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CUES TO CARE
A landscape design proposal for a forest garden in Deep Forest Art Land
Submitted 31st of May 2022 Fogh Heidemann
DEPARTMENT OF GEOSCIENCES AND NATURAL RESOURCE UNIVERSITYMANAGEMENTOF COPENHAGEN
A landscape design proposal for a forest garden in Deep Forest Art Land
Master’s thesis in landscape architecture, 30 ECTS
TO CARE
University of Copenhagen
KarstenSupervisorsRaulund-Rasmussen and Bettina Lamm
CUES7
MaleneStudent
as intern and co-worker, building and planting small scale interventions and Svavateaching.Reisto and Henriette Steiner for the inspirational PhD course Architecture, Landscape and Gender: Rethinking Theory, Methodology and Practice (2020). Mona Chor Bjørn and Marian Ørgaard for teaching about plants and planting design. And thanks to Forest garden practitioners, nursery owners and writers Birgit Rothmann, Cecil Rye Olsen, Bjarne Wickstrøm, Mads Krarup & Jakob Nyholm Jessen, Naturplanteskolen, Rod & Lund, Skovhaver.dk, Åse Ditlefsen Farrao, Mary Reynolds, Martin Crawford, Karoline Nolsø Aaen & Tycho Holcomb, and Dave Jacke & Eric Toensmeier
This thesis also would not have been possible without 85 % chocolate, the neighbor hood’s scenting spring flowers, the wind making cloud animations and making trees wave at me outside the window, dance and choir teachers keeping me happy and ener gized, musicians making work soundtracks, and of course friends and familiy giving emotional support, breaks for the mind and a sense of belonging.
supportingforgartMartinEFFEKTen,LandscapeAlsoandtionsforforvisor,thescapeecologyArtfavouriteecologicalingKarstenThanksperiencestoRenéDeepAAcknowledgementswarmthankstothecreativedirectorsofForestArtLand,SørenTaaningandSchmidt,forinvitingsproutslikemecollaborateoncreatingspacesandexinandwithnature.tomysupervisor,professorRaulund-Rasmussen,forsharyourin-depthknowledgeonsoilsandtrajectoriesandsharingyourmusiconthetriptoDeepForestLand.Thanksforbeingopentoviewandthispaperthroughalandarchitecturallensandfordiggingindetails.AndthankstomyothersuperassociateprofessorBettinaLamm,steppinginasanewco-supervisorandyourmanysharpcommentsandquesregardingcontent,communication,structure.thankstoarchitectsAndersBusseNielsGitteHøjrup&OliviaEgebjergfromforcontributingtothisproject.HedevangAndersen&AdamRoiforintroducingmetotheeducation,workingwithcirculareconomyandformyprofessionaljourneybyha-vingme
Canopyillustrationandshrub
layers of the main in tervention, the Fruit Garden. The rotating motion signify constantly evolving cycli cal processes. And it illustrates the per ception that everything turns, when you dance on the platform around the linden tree to celebrate the abundance of nature.
Cover
ThisAbstractthesisisalandscape
The proposal is site specific, but the design frameworks developed for this thesis can indeed inspire other projects in relation to ecological approaches to landscape archi tecture, forest gardening, adaptive man agement, co-creation, public space, and outdoor seasonal rituals.
architectural de sign proposal for a performative setting in Deep Forest Art Land in mid-western Jutland. The design draws on themes from the multi-art work Motherload (2018) from which a few sculptures are still found on the site. The proposal seeks to frame existing and new sculptures, performances and activities for guests and volunteers through a number of interventions. These primarily consist of forest garden vegeta tion with flowers and fruits throughout the seasons and facilities for marking the course of the year with artistic rituals. The build structures also invite for taking rest and a closer look at the setting, when go ing for a walk in Deep Forest Art Land. Species choice and placement is based on thorough registrations of site ecology, to increase opportunities for succeeding with especially the vegetative element. Es tablishment and maintenance metods are also described.
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2 0 / 1AbstractAcknowledgementsFormalia/Introduction 3 Motivation 5 Aim 6 2 / Design approach 7 Design approach 9 3 / Site and context 11 Introduction 13 Context 15 Ecology 21 Art 31 Sense of place 39 4 / Conceptual framework 47 Assist and frame ecological functioning 49 Shapes and symbols 51 Forest garden principles 55 Program 57 5 / Proposal 59 Masterplan 61 Interventions 63 A / Care for the little ones 67 B / Fruit feast 69 C / Tea with a view 75 D / Framed fire tales 79 Species 81 Annual rituals 89 Establishment and maintenance 93 6 / Outro 99 Summing up 101 Reflections 103 References 105 Content
Art surrounded by pines, rapsberry and ferns in the Motherload area, August 2021. The platform in the fore ground is the art piece Motherload (2018) by Anna Magrethe Pedersen and behind is Skilteskov (2018) by Saskia te Nicklin.
1 / INTRODUCTION
(Blackie, 2016)
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sense of belonging and of responsibility:
A continous motivation of mine is trying to understand, interact with, and support the inherent processes of nature. It is root ed in fascination but also in a necessity of minimizing climatic and biological degre dation or even collaps. Humanity’s pres sure on the biosphere is worse than any other invasive species’. But unlike other species, we have the ability to (re)learn how to interact with our biotic and abiotic environments in sustainable ways. A great obstacle, though, is that most of the world’s population live in cities and have become alienated from nature. Fundamental aspects of life have become ab stract concepts in the modern city life: how ecosystems functions, where food comes from and how the physical envi ronments we move in are created and by whom (Ruff, 1982). This leads to a lack of
“If we no longer feel nurtured by the Earth, we no longer belong to it, and because we no longer belong to it, we do not feel responsible for it.”
Sensing,tivities.
enjoying, learning about and maybe even co-creating Motherload Fruit Garden will hopefully give at least a hand ful of visitors every year a sense of belong ing and ideas to incorporate sustainable and meaningful activities in nature, their gardens and workplaces. So even though Motherload Fruit Garden will not be large, the place can act as a source of inspiration, and the extent of affected physical land will continuously grow.
ItMotivationwaslikegettingaletterfrom
Hogwarts, when one of the creative directors of Deep Forest Art Land wrote and asked if I want ed to co-operate in making a forest garden. They had found my bachelor thesis Den urbane skovhave about urban forest gar dening on the wide web. I had uploaded it on www.issuu.com in the hope that some body would get inspiret from it - and voilá, what an invitation it caused: to design and plant a real forest garden in a place visited by thousands of people each year. A place where people are already open to explore and reflect. A place where the relationship between culture and nature is questioned and sometimes presented as a dichotomy, sometimes as confluent.
There seems to be a need to develop and strengthen the relationship to Earth, to nature. One suitable place for this puspose is Deep Forest Art Land, the landscape around more than 80 site specific sculp tures and installations, where visitors al ready come with an open mind, ready to be sensorially and emotionally affected and inspired. Motherload was the title of a three month long exhibition in 2018, curated by Anne Margrethe Pedersen and Ditte Soria with artists participating from around the world. Some works are still present at the site, and the purpose of this thesis’ design proposal, Motherload Fruit Garden, is to augment the themes of the exhibition by creating a coherent land scape setting around the remaining and future works of art, performances and ac
create a design proposal for a landscape setting in Deep Forest Art Land, which can set the frame for sculptures, performances, and activities with guests and volunteers in the area of the former Motherload exhibition. The framing is not neutral, though, as it will be a reinterpre tation of the Motherload theme, aiming at emphasizing the abundance of fruits and flowers that nature can provide and cre ating harmonic spaces with pleasing and joyful atmospheres. New plantings, main ly as forest garden designs, and structures for seasonal rituals and performances is made to achieve following sensations, feel ings and reflections:
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- appreciation of the abundance of sweet, life-giving fruits and flowers
- curiousity
- reflections about nature, about humans and nature, and about how to use, care for and celebrate it
TheAimaimisto
- a sense of belonging
- care for the living environment, culture and communities
Study trips to established forest gardens have been a great inspiration. Here in Valbyparken, I got an embodied understanding of being in a circular space and of the scale, which I found a bit to small for my design. I got inspired to simplify my path system and to move the big build element out of the center. Also, notes were taken about aesthetical and biological qualities of different plants here in the beginning of April, 2022. The branch fence was partly broken, pointing towards the need of a more robust building method.
2 / DESIGN APPROACH
drawing is an impor tant tool. It is a way to understand and to communicate the landscape through plan, section, diagram and visualization. Drawing is a way to conduct a dialog be tween knowledge and ideas, starting with registrations and sketches, ending with a design (Nielsen, 2003). But a drawing is never finished, it is not a picture of facts but a visualization of possibilities. For that reason, I prefer hand drawing or mixing hand and digital drawing (figure 2.0). It resembles a sketched vision more than re alisticly looking or “perfect” digital maps and Certainillustrations.typesof information are better represented visually than by text or num bers. It can be colours, textures, atmos pheres, scales, spaces. Photography is useful to show atmospheres and the full picture with many details. But many de tails are often unnecessary and just dis tracting. Making a drawn representation instead is a way to keep focus on the most important content.
Landscape architecture is a discipline and a practice of proposing solutions, which draw on many types of knowledge; soci ological, aesthetic, technical, and ecologi cal. The method is an iterative design pro cess of alternately knowledge collection, analyzing, sketching and designing.
views, atmospheres and impressions of the art pieces, the site is visited several times with the coming forest forest garden in
Site specific methods
Since Deep Forest Art Land’s purpose as a public art forest is to enable visitors strong spatial, sensory and allegoric experiences, great emphasis is placed on a phenome nological approach and understanding of space, which can document subjective ly experienced phenomena and moods (Den Store Danske, 2020). These cannot be quantified or measured, but are never theless important for understanding the interplay between elements in the space and the whole (Vagstein 1993).
DrawingInthisprocess,
Design approach
Tomind.gain
insight into the ecological condi tions, analyzes of the context, species de termination, soil types, hydrology, wind and light conditions and historical use are completed and compared with map data. The findings are expressed in maps, tran sects, species lists and photographs. Based on the findings, the ecological processes and conditions are characterized and as sessed in relation to how they can respec tively support or challenge the establish ment of forest garden beds.
Concerning the art aspect, sculptures in the area are photographed and registered on a map. The pieces which were part of the Motherload exhibition are described in more detail and interpreted with the use of ecofeministic theory and literature to shape my design approach.
To gain accurate knowledge about ecology and embodied experiences of movement,
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FIGURE 2.0. Drawing and painting as a way to un derstand, communicate and enjoy the process.
Land means that dialogs with personal informants is an important aspect of the design approach. Furthermore, establish ment of Motherload Fruit Garden will be a co-creation with volunteers, so their pres ence and needs must be considered when designing facilities and planning establishment and maintenance.
Conceptual framework
Movement patterns and possibilities are analyzed with the aim of enhancing func tionality, sense of mystery and great views. To gain an understanding of the environ ment’s impact on the body and to find obvious routes and spots for certain ele ments and activities, I use my body as an instrument. Combining the derivé-meth od, developed by Debord in 1956 (Ponte), with improvisation and traditional nature communication techniques, I let go of the goal-oriented movement patterns of everyday life and are instead guided by curiosity and immediate reactions to the
Thesurroundings.experiences are afterwards expressed in free writing, abstract painting and pho tography of atmospheres. To get a nuanced understanding of the phenomenological qualities, the method is performed in dif ferent kinds of weather and over a period of time.
Co-creationThecooperation with Deep Forest Art
Based on the collected site specific knowl edge, literature studies and forest garden visits, a conceptual framework is devel oped to guide the design process. The framework builds on the intepretation of the Motherload theme, and is a curious quilt of ecological approaches to land scape architecture, shapes and symbolism, and forest garden principles.
Picturesque slopes and turns in the middle of Deep Forest Art Land. August 2021.
3 / SITE AND CONTEXT
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The path starts with winding uphill on a dramatic ridge with slopes on each side. New art pieces appear after every turn, attracting attention. One quickly gets the feeling of being in a different enchanted world, away from the flat fields. The map provided, being more of a treasure map than a correct depiction of the route, en courages you to go explore and to get a bit lost. There are no explanations at the sculptures, you have to interpret yourself. There are no museum guards watching over you, you can touch and often walk into an art piece, like the big yellow snake (see figure 3.3), which will be colourful and beaming one day, and faded and moist the next, depending on the weather. The experiences of the works are influenced by bird song, temperature, the scent of differ ent types of forest floors and sensation of walking on them.
FIGUREFIGUREpeopleisfileexcavationabusses(seeifThereinplespecialArtbinationderingequallynatureManyforest,artDeepIntroductionForestArtLandisacontemporaryexhibitionalonga3,5kmpaththroughmeadowandstreamlandscape.peoplecometoseetheart,buttheexperiencesoftenturnouttobevaluable.Newtypesofopen,wonconversationsarisefromthecomofartandnature.DeepForestLandisforeveryone,buttheyhaveafocusoninvitingfamiliesandpeowhodonotnormallyspendmuchtimenatureorongalleries(Taaning,2020).arecurrentlytwoparkinglots,andpeoplearriveatthenorthernparkinglotfigure3.6)likeIdid,andasschooldo,someofthefirstsightswillbeofcarcrushedbyahugestoneandastrangerevealingthedistinctsoilprowithredclayinthebottom.Somethingatstakehere;unknownforces,nature,andhintsofstories.3.2.Clash(2014)byMagnusFuhr3.1.Soilprofileatthenorthernparkinglot.
