Diploma (aho) Toxic beauty

Toxic Beauty

Visualizing and Transposing the Waste Landscape of Langøya

Toxic Beauty Visualizing and Transposing the Waste Landscape of Langøya

Diploma student: Hong, Jhu Yin Supervisors: Zaccariotto Giambattista External supervisors: Mattias Fredrik Josefsson Hsiang Hsiang Wang Milja Tuomivaara Text editing: Milja Tuomivaara Special thanks: Lucas Paul-Antoine Miles Hamaker Yorn Lavy Long Prum Yuqing Cui

The Oslo school of architecture and design Master of landscape architecture

Toxic Beauty

The word landscape is an interesting one —it implies a viewer who is making a judgment. ( David Maisel American photographer )

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Abstract “Nature has already accepted our pollution.” Langøya is an island that sits in the Oslo -Timothy Morton fjord in Norway; the island has been filled by different types of hazardous waste, such Wastelands dominate the healthy lands; as fly ash, acid waste, cyanide and so on. healthy plants absorb toxic matter; toxic water penetrates into fresh water. Nature The project seeks to represent this the toxic has been irrevocably modified by toxic matter underground and conceptually crematter, and toxicity is part of our landscape. ates five different experimental gardens that If toxic landscapes are a part of human cul- reveal the pollutants. The design utilises ture, should we try to preserve their toxic indicator plants to not only help observe beauty? Could revealing those landscapes toxicity in the landscape, but to also generto the public help people perceive them in ate patterns of nature. The toxicity becomes a new way? Could new visualizations help a source of beauty, a garden of speculation. build new futures for these landscapes?

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Contents

Chapter1

Toxic landscape I

The aesthetics of toxicity

II

Toxicity remediation and landscape transformation

III

Monumental interpretation of a waste disposal

IV

Toxicity and curiosity

V

Indicators of the toxic world

Chapter3 10 14 16 18 20

Transformation of polluted ground I

Tracing the memory of the land

II

The forms of toxic beauty

III

Visualizing toxicity on the island

IV

Toxic substance vs plants

V

Toxic substance vs lichens

Chapter2

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Chapter4

Langøya island—a waste landscape

Transposing the island

I

Hazardous waste in the Oslo Fjord

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I

Recomposing the island landscape

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II

Waste products of NOAH

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II

The indicators in the Garden

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III

Processing hazardous waste

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III

Five gardens—from death to hope

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IV

Filling the limestone quarry with waste materials

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V

Southern quarry for hazardous waste

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Chapter1

Toxic landscape

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In addition to being polluted, toxic landscapes are typically also abandoned, overgrown, and perhaps forgotten; but they also represent nature in its diversity. All sorts of colors and forms are present, and succession is often visible. Intense human industries, such as mining, have modified the ground by extraction. Simultaneously, as more and more waste—organic, chemical etc.—is produced by humans, the ground has become a repository for it. Out of sight, out of mind, it speaks of our relationship with nature.

“Toxic sublime” is a term used by Jennifer Peeples to describe the tensions between beauty and danger. When toxicity takes over a space, an object or a situation, people appreciate its mystery and magnificent condition from the first glance. Therefore, this term could be a part of a new language used to think about nature.

In order for us to form a new relationship with nature, we should maybe accept the consequences of our actions rather than try to hide them. If toxicity, in all its beauty and ugliness could be celebrated through its interaction with the forms of nature, maybe this new image could reveal the potentials of these landscapes.

By employing design, this project aims at finding a way to reinterpret the toxicity of Langøya. As is natural for landscape architecture, this project tries to translate a waste landscape into a language that humans can start to understand or appreciate.

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Industrial Scars, 2016.Photograph by J. Henry Fair.

I.

The aesthetics of toxicity

Patricia Yaeger wrote:

“Sense of waste and detritus dominate texts because our epistemologies are shifting.

Morton plays with these epistemologies in Ecology without Nature. He argues that fantasies of nature as ‘Beautiful soul’ must give way to an embrace of the toxic: ‘Instead of trying to pull the world out of the mud, we could jump down into the mud... ecological criticism must politicize the aesthetic. We choose the poisoned ground.

