Copyright and colophon

IABR

Biennales

Research

Shop

News

Agenda

About

Home

Updates

Exhibition

Botanical Monuments

Public Program

Gallery

Team

Presskit

Visit

Mission

Organisation

Partners

History

Contact

It's already December. Over the past year, the IABR has been actively engaged with the Nature of Hope biennale. For four months, the exhibition was hosted at Het Nieuwe Instituut. The curators reflect on their role during the biennale.<h2>Hani Salih</h2>Over the last four months, the Nature of Hope program has acted as the site of convergence for an array of practitioners, designers, and architects from all over the Netherlands, and beyond. Landing at the Nieuwe Instituut, after many years of travelling around the city of Rotterdam, particular consideration was given to the significance of the IABR’s return to this institution. As a focal point for Dutch architecture and culture, we recognized that this is a moment that can be used to capture the attention, and thus imagination, of the architecture audience in the country to showcase what is possible.&nbsp;The public program of the IABR was the embodiment of this. The broad scope of the program was evident not only in the knowledge presented at the exhibition, but also in the collaboration with other organizations in the Netherlands. Embodying the need for a more connected and networked way of thinking, we actively collaborated with organizations in Rotterdam to make this exchange of knowledge possible. We worked with organizations such as the Architecture Film Festival Rotterdam (AFFR), where we discussed material realities and how we might imagine alternative and more local flows, featured a beautiful film titled In Vivo by architecture collective Bento. Conversations in this panel started with a discussion of the notion of the Symbioscene, a theory that sees humanity’s future as one that is deeply integrated into nature and ecology symbiotically, and delved into how this could be a starting point for the reorientation of the practice of design.&nbsp;Another collaboration focused on the challenge of climate action through the lens of policy. Featuring Max Ajl, author of A People’s Green New Deal, the conversation included Rosemarie van Ham, a local policymaker and leader of the Inclusive Climate Action Rotterdam (ICAR), and Ken de Cooman, co-founder of BC Architects, and set out to understand how a new policy movement toward a truly just society can also provide us with the basis for a healthier and happier society.&nbsp;Engagement with the show, be it through the number of visitors or the attendance at the curator tours, showed that there has been a real hunger for this new narrative for architecture and design. There is a desire for an alternative kind of expo, where hope is present in the invisible strands that connect each of the participants’ works. It was inspiring to watch the conversations that started in the audience spill out into the hallways late into the evening, with each event. I can only hope that they continue to ripple out into the city and beyond.&nbsp;<h2>Alina Paias&nbsp;</h2>I was an associate curator of Nature of Hope. That means I conducted extensive research on specific topics and brought them to the curatorial collective to decide where and how they would fit into our exhibition. I was mostly focused on projects that worked with non-dualist, diverse, and culturally informed definitions of nature, and I also worked a lot to bring in projects that were based on perspectives that have been historically marginalized in relation to the conventional practice of architecture. It was a huge task to facilitate these participations from far away, as we often had to coordinate conversations across different time zones and come up with ways in which practitioners could participate without consuming too many resources to move people and materials around.&nbsp;&nbsp;&nbsp;I was also the liaison between the Curator Team and the Production Team and, although it was a lot of work, I really enjoyed that task. My personal research focuses on the themes of energy, work, and information in relation to the ‘making’ of architecture, which we call architecture production. I think this affinity and respect for how things get done from day to day, what systems and tools are needed for that, and how they affect the final result helped a lot with communicating with the production team and developing procedures for the work that helped everyone.&nbsp;I also worked on the public program side of Botanical Monuments. It was truly a joy to be able to meet so many activists and stewards of nature in Rotterdam and to feel even more connected to the city. Through the Botanical Monuments events we were able to bring both attention and resources to these locations, and the IABR became a concrete actor in the ecologies and networks of Rotterdam.&nbsp;&nbsp;<h2>Catherine Koekoek&nbsp;</h2>To produce ecologically sound, regenerative, or sustainable architecture, design and construction processes have to be organized differently. For me, this seemingly simple insight was the central message of Nature of Hope and the foundation of the Practice Place program. Traditionally, the architecture discipline has been highly product-oriented: how a design was created has been considered less important than the end result. However, under the influence of the climate crisis and its increasingly significant social and environmental consequences, the discipline must fundamentally change.