There are many vegetation types, from light birch and pine stands to dark spruce stands to dry meadow. The stems are mainly tall and straight as in a production forest, but there are more undergrowth, resembling wilder nature and giving an example of nature’s capacity to occupy space and be lush, if allowed. Is the thing on the trunk art or is it a mush room? Look at the pattern! Is the fallen tree placed purposely to hint something or did it just fall over? It is fun to walk on. The diverse terrain and vegetation create space for many art pieces. You can often get a glimpse of the next one, drawing you ahead. They are very different in terms of materiality, expression and quality. Some have decayed, look trashy and forgotten, but thereby also show the dynamic, cyclic processes of nature.
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FIGURE 3.3. One of the first art pieces was Skovsnogen (2009) by the playground company Monstrum and creative director of Deep Forest Art Land Søren Taaning. Remade in 2019.
Deep Forest Art Land
River Skjern
Døvling Brook
FIGURE 3.4. DFAL in mid-western Jutland
LocalityDeepForest Art Land (DFAL) is located in mid-western Jutland, in the village of Døv ling (figure 3.4). Like a real and unexpect ed fairy tale treasure, the art land hides deep in one of the smaller heath planta tions surrounded by the vastness of fields. But the rumor has spread, and despite lack of public transportation, DFAL has grown to become a main attraction for the region. The art is the big draw, but the landscape also proves to have alluring qualities, be ing a narrow river valley between two moraine islands (bakkeøer) (figure 3.5).
in a landscape mosaic of fields with the northern part on one of the regions mo raine islands (bakkeøer). Døvling Brook, a tributary to River Skjern, runs through the area. The map shows 2.5 m counter lines and the extent of figure 3.6. 1:50.000 N
DEEP FOREST ART LAND
FIGUREContext3.5.DFALissituated
FIGURE 3.6. Deep Forest Art Land is divided into a nothern and a southern part by Døvlingvej, a former fish farm, and the private housing area of Søren and Kristina Taaning, who owned the forest. The two entrances are at the nothern and southern parking lots. Planned and self-emerged paths take the visitors to the artworks, over Døvling Brook and through the forest on a. 3.5 km long route in the hilly terrain (0.5 m counter lines).
P 1:5.000 N
Sdr.Ommevej DøvlingvejDøvlingBrook P P ProjectareaFormerfishfarm homeSørenandKristina’s Deep Forest Art Land Project area SmallPath SIGNATUREDøvlingParkingpathBrook
Artists Deep
Apart from involvement of artists, a core element of the project was and still is lo cal cooperation through partnerships with local businesses, associations and volun teers from Karstoft and Skarrild (figure 3.6). Civic associations sometimes provide labor for certain activities and Deep Forest Art land is used to promote the surround ing cities and villages.
The aim was to make nature more accessible for especially user groups who do not spend much time in nature, by creating a path through the forest, offering a direc tion to walk and views to see. Placing art works along the path was not officially part of the project but an experiment to lure people out into nature, something which turned Skovsnogen into Deep Forest Art Land, which in 2016 became a self-gov erning cultural institution under Herning Municipality. Same year, Bikuben Fonden funded a four-year project to develop the work with young artistic talents as well as develop the social potential (ibid).
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HistoryGoinga
Stakeholders and economy
The land is owned by Deep Forest Art Land, who get some operation support from Herning Municipality, whose inhab itants in return get access to the forest. En trance fee is voluntarily, and Deep Forest Art Land is mostly sustained by guided tours and some private events. Payed em ployees count the general manager and three flex-jobbers, whereas the artistic ad ministration (the founders) and the board work mostly voluntarily. There is a large interest from locals, whose engagement will be even better accommodated, when the planning of a new outdoor assembly house is realized. It will be a good base for regular volunteer meetings and activities. Forest Art
The production forest was still a first gen eration of trees when Søren and Kristina Taaning bought it. Many private forest owners are not keen on visitors, but this couple were more interested in sharing the forest’s recreational values than on producing wood. In 2010, the intentions became reality when Søren Taaning together with another visual artist, René Schmidt, got support from Friluftsrådet, Lokale og Anlægsfonden and others to start the development project Skovsnogen under the concept of Nature space (Naturrum) (Schmidt, 2022).
bit back in time, the landscape was modeled by the penultimate ice age Saale, leaving behind moraine islands (bakkeøer) and a river valley with mires, heathland and meadows. As seen on the historical maps (figure 3.7). human activi ty further influenced the hilly terrain with marl graves and changed the landcover through cultivation. Furthermore, the brook was straighted and a fish farm and smaller lakes created.
administrationLandandboard MunicipalityHerning Funds businessesassociations,Localandvolunteers Consultants Visitors
FIGURE 3.6. Stakeholders of Deep Forest Art Land.
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1842-1899. Høje målebordsblade
1980-2001. Topographical map
1:20.000 N
More and more land became cultivated as fields, patches of it as coniferous forest.
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Once, Døvling Brook (Døvling Bæk) ran trough mire, heath land and meadow. A side brook ran trough the eastern corner of the Motherload case-area. North of the brook, most land was cultivated and calcareous clay dug from a marl graves.
The brook was straighted out and drainage ditches dug. A fish farm and some smaller lakes were established.
1953-1976. Topographical map
FIGURE 3.7. Historical development of landcover and use.
Guidelines are for example proposed for management of the pine stand in which Motherload Fruit Garden will be estab lished. But Motherload Fruit Garden itself is just roughly situated on two maps (e.g. figure 3.8) as it is a parallel project, which I, in cooperation with others, will develop.
Concerning the sculptures, the plan is to have fewer, but longer-lasting ones made from durable materials and created over several seasons, so the artists can incorporate the natural dynamics and vegeta tion better and not only create an art piece but a whole space. This is also to give an example of how to work at a slower pace, to follow healthier rhythms than what is generally seen in society. Activities and performances will continuously take place as a way of renewing old rituals which connected nature, culture, and different art forms (Schmidt, 2022).
Since Deep Forest Art Land is not a pro tected forest (freddskov), the possibilities to experiment and reshape are immense. They can contribute with a new format for both the public art scene and natur recre ation. They can question what a forest is and should be, and propose humans as be ing part of nature. They offer a common space under the open sky for all kinds of people to get new experiences and have new conversations, arising from the com bination of contemporarty art and nature (Taaning, 2020).
Future plans and visions
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Thelevel.plan is developed in co-operation with landscape architect Anders Busse Nielsen and the studio EFFEKT, who propose a simplified path system with just one coherent and handicap friendly path (see fig ur 3.8). Based on existing biological and spat-ial qualities, they have also mapped and suggested 28 spaces along the path with different themes and management princiles. Focus is generally on enhancing native and self-grown vegetation by leav ing areas to natural succession, planting in native species or removing vegetation to give space to fully crowned trees, especial ly oaks, open nature types and scenic sight lines (Nielsen, 2022).
Currently (2022), they work on a develop ment plan for how to improve and futureproof the paths, vegetation, sculptures and facilities and take the concept to the next
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FIGURE 3.8. The map show spaces of experience (oplevelsesrum) from Bilag 1 in the development plan, by EFFEKT (2022). It is a strategy for the new path and how it can go through spaces with activity and just border calm spaces. The Shelter 09 is the new assemby house, which will be build in an expansion of DFAL in the north, and Skovhaven 24 is the location of Motherload Fruit Garden.
Quercus robur (support)
Fagus sylvatica (challenge)
1.
Ecology SIGNATURE
Registrations of ecology
One of the essential steps in planning a forest garding is to get an understanding of the present ecological conditions and future scenarios. Therefore, registrations of vegetation, soil type, moisture, and topography are here presented. Picea Pinus
4. Betulap5. Pinus, Abies, Fagus2.Larix, Pinus, Abies 6. Grassland and streamQ Q p P p p p p p p p p p p pp pp F F F F FF F F F F F P P P P P P P PP P P P P P P P P PQ F QPF N
VegetationForanoverall
21 F 1:1.300
Pinus strobus (challenge)
3.
FIGURE The project area and close surroundings are divided into six vegetation types. Tree species, which can be a challenge to or a support a forest garden are also marked.
Project area
3.8.
A a bB
registration and descrip tion of the vegetation, it is divided into six types based on existing forest stands and appearance of coherency (figure 3.9). Veg etation types 1. Pinus and 2. Larix, Pinus, Abies make up the project area. The three marked species can each influ ence on the forest garden; P. strobus might be less stable than P. sylvestris, Q. robur is great for biodiversity, and F. sylvatica is a future competitor, reproducing very well.
Pinus sylvestris stand with Pinus strobus in mainly the northern part. Well sheltered from wind, open and light with the most shadow coming from the Abies in south during winter time. In summertime, a dense undergrowth makes it less open.
3. Picea
This large southern area consists of Pinus sylves tris intermixed with other species; Abies alba below area 1 and Fagus sylvatica below area 2, and as a row boardering area 1 and as young trees everywhere. In the little opening, 9 m2 of Vaccin ium ssp. and some Calluna vulgaris can be found.
In wintertime the Betula stand is light and open, with copper-colored winter foliage of young Fagus sylvatica between the white stems. During the summer, an undergrowth of e.g. Rubus idaeus and a shelterbelt of Prunus cerasifera, Crataegus laevigata and Sambucus nigra block the view in.
6. Grassland & stream
1. Pinus
2. Larix, Pinus, Abies
FIGURE 3.9. Registration of the six vegetation types reveal either dense stands or dense undergrowth.
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The eastern part is a (too) dense Larix stand, the western an open Pinus stand with Abies, sheltered by Crateagus and Prunus species.
4. Betula
5. Pinus, Abies, Fagus
Scattered in the grass are P.sylvestris and P. abies. Nearest the stream are Salix and Betula et al.
A wind throw has made a wedge in dark and (too) dense and dark Picea abies stand.
A Furrow Ridge
a
3.10.
Scots pine Birch Birch pine Soft pine BeechRed elder Willow Willow Birch
CherryBirchplum BirchBirchBirch
BirchBirchBirch
Scots
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FIGURE 20 m winter transect in vegetation type 1. Pinus. The dense undergrowth also includes raspberry, fern, thistle, grass and moss. The soil surface has a relief of ridges and furrows as a result of double plowing.
COMMON NAME BOTANICAL NAME CHARACTER, SIZE NOW (M)
Buttercup, creeping Ranunculus repens
Polypodium vulgare
Supportive
Angelica, wild Angelica sylvestris
Thistle, European Marsh Cirsium palustre
Soft pine Pinus strobus
Beech, common Fagus sylvatica 3-4
Pansy, wild Viola arvensis
Vetch, boreal Vicia cracca, musevikke
Cat’s ear Hypochoeris radicata
Elder
Sambucus nigra Edible, smell, 3-4
Alder, common Alnus glutinosa Nitrogen fixing, 2-3 Raspberry, wild Rubus idaeus Edible
Goatweed Hypericum perforatum
Hedgenettle, marsh Stachys palustris
Feathermoss, red-stemed Pleuroium schreberi Polypody,Hemp-nettlecommon
Sedge Carex spp.
Fireweed Epilobium angustifolium
Self-heal Prunella vulgaris
Scabiosa, fiel Knautia arvensis
HerbsCOMMON
Spruce Abies? 1
NAME LATIN NAME
Edible, nutrients*, butterflies Nitrogen fixing Nitrogen fixing Nitrogen fixing Edible, nutrients Edible, dyeing (Edible),Edible medicin, colour Edible, medicin
Competitive
Dactylis glomerata
TABEL 3.0. These species were registered in August 2021 and March 2022 in 1. Pinus. They are categorized as either supportive, neutral or competitive to a forest garden, by looking at competition for light and space and on contributing characteristics such as nutrient supply, edibility and flowers and fruits for aesthetic pleasure. Sycamore, Acer pseudoplatanus, was not registered, but the probability that it will emerge and be a very strong competitor is high.
TABEL 3.0. Species registered in vegetation type 1. Pinus
Hawthorn, woodland Crataegus laevigata (Edible), birds, 1-3
Birch, downy Betula pubescens 1-4
Trees and bushes
Hazel, common Corylus avellana Edible, play, 1 Oak, pedunculate Quercus robur (Edible), biodiversity, 1-3
Rowan Sorbus aucuparia (Edible), birds, colours Apples, crab Malus sylvestris (Edible)
Nettle, common Urtica dioica Clover, red Trifolium pratense Clover, white Trifolium repens Clover, field Trifolium campestre
Birch, silver Betula pendula
Plantain, common Plantago major Fern, Ostrich Matteuccia struthiopteris
Neutral
Thistle, field Cirsium arvense
CHARACTER
*Ca,EdibleK, S, Cu, Fe, Na, N. (Jacke, 2005a)
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Supportive
Cherry plum Prunus cerasifera Edible, 2-5 Cherry, wild Prunus avium (Edible), colours, birds
Marguerite Leucanthemum vulgare
Willow, gray Salix cinerea Bees, basket material
Black cherry Prunus serotina 1-2
Cockspur hawthorn Crataegus crus-galli (Edible)
Competitive Grass,Grassescat
Neutral Scots pine Pinus sylvestris
Wild HazelElderberryCherryangelicaplum
B b
FIGURE 3.11. 20 m transect of 2. Larix, Pinus, Abies. Many elder sprouts grow in the dense and dark larch stand.
Elder
Larch Larch Larch Larch Elder Beech Elder Elder Alder
Larch25
*Ca, K, S, Cu, Fe, Na, N. (Jacke, 2005a)
Nettle, common Urtica dioica Self-heal Prunella vulgaris
Broad-leaved dock Rumex obtusifolius
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TABEL 3.1. Species registered in vegetation type 2. Larix, Pinus, Abies.
