular importance

Potentially worthy of an inventory

4 From special to general importance

4 Suitable for ecological compensation 3 General importance

3 With potential for ecological balance 2 From general to minor importance

2 Partly with potential for ecological compensation 1 Minor importance

1 No potential

0 No importance

0 No potential

Biotoptypenkartierung 2020

Erstellt von/am Vorname Nachname, 07.07.2020

Datenquellen/Copyrights (Nicht alle aufgeführten Daten sind auf der Karte abgebildet): Geomatik + Vermessung Stadt Zürich: Amtliche Vermessung, Übersichtsplan, Orthofotos; Orell Füssli Kartographie AG: Orell Füssli Stadtplan; Swisstopo: Landeskarten 1:25'000 und 1:50'000

Field trip I biotopes of cultural relevance The BTK turned out to be a puzzling tool. During our expeditions, we discovered that random traffic islands (actually designed by GrĂźn Stadt ZĂźrich) were qualified as the ultimate hotspots for hosting life, while flourishing green spaces were rated rather poorly. Wanting to go beyond the received idea that top quality biotopes can only be found in abandoned leftover spaces, we started to look for highly relevant habitats under a great deal of human influence and called them biotopes of cultural relevance. Here, cultural relevance implies that these sites are respected due to their meaning, wealth status, use for ritual, leisure, health or because they have a historical significance.

Random trafic island located along the Sihlpromenade with a biotope quality 6

Private land – Average quality between 6 and 5 (biggest and best biotope in the city) – Villa im Forster, Züriberg

Private land â&#x20AC;&#x201C; Monument-like wall surrounding the Villa im Forster plot, ZĂźriberg

Private land – Average quality between 6 and 5 (biggest and best biotope in the city) – Villa im Forster, Züriberg

Private home gardens – Average biotope quality between 4 and 3 – Entrance, Züriberg

Private home gardens – Average biotope quality between 4 and 3 – Border between two houses, Züriberg

Hospitals – Average biotope quality between 5 and 4 – Universitätsspital Zürich

Cemeteries – Average biotope quality between 6 and 4 – Rehalp

Cemeteries – Average biotope quality between 6 and 4 – Enzenbühl

Allotment gardens â&#x20AC;&#x201C; Average biotope quality 4 â&#x20AC;&#x201C; Rautistrasse, Altstetten

What does nature even mean? A talk with Christoph Küffer We met Christoph Küffer, professor for settlement ecology at HSR Rapperswil to discuss with him the questions that came up during our walks. We talked about the BTK map, biodiversity in Zurich and planning in general. This is a short excerpt.

Jeanne Casagrande Mit der Biotypenkartierung in der Hand haben wir uns auf verschiede Stadtspaziergänge begeben, um zu verstehen, wie sich die Klassifizierungen vor Ort abzeichnen und in welchen Bezug sie zu Elementen in der Stadt stehen. Wie stehst du als Siedlungsökologe zu der systematischen Kartierung dieser Biodiversitäts Qualität? Christoph Küffer Die Biotypen Kartierung basiert auf dem Buch Lebensräume der Schweiz, die Inhalte sind auf der Webseite www.infoflora.ch publiziert. Es ist ein Standardwerk mit den Beschreibungen von Biotoptypen, Lebensräume und Habitaten in der Schweiz. Diese Beschreibungen sind aber nicht ganz vollständig, da die Lebensräume in Bezug zur „ursprünglichen Natur“ beschrieben sind, aber nicht für die Ökosysteme der Städte. Grün Stadt Zürich hat versucht die Biotoptypen dementsprechend anzupassen. Die Problematik der veralteten Naturanschauung zeigt sich allgemein im Bereich der klassischen Ökologie und des Naturschutzes. Das Credo ist nach wie vor, dass die schützenswerte Natur diejenige ist, welche vor dem Menschen da war. Die Wechselbeziehung von Natur und den kulturellen sowie sozialen Aspekten, welche die Spezies Mensch mit sich bringt, hat die Ökologie zu lange nicht interessiert. Nun ist man daran dies aufzuholen, jedoch sind viele Planungsinstrumente nach wie vor nach den alten Anschauungsmustern erstellt worden und deshalb mit Sorgfalt zu verwenden. Die BTK ist eigentlich ein typisches Instrument in der Stadtplanung und der Freiraumplanung. Aber für euch ist eigentlich spannender eine Nähe zur Architektur zu finden, wie Architektur verwendet werden kann um die Biodiversität zu fördern. Die spannende Frage ist eigentlich die der ökologische Vernetzung. Es gibt diese verschiedensten Arten und die müssen ihren Weg durch die Stadt finden. Da kann die Architektur mit begrünte Fassaden, begrünten Dächern oder Nistplätze an der Architektur auch als Teil der Landschaft eine wichtige Rolle spielen. Dazu gehören