We will be equal to this senseless actuality.

Ecology may be without nature. But it is not without us.’ ” 1 1. Editor’s Column: The Death of Nature and the Apotheosis of Trash; Or, Rubbish Ecology, Vol. 123, No. 2 (Mar., 2008), pp. 321-339. Modern Language Association.

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Bao Steel #8, 2005. Image courtesy of artworksforchange. Photograph by Edward Burtynsky.

“Cultural landscape studies are inclusive, incorporating architecture and landscape design of any style and type as well as urban space and any human modification of socalled natural environments. The landscape is both the product of cultural forces and a powerful agent in the production of culture.�2

+ What is a toxic landscape?

A toxic landscape can be composed of many different toxic chemicals, some visible and some invisible. It is often dynamic, with pollutants sometimes generating beautiful forms that create different spaces. However, those beautiful scenes change over time and also become ugly.

With humans creating artificial ground from waste, toxic landscapes are our future.

2. The postmodernization of landscape: a critical historiography. Dianne Harris. Journal of the Society of Architectural Historains, Vol.58, No. 3, Architectural History 1999/2000 (Sep., 1999), pp. 434-443. University of California Press on behalf of the Society of Architectural Historains.

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60 Years After Nuclear Tests, Marshall Islanders Still Waiting To Return Home Photograph

by Asahi Shimbun. Image courtesy of Getty Images.

+ If the toxic landscape is a part of human culture, should we preserve this toxic beauty?

Jennifer Peeples wrote:

“defined the term as ‘toxic sublime’ as the tensions that arise from recognizing the toxicity of a place, object or situation, while simultaneously appreciating its mystery, magnificence and ability to inspire awe.

The toxic sublime produces dissonance by simultaneously showing beauty and ugliness, the magnitude of the projects and the insignificance of humans, illustrating what is known of production and unknown of effect, questions the role of the individual in the toxic landscape.”3

3. Peeples, Jennifer. “Toxic Sublime: Imaging Contaminated Landscapes” Environmental Communication: A Journal of Nature and Culture (2011, December), 5.4 (2011): 373-392.

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+ Could a toxic landscape be valuable ?

It could be an acid pool.

It could be a dangerous but attractive playground.

It could be a toxic garden.

It could be a hyperobject, something that Timothy Morton describes as “real objects that are massively distributed in time and space... so vast, so long lasting, that they defy human time and spatial scales”.4

“Hyperobjects: Philosophy and Ecology After the End of the World.” Timothy Morton. Image courtesy of Getty Images.

4. “Hyperobjects: Philosophy and Ecology After the End of the World.”

Timothy Morton. University of Minnesota Press.

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Testing the waters: Acid mine drainage and art. Kassel, Germany. 2002. Image courtesy of stacylevy.

II.

Toxicity remediation and landscape transformation

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If remediation is a way to recover the environment, (how) can landscape celebrate its toxicity?

Vintondale Reclamation Park is the Vintondale Reclamation Park by Julie Barmann is the recovery project of an abandoned coal mine. Toxic orange streams and polluted vegetation within their banks indicate the widespread environmental problem: a devastation caused by acid mine drainage (AMD). Therefore, the project uses a series of interventions to start to clean the water. The color changes as the water quality improves. During the remediation process, Barmann planted each wetland area in a matching color scheme to celebrate the recovery.

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Visualizing the toxic. project by Valeria Armenda’riz. Image courtesy of AA 2017 website.

+ How can remediation produce a beauty of its own?

Valeria Armenda’riz wrote: “This project is about not fully tackling the toxicity of the river but instead slowly diluting the toxic underground water by filtering a healthier, less acidic water into the aquifers. It deals in parallel with both air toxicity generated by a nearby oil refinery and the toxicity underground, while at the same time focusing on creating a sustainable community for the temporary workers.”5

Beyond problem-solving, Armenda’riz’s project also produces a beauty that reveals the phenomenon of filtering. The interventions provide new micro-climates in the environment and utilize the toxins in the ground to create some special colors as they generate fresh air.