NAME LATIN NAME
COMMON NAME BOTANICAL NAME CHARACTER, SIZE NOW (M)
Supportive
ThistleElderberry
Elder Sambucus nigra Edible, smell, 3-4 Cherry plum Prunus cerasifera Edible, 2-5 Hawthorn, woodland Crataegus laevigata (Edible), birds, 1-3 Willow, gray Salix cinerea Bees, basket material Alder, common Alnus glutinosa Nitrogen-fixing, wood
Edible, nutrients*, butterflies Edible, nutrients
Supportive
Broom, common Cytisus scoparius Grasses
and continuous removal of some “com petitive” species, especially shade trees. But the many “supportive” and “neutral” species can easily stay and be part of the plant community (figures 3.9, 3.10, 3.11 and tables 3.0 and 3.1). Additionaly, a browsing and bark stripping pressure from deers will require fencing of the forest garden (see figure 3.12.)
Summing up
The vegetation registrations suggest that succession towards beech forest is well un derway in the light open plantings (pine and birch dominated) and that the high density in other vegetation types (spruce and larch dominated) makes them prone to stormfall, especially the spruce stand.
Establishment and maintenance of forest garden beds will require some thinning
Trees and bushes
Competitive Thistle, European Marsh Cirsium palustre
CHARACTER
TABEL 3.1. These species were registered in March 2022 in vegetation type 2. Larix, Pinus, Abies. There are less species than in the pine area, both because the stand is much denser and because the registration took place in early spring, where some plants were too difficult to identify or still dormant underground.
HerbsCOMMON
Wood27
Who lives here?
nuthatch (Sitta europaea)
Anthill
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Great spottet woodpecker (Dendrocopos major)
FIGURE 3.12. Especially vegetation type 5. Pinus, Abies Fagus is full of life, probalby due to a very varied terrain and being mostly undisturbed. Many ant-hills, animal burrows and birds can be found. In the project area, bark from a couple of young trees have been a good meal for deers, pointing towards the necessity for fencing the forest garden.
Bark stripping damage on a young tree
FIGURE 3.13. Soil profiles. Cm scales are not comparable as they are made from written notes applied to photos. 21 43RidgeFurrow 67
Medium-fineBlack-brownBhs
sand fromGroundwatersandGravelGrey-blackBhs+coarse67cm
FineGreyBg sand
Soil types and water levels
29 5618-20 784838-20 3726-40 3928-3073
Medium-fineBlackAO
This fits with the Cg horizon revealing periodic groundwater saturation up to 56 and 78 cm, which is acceptable for fruit trees, but planting on the ridges is safest. Sample 3 and 4 in vegetation type 2. Lar ix, Pinus, Abies showed respectively the ground water table at 67 cm and period ic groundwater saturation up to 39 cm, which is too high for most fruit trees.
sand FineYellowBssand + silt
Medium-fineGrey-blackAO
YellowCg
Medium-fineGrey-blackAO
SiltYellowCg+
sand
Medium-fineGrey-blackAO
clay
sand
sand
sand
sand
Medium-fineRed/blackBhs
w. Finemottelinggreen-greyred/sandw.silt
Medium-fineGreyE
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sand
FineGrey-yellowCgsand+
silt
The four soil samples reveal distinct profiles with mainly fine sandy soil in top and silt in the bottom (figure 3.13). Sample 3 has coarser sand and gravel, which is not as good for planting. Because of doulbe plowing in 1. Pine (see figure 3.10), sam ple 1 has a thinner A horizon than sample 2, being respectively a furrow and a ridge.
FIGURE 3.15. The yellow-green colours of the pH soil tests signify acidic soils of pH 4,5-5.
FIGURE Location of soil samples (white circles) and pH soil tests (black circles) on the sloping terrain.
As expected for forest soils, the pH soil tests show a low pH around 5. The second test with its green-yellow colour is even nearing pH 4,5 (figure 3.15). This means that sup ply of calcium and magnesium is needed for many species, especially fruit trees. But it would also be sensible to choose species which thrive in or tolerate more acidic soils. Even though the soil is sandy and
1:1.300 N
30 1 2 3 4 4 3 1 2
3.14.
acidic, it seems nutrient rich by looking at the dense herb vegetation with many nutrient-demanding species (nettle, clover, thistle) in e.g. vegetation type 1. Pine. A reason can be air pollution from fertili zation of nearby fields, which can also be smelled. This indicates that nitrogen-fix ing plants are not as crucial to plant here as in other more nutrient-poor places. pH 4, very acidic pH 5, acidic pH 6, a bit acidic pH 7, neutral
Soil pH and nitrogen supply
figure 3.14, the terrain is sloping towards the stream in a north-east direction. Just south-west of the project area, there are many little hills, depressions and pits, both human made and created after falling trees. It seems to be a good habitat for many species (figure 3.12).
TopographyAsseenonthe
31 Existing EFFEKT’spathsnew pathSIGNATUREArtworks1:1.000
There are currently eight art pieces in the project area and around (figure 3.16). Two pieces will probably soon be removed because of decay (Monumentarisk monu ment and Naturens vævere) and two are moveable (Skilteskov and Master Baby). Following the existing path, the HATE sculpture in the dark spruce forest is a great contrast to the warm and light Moth erload site, but with the new path proposal from EFFEKT, the visitor will take a longer route before entering. On this route, a sculpture cemetery will be one of the last experiences before entering, and the themes of death and decay will have a similar effect; enhancing the feeling of abundance of life and joy when entering the Motherload Fruit Garden from a rath er dense and dark vegetation.
FIGURE 3.16. Art pieces in and around the project area.
Art
Giant Beetle / René Schmidt (2011) Photo: Morten Kromand Monumentarisk monument / Katja Løgstrup-Hansen (2013) Naturens vævere / Bank og Bøggild (2019)
Existing art pieces
N
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Motherload / Anna Magrethe Pedersen (2018)
HATE / Jes Brinch (2013)Bølgen
/ Lars Worm (2013)
Master Baby / Emma Sheridan (2018)
Skilteskov / Saskia te Nicklin (2018)
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FIGURE 3.17. Some forest mythological creatures were dramatically born here, leaving behind a mess of intes tines and the hole from where they sprang. What will be born next? Or buried? Photos from the Motherload area. Bottom photo of a Motherload performance: DFAL, 2018.
FIGURE 3.20. Skilteskov (2018), Saskia te Nicklin
FIGURE 3.19. Motherload (2018), A. M. Pedersen
FIGURE 3.18. Master Baby (2018), Emma Sheridan
Nearby, the circular platform Motherload invites for sitting, taking a rest and getting acquanted with the surroundings. Sitting on the small, colorful beachstones is a mild massage activating awareness of the sense of touch. The stone pattern costist of many spirals and flowers and a central white almond or seed shape, resembling vesica piscis. The platform can also be a stage for performance, as seen in 2018.
Facing the platform is a collection of colorful signs surrounded by ferns. Especially one statement informs the process of this project; “I will speak in a patient voice voice”. It could come from human or a soil mother’s mouth, protruding like a speech bubble from the ground. The statement can be understood as nature taking its time to grow and recover and us needing to be patient and “listen to” and observe the process.
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Creating Motherload Fruit Garden derived from a wish of continuing the themes of the Motherload artworks and perfor mances (2018), by turning the surround ings into an explosion of fruits and buzz ing life. Therefore, a deeper understanding and interpretation of Motherload will now be
the sculptures, one of the four remaining pieces is Master Baby, a sandstone sculpture of a baby on a pillar of cylinders in different sizes. The baby looks like a wise and deeply concentrated monk sitting in a shell like a precious pearl. The expression of wisdom from such a young creature reminds me of how a single tiny seed contains all the genes and biological knowledge of how to grow. And more generally, that new life is precious and has something to teach. Master Baby func tions well as a guardian by the entrance now, but could also guard the bees or a ceremonial place.
Startingunfolded.with
A tributary to Motherload
FIGURE 3.22. Naturens vævere (2019), Bank og Bøggild. Quite intact after three years.
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FIGURE 3.21. Girl scouts contributing to Naturens vævere, 2019. Photo: Cristina Reuter, 2019.
Lastly, Naturens vævere, a tower weaved with grass and other herbs by two design ers and a group of girl scouts, probably wont last many more years, but the weav ing and co-creation is very inspirational. On the project site is also Monumentarisk monument, which is not part of Mother load and will soon be moved to the sculp ture cemetery.
The word “motherload” can be defined as a principal source or supply (Mer riam-Webster) or a place that has very large supplies of a mineral or other nat ural resource (Cambridge Dictionary), as in goldmining. The title expresses at the same time motherhood, natural resources, a primary source and the heavy body of the planet – metals and rocks. The spell ing motherlode is more common, but by using the ending -load, heaviness and the importance of motherhood is emphasized.
FIGURE 3.23. Reading from the Motherload book, on the Motherload platform. Photo: DFAL, 2018.
During the exhibition, many aspects of motherhood were expressed by using na ture as a frame and material. Pregnancy pillows encircled young spruce trees, Pan sies (stedmoderblomster) were odd ele ments in the forest environment. From the mosaic platform, readings from the Moth erload book took place (Steiwer 2018). The book is a collection of texts, photos and paintings, mostly of and about women. But one is a dialog between the conscious ness of mud, starting at the formation of earth: “MUD X: Position yourself, allow
• Creating places to perform and dance
• Cultivating, collecting and cooking food
• Nurture • Care • Community • Cycles • Openness • Creativity • Dreaming • Storytelling • Being
• Decoration of a ceremonial place
So the tributary to the Motherload theme is to be patient and careful whilst plant ing fruit and flower bearing species. It is to make space for visitors to co-create with nature and each other around everyday crafts and celebrations of the seasons. And it is to make people feel nurtured, in touch with childhood memories of play in nature and from there get inspired to act from a place of care and creative dreaming.
(Abel & Nelson, 1990 in Fitz & Krasny, 2019)
• Creating places for being and meeting (huts, sitting areas, firepit)
In the public forest-art space, these principles can be cultivated by:
In this context, care can generally be viewed as:
• Creating tools, art and space for play (willow baskets, wood spoons, fences, candles, paper, bush tunnels, leaf boats, plant and soil colors, swings)
for the rivers to ponder your silt and rains to bustle your weight.” Worms and other creatures are playing, feeding and mating in their warmth. Near the end Mud X states “Whatever they dig up, they’ll end up buried” (Wright 2018), which could be a warning against deep tilling and resource extraction leading to depletion.
• Supporting life of plants, animals, soil and water (assisting creation of habitats, soil formation, natural water flow)
The female body is (with reason) often connected with life-giving forces and pro cesses of nature, and suppression of wom en and female qualities are today being juxtaposed with ecological degradation in the philosophy and ideology of ecofemi nism (Clark, 2012). This connection is al ready seen in e.g. old Celtic myths, where loss of the Voices of the Wells (female ten ders of the wells, the sources of land’s life) lead to the Wasteland (Blackie 2016). But instead of solely focusing on wom en and female bodies in motherhood, it would benefit the aims of this project to work with what is often considered feminine qualities, as these can be possessed by all genders. It is qualities, which for a long time have been considered inferior, weak and something to be controlled (Winters 2006). To emphasize that the qualities are not gendered, they will here be framed as life principles, and they are among others:
““(...) a species activity that includes everything we do to maintain, continue, and repair our ‘world’ so that we can live in it as well as possible. That world includes our bodies, our selves, and our environment, all of which we seek to interweave in a com plex, life-sustaining web.”18 Architecture and urbanism are not only interwoven into this life-sustaining web, they are very much part of weaving this web.”
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FIGURE 3.24. To care for the environment is to care for ourselves. To care for ourselves is to care for en vironment.
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I go further and try to find the corner of the rec tangle, but there is a big hole and then too dense ve getation where I want to cross a bit further up. This makes me discover another little pine stand with a nice view over the stream in the open landscape. I start to imagine how this site would be, when a little blue tit (blåmejse) lands in a tree very close to me and what comes out of its peak is not cute bird song, it’s more like “please leave, this is our home, go away
Sense of place
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I walk out on the little path and then around to the big path on the backside of this pine-spruce plan ting. Try to understand this corner. I rediscover the heather and blueberries. There are many blue berry plants! Maybe this could be a good entrance? Should I enhance it? Should it be left alone? Wow, we have so few blueberries compared to Lat via, Sweden and many other places where you can just pick and pick..
I start where I think the main entrance is now. Whe re the dark spruce forest stops. I breathe, shake my body, stretch. Close my eyes. Focus on my heart and on growing roots. Open up my ears for the many spring birds and machines. Ask the landscape to reveal its inside to me. The nice places, the places which should be left alone. The magic. I open my eyes and they adjust to the light again. I’m quickly drawn to the left, where I saw some el der trees covered in soft moss earlier on. I can feel I’m affected by thoughts about the project; species, locations things people told me. But I try to follow my instinct more than thinking.
First place I want to go in feels closed so I walk a bit further. There is a little entrance under the branches of two mirabelle trees. I’m amazed by how much moss grow on not only the ground, but on many trees. It must be a wet area. And undisturbed for some time. After a while I notice it is mainly birch trees. They look old. Some has fallen. I find some partly overgrown human objects and a concrete art piece further ahead where the main path goes. It in vites for climbing on and so I do. This birch area seem to thrive in being left and I want to leave. But I also notice quite a lot of beech trees, so this light open forest wont last forever. Of course. New life is growing in the decay. And in summer, mainly rasp berry will close the view between the stems.
FIGURE 3.25. Derivés, 16th and 17th of March, 2022. Summarized in figure 3.28.
Ialreadyknowtheareaquitewell.ButnowIwillget to know what it’s surrounded by, what are the tran sitions. Who lives there, what is the feeling. And to know the higher part of the area better, which was difficult to get to last August because of the dense shrub and herb vegetation.