auch die Wildpflanzen und Ruderalvegetation der Stadt und deren Vernetzung. Da geht es um Fragen der Genetik; sind die Populationen miteinander vernetzt? Welche Arten kommen wo vor? Wie gross müssen die Inseln sein, damit die Arten dort vorkommen? Reicht eine Baumscheibe? Braucht es eine grosse Wiese? Bis zu was heisst das für die Planung konkret? Wir haben einen Bericht abgeschlossen fürs BAFU (Bundesamt für Umwelt) zur Anpassung von Baureglementen zur Förderung von Biodiversität. Einfach zusammengefasst könnte man sagen, es braucht grundsätzlich Boden, genug Nahrung und genug Vegetation, wie zum Beispiel Gehölze, damit Biodiversität gefördert werden kann. JC Genau, wir suchen den direkteren Bezug zur Architektur, um uns nicht nur im Bereich der Landschaftsplanung zu bewegen. Wir haben uns auf die Suche nach Orten mit kultureller wie auch biodiverserser Relevanz gemacht, um Orte zu dokumentieren, wo sich die Nutzungen überlagern. Dabei ist uns unter anderem aufgefallen, dass zum Beispiel Friedhöfe häufig an Schrebergärten grenzen. Wie kommt das? CK Ich würde sagen dies hat mit dem Baudruck zu tun. Da Friedhöfe durch ihren kulturelle Status meist besser geschützt sind vor dem Baudruck ist es logisch, dass kleine Oasen wie Schrebergärten neben Friedhöfen ebenfalls bis jetzt überlebt haben. Alleinstehende Schrebergarten Parzellen werden schneller überplant. Der Schlüsselbegriff in diesem Zusammenhang ist Innenentwicklung. Der Richtplan der Stadt Zürich sieht voraus, dass die Bevölkerung in 30 Jahren bis zu 25% zunehmen wird. Im Verdichtungsfokus stehen Gebiete um Altstetten und Oerlikon. Leider hat Zürich in diesen Gebieten viele alte Gartenstadt Quartiere und Genossenschaftssiedlungen. Das ist für die Stadtbiodiversität natürlich prekär. Diese Gartenstadtquartiere sind eigentlich die Zentren für die Biodiversität und aus der Sicht eines Stadtökologen ideal gebaut: sehr wenig Gebäudefootprint, kleine Wohnungen, und sehr

viele Freiräume. In Anbetracht des Richtplans muss in diesen Gebieten unbedingt geschaut werden, dass die Biodiversität nicht zu kurz kommt. Die Villenviertel am Zürichberg hingegen sind diesem Planungsdruck kaum ausgesetzt. Sara Sherif Nun aber auch in Villenviertel gibt es eine hohe Biodiversität. In deinen Texten sprichst du darüber, dass die Biodiversität viel höher ist an Orten wo es viele Einfamilienhäuser gibt. Was ist der Zusammenhang zwischen dem Status, also dem Reichtum eines Quartiers und der Biodiversität? CK Der sozioökonomischer Status eines Quartiers hat ein ganz starker Einfluss auf die Biodiversität. Aber nicht direkt, also nicht weil die Menschen, welche da wohnen, dies mehr fördern, sondern einfach weil es da mehr Grünflächen gibt, mehr Gärten, mehr Platz, mehr Freiraum. In den 80er Jahren gab es diese Naturgartenbewegung in der Schweiz, wo man versucht hat Privatgärten stark für die Biodiversität zu fördern. Spannend ist, dass man sich nie gefragt hat, wie dieses Projekt sozial, ökonomisch und kulturell eingebettet war. Wenn man das heute untersucht, war es eigentlich nur der gut gebildete, reichere Mittelstand, häufig Lehrer, die sich dieser Bewegung anschlossen. Da verschiedenste Voraussetzungen erfüllt werden mussten. Man braucht Freizeit, etwas Geld und vor allem einen Privatgarten. Das heisst, zu deiner Frage; ja, wenn man bedenkt dass in der Schweiz Biodiversitätsförderung eher ein Thema der oberen Mittelschicht ist, dann passiert diese natürlich vorallem in den Privatgärten der „reicheren“ Quartiere. Diese Frage hat durch Corona nun eine zusätzliche Brisanz gewonnen. In der Zeit des Lockdowns ergab dies sozusagen eine doppelte Ungerechtigkeit. Jeder war zu Hause eingesperrt, jedoch konnten die Menschen, welche in “besseren” Quartieren wohnen, neben ihren Privatgärten auch noch von der Vielzahl an öffentlichen Grünflächen profitieren. Ähnlich wie das Beispiel der Friedhöfen, welche durch den kulturelle Relevanz geschützt sind, sind die sozioökonomisch reicheren Quartiere kaum belangt durch die Richtplanung zur Innenverdichtung. Somit geht es eigentlich um eine politische Frage: welche Stadt wollen wir für wen? Ich versuche zusammen mit andere Beteiligten wie zum Beispiel der Künstlerin Juanita Schläpfer an der Kommunikation dieser Themen zu arbeiten und verschiedenste