&nbsp;While the exhibition featured numerous inspiring examples of practices already doing things differently, the Practice Place was about action. How do we make this alternative, ecologically friendly way of working more widespread? What tactics, experiences, and strategic alliances do we need to make this happen?&nbsp;During the biennale, I was at the exhibition almost every day, giving tours to students, policymakers, friends, and family, and preparing and facilitating the Practice Place gatherings. Over the course of six day-long sessions, we brought together groups of 30 to 40 trendsetters from the field to discuss topics such as biodiverse soil, biobased construction, nature-inclusive design, local community initiatives, working conditions, and feminist and equitable building practices. We also organized three local assemblies in Arnhem, Deventer, and Saeftinghe, and together with the journal de Architect, I created ‘de Hoopcast’ – five podcast episodes in the wake of the Practice Place.&nbsp;Perhaps I am most proud of our collaboration with NAA! (Netherlands Angry Architects), The Architecture Lobby (TAL), and the Dutch branch of the Architects’ Climate Action Network (ACAN NL). This network was launched during a well-attended evening on 19 September at the Practice Place. What all these movements have in common is their efforts to address precarious working conditions in the sector and to link them to a broader, sustainable, and just transformation. The next day, during Work, Labour, Action!, the young Dutch and Flemish activists and organizers were thrilled to learn from seasoned labor union activists like Joshua Barnett and professor emerita Peggy Deamer, who traveled from New York for the occasion. They shared practical advice on building and sustaining a broad, bottom-up movement, with perhaps their most important tip being: Make your meetings fun.&nbsp;&nbsp;The mostly young, international professionals who attended these meetings are leading the charge for better practices and a livable planet. At the same time, their voices are not widely heard in the Dutch architecture discourse. The fact that we were able to connect their experiences to a growing, new narrative for the design world at the Practice Place made the biennale, for me, a true infrastructure of hope.&nbsp;&nbsp;<h2>Noortje Weenink&nbsp;</h2>As an associate curator, I experienced Nature of Hope as a search for forms of spatial design and research that look to the future with both responsibility and anticipation, involving hopeful practices and projects that are not naïve about the crises we face.&nbsp;&nbsp;In terms of the exhibition, my focus was on the chapter ‘Resistance as Practice,’ about ways in which architects can contribute to activism and influence housing and climate policy. Personally, I am proud that as a cultural institution we were able to support Extinction Rebellion’s climate activism and highlight different design practices that are not (yet) standard – but should be.&nbsp;What stood out the most were the collaborations, first and foremost with the fantastic designers, artists, researchers, and experts who contributed to Nature of Hope. The many conversations and the collaborative development of their projects were inspiring, not only in terms of content but especially in terms of working methods. The contributors were open, generous, caring, and enthusiastic, sharing their knowledge and networks without hesitation. This was both instructive and encouraging – not only during the intense process of the biennale, but also for the discipline as a whole. Contrary to popular belief, it seems you do not have to be unkind or harsh to do excellent work – quite the opposite.&nbsp;Another highlight for me was talking to the Hoopzaaiers, the caretakers and volunteers of the Botanical Monuments. Together with Janna Bystrykh and Alina Paias, I visited many places in Rotterdam that I had never been to before. I was amazed, not only by the richness of the urban landscape, but also by the wealth of stories and knowledge about trees, plants, and animals. These stories deserve all the attention, and our Follywood map and public program contributed to this in a modest way.&nbsp;In addition to being associate curator, I served as the liaison between the curator team and the graphic designers, working closely with feminist design duo Esther Le Roy and Sarah Cleeremans (Le Roy Cleeremans). They translated the themes of nature, hope, and relationships into the visual design, and I am still impressed by their surprising methodology, colorful designs, and attention to detail.&nbsp;&nbsp;Scenographers Diogo Passarinho and Gonçalo Reynolds (Diogo Passarinho Studio) supported the concept and development of a sustainable exhibition design, reusing existing materials sourced at the Nieuwe Instituut. The minimal leftover waste demonstrates that we can truly produce exhibitions and biennales sustainably – we even cancelled a container because we produced so little waste.&nbsp;A special shoutout goes to the Production, Marketing &amp; Communications, and Programming teams. They took on the enormous task of bringing over 80 projects and 125 events to life and to the public. As an IABR ‘veteran’ (this was my third Biennale) I am amazed, each biennale year, by the dedication and expertise of everyone involved – both inside and outside our team.&nbsp;