I turn to the other forest patch bordering the Mo therload area. It’s more dense and dark with a mix of pine and spruce. And it’s very bumpy with many small hills and holes. I lay down in a pot hole, very round. The sounds are different down here, less machine noise more of the birds nearby. No wind. I look up into the tree crowns which gently sways. A group of Eurasian jay (skovskader) hang out here. I could lay for long in this soft and safe earth cradle. ButI havea lotto registertoday, so Istand up. Won der if it would be a good spot for a bonfire. Decide, that it is too small. And walk on, up and down and feel like a disturbance, as there are quite many ani mal burrows, maybe mouse, and ant piles. Many lit tle people live here. A tree has fallen and the turned up root system now creates many homes.
Earlier we talked about making a contrast between the natural grown and the cultural (forest garden) but now it looks like I go more with what is.. Hm.. Seems like I have begun to focus on looking for good spots for the main elements. Maybe that’s fine. Where should the dance terrace then be? In the pine area and not too low. I find a good spot near the broken-house art piece. It gets more sun than if I go further away from the larch area. Do they even want a dance floor or is it just me? I go with it and imagine how it can also be a fine seating place. Surrounded by fruit trees, hopefully apple, and bushes. Maybe it will work with the new path goingaroundit.Iimaginethelimetreeexactlywhe re there is now a weak-looking pine. There is also a circle of trees here.
The next day I go around to find a good spot for beehives. I have EFFEKT’s new path in mind, the entrance will be opposite from now. It takes some time to change this understanding, but when I rea lize that the north-eastern corner of the pine stand will be a more quite area, I suddenly see how this could be a good spot for bees, turned away from the path and in the direction of the sun (south) and the pollen rich shelterbelt. The entrance could be a bee-heaven of flowers, more flowers. Master Baby is ready to guard the hives, there is already an insect carved on the shoulder.
we are having babies, we don’t want to be disturbed, goodbye!” It’s quite persistent and talking directly to me, so I say goodbye and head on, just making a mind note of the little fellar and it’s companion having a snack from the top of a 2,5 m tall trunk which is left from a broken tree. Now I’m at the other side of the hole I couldn’t cross. I can, but I would have to climb or slide. Could it be a gathering spot? Maybe it’s too close to the beetle
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On the inside I suddenly find myself in a nice atmo sphere. Maybe I’m searching for a good spot, since I know Anders Busse and EFFEKT would like me to look at this site.. But it DOES feel nice here, near the corner of the shelter bushes, through which I get a glimpse of the open strem area lowering down. Standing on a soft green semi-shaded forest floor. I notice that some larch, pine and spruce trees al most form a circle and I find the center and it feels powerful. There is harmony and peace here. I start tothinkaboutwhatactivitycouldfit.Iknowthesoil is very wet. There is shade to half shade right now, most light away from the larches. So no big trees. Since it’s so tranquil and a bit away and have this special atmosphere, I think it could be good for a ceremonial fire place. In the center of the tree circle. Maybe an opening could be cut in the shelter hedge, maybe it’s okay without. I think about having the tea pavilion next to, in the larch area, but maybe it would disturb the sense of being away and being in nature around the bonfire. Later I get the idea to maybe make a little pond with tea herbs around and then place the tea pavilion behind with a view out to the open. I find another circle of trees which the tea pavilion could be build from to make it blend in with the surroundings.
sculpture and the path. I notice a nice solitairy ha wthorn tree and walk into the larch area where we made the soil samples yesterday. There is a big dif ference between the light pine area and the dense larch area. It’s nice to be in the open side. I remind
withwthorn.myselfthatthelarchcanbefelledandtrytoimaginethat.Itakealookattheshelterofmirabelle,sloeandhaIreallylikeit.It’scurvedandit’sharmonicsmallerandbiggerbushes.
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FIGURE 3.26. This place is an embrace from a circle of trees and their little mossy friends. Shelterbelt and tree tops in 2. Larix, Pinus, Abies. March, 2022
FIGURE 3.27. Hello rain, hello moon.
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The magical hour of dusk dresses in misty, glowing colours and black silhouette patterns. The air condenses, is thick and fresh to breathe. Everything comes nearer and everything hides. Listens. Whisper wishes to the brook, drip a tear on the Motherload mosaic. The brook and Motherload platform at dusk. March, 2022.
path,
way and zones suitable for cer tain functions found
FIGURE 3.28. The yellow highlight entrance, main sculptures on the through the derivé. The closer to the main the
45 Fireplace Tea pavilon & pond Gateoaksof Motherloadplatform Meeting place around linden tree, encircled by main forest garden Beehives
spots
more activity. EFFEKT’s new pathSIGNATUREProjectQuiteMediumActiveViewsArtworkszonezonezonearea1:1.300 Entrance Exit N
exit,
On the derivés, crisscrossing around the site, I found several interesting spaces for interventions and others which should not be interfered with (figure 3.25). I was open to reset the boundary of the project area, but the adjacent forest stands are either very moist and hilly and have too much ecological value to disturb, or it is the Picea abies stand, which should stay as a shelter for the forest garden. The larch stand might not be suitable for planting fruit trees, because of the high ground wa ter table (figure 3.13) but a special calm and inviting atmosphere was found in it’s northern part (figure 3.25). After a while of wandering and wondering, ideas came to make a fire pit in the corner and a tea pavilion behind a pond with a view over the brook (see figure 3.28).
Sketching the zone for the main forest gar den had several influences. The soil sam ples point towards establishing the main forest garden in the pine stand, and the loop of the new path invites for something
to walk around. I went to the center of the imagined path loop and found an approx imation of a circle of pine trees, which could be a central part of the forest gar den design. This zone also fittet with not being too close to the bees, for whom a good spot was found in the corner, where the beehives’ opening could face the sun in south and a flowering shelterbelt.
Zone sketching
ViewsSome good views were noticed on the derivés too. One can get an overview of the site from the new entrance, which is high in the terrain, and get glimpses of the river valley through small gaps in the vegetation. Deep Forest Art Land is meant to be experienced as a large forest, and a method to acheive this is to cover such views into the open landscape (Schmidt, 2022). It especially make sense where the surrounding landscape is just fields, but I would speak for keeping some of the river valley views, as they are very serene.
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Vigorous growth of wild rapsberry, rowan and Mayday tree in the Motherload area, August 2021
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/ CONCEPTUAL FRAMEWORK
An ecological approach
4) Creative presence. By spending time on site and being in touch with soil and plants, the designer can better respond directly and get ideas that fit the site.
In An Ecological Approach (1982), Alan Ruff suggests to use the compelling power of a landscape (known from paintings, po etry, dance and music) to expose the eco logical processes in aesthetical ways, and to suggest how more optimal relationships between humans and other components of nature could look. It is so on point that a longer abbreviation is here presented:
5) Involvement of users. Instead of presenting a finished plan, the designer should develop one in dialog with the future users who can better identify with the site. The landscape designer must be a social catalyst and consultant instead of an omniscient expert.
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6) Minimum energy consumption. Use of locally available land, building materials, recycling. After establishment, care should be reduced to a minimum of human intervention. Extra focus on coppice forest for biomass and agroforestry for food production.
FIGURE 4.0. Ruff’s An Ecological Approach (1982) is a great general guide to landscape architecture.
7) Natural landscapes right outside the front door. Can create privacy, physical comfort, act as playgrounds and learning environments.
An ecological approach to landscape architecture
Now the question is how to design a land scape architectual space, which at the same time is a cornucopia of delicious fruits, smells and colours, and an expres sion of nature’s inherent force without too much human influence. A design, which exemplifies a regenerative way to be in and make use of nature. In this chapter, three entries to this question will set the conceptual frame for such a design. The first entry is to assist and frame ecosystem functioning.
Assist & frame ecosystem functioning
1) Work with nature by building on the existing biological and physical conditions. Avoid disturbing the existing natural processes too much by only intervene where there are destructive conflicts (matter of judgement). Avoid using pesticides and herbicides.
2) Enrichment through complexity. Avoid monocultures and uniformity by creating a varied topog raphy and biological structure. Remember taste, smell, feeling and hearing, not just sight.
3) See the landscape as a process with a structure that can respond to changing social and biological needs. Instead of focusing on a final solution and keeping the landscape in one phase/situation, it can be slowly developed and kept flexible for new development through creative management.
As in Modernism, form follows function, with ecology replacing something mechanical as function. Hereby, “form will follow a highly complex, evolving notion of the core interrelationships of nature, and will be expressed uniquely in the sur faces of local landscapes as experienced by local cultures.” (Thayer, 1994) To be maintained, the often invisible or hidden ecological functions should be actively presented to become more culturally ac cepted (Nassauer, 1995).
Some of the cues to care, for example bold patterns, trimmed shrubs and plants in rows may maintain a nature perspective where control and exploitive production is still valued high. It could be interesting to use a pattern language for paths and build ings, which is inspired from core patterns found in nature instead. In line with the ecological approach, placement and shap ing can follow terrain, sunny spots, build ing on existing conditions ect., but there are still many opportunities. Luckily, this has also been a topic of scientific investigation, which will now be elaborated.
Cues to care
automatically look for traces of other people and read (more or less con sciously) the way landscapes are shaped and managed as signs of wealth, power, control, security, invitation and so on. Therefore, Nassauer suggests using famil iar cultural symbols to facilitate greater acceptance of the changes. In a survey among suburban Americans, she found that the look of care was the most preferred landscape quality. Hence, cues to care and presence of nature preferences (in the survey trees, water, bird song, and flow-
• Flowering plants and trees
• Fences, architectural details, lawn ornaments, painting (fresh and white)
• Wildlife feeders and houses (especially what associate people with songbirds)
But is representation enough? In a time, where the view on and understanding of nature is changing, many people would still see ecologically diverse landscapes as forgotten, neglected and as waiting to be tidied up and cultivated.
ers) could make a frame for the “messy” ecosystems. From the survey, a list of specific elements was developed:
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Therefore, to help the understanding and habituation, there may be advantages in “placing unfamiliar and frequently un desirable forms inside familiar attractive packages”, or in other words, make use of a cultural language around the ecological forms, as Joan I. Nassauer recommend in Messy Ecosystems, Orderly Frames
• Trimmed shrubs, plants in rows, linear planting design.
• Foundation planting (of houses)
• Bold patterns (crips edges in landscape scale can resemble rural landscapes features such as strip cropping, grassed waterways and terracing)
”Care” may be expressed differently from region to region and among ethnic groups, but one can get inspiration from looking at the local surroundings. Immidiately, the above list seems to fit more or less with Danish conditions.
People(1995).
Circles
Hexagons
FIGURE 4.1. Nature is build from and grow in certain repeated patterns, which humans therefore have a pref erence for.
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Fractals and spirals
An ordering principle
An advantage of such a self-similarity net work is that it is simple to enlarge when every part of the system reflects the whole. A branched network is also the most ener gy efficient system, as the organism spends the least energy on transporting for exam ple liquid out to all points of the organism (Ball, 2016).
Besides fractals and spirals, there are many other repeated patterns found in nature, such as circles and hexagons. Cir cles are omnipresent: in fruits, water rip ples, growth rings, eyes, rabbit droppings, mouseholes, woodpecker holes, the new moon. The circle is the basic geometrical shape, from which all other shapes can be drawn. Hexagons can be found in snow flakes, carbon molecules, honeycombs, pattern on a turtle shell, pencils (figure 4.1).
Shapes and symbols
But the pattern is still distinct, it is a rep etition of the same kind of structure (e.g. branching) in a smaller and smaller scale. See it in an ice crystal, cauliflower, fern, arias in the lungs, the face of a sunflower, the edge of a cloud. Often, fractals go hand in hand with spirals, which is the main pattern of plants.
Easy to Researchcomprehendsuggests,that “human percep tual systems have evolved to process frac tal patterning and that we have a visual preference for images with certain fractal qualities.” (Sim, 2008). Also, there seem to be a universal perception of the curved shape as representing safety, calmness, happiness, infinity, and unity among other things (Lima 2017).
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Look at a tree. It has a trunk, it has branch es, many smaller branches, and a hell lot of tiny twigs, dancing in the wind. How can such a complex, asymmetrical and unpredictable form be perceived as harmoni ous? The reason is probably rooted in the simplicity of the ordering principle of its Ingrowth.the1970s, mathematician Benoit Man delbro discovered an equation which can create true fractals, as he called them. True fractals only exist in mathematics, though, like true geometry (Ball, 2016).
When visitors intuitively recognize the patterns of the network created for their movement through and staying in the landscape, they may feel an embodied invitation go explore and to rest. Further more, the shapes’ simplicity will reinforce the display of the complex ecological structures and processes.
FIGURE 4.3. Persian architecture and art are typ ically based in “sacred geometry” (Hejazi , 2008).
Sun wheel. Cyclical understanding of time, highlighting seasons.
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Hexagon. Creation of life: common in organic chemistry (carbon, do pamine), honeycomb: sweetness, home, community Spiral. Evokes movement and growth, celebrate and embrace change. As a path: practice accept ing the inevitability of change.
Geometrical symbols
Photo: Mehrdad Hejazi
Vesica piscis. Meeting of opposites, fertility, co-creation between the land and the gardener (guardian)
Logarithmic (fractal) spiral. Con necting to basic principles of nature
FIGURE 4.2. Norse sunwheel found on Bornholm. Photo: Helga Steinreich
Doulbe spiral. Harmony, co-creating the garden with nature
FIGURE 4.4. The main lines in the pattern on the Motherload platform resemples the Persian art piece above.
Circle. Unity, wholeness, completion, safety, embrace, nourishment
FIGURE 4.5. The symbolic meanings are partly af ter landscape architect Mary Reynolds’ definitions (Reynolds, 2016). All the geometrical symbols might not be used in the proposed design, but they can also act as inpira tion for artists continuing to work with the Mother load theme and for ceremonial walking and dance patterns (e.g. the double spiral).