Gruppen einzubeziehen. Wir haben ein Projekt mit dem Namen Tree stories. Es greift das Thema der heimischen und eingeführten Pflanzen der Stadt auf. In der Stadt kann man eigentlich nicht mehr sagen welche Pflanzen wirklich heimisch sind und welche nicht. Es ist ein völlig neues Ökosystem, wo verschiedenste Arten zusammenkommen. Unser Projekt war eine Stadtführung, bei welchem wir „fremde“ Bäume besucht haben. Bei den jeweiligen Stationen gab es Vorträge und Performances von Künstlerinnen und Künstlern, welche ebenfalls ihre Wurzeln im selben Heimatland wie die Baumart haben. Somit kann man Themen, die uns als Gesellschaft beschäftigen auch auf die Stadtökologie übertragen und die Leute sensibilisieren.

Lucius Burckhardt , Das Zebra streifen, Kassel 1993

Your findings rotate a lot around already functioning places, at times already preserved. Look for voids, gaps or opportunities in the city. What are your walks there to represent?

Till now we were focussing on little havens for multi-species, man influenced islands scattered throughout Zurich. But what are the systems supporting and generating biodiversity on a bigger scale? A discussion with Philipp Noger, led us to explore the topics of disturbance, collision and ecotone, which is the border between two ecosystems creating a third habitat and therefore a very rich environment. Next to this, we started to gather and study all the tools produced for the Richtplan 2040. What are the cityâ&#x20AC;&#x2122;s strategy and understanding of this topic? Who are the players of the story? And what projection of the future does Zurich have?

episode three

The systematic tools of city planning. The surface, the line and the point.

Disturbances lead to opportunities. A talk with Philipp Noger Philipp Noger is an environmental scientist and architect. He works at the Amt für Hochbauten of the city of Zurich at the sustainable building department. We met him to discuss the field of action of architecture regarding biodiversity. This is an excerpt.

Sara Sherif Kannst du uns erklären welche Ansätze in Bezug zur Biodiversität verfolgt werden bei der Fachstelle Nachhaltiges Bauen? Philipp Noger Wir sind vor allem in der Planungsphase aktiv. Bei unseren öffentlichen Bauaufträgen sind sehr viele Akteure und Interessen involviert und wir versuchen der Biodiversität den nötigen Platz einzuräumen. Dies können wir einerseits durch das Gesetz bewirken, wie es nun beispielsweise in Bezug zu den Dachbegrünungen bereits der Fall ist. Ich denke, dass für die Biodiversität eine Chance besteht, wenn man dafür sorgt, dass sie bereits in den frühen Phasen der Planung integriert wird. Wir schauen immer individuell vor Ort, was wir vorfinden und wie man diese Lebensräume stärken kann. Man muss aber auch im grösseren Massstab die Stadt als eigenes Ökosystem betrachten, wo viele verschiedene Akteure wirken. Das muss den Menschen mit welchen man zusammen arbeitet bewusst sein. Eine Baustelle ist für einen Naturschützer eine Katastrophe. Betrachtet man die Baustelle aber als Störung im Ökosystem Stadt, kann diese durchaus als etwas Positives angesehen werden. Störungen sind in Ökosystem Dynamiken zentrale Elemente. Das Ökosystem eines Wildbach braucht ein fatales Hochwasser alle zehn Jahre, sonst verliert es seine Funktion im grösseren System. Mediterrane Wälder brauchen Waldbrände, um sich regenerieren und die Artenvielfalt beibehalten zu können. Durch die Störung der Baustelle wird temporär neuer Lebensraum geschaffen und neue Nischen, welche für Pionierarten in der Stadt sehr interessant sein können. Jeanne Casagrande Wie muss man sich das Ökosystem Stadt vorstellen? Lässt sich das überhaupt territorial eingrenzen? PN Ökosysteme sind immer Konstruktionen. Wir behaupten der Waldrand sei die Grenze des Ökosystems Wald, jedoch gibt es natürlich immer Interaktionen zwischen den Systemen. Eigentlich ist deshalb die Grenzen ein sehr spannendes Thema. Alles Leben ist ein