Therefore, new technology not only can improve environmental conditions but also transform a toxic and dangerous material into something friendly and beautiful.

5. AA 2017 intermediate 11. project by Valeria Armenda’riz. http://pr2017.aaschool.ac.uk/Armendariz-pedre

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McLeod Tailings, Geraldton, Canada. Image courtesy of marthaschwartz website.

III.

Monumental interpretation of a waste disposal landscape

Geraldton Mine: Martha Schwartz Partners Size: 170 acres Status: Completed 1998

“The Geraldton Mine project reveals the power of design to remake a wasteland into a new landscape—a beautiful and powerful earthwork. Even more than an earthwork, this landform is also a cultural artifact, highlighting the location and role of mining in the life of the town.”6 6. Schwartz, M. (2011): Project Brief. http://www.marthaschwartz.com/ projects/tailings_details.html.

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Asphalt Rundown (1969). Image from Field Trips: Bernd and Hilla Becher / Robert Smithson. Porto: Museu Serralves, 2001.

One of Robert Smithson’s most famous works, the Asphalt Rundown, dramatized the slow drip of hot asphalt on an earthly slope.

“The asphalt drip characterizes quite convincingly a materialization of formlessness, one can also think of this fluid mass that eventually dries up and somehow strangle the earth below it etc.”10 “Partially Buried Woodshed is a ‘nonmonument’ to the process Smithson calls “de-architecturization”: A dump truck poured earth onto the roof of an old woodshed to the point where its ridge beam cracked. Architecture is the material, and entropy is the instrument.”7

+ Is it possible for an earthwork to be a sculpture or a performance that makes toxicity into an artistic concept?

Comparing these two projects, I understood that the strength of earthwork is that it can provide a different meaning than an artifact. It can even create a form or a formlessness. Thus, this is a way to make toxicity visible anew and eventually take shape as something entirely different.

7. Formless: A User’s Guide, (Zone Books, 1997). p.188.

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Isle of Dogs 2018. Image courtesy of film by Wes Anderson.

IV.

Toxicity and Curiosity

Phaedra C. Pezzullo wrote: “The detection of toxins is not predicated on sight. Many people who see a toxic dump for the first time are surprised at how benign it looks.”8

8. “Toxic Tourism” : Rhetorics of Pollution, Travel, and Environmental Justice. Phaedra C. Pezzullo. 2007, p.29.

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“Toxic Tourism” : Rhetorics of Pollution, Travel, and Environmental Justice. Phaedra C. Pezzullo. Image courtesy of Project Muse website.

“In many places, industrial ruins have turned into hiding places and sites for fantasy and adventure, used by children and youngsters, criminals and addicts, lovers and scrap dealers. Human geographer Tim Edensor asserts that society has become so overwhelmingly organized that people are trapped in the predictable; in this context, the ruins offer a rare place of disorder and openness for interpretation.

Another tempting aspect of ruins is an experience of authenticity, of time passing by or, as phrased in an early memorandum of the IBA program, the fact that some abandoned industrial sites were selected for preservation to serve as ‘marks of truth from the past in the form of ruins’.”9

+ Is there a place to see, experience, measure, analyse and enjoy the toxic landscape?

The toxic space is a mystery and fantasy; it creates something exciting scenario for uncertain purpose. For example, in the film “Isle of Dogs”, the main character breaks into a toxic island in order to find his dog.

The audience follows him as he traverses different toxic spaces and experience the atmosphere of abandonment.

9. Post-industrial landscaep scars. Palgrave macmillan. Anna Storm, 2014.

5:117-121.

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Rigged the new world, Hannah Gaengler (MLA ‘17). Image courtesy of GSD website.

V.