Both this re-enchanting experience in na ture and the shapes are in line with Moth erload. After diving into finding and deciding on the shapes, I came back to look at the Motherload platform and saw that the partly symmetrical pattern resembles Persian fracal art, just more loose.
So to sum up, I have chosen to work with fractals and a few simple geometrical shapes, as they are • Found in nature as ordering principles • Easy to comprehend • Framing and containing symbolic mean ing in many traditions and might therefore evoke a sense of belonging. • Continuing the form language of the ex isting sculptures of the Motherload exhibition
striving for harmony. When spaces, paths and constructions are based on these forms, they will therefore emit a peace ful and slightly ceremonial atmosphere, which will support presence and contem plation. Noticing and wondering about a symbol can also evoke imagination and sense of mystery.
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Symbolism – sense of belonging
Until the industrial revolution, artists and architects from all cultures studied nature’s patterns. The collaboration of nature’s pat terns and the artist’s own creativity was considered necessary to express harmony and beauty. Then, as we rose “above” nature in our minds, art became intellectual and a way to express the pain of being al ienated from the source of life; it reflect ed friction and disharmony (Reynolds, 2016). Maybe it is time to study nature’s inherent patterns again?
Culturally, the shapes have been (and are) given symbolic meaning in religious and pagan ceremonies. Each symbol can have several meanings, depending on for what and by whom it is applied (figure 4.2, 4.3, 4.4). Figure 4.5 shows a list of shapes to use in this project and what they could symbolize. They will give form to paths and constructions, and can be engraved as Noornaments.matter if people find the symbols meaningful or not, they might evoke some sense of belonging. They have been used thoughout human history to understand describe humans’ place in the world and a
1 32 4 5 6 7
6. Rhizosphere: roots
3. Shrub layer: bushes up to 3 m
FIGURE 4.8. Mature forests have appr. 100 % can opy cover (A), and trees compete for space (B). In a forest garden, the canopy should only cover around 40 %, and the distance between two crowns (a) at least be as wide as average of the two tree crowns’ radius (r). Hereby, the trees can grow into full size (D), light can reach the lower vegetation layers and there is a higher net primary production than in the forest. After Jacke, 2005, p. 87 . C B D
FIGURE 4.6. The polyculture’s composition of vegetation in vertical layers
4. Herb layer: perennials, annuals, ground cover plants
A
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2. Lower canopy: trees and bushes up to 4-9 m
FIGURE 4.7. Alder provides nitrogen to other spe cies through decomposed leaves and roots, which are in symbiosis with an extensive mycorrhizal net work. Comfrey roots and fresh cut leaves are also great nitrogen supplies, but comfrey is not proposed in this project due to it’s toxicity. After Crawford, 2010, p. 61. r
1. Overstory: medium to large trees from appr. 9 m
7. All zones: vines
a
5: Soil surface: groundcover
• Mineral-accumulating
+ aromatics against pests
Forest garden principles
A forest garden design is a mimicry of a temperate forest in a mid-succession state, just where most of the species planted are edible. It is a very productive and resource efficent system, as light, water, nutrients and soil depth is well utilized by the 3-7 vertical layers of vegetation (figure 4.6). To make the system as self-sustaining as pos sible, guilds of species with different mu tually beneficial functions are composed (Crawford, 2010). Functions can be:
The most obvious way to get both an abun dance of fruits and flowers, low maintain ance level and high ecosystem functioning is to make a forest garden.
• Nitrogen-fixing (figure 4.7)
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• Attracting pest-minimizing insects
• Nectar for wild and domesticated bees troughout the seasons
• Different root systems
• Ground-cover
A high diversity (of species, genes, struc ture and functions) abets resilience to disturbances and a varied yield through out the year. In some cases, forest gardens are as productive as agriculture, just with a higher nutritional value due to the per renials (ibid). Furthermore, forest gardens act as climate change buffers by creating a temperate forest climate with high precip itation uptake and sequestration of carbon dioxide. Most of the soil is not cultivated but always covered with plants (living or as debris or mulch) to create a good and living soil structure (Jacke, 2005a). For optimal light and thereby production
conditions and to minimize spread of pests, it is important not to plant trees to close (see figure 4.8). Also, the most light and heat demanding species can be placed towards south and in the edge zones along paths and in clearings (Crawford 2010). Besides making a path system which makes harvest easy, small clearings can be made for just being and enjoying. Forest gardens can be very comforting seminatural environments. Research about nature preferences show that both stressed and well Scandinavian people prefere “serene”, “space/being in a different world”, “rich in species” and to some extent “cul ture”. In additon, mentally healthy people prefere “the common”, “the pleasure gar den” and “wild” too (Grahn & Stigsdotter 2002). All designations, which can fit a forest garden. The activity of garden work has also proved its worth in nature therapy (ibid), also for refugees and immigrants (Als Research APS 2007).
A Forestrediscoverygardening is a reinvention of probably the oldest type of food production sys tem. Forests around the world have slowly been transformed by cultivation of edible and other useful species. Still today, peo ple get fuel, fodder, food, fiber, fertilizer, farmaceuticals and fun from the so-called home gardens (Jacke 2005a). Before in dutrialization and forest decline, coppice forest was a method to get wood and fod der in Denmark. In the years between cop pice, wild flora and fauna provided food and medicin. (Larsen & Lassen 2013).
BasedProgramonthefindingsin
Frame experiences of nature’s abundance
relation to exist ing ecological conditions, development plans, artistic themes and the conceptual framework, the forest garden design will:
but the contrast between it and the sur rounding self-grown undergrowth in the pine stand will just highlight the ecosys tem functioning of the surroundings too, like a clear cut edge. Other cues to care will be garden elements, such as a fence and gate, gardeners’ presence by a little plant nusery, tool shed and beehives, a sign for how to harvest, resting spots in the form of a platform, a fire pit and a sim ple tea pavilion with a scenic view over a pond and the open landscape. The cues to care will probably make people curious and
Supportreflective.asense of belonging
By including af large variety of species, with edible, fragrant, colourful and curiously shaped flowers, fruits and leaves throughout the year. Most will be possible to taste raw, some will be well-known species, others new acquaintances. The experi ence of abunce can also arise from notic ing a thriving insect life and the sound of bird song, induced by nectar rich species and the structural diversity of the forest garden. Additionally, the forest garden will frame sculptures and performances which underlines nature’s abundnance.
Assist and make ecosystem functioning recognizableAforestgarden should inherently be a well-functioning managed ecosystem with all the vegetation stratas of robust and self-sustaining species, fitting to the existing conditions, except maybe to soil acidity. But ecosystem functioning can be assisted by integrating existing trees, keep ing the varied topography, making a water element, and placing stones to create even more niches. Other ecological approaches are recycling felled trees as building material for furniture and fence, and using wood leftovers and debris to make wood chips for planting beds and paths. In gen eral to use local, organic materials. Making the forest garden is a disturbance,
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To support a sense of belonging through shapes, which are found in nature, and which have been and can be used for cere monial purposes, the paths and garden el ements will be curved, spiraling, circular, and hexagonial.
A big platform can both serve as a resting spot for an individual or a little group on a daytrip, as a meeting place at volunteer workdays, for teaching activities and for dance, music and buffet at seasonal cele brations. While the platform will be one of the more actively used elements, a fire pit will be situated in a quiet corner for more peaceful moments. For special oc casstions, though, it can be used for cook ing, for storytelling and singing, evoking a sense of communal belonging in nature. The volunteer hut with tools, shelter for rain and plant nusery ensures careful and joyful establishment and management in co-creation with local people.
FIGURE 4.9. Look, fractals in the round spruce cone.
In the shade of apple and buckthorn, there is a thriving herb layer of midsummer-men and nettle, and a climb ing Caucasian spinach. Cecil Rye Olsen’s forest garden at Inspiratoriet, Samsø, August 2021.
5 / PROPOSAL
Master
and
Fruit Garden Baby beehives
Plant nursery and volunteer hut Motherload platform D d
Tea
Gate of oaks
Fire pit pavilion
5.13 and 5.14 is marked.
62 1:750
sence of human guardians too. The path winds towards west, nearing the green ring. Finally, a smaller path leads to a welcoming gate. Inside, myriads of plant forms appear with an abundance of flow ers, fruits and autumn colours, even some in the wintertime. One might dare to taste the wellknown fruits and wonder what the unknowns are. Out on the main path again, a smaller path is going in the op posite direction, drawing the most curi ous crowd. They will find a little pond sur rounded by colourful herbs and a pavillon with a view over the brook valley. Further, in the most quiet corner, is a big fire pit, though with a little sign telling that fire is only lit at special occassions - seasonal rit uals open for guests. But even without fire, this enclosed space with an open ceiling exudes a calm solemnity. Either way out on the main path, the visitor will exit the Motherload area through a “gate” of oaks, the biodiversity masters.
Masterplan
FIGURE Masterplan of Motherload Fruit Gar den. Section Dd for figure
A stroll through the Motherload area
5.0.
N
The proposal consists of one larger forest garden and a handful of smaller interven tions around it (figur 5.0), connected by the main path (EFFEKT’s path adjusted to terrain and existing trees) and a wind ing detour (figur 5.1). When entering the from south, the pine patch opens up as a dense but light glade. Depending on hight of the undergrowth (and the season), the visitor might notice a ring of small trees and bushes and maybe get glimpses of different types of treetops popping up from the Fruit Garden. Getting closer, the Motherload platform appears with its in vitation to take a closer look at the cobble pattern and maybe sit down. Nearby, three crab apple trees in small beds of rosemary and oregano, bordered by stones arranged by human hands are maybe buzzing with life. The home of the bees is a spectacular beehive sculpture we have yet to see. In front is Master Baby, guarding the other little ones. Behind the hives are a little hut and a tiny plant nusery, hinting the pres-
SIGNATURE 1:1.500
the development of stable forest stands. As far as possible, materials are reused on site or at least not transported long and come from sustainable sources.
63 spacethinningcordanceandFigureInterventions5.2showwhatisremoved,movedaddedbesidesallthenewplats.Inacwithecologicaldesignthinking,isdoneataminimumtomakefortheinverventionsandtosupport
Old Newpathpath and stepping stones
FIGURE 5.1. The new path is following parts of the old path but is more simple and do not follow the gaps between different forest stands as much to make the production forest history less evident. The new smaller loops leads to and through new interventions. In addition, desirelines are to be expected around the Motherload platform and around the tea pavillon, where nettles can be picked. N
P. sylvestris, thin first
L. decidua, thin first
Pinus strobus
Pinus sylvestris
FIGURE 5.2. The seven Pinus sylvestris in and around the Fruit Garden are felled to make poles for the branch fence (see figure 5.16). The six Larix decidua which make up the corners of the tea pavilion should be cut in 2,5 m height, and the rest of the marked L. decidua trees are cut to be able to make the herb planting. The rest of the trees proposed for thinning are chosen to give space for other individuals to develop robust forest stands. Another thorough assesment on site is needed in terms of which individuals to cut down.
Larch wood
1:750 Thinningls N
The larch wood can be used to build some of the different structures and the branches for filling up the fence. Some of the trees and bushes which grow, where the Fruit Garden and tea pavilion herbs are going to be established, can be transplated as the living fence. Especially elderberry. Soil dug to cre ate the pond can be repurposed as bern around the fire pit.
LarixSoil decidua
Abies SIGNATUREFagusalbasylvaticalsoaf
Living fence species
FIGURE 5.4. Circular and spiralling (green) move ment in the Fruit Garden.
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1:750
FIGURE 5.3. Circular spaces of the Fruit Garden are made by the fence, cermonial space, and trees. The platform is a compass directed oxagon.
ShapesAllthebuild elements can be redesigned by artists, but here is a simple foundation, which speaks the Motherload language. Looking at figure 5.3, the main area, the Fruit Garden, is circular to clearly relatete to the Motherload platform, and to give a sense of a large, though clearly defined space. Likewise, the ceremonial space is circular with a tree in the centre and sit uated in a circle of pine trees to underline its purpose as a communal meeting place. The platform might be perceived as circular but is an octagon, showing the direc tions of east, south, west, and north, which can be used in performative ceremonies. Added to the octagon is tiny stage for musicians to play for dance. The path in the Fruit Garden (figure 5.4) is made of three overlaying circles creating a vesica piscis shape, symbolizing fertility and cooperation between the garden and people. The shapes have been adapted a bit to make the path simple and obvious to follow. Walk ing clockwise, spiralling inwards towards to center is an option. The fire pit (figure 5.5) can be seen as a feminine moon (the bern of soil support ing story telling) embracing a masculine sun (the fire area supporting transformatBeehives,ion). volunteer hut, plant nusery fence and tea pavilion are all hexagons (figure 5.6), also symbolizing fertility, community, cooperation, and sweet honey. The tea pavillon is not symmetrical as it is made from existing larch stems being cut at 2.5 m height.
FIGURE 5.6. Hexagonal pavillion, plant nusery, volunteer hut and beehives.
FIGURE 5.5. Moon and sun firepit.
FIGURE 5.7. The four intervention areas. N
D / Fire tales C / Tea with a viewB / Fruit Feast A / Care for the little ones
L1 L1 L1L2 L2 O1
FIGURE
Overstory O1 Castanea sativa Chestnut Lower canopy L1 Malus sylvestris European crab apple L2 Elaeagnus x ebbingei Cherry Silverberry SIGNATURE 1:200 DwarfSaturejashrubmontana Winter savory HerbAgastacheclustersfoeniculum-hybrid Anise hysop Galanthus nivalis Snowdrop Monarda hybrida ‘Cambridge Scarlet’ Horsemint Oreganum vulgare Oregano Groundcover herb Viola odorata Sweet violet FIGURE 5.8. A few plants are added to this bee corner. Besides the wild apples and herbs, which are just as much for the visitor’s pleasure, chestnut and cherry silverberry are planted to feed the bees. The latter blossoms Oct-Jan. Stone bed vegetation:N
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5.9. After a welcome committee of wild apples trees in colourful beds, Master Baby greets the guests. In the background, beehives, the volunteer hut and plant nusery for propagating herbs can be seen.