Grenzphänomen; zwischen Erde und Luft, zwischen Land und Wasser. Grenzen werden als etwas negatives wahrgenommen, aber Grenzen sind produktiv. Ein Fluss, der ins Meer mündet, ist eines der produktivsten Ökosysteme die es gibt. Die Stadt ist nur deshalb ein so heterogenes, nischenreiches Ökosystem weil sie so viele Grenzen hat. SS Man könnte also eigentlich auch sagen Störungen bilden neue Grenzen und somit neue Nischen und Heterogenität. PN Wenn man sich auf Störungen in der Stadt fokussiert könnte man zum Beispiel untersuchen, wo das Strassennetz auf den Wald trifft und was für Situationen durch diese Kollision entstehen. Störungen in den Strassennetzen können auch eine Durchlässigkeit generieren. Somit könnte auch für Tiere eine Barrierefreiheit gewährleistet werden. Das geht von der Wildbrücke bis zum Trottoir. Ein kürzlich fertiggestelltes Projekt eines Kraftwerks am Bieler See hat einen kleinen Kiesweg auf dem Steg mit eingeplant, damit die Laufkäfer ebenfalls geschützt die Turbinen überwinden können. Es geht ums Bewusstsein; den Menschen muss bewusst werden, dass sich die Biodiversität in verschiedensten Massstäben abspielt. Eine mit Moos bewachsene Mauer ist für die einen eine homogene grüne Fläche und für die anderen ein riesiges Mikroökosystem mit diversen Bewohnern. JC Wie kann dieses Bewusstsein geschaffen werden? PN Ich weiss es nicht (lacht). Es gibt kein grosses Narrativ dafür. Das Verhältnis vom Menschen zu anderen Spezies ist im Wandel, und das ist eigentlich ausschlaggebend, denn so ergeben sich auch andere Anforderungen an die Architektur. Ich habe dazu kürzlich ein gutes Buch gelesen, es heisst Zoopolis und handelt von den Rechten der Tiere in der Stadt.

Field trip II along the Sihl There are always moments where you have to jump into cold water. You don’t really know what you are doing, but you do it to start somewhere. That’s how we found ourselves walking along the Sihl from HB towards the Allmend, looking for situations to learn from, observing the border of the river, documenting disturbances and studying the superimposition of systems, which can create urban events and moments of Transparency à la Rowe & Slutzky. Transparency arises wherever there are locations in space which can be assigned to two or more systems of references – where the classification is undefined and the choice between one classification possibility or another remains open.

Kommunaler Richtplan 2040 Fassung für die öffentliche Auflage vom 24. September bis 22. November 2018 (NEU: verlängert bis 29. November 2018)

Kommunaler Richtplan

Siedlung, Landschaft, öffentliche Bauten und Anlagen Vom Gemeinderat festgesetzt mit GRB Nr.

.............................................. vom .........................................

Im Namen des Gemeinderates die Präsidentin/der Präsident:

..................................................................................................

die Sekretärin/der Sekretär:

..................................................................................................

Von der Baudirektion genehmigt mit BDV Nr.

.............................................. vom .........................................

für die Baudirektion

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M 1:15 000 0

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750

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1500 Meter

Stadt Zürich / Amt für Städtebau / Lindenhofstrasse 19 / Postfach / 8021 Zürich Tel. 044 412 11 11 / www.stadt-zuerich.ch/hochbau / 8. August 2018 / afsbma, afsthl, afsmed, afsjad, afstrr

Festlegungen Kommunal bestehend

Kommunal geplant

Siedlung und Landschaft Siedlungsentwicklung

Gebiet mit baulicher Verdichtung über BZO 2016 hinaus

Quartierzentren Quartierzentrum

Freiraumentwicklung

Freiraum mit besonderer Erholungsfunktion

The Kommunaler Richtplan is an instrument at the level of the municipality that responds to the regulations given by the regional masterplan. It gives an urban planning direction to the scenarios through which Zurich will have to go through in the future (2040). One of these scenarios is an increase in the city’s population by 25%. Growth, which will request densification of the urban fabric.