Retrospect of the curators

As the 11th edition of IABR comes to a close, the theme Nature of Hope continues to resonate as a call to rethink the future. Alastair Parvin, founder of <a href="https://www.opensystemslab.io/jobs" target="_blank">Open Systems Lab</a> and one of the most intriguing voices of this edition, is uniquely positioned to reflect. His work not only pushes the boundaries of traditional architecture but also raises critical questions about who will shape the future. In a candid conversation, Parvin shares his reflections on the 11th edition, highlighting the urgent need for radically new systems and interdisciplinary collaboration.<h2>Rethinking the discipline</h2>As we reflect on this year’s Biennale, Parvin raises an intriguing observation: for an event centered around architecture, there were surprisingly few projects focused on actual buildings. His own career, which began in 2006 after graduating in architecture at Sheffield University School of Architecture reflects this shift. "We thought we’d be designing green neighborhoods," he recalls, only to realize that many architects were being funneled into unsustainable projects with little room for innovation. While many of his peers grew disillusioned and left the field, Parvin took a different route. He began to learn about areas like finance, real estate, property legislation, and systems design, expanding his focus ever since.It’s no wonder Parvin was glad to see that traditional views on architecture took a back seat at this year’s Biennale. As the CEO of a London-based non-profit that focuses on digital innovation in housing and the built environment, it just makes sense that architecture isn’t only about designing buildings: it’s about reimagining the whole system that shapes how we create spaces.&nbsp;<h2>The behind-the-scenes of architecture </h2>Although it feels like common sense to him now, Alastair still pauses to reflect on how much the role of an architect has evolved since he first began. Much of the work exhibited during Nature Of Hope isn’t what you’d traditionally call architecture—it’s about engaging with the systems behind the design. This shift comes to life through the Biennale’s interdisciplinary nature, focusing on the often unseen structures that quietly shape and govern how we live.“This year’s Biennial reclaims things that aren’t usually seen as architecture,” Parvin explains. "It was paradoxical that there were so few buildings in it. Instead, the exhibition explored the underlying systems— mobility, planning, and governance.” The behind-the-scenes of our discipline, so to speak. Complex, often unglamorous topics that aren’t visually striking but are essential to understanding how we live today, Alastair notes. “And in doing so, it opens up a richer conversation about how we shape the world around us.” And who needs to be part of that conversation? Parvin’s answer is simple: “Everyone. From software developers and engineers to organizers and researchers. They’re the ones designing our future environments.” This inclusive approach has been a guiding principle for Alastair, who, over the years, has built a diverse team at <a href="https://www.opensystemslab.io/jobs">Open Systems Lab</a>. “We’ve almost let go of the title ‘architect,’ yet here we are, invited to exhibit at the IABR,” he chuckles. "Alongside others who may not fit the mold of traditional architects either, but who are doing groundbreaking work to reshape our world."<h2>Reflection on this year’s theme </h2>Of course, this year’s theme of Nature Of Hope was naturally our central point for reflection. Parvin acknowledges both its abstract nature and the complexity it entails. "We’re constantly reminded that the systems around us are broken. Hope sounds appealing, but there’s a certain distance to it, as if it’s always just out of reach, somewhere in the future," he shares critically. This is why Parvin was particularly encouraged by the number of practical projects on display at the Biennale. "Rather than wishing for what needs to be changed, visitors were shown projects that asked, 'How are we going to achieve it?' That approach was refreshing," he notes. Parvin is a strong advocate of practical optimism—a hands-on approach that gives hope real substance, a philosophy he applies within his own team but also saw back in the projects exhibited. Yet while the exhibition offered a sense of hope, Parvin believes it also confronted visitors with the enormity of the challenges ahead. "I think people left not only with hope but also with a sense of fear," he observes. "The problems we face sometimes feel terrifying. But at the same time, the biennale showed us that people are doing incredible work, tackling these issues directly," Parvin emphasizes.&nbsp;<h2>The process behind</h2>Building on the theme of how rather than what, we exchange thoughts on the process of setting up the Biennale. After all, how the event was created is just as important as what was exhibited. “The team curated an impressive range of works, from tailored experiences for diverse audiences throughout the city to over seventy featured projects at the Nieuwe Instituut. Nature Of Hope truly over-delivered - yet despite the abundance, it came together as a cumulative experience, rich with different perspectives and ideas. Most exhibitions I’ve seen don’t engage nearly as many disciplines or go into this level of depth,” Parvin remarked, highlighting the depth of research and context provided.&nbsp;What really set this Biennale apart, Parvin noted, was the curatorial team's hands-on approach. “In most exhibitions, especially when budgets are tight, you usually drop off your work and move on. But this year’s IABR team was deeply involved throughout the process. They were right there with us, asking, ‘How would you exhibit this?’ They didn’t just handle the logistics—they were actively engaged, even co-creating some of the featured pieces alongside the designers."<h2>Looking back to move forward</h2>What now? The Biennale has ended, but the journey continues for all of us, we conclude. For visitors, creators, and professionals alike. "Nature of Hope isn’t a theme that suggests we’ve solved the problem. It’s an ongoing process", Parvin reflects, emphasizing the continuous nature of the work ahead. As we together speculate on how a potential future biennales could build upon the tone set by Nature of Hope, Parvin proposes approaching the theme from another angle—by looking back. "It might seem unusual at first, but it makes a lot of sense," he explains. "This Biennale gave us optimistic ideas for reshaping the future. But to understand how change happens—and to believe it’s possible—we need to look at the past."&nbsp;History often focuses on the big stories, like kings, queens, and wars. But how did we really get here? And how do we move forward from where we are now? Parvin suggests that by exploring the history of our systems, we can better understand the forces that have shaped the present and how to redesign them. "Change can feel impossible sometimes, but when you study other societies, you realize big transformations have happened before.” He believes that looking at past shifts can help us find solutions to today’s challenges, particularly for younger generations growing up amid these issues. “It’s like fish trying to talk about water. Understanding invisible forces shaping our world is difficult. Yet, when you look at history, it makes you realize that these systems can be redesigned, and in fact, they are going to have to be.”<h2>How change happens </h2>As our conversation draws to a close, it becomes clear that Nature of Hope isn’t just about hoping for a better future, but also about understanding both the complexity and, as Parvin puts it, the simplicity of change. For him, it starts with “just doing.” Design is flexible and constantly adapts to the needs of the moment. You can take on many different roles, from artist to developer, building manager, gardener, or soil specialist, as we saw throughout the biennale.“Nature of Hope showed us that architecture today goes far beyond designing beautiful forms,” says Parvin. "Given the urgency of the challenges we face, we have to start using the same sort of creativity we might have once used to design a building or a neighborhood to try to redesign the processes, systems and incentive-structures through which buildings, neighborhoods and cities are made".&nbsp;Parvin is convinced that this 11th IABR edition has inspired professionals who feel stuck in outdated systems. "The quiet message of the Biennale was perhaps that the best way to spark change is simply to start—no matter where you are or what you're doing." With this powerful call to action, we conclude our reflection, serving as a reminder that real progress begins with the first step, no matter what form it takes.