A / Care for the little ones
O1 L11 O2 L2 L3 L4 L5 L5 L6 L6 L5 L6 L8 L6L10 L12 L12 L14 L14 S1 S1S1 S1 S2 S3 S4S4L9 L9 S4 S4 S6 S6 S6 S7S7S7S7 S7 S7 S7 S9 S9 S9 S8 S8 S10 S10 S10 S10 S11 S11 S11 S14 S15 S16 S16 S16 S16 S16 S16 S16 S16 S16 S16 S16 S16 S16 S16 S16 S16 S16 S16 S16 S16 S17 x 12S18 S16 S16 S16 S19 L4 O2 E1 E2 S16 C c
S17 Vaccinium oxycoccos Cranberry
01 Tilia cordata ‘Rancho’ Small-leaved linden
L8 Decaisnea fargesii Blue sausage fruit
S14 Tilia cordata Small-leaved lime
Existing “supportive” lower canopy, 3-9 m
S6 Lonicera caerulea Blue honeysuckle
S7 Myrica gale Sweet gale
L2 Caragana arborescens Siberian peashrub
S15 Toona sinensis ‘Flamingo’ Toon
Shrubs, up to 3 m
Overstory, form 9 m
S5 Feijoa sellowiana Pineapple guava
L3 Cercis siliquastrum Judas tree
B / Fruit feast
L12 Morus alba Mulberry
L14 Rhus typina Staghorn sumac
SIGNATURE 1:200
S10 Ribes nigrum Blackcurrant
S19 Zanthoxylum armatum Winged prickly ash
L4 Cornus mas ‘Cormas’ Cherry dogwood
S12 Rubus Hayata-Koidzumii ‘E. c.’ Creeping raspberry
L5 Cornus mas ‘Macrocarpa’ Cherry dogwood
S2 Chaenomeles japonica Japanese quince
Lower canopy, 3-9 m
S9 Ribes x nidigrolaria Jostaberry
S3 Chaenomeles japonica ‘Cido’ Japanese quince
S11 Ribes silvestre Redcurrant
L6 Corylus avellana ‘OSU20’ Hazel, common
L13 Prunus domestica ‘Opal’ Prune plum
S18 Vitex agnus-castus Monk’s pebber
L1 Amelanchier laevis ‘Ballerina’ Juneberry
L7 Corylus avellana ‘Farris 88Q’ Hazel, common
L9 Elaeagnus x ebbingei ‘Limelight’ Cherry Silverberry
L10 Halesia carolina Little silverbell
O2 Pinus koraiensis Korean pine
E1 Sambucus nigra Elder
S1 Aronia melanocarpa ‘Viking’ Aroniaberry
S8 Prunus tomentosa Nanking Cherry
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S4 Elaeagnus multiflora Goumi
FIGURE 5.10. Planting plan for the Fruit Garden. The colours represent either flower, fruit or autumn colours and should just give an overview of the different species and placement. The shrubs and small trees outside the Fruit Garden can be all sorts of selfseeded species, but the ones replanted right next to the fence should be “sup portive” of the forest garden, with edible flowers, berries or nitrogen fixation. The tallest ones, such as oak, alder and wild cherry are replanted on the nothern side. A single existing elderberry with dark purple leaves has been kept inside of the Fruit Garden and the two Korean pines are planted outside because of their size. N
S13 Rubus tricolor Creeping raspberry
L11 Malus domestica ‘Brøndæble’ Apple
S16 Vaccinium corymbosum Blueberry
E2 Alnus glutinosa Alder, common Corylus avellana Hazel common Crataegus crus-galli Cockspur hawthorn Crataegus laevigata Hawthorn, woodland Malus sylvestris Apples, crab Prunus cerasifera Cherry plum Prunus avium Cherry, wild Quercus robur Oak, pedunculate Salix spp. Willow, grey Sorbus aucuparia Rowan
SIGNATURE 1:200
FIGURE 5.11. A simple planting principle for herbs, showing where the soil is going to be limed, and thus where herbs prefering respectively acidic and calcium rich soil can be planted and sowed.
Acidic existing soil
Limed soil
N
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- Some good pairs are: rhubarb & lung wort, anise hysop & horsemint, onions & onions.
Herb layer
FIGURE 5.12. Autmn colours in the Fruit Garden. Run through the hazel tunnel and take a rest under the linden.
- Planting larger groups of the same species helps to make resistant colonies
- Place the largest perrenials (e.g. fennel, sweet cicely and rhubarb) in the larges gaps between trees and bushes
1:200C c
The planting principle for the herbs is first and foremost about soil acidity (see figure 5.11). The root zones of the staying pine trees are sought protected by not digging too much and by planting species which tolerates acidity, namely nodding wild onion, wild garlic, quamash, bunchberry, snakeroot and ostrich fern (transplanted from the area). The rest of the Fruit Gar den is limed with crushed mussels, and all the other herbs from table 5.0, except rosemary, oregano and mayflower, can be planted, following these basic rules:
- Plant and sow according to light and moist preferences, e.g. moist loving spe cies in the furrows.
FIGURE 5.14. Already after five years, the fence is mostly hidden behind the living fence, which includes many fast-growing species such as willow and elderberry. In winter time it will be more visiblt, of course. 1:200
D
FIGURE 5.13. When the fence is just build, it will catch the eye when walking around the Fruit Garden. But the branch fence on the inside will be visible through the wire mesh and give an impression of something organic and warm. 1:200
D d d
FIGURE 5.17. When the vegetation on the outside has grown, good spots for benches can be found to invite people to also enjoy and discover the more wild growing pine forest.
The risk that all the new young trees and bushes will be browsed and the bark damaged by deers is too big to not make a solid protection. A fence is needed, but hopefully this fence will just enhance the experience of the Fruit Garden, by creat ing a clearly defined space. As the fence is 1.5 m high and mostly covered with trees and bushes, it only leaves a few peaking holes plus reveals the tree tops and there by evokes curiousity from the outside (fig ure 5.14. and 5.16). When a person finally finds and gets through the little gate (fig ure 5.15), they are suddenly in a more col ourful plant environment with traces of human Hopefullypresence.theyenjoy a little tour around and maybe rest on the platform, and hopefully they will start to wonder where they are, what type of place it is. Here, the plants are the main attraction as the living sculptures. But more than that, they cre ate an inspirering space for more or less conscious reflection during a walk, an activity or a performance. With traces of forest and traces of garden, expressions of nature and of human intervention, the line between culture and nature is blurred and questioned. One might notice that the sur rounding forest is also planted but looks more “natural” now it has been left to grow and decay (figure 5.17). One might reflect on human’s role in nature, in a for est, in a garden. Or one might just enjoy the sounds, views, smells and tastes.
FIGURE 5.16. The fence is designed to blend in with the surroundings, having the animal fence covered by a branch fence on the inside and a living fence of existing shrubs and trees on the outside.
One fence, many questions
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FIGURE 5.15. The entrance is through a little gate under e.g. a willow arche.
FIGURE 5.18. A can of fresh herb tea can be enjoyed in the pavillon with a view over the pond and the river vally. Sitting quitly, one might get company from a little animal flying or crawling down the branch to drink from the pond. Blueberries, wild strawberries, craneberries, tiny kiwis, climbing spinach and the many flowers and leaves can be snacked on the go or mixed in a salad. In spring time, sweet gale is filling the nose, whereas late summer nights are perfumed with the enchanting honeysuckle scent.
E
75 1:100
C / Tea with a view
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Existing elder Existing elder Existing nettles E e
Oxalis acetosella Wood sorrel
Claytonia sibirica Siberian miner’s lettuce
Hablitzia tamnoides Caucasian spinach
Melissa officinalis Lemon balm
Mentha piperita Pebbermint
Alliaria petiolata Garlic mustard
Sanguisorba officinalis Great Burnet
Allium ursinum Wild garlic
Galanthus nivalis Snowdrop
Aronia melanocarpa ‘Viking’ Aroniaberry
Agastache foeniculum-hybrid Anise hysop
Cardamine pratensis Mayflower
Fragaria vesca Woodland strawberry
Limed soil, herb cluster
Annuals
Campanula persicifolia Peached-leaved bellflower
Vaccinium oxycoccos Cranberry
Lonicera periclymenum ‘Serotina’ Honeysuckle
Matteuccia struthiopteris Ostrich fern Polygonum bistorta Snakeroot
Nodding wild onion
SIGNATURE 1:100
Camassia quamash Quamash
Galium odoratum Sweet wodruff
ClimbersNearest
Acidic soil, herbs
Allium cernuum
Vaccinium corymbosum Blueberry
FIGURE 5.19. Planting plan for the tea garden with stepping stones for herb harvest and admiration. A low shelter of aroniabushes protects against some wind but still allow for a view of the open brook landscape. N
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Mentha spicaca var. crispa Spearmint
Pulmonaria officinalis Lungwort
Houttuynia cordata ‘Rainbow’ Chameleon plant
Oenothera biennis Evening primrose
Sedum telephium Midsummer-men
water (also)
Myrica gale Sweet gale
Kolomikta
Mentha suaveolens Apple mint
Acidic soil, Actinidiabusheskolomikta
Allium hookeri Garlic chives
Cornus canadensis Bunchberry
Limed soil, herb ground cover
Monarda hybrida Horsemint
Chenopodium capitatum Strawberry bite
F f
D / Framed fire tales
FIGURE 5.21. When listening to stories around the ceremonial fire at Candlemas the 22nd of February, one can peek through two rows of mirabel, hawthorn and into the open field where the moon might be rising. During spring and summer, bonfire pancakes and soups can be seasoned with herbs and strawberries from the berm embracing the two levels of larch wood seats. 1:100
Lilium martagon Claytonia sibirica Fragaria vesca Galium odoratum Houttuynia cordata Oxalis acetosella Martagon lily Sib. miner’s lettuce Woodland strawberry Sweet woodruff Chameleon plant Wood sorrel
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SIGNATURE 1:100 Herb cluster C
Hosta sieboldiana M. struthiopteris Allium ursinum C. persicifolia C. portenschlagiana Hosta Ostrich fern Wild garlic P.-leaved bellflower Wall bellflower N
FIGURE 5.20. The planting design on the berm is open, as long as the herbs are planted in small groups of the same species and herb clusters species are surrounded by groundcover species.
F f
speciesC C
C
To meet the aim of creating a very sensor ically stimulating vegetative environment, a main focus in chosing the species com position has been to acheive a long and colorful flowering and fruiting season (see tabel 5.1). Part of the experience is insect and animal life, primarly bees, butterflies and birds, who will also take great advan tage of it. In addition, there is a number of evergreen, wintergreen and species with
ForSpeciesallthesensesand insects
Honeysuclke scent permeates at dusk.
A special spice can be made from Staghorn sumac’s large, cone shaped fruit, and autumn sets the leaves on fire.
A bee having a feast on blue honeysuckle early April 2022.
Blue sausage fruit has a melon-sweet pulp
Lungwort in festive attire is a great mineral accumulating groundcover for e.g. rhubarb
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bright autumn colours. All the species are edible (except Erantis hyemalis, Galanthus nivalis and Lonicera periclymenum) and most can be eaten raw, but many people will probably ex perience this forest garden through their other senses, and therefore a number of species are chosen mostly for their smell or appearance (extra large, colourful or strange fruits and flowers, leave patterns and shapes, winter ornaments).
Fennel is a big, feathery bronze coloured being with fresh anise taste, whose youngsters need winter cover.
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Most of the species are very sturdy and should be able to thrive in the spot they are planted without much care. But a few more demanding species have been in cluded because of floral or taste-wise rich ness. There are mostly non-native species, but ones which support native fauna and which are not invasive.
The tables on the following pages give an overview of growth preferences, pollination, size and edibility for all the species. General advice for consuming is to eat leaves when they are young and fresh, and to not eat big amounts of a single plant at once, as it can be hard for the body and for the plant to recover.
Monk’s pebber and Little silverbell have magnificent flowers, but they are a bit wind and frost sensitive.
Castanea sativa Chestnut Topsoil, well-drained
Feijoa sellowiana Pineapple guava Tolerant Lonicera caerulea Blue honeysuckle Tolerant
Corylus avellana ‘OSU20’ Hazel, common Tolerant, moist
Overstory, from 9 m
Cornus mas ‘Cormas’ Cherry dogwood Tolerant
Chaenomeles japonica Japanese quince Topsoil
Myrica gale Sweet gale Moist, acidic
Vaccinium oxycoccos Cranberry Moist, acidic
Halesia carolina Little silverbell Topsoil
Aronia melanocarpa ‘Viking’ Aroniaberry Tolerant
Malus sylvestris European crab apple Tolerant
Chaenomeles japonica ‘Cido’ Japanese quince Topsoil
Ribes silvestre Redcurrant Also acidic
Amelanchier laevis ‘Ballerina’ Juneberry Tolerant
Tilia cordata Small-leaved lime Moist
Morus alba Mulberry Well drained
Prunus tomentosa Nanking Cherry Well drained
LATIN NAME CULTIVAR COMMON NAME SOIL SUN/SHADE
Satureja montana Winter savory Fertile
Toona sinensis ‘Flamingo’ Toon Tolerant
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Caragana arborescens Siberian peashrub Tolerant
Ribes nigrum Blackcurrant Tolerant
Rubus Hayata-Koidzumii ‘Emerald carpet’’ Creeping raspberry Well-drained Rubus tricolor Creeping raspberry Well-drained
Malus domestica ‘Brøndæble’ Apple Fertile
Lower canopy, 3-9 m
Ribes x nidigrolaria Jostaberry Tolerant
Prunus cerasifera Myrobalan plum also acidic Prunus domestica ‘Opal’ Prune plum Fertile Rhus typina Staghorn sumac Tolerant
Shrubs, up to 3 m
Tilia cordata* ‘Rancho’ Small-leaved linden Tolerant Pinus koraiensis Korean Pine Acidic
Salvia rosmarinus Rosemary Fertile, limed
LATIN NAME CULTIVAR COMMON NAME SOIL SUN/SHADE
Elaeagnus multiflora Goumi Tolerant
Cornus mas ‘Macrocarpa’ Cherry dogwood Tolerant
Vaccinium corymbosum Blueberry Tolerant, acidic
Cercis siliquastrum Judas tree Tolerant
Vitex agnus-castus Monk’s pebber Well drained, not dry Zanthoxylum armatum Winged prickly ash Tolerant
Corylus avellana ‘Farris 88Q’ Hazel, common Tolerant, moist
Decaisnea fargesii Blue sausage fruit Tolerant
LATIN NAME CULTIVAR COMMON NAME SOIL SUN/SHADE
TABEL 5.0. Species list for all intervention areas. Information on growth requirements, size, pollination and ed ibility derive from multiple sources, often compared. Main source are: Aaen & Holcomb (2017), Noack (2017), Rothmann (2021), Brander (2010), and Jacke (2005b). Apart from these, mainly plant nursery websites are used.