Indicators of the toxic world

“A Frankensteined nature—helping with weed control to increase our biological and societal standing—the forest ground nerved by sensors—the worry of a mother to produce valuable offspring—a minuscule tracker between the antennae of a forage looper moth—robots harvesting crops to feed deserving individuals—our neighbor outcast from society because he hunted an endangered hare—a bypass on the stem of a rare, injured plant—a rigged new world.”10

10. GSD Website. Rigged the new world, Hannah Gaengler (MLA ‘17) http://www.gsd.harvard.edu/project/rigged-new-world/

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Indicator plants can help you determine soil quality and structure. Image courtesy of pinterest website.

“The presence or absence of certain plant or other vegetative life in an ecosystem can provide important clues about the health of the environment: environmental preservation. There are several types of plant biomonitors, including mosses, lichens, tree bark, bark pockets, tree rings, and leaves.”11

+ Could the plants and bioorganism become a new dominator of the toxic landscape?

Plants can be used to test pollutants in the ground. With artificial intelligence, this could be brought to a new level by “There are genetically engineered organisms establishing a link between flora and fauna. that can respond to toxicity levels in The data gathered through observation the environment; e.g., a type of genetically could be extrapolated to speculate on the engineered grass that grows a different future of the landscape. colour if there are toxins in the soil.”11

11. Bioindicator. https://en.wikipedia.org/wiki/Bioindicator.

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Chapter2

Langøya Island—Waste landscape

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Oslo city

Langøya is an island in the Holmestrand fjord that exemplifies the transformation from mining industry to waste industry; Initially a limestone extraction site, after 1985 the island has been mainly used for treating and depositing waste. It is a unique case in Norway, where hazardous waste is used to produce new ground. Langøya is a place of extremes that conveys the devastations caused and modifications made by man.

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59°30’3.34” N 10°22’0.28” E

I.

Hazardous waste in the Oslo Fjord

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Not too far outside capital in the Oslo Fjord, Langøya is conveniently isolated, yet characterized by infrastructural connections that makes it suitable location for transporting waste. Once more, the stable bedrock of the island is exploited, this time as dumping ground for the increasing amounts of hazardous waste that is being produced.

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Norcem suspended limestone mining

Limestone quarry sold to Wankel PA KAMBO

1845

1985

Norsk Avfallshandtering AS(NOAH) set up through Parliament

1991

Illegal limestone extraction

1621

Christian VI took over the limestone

Christiania Portland Cement Factory bought most of raw materials from Langøya for the cement industry at Slemmestad

1734

1895-1899

Norsk Avfallshandtering AS(NOAH) bought Langøya from Norcem

1993

North part of Langøya will become a recreational park

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2025

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1700

1900

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Limestone Extraction

Limestone Industry

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Waste Industry

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II.

Waste products of NOAH

Since 1994, waste from other countries, in particular Denmark and Sweden, has been brought to Langøya. In 2015–2016 NOAH reported imports from Denmark, Sweden, United Kingdom, Greece, Israel, Lithuania, Iceland, and Germany.

Tatal amount of waste: 514,940 t

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III.

Processing hazardous waste

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b

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Filling the limestone quarry with waste

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a. Acid pool (sediment pool) b. Northern landfill c. Southern landfill(limestone quarry) d. Industrial factory and port

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V.

Southern quarry for hazardous waste

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22,500,000 cars 1,363,636 cement trucks 205 ultra-large container ships 45,000,000 tonnes of stone were extracted 93,000,000 cubic metres under the sea level

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Toxic matter is not a hidden feature of Langøya. Rather, the patterns of polluted ground in the aerial photos show how the toxicity spreads and transforms, evolves over time similar to a natural process.

In order to study the toxic landscape in Langøya, through a reading of the toxic ground over a number of years, the project starts to elaborate on how to impose the image of toxic landscape and combine it with information about physical pollution.

Chapter3

Transformation of polluted ground

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2003

2008

2010

2011

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I.

Tracing the memory in the land

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II.

The forms of toxic beauty

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III.

Visualizing toxicity on the island

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low moderate high hazardous

A gradient of toxicity

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IV.