Freiraum mit besonderer Erholungsfunktion, ungefähre Lage A = Allmend B = Parkanlagen, Plätze, Friedhöfe C = Offene Sport- und Freizeitanlagen, Schulspielwiesen, Fluss- und Seebäder D = Gärten (Kleingärten und Gemeinschaftsgärten) Freiraum mit allgemeiner Erholungsfunktion

Freiraum mit allgemeiner Erholungsfunktion, ungefähre Lage

Siedlungsnaher Erholungsraum mit punktuellem Handlungsbedarf

Öffentliche Bauten und Anlagen Schulanlagen Volksschule Volksschulanlage

! !!

! ! !

Volksschulanlage, ungefähre Lage

! ! ! !

Volksschulanlage, Gebiet für Standortsuche

Sportanlagen Sportanlage

Sportanlage, ungefähre Lage

Sicherheitsbauten Sicherheitsbaute

! !!

! ! !

Sicherheitsbaute, ungefähre Lage

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Sicherheitsbaute, Gebiet für Standortsuche

Werkbauten Werkbaute

We were curious to see if one of their scenarios included other species. That’s how we found entry maps for ecological network corridors in the detailed dossier of the Richtplantext. What we thought was a precise analysis turned out to be a document with some vagueness about what ecological corridors are and how to plan them in the city. Yet, these maps remained precious tools to understand the systems supporting and generating biodiversity on a bigger scale, that the city had identified. ! !!

! ! !

Werkbaute, ungefähre Lage

! ! ! !

Werkbaute, Gebiet für Standortsuche

Verschiedene öffentliche Nutzungsansprüche Gebietsperimeter

Information

Kantonale Gebietsplanung (vom Kantonsrat festgesetzte Fassung, Stand: 7. Juli 2017) Wald

Gewässer

Plangrundlage

Gemeindegrenze

B B B

die Sekretärin/der Sekretär:

..................................................................................................

Von der Baudirektion genehmigt mit BDV Nr.

.............................................. vom .........................................

für die Baudirektion

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M 1:15 000 0

250

500

750

1000

1250

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Stadt Zürich / Amt für Städtebau / Lindenhofstrasse 19 / Postfach / 8021 Zürich Tel. 044 412 11 11 / www.stadt-zuerich.ch/hochbau / 8. August 2018 / afsbma, afsthl, afsmed, afsjad, afstrr

Festlegungen Kommunal bestehend

Kommunal geplant

Siedlung und Landschaft Siedlungsentwicklung Gebiet mit baulicher Verdichtung über BZO 2016 hinaus

Quartierzentren Quartierzentrum

Freiraumentwicklung Freiraum mit besonderer Erholungsfunktion

Freiraum mit allgemeiner Erholungsfunktion B

Freiraum mit allgemeiner Erholungsfunktion, ungefähre Lage

Siedlungsnaher Erholungsraum mit punktuellem Handlungsbedarf

Öffentliche Bauten und Anlagen Schulanlagen Volksschule Volksschulanlage Volksschulanlage, ungefähre Lage ! ! ! ! ! ! !

! !!

! ! !

Volksschulanlage, Gebiet für Standortsuche

Sportanlagen

Sportanlage Sportanlage, ungefähre Lage

Sicherheitsbauten Sicherheitsbaute

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! ! !

Sicherheitsbaute, ungefähre Lage ! ! ! !

Sicherheitsbaute, Gebiet für Standortsuche

Werkbauten Werkbaute

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! ! !

Werkbaute, ungefähre Lage ! ! ! !

Werkbaute, Gebiet für Standortsuche

Verschiedene öffentliche Nutzungsansprüche Gebietsperimeter

Information Kantonale Gebietsplanung (vom Kantonsrat festgesetzte Fassung, Stand: 7. Juli 2017)

Wald Gewässer B

Plangrundlage Gemeindegrenze

When mapping the city, what could be the fix element coming over and over? And what if these moments of collision happened in other scales too?

What if the tools we had at our disposal were incomplete? Verticals are only lines, when we look at an urban scale ground plan, and yet major surfaces creating our experience of the city. There were walls before there were streets. They regulate landscape, space and the movement of bodies. Politically loaded, they can exert the violence of power systems but can also create a positive intimacy and protect. Controversial. Walls are borders between two systems. They are to be found in moments of collisions, trying to regulate cohabitation. Buffer zones. But walls are also a system in themselves. They have depth, cavities and can be inhabited. Depending on the sun exposition, humidity, material, texture and construction of the wall, cryptogams (such as moss or lichens), which are plants that reproduce by spores, can invite themselves and open the gates for other species to inhabit the wall. Welcome to the world of spontaneous vegetation and autoecology.

episode four

Ecology of Walls. Life on overlooked verticals.