Elaeagnus x ebbingei ‘Limelight’ Cherry Silverberry Tolerant
1.5 x 1.5 Berries
Fruits, leaves Needs shelter, frost sensitive 3 x 3 Fruits
Leaves, flowers Sticks, firewood
4 x 4 Cross or self, bees
up to 0.2 Cross Berries Groundcover up to 0.6 Cross Berries Groundcover 6 pcs/m2 Bees
2-3 x 2a Self, insects
1.5 x 1.5 Cross (diocious) Flowers, leaves, cooked 2.5 x 2.5 Self Berries 2 x 2 Self Berries
SIZE, M POLLINATION & ANIMALS EDIBLE PARTS OTHER USES
3-5 x 3 Insects, cross Fruit 6 x 4 Cross, squirrels, mice, birds, Nut Play, poles, firewood 6 x 4 Cros, squirrels, mice, birds, Nut Play, poles, firewood 4 x 3 Fruits
5-10 x 5-10 Self Fruit, leaves 8 x 4 Self Fruit
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3-6 x 3 Pea pod N-fixing, erosion control
3-5 x 4-5 Insects, cross Fruit
3-6 x 3-6 Self, bees! Fruit 6 x 6 Bees, cross Fruit
1.5 x 1.5 Cross Flowers, fruits, cooked 3 x 3 Berries, N-fixing
SIZE, M POLLINATION & ANIMALS EDIBLE PARTS OTHER
a : Pollarded or coppiced
15-20 x 10-15 Self, bees! Nuts, cooked
1.5 x 1.5 Birds
3-5 x 3-5 Bees, self Flowers, leaves, fruits N-fixing
4-8 x 3-6 Bees! Birds, small animals Fruit
1.5 x 1.5 Self- but rather cross Berries
1.5 x 1.5 Cross Berries
Friuts, friut leather N-fixing 6 x 6 Flowers, fruits Needs shelter
0.05 x 0.5 Cross
SIZE, M POLLINATION & ANIMALS EDIBLE PARTS OTHER
3 x 3 Insects, cross Flowers, fruit 2 x 2 Cross Berries
Fruits Redisf leaves edish Apr-May
3-7 x 2-3 Self, bees!!, birds
8-12x10 Bees!! Leaves, raw Dance 20 x 10 m Cross Seeds/pine nuts
5-8 x 4-5 Bees, birds, deers Flowers, (fruits)
Leaves, flowers 9 pcs/m2 Bees Leaves, flowers
Berries 2 x 2 Cross Flowers, fruits, cooked
Berries
Shoots, leaves Valuable wood
1.5 x 1.5 Bees
2-3 x 2a Bees!!
Alchemilla mollis Lady’s mantle Tolerant, also acidic s ss
Long yellow daylily Nutrient-poor s,(ss,) Hosta sieboldiana Hosta Fertile, humus ss sss
Melissa officinalis Lemon balm Garden, moist s ss
ClimbersLATINNAME
Actinidia kolomikta Kolomikta Tolerant, moist Hablitzia tamnoides Caucasian spinach Calcium rich Lonicera periclymenum ‘Serotina’ Honeysuckle Fertile, moist
Heuchera ‘Purple’ Alum root Drained s ss sss
Galanthus nivalis Snowdrop Fertile, limed s, ss
Erantis Hyemalis Winter aconite Pourus s, ss
Lilium martagon Martagon lily Drained, limed, pourus s ss sss
Hemerocallis citrina
Groundcover herbs
Alliaria petiolata Garlic mustard Moist s ss sss
Oreganum vulgare Oregano Garden soil s ss Rheum ssp. Rhubarb Nutritious s ss
Cornus canadensis Bunchberry Also acidic s, ss, sss
Nodding wild onion Also acidic s, ss Agastache foeniculum-hybrid Anise hysop Drained, fertile s, ss Camassia quamash Quamash Moist, fertile, wide pH ss Cardamine pratensis Mayflower Wet, moist s ss
Matteuccia struthiopteris Ostrich fern Also acidic ss sss
Mentha piperita Pebbermint Moist s ss
Malva moschata Musk mallow Garden soil s ss
LATIN NAME CULTIVAR COMMON NAME SOIL SUN/SHADE
Allium hookeri Garlic chives Moist s ss
Centranthus ruber Red valerin Well-drained (dry) s Foeniculum vulgare ‘Smokey’ Fennel Limed, drained s ss
Allium ursinum Wild garlic Tolerant, also acidic ss sss
Allium cernuum
Houttuynia cordata ‘Rainbow’ Chameleon plant Wet to dry ss ss sss
Sanguisorba officinalis ‘Tanna’ Great Burnet Fertile s ss Sedum telephium Midsummer-men Sandy, well-drained s ss
Mentha spicaca var. crispa Spearmint Moist s ss
Pulmonaria officinalis Lungwort Moist ss sss
CULTIVAR COMMON NAME SOIL SUN/SHADE
Polygonum bistorta Snakeroot Moist, also acidic s ss, sss
Oxalis acetosella Wood sorrel Wet, moist ss sss
Monarda hybrida ‘Cambridge Scarlet’ Horsemint Fertile, limed s ss Myrrhis odorata Sweet cicely Garden soil
Trifolium pratense Red Clover Not much humus s ss
Fragaria vesca Woodland strawberry Moist s ss Galium odoratum Sweet woodruff Humus rich ss sss
Viola odorata Sweet violet Also acidic s ss
Mentha suaveolens ‘Variegata’ Apple mint Moist s ss
Herb clusters
Claytonia sibirica Siberian miner’s lettuce Moist, org mat ss sss
LATIN NAME CULTIVAR COMMON NAME SOIL SUN/SHADE
Campanula persicifolia Peached-leaved bellflower Sheltered s ss Campanula portenschlagiana Wall bellflower Fertile s ss
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6-8 Many, butterflies, bees Flowers, leaves (grow w hestemynte)
4-6 Flowers, leaves
3-5 Bees, flies leaves, flowers Wintercover young plants 5 cm Bees NONE, medicin
7 Nees Leaves
6-10 Leaves Leaves green, yellow & pink
8-10 Berries
EDIBLE PARTS OTHER
9 Leaves, flowers 3-5 Leaves, flowers 7-10 Bees Leaves, flowers From seed Bees Flowers
1-3 Stems
Leaves, flowers marts-maj, sep
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EDIBLE PARTS OTHER
9-7 Bees, butterflies Leaves, flowers
4-6 Butterflies, many Leaves, shoots, flowers
4-5 Bees, butterflies Leaves, flowers
4-6 Butterflies Leaves, flowers
From seed Leaves
DENSITY* POLLINATION
4-6 Bees
4-6 Bees! butterflies Leaves Winter ornaments
3-5 Bees, butterflies Leaves, flowers
1 Bees, butterflies Leaves, flowers, seeds
6-8 Flower, buds, leaves
4-5 Butterflies Leaves
8 cm Flower
4-6 Butterflies, moths
8-10 Bees, butterfiles Leaves, flowers
3-4 Young shoots
EDIBLE PARTS OTHER
7 Butterflies Flower
From seed Bees Flowers
Leaves flowers
From seed Leaves, flowers
DENSITY* POLLINATION
8-10 Leaves, flowers Gone from June 9 Leaves, flowers 6-8 Bees, insects Leaves, flowers
6-8 Flowers, shoots* Do not eat a lot
2 cm Bees NONE
9
SIZE, M POLLINATION
*Density: Number indicates pcs/m2, except from when sown from seed or if “cm” indicates distance between plants.
8-10 Many Leaves, flowers Bienniel, dynamic dispersion 6-8 Bees Leaves, flowers
5 Butterflies, bees Leaves
6-8 Many Flowers, leaves
5 Cross, bees Female fruits Pink leaf tips 1,5-3 Leaves
NON! poisonous
6 Fruits
TABEL 5.1. Overview of flower and fruiting times and colours. Insignificant flowers or fruits are not in the scheme, as focus is on sensory experience, harvest and nectar sources. Main sources are the same as for tabel 5.0.
3
Castanea sativa
Pollinated by bees. Almost all the herbs and annuals are pollinated by bees, therefore not marked.
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Tilia
Cercis
Shrubs,RhusMalusElaeagnusDecaisneaCorylusCornussiliquastrummasavellanafargesiixebbingeiHalesiacarolinaMalusdomesticasylvestrisMorusalbaPrunuscerasiferaPrunusdomesticatypinaupto m
Flower colour Fruit Evergreen,Autumncolourcolourwintergreen or semi-wintergreen
Caragana arborescens
Aronia ZanthoxylumVitexSaturejaVacciniumVacciniumRibesRibesMyricaFeijoaElaeagnusChaenomelesmelanocarpajaponicamultiflorasellowianaLoniceracaeruleagalePrunustomentosaxnidigrolarianigrumRibessilvestrecorymbosumoxycoccosRubusspp.SalviarosmarinusmontanaToonasinensisagnus-castusarmatumClimbersActinidiakolomiktaLonicerapericlymenum
LowerPinuscordatakoraiensiscanopy, 3-9 m
Overstory, from 9 m
Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec
Alanchier laevis
SIGNATURE
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Allium
Herb clusters Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec
BoragoAquilegiaTropaeolumPolygonumHouttuyniaFragariaClaytoniaCampanulaSanguisorbaOreganumMyrrhisMonardaLiliumFoeniculumAgastachecernuumfoeniculum-hybridCamassiaquamashCardaminepratensisCentranthusrubervulgareGalanthusnivalisHemerocalliscitrinaHostasieboldianamartagonMalvamoschataMelissaofficinalishybridaodoratavulgareRheumspp.SedumtelephiumofficinalisGroundcoverherbsAlchemillamollisAlliariapetiolataAlliumhookeriAlliumursinumCampanulapersicifoliaportenschlagianasibiricaCornuscanadensisvescaGaliumodoratumHeucheracordataMenthapiperitaMenthaspicacavar.crispaMenthasuaveolensOxalisacetosellabistortaPulmonariaofficinalisTrifoliumpratenseViolalabradoricaViolaodorataAnnualsCalendulaofficinalisLunariaannuamajusChenopodiumcapitatumvulgarisofficinalisOenotherabiennis
FIGURE 5.21. Walking slowly along the quiet Døvling stream at dusk in March was enchanting. Maybe the stream could be part of a ritual with floading (home-made) candels and a singing or quiet procession.
The rituals underline cyclic processes, but their cyclicality also reveal and embrace the constant changes happening for plants and people.
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Annual rituals
It can be meaningful to rediscover old rit uals in our culture and celebrate on exist ing ceremonial dates. But there is also the oppertunity to create new rituals and an niverseries for Motherload Fruit Garden, for example about honey harvest.
Annual rituals can frame meetings around maintaining, caring for, and enjoying the plants and spaces through harvesting, cooking, decorating and celebrating with eating, drinking, dancing, singing ect. (see figures 5.22 and 5.23). The frames of ac tivity should be clear and easy to step into and can be strengthened by performances, art installations and new sculptures.
Harvest celebration with sharing of the surplus to “fuglen og den fattige” (the bird and the poor), folk dances, making beet lamps.
Oral storytelling of myths, (personal) sagas, ballads and chain dances around the bonfire
Dreams, intentions, starting new projects
Slowing down, pre paring for Experiencingwinter.dusk.
Celebrating the transition from winter to summer, gathering around the May tree (the linden tree, which used to be a communal meeting place (haveABC.dk)).
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Learning from and letting go of the old year, opening up for the new
FIGURE 5.22. These ideas to yearly rituals, celebrations and activities are mostly based on existing traditions. Deep Forest Art Land, volunteers and artists can decide what to focus on and also develop new rituals.
Remembering the dead: hallows (peace makers), witches and relatives
FIGURE 5.23. Page 91-92. Harvest celebration in August/September in the Fruit Garden.
Light celebration with candles, torches, bonfire, decorating fruit trees for a good harvest.
Celebrating summer and life by dancing around the linden tree, buzzing with bees. In ancient times, linden was sacred and dedi cated to the goddess of wisdom, fertility and love; Frigg (haveABC. dk).