How Change Happens: Alastair Parvin reflecting on the 11th IABR biennale

‘I’m the Secretary of Time Travel, what are you the secretary of?’ This is how Meta Knol likes to introduce herself at Place Councils. Following the Practice Place meetings at Het Nieuwe Instituut, we’re organizing three meetings in collaboration with the Ministry of the Future to explore the future of specific places in the context of bioregional building. On 18 September, we visited Architectuurcentrum Rondeel in Deventer.Among us were the Secretaries of Fringes, Development, Not-Knowing, Temporal Optimism, and Good Vibes – people who, in their everyday lives, work for local authorities, design firms, Building Balance, or Staatsbosbeheer. Together, we traveled three generations back and three generations forward in time to explore what it means to build with what already exists. There’s a lot already happening in the region known as the Urban Triangle, which links Apeldoorn, Zutphen, and Deventer. For example, a fragment of the hempcrete façade of Voorst town hall in Twello, designed by De Twee Snoeken, can be seen in the Nature of Hope exhibition. In addition, with the support of Building Balance, farmers are growing hemp for insulation on around 160 hectares. However, we discovered that this hemp is processed in Oude Pekela (130 km away) and then transported to southern Bavaria (another 850 km away) to a factory now owned by Kingspan.What if every building project included planting the trees needed to eventually replace the structure, as used to be the case on farms? Or if every street had an extra row of trees for urban harvesting? But then again, will the IJssel River still flow where it does today in 30 years’ time? And what about the beech forests on the north side of the Veluwe – will they still exist, or will they have dried up? Despite this workshop on future thinking, we still don’t have a clear picture of the future. However, it’s becoming clearer which actions can help create a hopeful future. We’re learning what to do (bike, walk, plant trees, don’t be afraid), what not to do (build in floodplains), and what to change (learn to appreciate what we already have).Throughout the biennale, nearly 200 people from different design practices gathered in the Practice Place – a space for dialogue and active hope – to create a multivocal narrative for a hopeful future. In addition, we organized local Place Councils to explore bioregional building in Deventer, Veldstation Saeftinghe in Zeeuws Vlaanderen, and Arnhem. On 10 October, we will present the results of these meetings during a festive event in the auditorium of Het Nieuwe Instituut. Please register <a href="https://iabr.nl/en/nature-of-hope/public-program#a-new-narrative-for-architecture-urbanism" target="_blank">here</a> to attend.