Toxic substance vs plants

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Fly ash SO2 Cyanide Chlorine Heavy metal copper zinc lead iron chromium cadmium

There are four main indicator plants, Polygonum, Rheum, Vicia and Capsella, that can easily be planted in the polluted ground. Some plants will specificly indicate heavy metals; Azelea can sensor iron; Argemone mexicana can survive the zinc. The design combines the colors of chemicals with flowers.

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V.

Toxic substance vs lichens

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Pollution level heavy

slight

Lichens are the symbiotic organisms between fungi and alga, which perform as the miniature ecosystems. Furthermore, they also accumulate high levels of various metals. By testing the ground in the project, lichens also become one of the important indicators in polluted environment. They can perform different form and dynamic colors by showing the level of pollution.

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[Forest garden]

[Semicircle garden]

Chapter4

Transposing the island

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[Sunken circle garden]

[Square garden]

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[Fossil garden]

Destination? Recreational park vs. experimental field Following the plans for Langøya, the hazardous waste filling will end in 2025 and the island will be transformed into a recreational park. Since the actual toxicity is unknown, is this the right course of action? Is it a decision made thinking about nature or humans? This project argues that the design should have a connection with the level of toxicity. It proposes an experimental garden that spatializes the pollution in order to try to build a new relationship between humans and nature.

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f

e

d

c b

Garden and path

Planting geometry

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Gradient of toxicity

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Grid system 10 m x 10 m

Recomposing the island landscape a

Terrain

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New landscape / New geometry / New dialogue

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In all new forms, in all the forms being may assume. Forwards and backwards in time, the opposite of nostalgia, not keeping anything for what it was, but perhaps retaining something, or continuing to watch while something dissolves, so that something else might emerge in its place. 12 The forms of the gardens reflect the new dialogue between human and nature. By making toxicity readable through aesthetics the design attempts to raise awareness and expand the imagination.

a

After 2025, access to the island will be from the pier in the southern side. This is where people—researchers and visitors—walk along the old mining pit to arrive in the fossil garden.

b

A one-kilometer-long corridor that cuts into the ground forms a frame for experiencing the dead earth.

c

A circle pool gives the water shape, mirrors the surrounding dead trees and limestone.

d

Three gardens: an enclosed square, a sunken circle and a semicircle, are located on the polluted ground. The simple geometry makes boundary between inside and outside clear: The inside is an experimental garden and outside is a remediation field.

e

A long path links the different gardens and gives time for contemplation.

f

The cross-shaped pavilion in the middle of the nature reserve forest is the final destination. Finally, a less toxic space that allows for hope.

A 10 m by 10 m grid system provides the framework for organizing the island and creates an underlying working system for mapping the toxicity.

Mapping specific pollutants and pollution levels on the island produces a gradient of toxicity that is used as the base for designing a planting geometry.

Plants are used to reveal the toxicity of the ground. Different indicator plants dominate the landscape, creating a new scenery that feeds off of waste and pollution.

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of darkness, 2013

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II.

The indicators in the Garden

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“Knowledge of specific resistance to pollutant is of practical significance when plants grow in industrial or thickly populated areas. Species differ in sensitivity to pollutants. In general, plants are more sensitive to pollutants than human.

Therefore, plants can be used for the bio-indication of environmental pollution. Sensitive species can serve as indicators and resistant species as accumulators which collect large amount of pollutants without damage. Mosses, lichens and some fungi are much sensitive to SO2 and halides. Many chemicals, fertilizers, pesticides and fossil fuels release toxic substances into the environment that are taken up by the plants from air, water, and soil.� 13

13.Plant Indicators: Characteristics, Type and Physiological Changes

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[Forest garden]

[Semicircle garden]

III.

Five gardens: from death to hope

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[Sunken circ

cle garden]

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[Square garden]

[Fossil garden]

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[Fossil garden plan & section]

This is a fossil landscape.

The toxic matter that forms the new ground is permanent; The large dead trees placed in a rigid grid symbolise this.

A long corridor cuts deep into the ground and leads to the past.