Manyenvironment.localsalready express an interest in being part of shaping and developing the art forest. To make well-functioning and stable frames for co-creation, it is impor tant to:
- propose tasks that are fun and rewarding, e.g. planting and harvesting. The roughest work can be done by the flex-jobbers. - integrate volunteers’ wishes and skills, for example bee keeping, weeding or building - have regular meetings, maybe twice a month and seasonal rituals with celebrations, where family and friends are invited - emphasize the social aspect by taking the time to chat and have something to drink
The establishment of the whole design will take several years, as the larch wood needs to dry, as there are many elements and a lot of planting by hand, partly by volun teers. Additionally, the sheet mulch can contain fresh horse manure which needs to decompose for a year before planting herbs in it.
The development plan (table 5.2) gives a overview of establishment activites, but some subjects need elaboration:
- have specific gathering places for all kinds of weather; the new community building, a smaller shed on site, fire pit - provide proper gardening tools
FIGURE 5.24. Volunteer workshop at Naturplantesko len, 2019.
Forest Art Land’s strate gy to be locally anchored, visitors are pro vided with the opportunity to engage even deeper, by becoming volunteers in estab lishing and managing the forest garden
Establishment and maintainance
- find a key person with the main respon sibility and contact to other stakeholders, preferably a local person
and snack
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Co-creationInlinewithDeep
Besides a continuous volunteer group, an idea could be to invite schools (within the fields of environmental sustainability, ar chitecture or art) to come once a year and make a project. Another possibility is to make an agreement with one of the local closed institutions for criminal youth, and invite some of the youngsters to come out work on a continous project in a specific Finally,area.
artists will put their mark on Motherload Fruit Garden by creating new sculptures and performative rituals, but they can also refine and reinvent the proposed facilities (shed, beehives, platform, tea pavilion, fence).
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TABLE 5.2. This development plan roughly presents an order of events. The timeframe is optimistic and it will probably take longer before all elements are established, but that is just in line with Deep Forest Art Land’s perspective about taking the time needed, not rushing. It is important, though, to keep vol unteers enganged by meeting rather often to social ize, make progress and finish projects.
The first trees and bushes can be planted directly in the amended soil and get tight ly encirled by the sheet mulch. A seaon lat er, trees, bushes and herbs can be planted by cutting holes in the sheet layer. Plant beds around the pond and the firepit only need the two top layers: compost and seed-free mulch.
is layering of different types of organic matter, which protects the soil from drying out, prevents a heavy weed pressure and fertiles the soil while it is still not covered by groundcover herbs. There are several ways to do it, depending on available materials and site conditions.
Stubble of existing vegetation, cut low
Existing soil, amended with crushed mussles and heavily watered
WateringItisadvised to plant both woody species and perennials in the autumn to take ad vantage of the frequent rain. The mulch helps retain moisture, but some watering of especially trees is probably needed the first 1-2 years. If there is no nearby water spout, transportation of water is a difficult and time consuming task. Solutions can be to make a rainwater tank, disguised as a sculpture. For the little plant nursery, a gutter can be fixed on the volunteer hut roof. But installing a waterspout would genereally be helpful, also for cooking and Incleaning.thepine
Sheet layer of floor cardboard for painting, 10-15 cm overlap
For areas in the pine stand (Fruit Garden and the three small beds near the bee hives) this layering with a weed-barrier is advised, because of the dense raspberry population:
FIGURE 5.25. The six sheet mulch layers together are around 20 cm. After Jacke, 2005.
Mussels can be spread around plants found especially palatable by snails.
Uncomposted manure, from nearby farms
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Seed-free mulch: leaves, wood chips, straws, wool, seaweed, 5 cm
Compost, many municipalities have large amounts, 3 cm
Seedy mulch: hay from DFAL’s meadows
As figure 5.2 illustrates, soil and wood can be reused on site. The stones are already in a pile in the forest, waiting to be used and a neighbor can provide mussels. The wood can be cut and chipped on site if the right tools and machines are available, and the noise can be tolerated. Otherwise going to a sawmill is an opportunity. Generally, huge machinery and vehicles are not adviced on site, as they will com pact the soil. Enough hands will make the work manageable. And luckily, the soil be ing sandy, not clayey, makes it easier to dig and Sheetmove.mulchSheetmulching
Recycling and processing
stand, species prefering moist can be planted in the furrows and species prefering drained soil on the ridges.
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it is adviced to stick to the planting plans presented, as they are carefully made to fit the plants’ needs, to ensure full crown spread, maximum harvest and no growing into the Concerningpaths.the herbs, the plans are more flexible and influenced by what amount is available of which species. The large areas might take a few years to cover. If a volun teer or guest have edible herbs to donate, they can be incorporated. Vise verca, vol unteers can collect seeds or propagate per renials for their own garden, when Moth erload Fruit Garden is fully established. But before this happens, empty spots can be covered with cover crops, e.g. white clover, and seed balls of annuals can be scattered to add more colour and surprise. The seed balls prevent the seeds from get ting eaten by birds, mice and ants and making and throwing them can be a fun activity (figure 5.26).
species. If they are very competitive or poisonous, remove them. Leave them on the ground to decompose, if they are not full of seeds or form shoots very easily. Make a compost pile of the seedy weeds somewhere in the larch stand.
Levels of Especiallymanagementregardingthe
FIGURE 5.26 Making seed balls of soil, clay, com post and seeds form annuals.
FIGURE 5.27. The dark spots are the intenvern tion areas with a high management level or human presence. The near surroundings are less managed (lighter) and forest furter away unmanaged (light est).
woody species,
When first established, management of the planted areas is low, but they will still transmit “cues to care” as the human in tent and presence is clearly visible. They will therefore be in contrast with the sur roundings, where management from now on is very low (figure 5.27). If trees and shrubs start to shadow out planted species or throw a lot of troublesome seeds every year, they can be cut, but otherwise let succession prevail. The contrast be tween the planted and the selfgrown will be clearer, highlight the qualities in each and allow for reflections about nature and culture, humans in nature, destructive or supportive behavior in nature or a garden.
When weeding once or twice a year, take time to get to know the self-seeded plants, as they might be excellent forest garden
are chosen to give the possibil ity of harvest at most times of the year. It might be a good idea with a sign allowing visitors to taste the fruits and flowers. It can be poetically written, inspired by The guidelines for the Honorable Harvest (see figure Berries,5.29).fruits and nuts can be fully har vested in the end, just leaving a bit for the birds and insects. But it is important to know about perennials, that at least half of flowers and especially herb shoots and leaves of each species should be left for regeneration and growth. Most yield can be eaten raw or cooked on the spot. If there is a big surplus of for ex ample apples or jam, it can be stored in the new community building until it is used at a bigger event.
ChallengesThetwomain challenges will be to protect the forest garden from deers and the risk of damage by stormfall. Hopefully the fence will keep the deers out. For extra security, an orange plastic net can be placed on the top of the fence, bending outwards. This has proved to be effective other places, for example at an other public forest garden at Løkkegård near Sønderborg (Ferrão, 2022). Of course such a net will stand out aesthet ically, screaming for attention. But if it is necessary, it can just be incorporated as an art installation the first few years. Similar ly, plastic tubes can be placed around the stems of the young Malus sylvatica, which are not protected by the fence. The tubes will be half hidden by the tall herbs. The risk of storm fall in the spruce stand north-east of Motherload Fruit Garden is quite high (Raulund, 2022). One scenario is that trees will fall over the Fruit Garden, volunteer hut or beehives and damage plants and constructions. Maybe animals will get in and make further damage to plants. Rebuilding and replanting will be needed then. Another scenoario is that a stormfall will create an opening, so that the spruce stand wont function as shelter against the north wind anymore. The liv ing fence around the Fruit Garden and other vegetation in the pine stand will slow down the wind speed to some extend, but the temperature will probably still be lower sometimes. A good idea would be to quickly plant a new living fence. It could even be done now, preventively:
FIGURE 5.28. Making a chain of wild strawberries and blueberries on straw.
“Design for resilience by planning for surprise” (Andel, 2012)
HarvestThespecies
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FIGURE 5.29. The Guidelines for the Honorable Harvest are normally not written down but are “reinforced as small acts of dialy life”. From Braiding Sweetgrass by botanist and member of the Citizin Potawatomi Nation Robin Wall Kimmerer (Kimmerer, 2020).
Sweet apples and anise-mint tasting bronze fennel in Cecil Rye Olsens forest garden at Inspiratoriet, Samsø, August 2021.
6 / OUTRO
With this thesis, Motherload Fruit Garden, the aim was to make a landscape architec tural design proposal, which pursued the so-called Motherload theme at a certain site in Deep Forest Art Land. The aim was to create a setting for visitors and volun teers to experience nature’s abundance, a sense of belonging, care, curiosity and reflections about the relationship of culture and nature. This is in line with my general motivation for working in this field, where I try to understand, interact with, and sup port the inherent processes of nature and make spaces which invite other people to do the same. In this project, the aim was
sought achieved by proposing a number of interventions, based on registrations of site ecology, art, sense of place, and a conceptual framework including forest garden principles and structures for ritual, seasonal activities. The interventions are connected and staged by a main path with a smaller detour. They are not art in them selves, but can frame activities with artis tic content, based on the special type of managed, fruitful vegetation and facilities, which can be redesigned by artists. The in terventions are in dialog with the existing sculptures and can act as settings for new.
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Summing up
FIGURE 6.0. Soft pine (Pinus strobus), named the Tree of Peace by the Native American Haudenosaunee Nation (Nelma, 2022).
103 adaption, when fusing plans, wishes and capacities of the many actors involved (DFAL, consultants, volunteers, artists, funds, nurseries, visitors, local assicia tions, crafts people and foresters). Working on the premises of nature in a space open to the public, there are many uncertainties too, related to weather, dam age, unforseen behavior and security. An example is that three of the selected species are not edible or are even poisonous. I decided to include them, because of great smell and winter flowering, and because they are well-known to most people. But they can be left out, if there are any safety concerns from DFAL.
Uncertainties and challenges
The proposal is a balance between dream ing big and being realistic. Plants outside the fence are in risk of being eaten. It might be a waste of work to plant all the herbs required for the tea pavilion area. But it would also be interesting to see the devel opment, see what will thrive and what new species will arrive by themselves. Allow for a dynamic development. Generally, the species are carefully select ed and situated and should do fine. The success rate of the project depend more on the establishment process and the first years of management. Whether the plants get enough water and are protected from deers. Whether it is duable to use the ex isting larch trees as building material. It might require more work, but it would also be a good story. We would need to get a tree feller and a carpenter to look at the development plan and the practicalities, though, to be sure it is sensible to use the young larch trees and to know when the wood is dry enough to build from, so it does not twist and bend too much (Træ. dk, The2022).success rate also depends on whether the volunteer group is well-functioning. I had hoped to start the involvement of volunteers as a part of the thesis, but it is still too early in the process for Deep For est Art Land to know when the establish ment can begin. On the positive side, it can seem more manageable for a volunteer to say yes to a project, if it is already welldefined. It is generally necessary with a dynamic management plan with room for
Reflections
A challenging element of the design was the fence around the main forest garden.
Another possible issue is the fire pit. There is a risk that some visitors will feel invited to make at fire when they are not supposed to. Hopefully the sign is enough, but if not, a solution can be to have a transportable fire plate only for seasonal celebrations. Thirdly, a challenge can be the vigorous existing vegetation on sight, mainly beech, sycamore and wild raspberry, which might need to be managed more than ex pected, so it does not outcompete the new plantings. It would of course display the inherent dynamic processes of nature, but it would not take long before the contrast between wild and managed would fade, before flowers and fruits would decrease in the shadow and limited space. Thereby, the purpose of Motherload Fruit Garden would be partially lost.
An element I would have liked to integrate better in the design is fractal patterns. They are partly but not clearly used in the Fruit Garden path, the stepping stones around the pond and the different sizes of circles and hexagons. This is an invitation for artists to explore the phenomenon and maybe use it in Motherload Fruit Garden. Likewise, it could have been interesting to integrate the birth performance hole (fig ure 3.17) in the design, but I did not get to map to hole. I think it should be left un covered, and if it turns out to be situated in the middle of a path in the Fruit Garden, a
Some type of fence to keep the deers out is necessary for successful growth, but could it be subtle and support the aims of the project by being part of the design? In stead of fencing in the whole area, as typ ically seen in production forests and on farms, the solution became to encircle the main forest garden with an animal fence hidden between a branche fence and living trees and bushes. From the inside, it will hopefully just support the experience of being in a safe and lush garden and sup port a ceremonial atmosphere. From the outside, the fence will hopefully be per ceived as friendly and evoke a sense of mystery and curiosity, being organic and circular in expression. In addition, the fence will probably make the maintenance more manageable by clearly showing what is inside and outside of the “garden”. But despite all good intentions, deers might find their way in and people might perceive it differently.
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little bridge can be build over it. Lastly, I had planned to illustrate the changes from present conditions to es tablishment to years of growth and new sculpteres, to give an idea of what will be the main attractions at the different stages, and how will the spatial perception change with growing vegetation. I had also hoped to show the qualities of each season more thoroughly. Now there is just to show it in real life, with real plants.
Gone dancing
A thesis has reached it’s end, but the ad venture of the Motherload Fruit Garden has just begun. I will continue to work with them; make an economic estimate just when this paper has been sent to print, ad just the design and the development plan, make plant nusery orders, have volunteers meetings and start the planting and build ing. Since the process will take years and I might continue to live far away or even dance for a year in Sweden, I probably cannot join and be part of arranging all the activities. But I will prioritize doing as much as I can, because the project is deep ly meaningful and exciting to me, and it is a great pleasure to cooperate with René Schmidt and Søren and Kristina Taaning, the warm, open-minded, enterprising, wise, and visionary directors and manag ers of Deep Forest Art Land. I imagine to come back year after year to see how the plants grow and to hold forest garden and ceremonial folk dance workshops.
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