The potential of buildings envelopes They say that if you unfold its Alps, Switzerland would have the size of France. In this optic, we see here a major potential in perceiving the cityâ&#x20AC;&#x2122;s envelope differently. Laying a grid of 250x250m on Zurich, we selected typological case studies based on the BZO. The aim was to produce samples, that could help us understand the horizontal-vertical ratio in the built landscape. What we discovered is that, not only by considering the verticals, the amount of surfaces in our sample doubled but that when moving towards the city center, the usable vertical area increased.

outline stepping stone biotope 15%

large habitat

inner city

W5/W6 Blockrand

W7 industrial area

W4/ W3

W3/ W2

Industrial zone (Altstetten) TOTAL HORIZONTAL: 62500 m2 57%

TOTAL: 109163 m2

TOTAL VERTICAL: 46663 m 43%

5145 m2 unsealed

27375 m2 building

46663 m2 25% 43%

27%

29980 m2 sealed

Blocks (Wiedikon) TOTAL HORIZONTAL 62500 m2 44%

TOTAL: 142500 m2

TOTAL VERTICAL: 80000 m2 56%

8845 m2 unsealed

6% 20065 m2 building

64000 m2 plaster

14%

40%

24% 33590 m2 sealed 11% 4% 1% 1120m2 undef

16000m2 window

5860m2 brick

Old town (Niederdorf) TOTAL HORIZONTAL: 62500 m2 42%

TOTAL: 150100 m2

TOTAL VERTICAL: 87600 m 58%

10022 m2 unsealed

6.7% 2

29000 m building

87600 m2 19.3%

58% 16%

23478 m2 sealed

Field trip III learning from walls In Zurich, 2000 different flora species have been mapped, whereas a few kilometers outside of the city, this number came down to 800. This is due to the plurality of conditions and niches that the urban landscape offers to biodiversity. From these 2000 species, 15% of them are also, if not only, found on walls. Vertical surfaces can play a considerable role for others critters too, as flora leads to fauna. They welcome spontaneous vegetation and therefore need no maintenance. Walls are not habitats in themselves but act as stepping stone biotopes, a backup system offering refuge and nutriments to a multiplicity of species. They support the ecological corridors main task; connecting larger habitats. What kind of freestanding vertical surfaces can we encounter in Zurich? And what does make a wall, a good wall?

Tentacular toolbox At a certain point, we laid our focus on quantifying ecological services–such as, for instance, how much CO2 could cryptogams absorb–but soon realized, that it wasn’t the right approach to deal with the immense complexity and richness of our ecosystem. Even experts admit it; the power of multi-species interweaved collaborations simply goes beyond our imagination. With this in mind, we developed this drawing, a kind of tentacular toolbox where different actors and scales meet and interact without hierarchy, where everything is connected to something but not everything is connected to everything. It contains fragments of knowledge that we collected throughout our research and encounters with experts.

Some Birds, Such As The Common Swift, Perceive The Cityscape As A Rocky Landscape. If You Think About It, Mountains Are Just Big Rocks. And Trees Grow On Mountains, The Way Moss Does On Rocks...

Both need an accumulation of soils and water, which is allowed through the geometry and slope of the support on which they stand. This type of accumulation also finds place at the foot of walls, which is one of the reasons why spontaneous vegetation often develops there.

Cryptogams, such as moss, lichens and ferns propagate through spores and are pionniers of life. Their presence on a sterile surface can generate a refuge and food for other species - especially insects. Next to birds, ants are the super-spreaders of vertical vegetation, as they use humus, finely divided soil and seeds to build their nest in wall crevices.

Lichens are extreme-tolerant and can develop in a variety of surface. Yet, in order to survive, like a lot of other plants, they need sun and humidity and have difficulties growing on inhabited walls, as the heating makes the wall warmer than the outside air temperature.

lichen superficially digs its way into the limestone.

Birds, who feed themselves, inter alia, with insects, don’t only carry plant seeds with them, but also passively spread spores. Some of these lichens’ spores evolve more easily in the presence of birds’ guano, which act as a nutriment.

lichen fills the space between the grains of sandstone.

axionometric section – 200 micrometer (UM)

Lichens, which are the product of a symbiosis between fungus and algae, can actually create a symbiosis with walls too. Contrary to preconceived ideas, they act as a protective skin that prevents from erosion and absorbs humidity.