The experience is enhanced by sunlight: When descending the ramp, it gradually disappears, making one feel lost. While walking back up, toward the present, the increasing sunlight symbolises hope.

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dead trees

Toxic matter

Limestone

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[Square garden plan & perspective]

Remediate plants Indicator plants Irrigation system 54

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The square garden is adjacent to the industrial area.

This is the first of three walled gardens that each mark one specific form of toxic beauty.

The different colors of indicator plants show the diversity in the toxicity: Six species of flowers to match six different toxic matters in the ground.

Gravel paths meander in the garden and allow the observer to approach and pick up flowers.

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[Square garden section]

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Enclosed wall

Top soil

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[Sunken circle garden plan & perspective]

Remediate plants Indicator plants Irrigation system 58

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The sunken circle is a particular enclosed space which is dropped 10 meters below the surface by digging into the polluted soil. The toxic ground forms the walls of the garden.

From the main path, a 2-meter wide ramp brings the observer in.

This second garden shows the second specific form of toxic beauty on the island: How water interacts with the toxic ground. The garden is subject to weather conditions: Sometimes a big pool of rain water collects, sometime the garden is all dry. Four species of flowers reveal four kinds of toxic matter in the ground.

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[Sunken circle garden section]

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Enclosed wall

Top soil

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[Semicircle garden plan & perspective]

Remediate plants Indicator plants Irrigation system 62

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The semicircle is a threshold with its wall embedded in the terrain.

This third garden introduces a third specific form of toxic beauty.

The shapes are enforced with bent metal sheets that create the flowerbeds.

This is the final testing garden: one flower species indicates one type of toxic matter.

This prepares the observer for the approaching forest.

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[Semicircle garden section]

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Toxic matter

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[Forest garden plan & perspective]

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As the observer walks along the bridge, they are surprised to find themselves in an open pavilion. The cross-shaped pavilion is like a wooden frame for the forest that has been preserved as a nature reserve. Here nature becomes an art piece: Local trees and plants—two birch trees, a small spruce, ferns—are displayed in the centre of the pavilion like in a glass box. Seeing their own reflection on the glass while looking at the nature gives the observer hope.

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[Forest garden section]

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1. Editor’s Column: The Death of Nature and the Apotheosis of Trash; Or, Rubbish Ecology, Vol. 123, No. 2 (Mar., 2008), pp. 321-339. Modern Language Association.

2. The postmodernization of landscape: a critical historiography.

Dianne Harris. Journal of the Society of Architectural Historains, Vol.58, No. 3, Architectural History 1999/2000 (Sep., 1999), pp. 434-443.

University of California Press on behalf of the Society of Architectural Historains.

6. Schwartz, M. (2011): Project Brief. http://www.marthaschwartz.com/ projects/tailings_details.html.

7. Formless: A User’s Guide, (Zone Books, 1997). p.188.

8. “Toxic Tourism” : Rhetorics of Pollution, Travel, and Environmental Justice. Phaedra C. Pezzullo.

2007, p.29.

9. Post-industrial landscaep scars.

Palgrave macmillan. Anna Storm, 2014. 5:117-121.

3. Peeples, Jennifer. “Toxic Sublime: Imaging Contaminated Landscapes” Environmental Communication: A Journal of Nature and Culture (2011, December), 5.4 (2011): 373-392.

10. GSD Website. Rigged the new world, Hannah Gaengler (MLA ‘17) h t t p : / / w w w. g s d . h a r v a r d . e d u / project/rigged-new-world/

5. AA 2017 intermediate 11. project

by Valeria Armenda’riz. http://pr2017.aaschool.ac.uk/Armendariz-pedre.

13. Plant Indicators: Characteristics, Type and Physiological Changes http://www.biologydiscussion.com/ plants/plant-indicators-characteristics-type-and-physiological-changes/6970

11. Bioindicator.

4. “Hyperobjects: Philosophy and https://en.wikip edia.org/wiki/ Ecology After the End of the World.” Bioindicator.

Timothy Morton. University of Minnesota Press.

12. Form of darkness, 2013

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