The protection offered by lichens occurs in bigger scales too.

Climbing plants, for instance, can work as a second skin with the great capacity of regulating the extreme conditions to which walls are exposed. In winter, they isolate the wall (see heat transfer coefficient amelioration depending on the materials insulation). This ivy operates as a protective rain coat on which the water flows...

â&#x20AC;Ś and under which the humidity in the air and the wall is absorbed through adhesive stem roots. In the summer climbing plants buffer the urban heat island effect by means of shade and transpiration, as they have a big evaporation surface due to their rib structure. As a matter of fact, a leaf can liberate 50 to 70 % more water than a water surface of the same size. The temperature of plants rarely gets higher than the one of the air, in contrast to the one of wallâ&#x20AC;&#x2122;s surface, which can reach up to 80 degrees.

In a nutshell, these plants create a microclimate which is more stable than the urban one, while, cherry on the pie - providing shelter and food for other species.

In the city, the urban heat island is a real issue. The main reason why it happens is due to the accumulation of construction mass and hence the important amount of absorption surface. The difference of temperature between the city center and its surrounding area is around 2 degrees. But the potential of having vertical surfaces welcoming plants increases is also higher in the city center.

Peter Fischli & David Weiss, Flowers and Mushrooms, 1999

What is the next step towards design?

During all the previous episodes we tried to answer this one and almost obsessive question. How can we live together? Tackling it from a different angle each time, every discovery gave us a new piece of knowledge, an other perspective from which to sense how our multi-scaled puzzle could look like. This final episode brings on the table the preview of a possible synthesis picture.

sum of all the episodes

City planning for the Chthulucene

Studio Aldo Rossi’s plan of Zurich ( ETHZ, 1979), following Nolli’s language.

Abstract intro

project

The environment in which we live is a big and complex territory defined by the interweaved relations between an untold number of living and abiotic actors. We, as humans, are an integral part of this system. We depend on it.

Our map is based on a collection of documents produced by different entities, sometimes tracing human activity and sometimes tracing the rest of biodiversity. The Richtplan’s map of ecological corridors (p. 46-47) is one of them. Yet still ambiguous, this map is a hybrid between what already act as an ecological corridor and what, from their point of view, should become one. Going on site to analyze the composition of these lines, we will adjust our drawing, deepen our knowledge of certain areas in the city and define possible points of intervention, hence establishing a dialogue between what is drawn and what to be found.

Yet, western society got alienated by the construction of culture and created an artificial gap between itself and the rest of the living beings on this planet. It sometimes agreed to coexist but rarely to cohabit. It established dangerous hierarchies, believing to be superior and untouchable, while overlooking other actors. It colonized common spaces, only to leave rests. It perceived nature or as a resource to exploit or as a helpless actor to protect, forgetting that we are in a relationship of exchange and that we should give and take from each other. It’s time to learn how to live together again and embrace possible contamination.

mapping The city of Zurich is our case study. A dichotomous nature-culture attitude rules the way we map our cities and produce architecture. Experts are usually focussed on their respective fields. Ecologists concentrate on nature, while city-planners think in terms of urban fabric and development. They both produce one-dimensional maps lacking perspective diversity, forgetting that the habitat of one, has an impact on the other. We aim to work towards the erasure of this binary opposition. Nolli’s Map ideology is no longer sufficient to describe the conditions we want to develop, nor the stories we want to tell. As architects, culture cannot be our sole focus anymore. At times where our understanding of the world is getting more and more complex, we need to join forces with other fields of expertise, to act with full knowledge of the facts. We propose a tentacular city plan based on the superposition of networks produced by diverse actors. The purpose is to bring nature and culture together on one layer. Made out of points and lines, it’s about the intensity and density of the city as an accumulation of webs. It’s about corridors and barriers for multiple species and between different habitats.

Working towards a condition as we found it in the Schanzengraben, which became a really interesting space because of cultural and historical reasons that mingled together with natural elements. We think that there are more spaces to be described in that multitude of perspectives. We want to reinforce the existing mesh by producing moments of cohabitation. Note that this is not only about the density but especially the diversity of lines that are woven together. Carefully analyzing what is there, we will support systems, add points and establish new connections within the web.

plan analysis - Holes in the web: a general lack of density in the ecological corridor mesh reflecting a certain fragility in its backup system and hence resilience. - Dead ends: corridors and lines leading to nowhere, or being abruptly cut by boundary lines. (E1 / E2) - Hidden ones: traces of lines, such as channelled streams, visible on plan, hidden on site. (B) ambiguous: lines, which act as corridors and boundaries at the same time (A/C) Lines can lead to points and points can lead to lines

roads and paths rivers and streams channeled rivers and streams ecolocigal network corridors ruderal corridors borders high quality habitats high quality stepping stone biotopes medium quality stepping stone biotopes low quality stepping stone biotopes

B4 B3 A1

A2 A3 A4

A5 A6

A7 A8

C B1

On site Line A The longest corridor of the Richtplan. Piercing through diverse urban conditions. From Altstetten to the Schanzengraben. We question the line that the master plan has drawn. The supposedly continuous corridor is interrupted several times by large intersections, squares or underpasses. At times sharing its border with rich allotment gardens, other times with bare facades. These Intertwined conditions resulted in a collection of moments with which we want to continue our process; from moments of cohabitation to possible sites.

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THESAURUS This document has been produced during our thorough reading of Donna J. Haraway’s book “Staying with the Trouble, Making Kin in the Chthulucene” second chapter Tentacular Thinking (Duke University Press, 2016 ). It contains key concepts and linguistics we borrowed from Donna J. Haraway to build our narrative.

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READINGS AND ENCOUNTERS episode one What Donna* says see footnotes p. 12

episode two There is more biodiversity in the city than in the countryside Fitter, R.S.R. “London’s Natural History”, 1945 ChartierDalix, “Accueillir le vivant”, 2019 Grün Stadt Zürich, Biotoptypenkartierung Stadt Zürich, Methodik und Kartierschlüssel, Stand 2007 www.infoflora.ch Küffer, Christoph. “Konzeptstudie, Bausteine für die Integration von Biodiversität in Musterbaureglemente”, 2020 Freytag, Anette. “Dieter Kienast, Stadt und Landschaft lesbar machen”, 2016 Hauck, Thomas & Weisser, Wolfgang. “Animal Aided Design”, 2015

episode three The systematic tools of city planning. The surface, the line and the point Donaldson, Sue & Kymlicka, Will. “Zoopolis”, 2011 Lipsky, Florence. “San Francisco la grille sur les collines”, 1999 Moll, Claudia & Simon, Axel. “Eduard Neuenschwander, Architekt und Umweltgestalter”, 2009 Neuenschwander, Eduard. “Niemandsland”. 1988 Stadt Zürich, Hochbaudepartement, “Kommunaler Richtplan Siedlung, Landschaft, öffentliche Bauten und Anlagen”, 2019

episode four Ecology of Walls. Life on overlooked verticals Edited by Mubi Brighenti Andrea, Kärrholm Mattias. “ Urban Walls”, 2019 Darlington, Arnold. “Ecology of Walls”, 1981 Baumann, Rudi. “Begrünte Architektur”, 1983 Arndt, Ingo. “Architektier”, 2013 Hansell, Michael H. “Animal architecture and building behaviour”, 1984 Lima, Zeuler. “Lina Bo Bardi, Drawings”, 2019 Gilbert, Oliver. “Lichens”, 2000 Elbert, Wolfgang u.A. “Contribution of cryptogamic covers to the global cycles of carbon and nitrogen”, 2012 Brandes, Dietmar. “Standortfaktor Stickstoff - Nitrophytenvegentation in Europa”, 1999 Chen, Chundi u.A. “Walls offer potential to improve urban biodiversity”, 2020 Bayerische Akademie der Wissenschaften, “Ökologische Rolle der Flechten”, 2000 Guggenheim, Ester & Ineichen,Stephan. “Mauerbiotope in der Stadt Zürich”, 1995 Ineichen, Stefan & Ruckstuhl, Max. “Stadtfauna, 600 Tierarten der Stadt Zürich”, 2010 Guggenheim, Esther. “Mauervegetation in der Stadt Zürich : Wall vegetation in the city of Zurich”, (article) 1992

sum of all the episode Chthulucenic city planning, a network of tentacles. Stadt Zürich, Entsorgung + Recycling, “Bäche”, 2007 Lubini-Ferlin, Verena. “Hydrologisches Bachinventar der Stadt Zürich”, 1989 Grün Stadt Zürich, “Fachplanung Hitzeminderung”, 2020

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Precious encounters Christoph Küffer Christoph Scheidegger Felix Hilgert Flurina Gradin Manal Ragab Maria Conen Mariette Casagrande Max Huber Pierre Benoit Philipp Noger Taiyo Onorato & Nico Krebs Tom Crowther & Grün Stadt Zürich: Bettina Tschander Ilona Suter Max Ruckstuhl Michael Faden Stefan Hose

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