Practice Place: lokaal plekberaad Deventer

Nature of Hope approaches architecture as an ecological practice. People are not separate from nature, but an integral part of it. But the binary thinking in which nature is everything that is not human or made by people has a long and dominant history. To introduce the exhibition, IABR therefore asked researchers, philosophers, historians and writers to reflect on how we look at nature. Every week we share one of the contributions, which can also be seen in the exhibition.Clemens Driessen writes about Maria Sibylla Merian, who early on saw the importance of the relationships between plants and animals – but whose knowledge is also a product of colonialism.Maria Sibylla Merian has been called the first ecologist. Through her lifelong fascination with the metamorphosis of insects, she pioneered the representation of the relationships between animals and plants. Her images did not just flatly depict dead specimens collected in popular cabinets of curiosity. In lively compositions, individual insects are shown in symbiosis with the host plants that provide food and shelter in their distinct life stages: egg, caterpillar, pupa, and then butterfly.   While many scholars still believed that insects could emerge spontaneously from dead matter, her systematic investigation into the development of insects such as butterflies and moths was groundbreaking. With her book on caterpillars an artistic and scholarly success, and intrigued by the incredible collections of insects arriving in Amsterdam through the colonial trade, Merian embarked on a research trip to Surinam in 1699.   The plantation owners who hosted Merian mocked her attention to the diversity of nature. She complained that they were only interested in sugar. In her accounts of fieldwork in search of insects, Merian drew on the knowledge of Indigenous and enslaved people. While she had them cut paths and bring new species, they shared descriptions of the behaviors of animals and functions of plants. In the book she compiled after her return, Metamorphosis insectorum Surinamensium, Merian recounts how they used certain plants to treat illness and others to abort pregnancies so that their children would not have to endure the cruel treatment of the Dutch plantation owners.  Even though her unique combination of descriptions and images was taken seriously by later systematizers such as Linnaeus, who named many species after her, Merian’s approach of paying close attention to behavior and symbiosis was largely traded in again for the mere ordering of specimens and their anatomy. After the modern separation of art and science, the vivid understanding of the complex relationships between plants and animals mostly turned into efforts to control pests in ever larger monocultures.   Merian's work representing ecological relationships can again be crucial if we are to learn to live with biodiversity and appreciate the complex connections between plants, animals, and, as in her work on Suriname, people. But her images are also a reminder of how scientific advances can be the product of a system of colonial violence and the commercial appropriation of local knowledge.

Clemens Driessen - The Metamorphosis of the Insects of Suriname

Who builds towards a green future on a daily basis? To show how big ideas and visions find their way into reality, "Botanical Monuments" is part of this edition of the biennial: a collection of Rotterdams community initiatives around urban nature. They represent the ambition of the IABR to change the relationship between architecture and nature. But how does this ambition come to life in and around the city, who are the people behind big visions and what can we learn from them? Sabine and Jocelyn create the series "Hope Sowers" and engage with those taking steps towards an architecture that, in collaboration with nature, builds for future generations.Nestled within the bustling urban landscape of Rotterdam, Shared Grounds at the Gouwplein Biodiversity Garden emerges as a beacon of community, art, and environmental stewardship in the Oud Charlois neighborhood. Originally an underused public space, it has been transformed into a place where interactions can arise between both humans and non-humans. Shared Ground was founded by the collective vision of Rotterdam South artists Kate Price and Guillem S. Arquer, who found common ground in their passion for composting. Their collaboration, along with the efforts of Maziar Afrassiabi, founder and director of Rib—an experimental contemporary art institution nearby—has cultivated this once-neglected land into a garden with a strong, innovative vision on how to use space. In 2019, they seized the opportunity to rejuvenate this plot of land, integrating it into a broader network. The transformation of Shared Grounds didn't happen overnight—it required significant effort and dedication to turn what was once overlooked into a cherished community space. Kate details the hands-on steps that had to be taken to interact with the area: "We began by clearing away debris and then experimented with various biodiversity-aware practices, such as creating dry hedges to compost the organic materials we collected from the site. Additionally, we installed an insect hotel." Guillem further explains the unique challenges and intentions behind their work: "This space was virtually a non-place, with no defined purpose, which made it a compelling setting to observe how various users interact with it. We aimed to do more than just beautify; we aimed to create space for human and more-than-human neighbors, considering and respecting the species who were, temporarily or not, already using the space, being part of that ecosystem. Our project challenges traditional notions of park management and encourages a dialogue about coexistence and mutual respect between humans and ecological processes."The project has faced significant challenges, particularly in navigating municipal regulations and managing varying expectations within the community. Guillem reveals some of the difficulties they've encountered: "Despite being funded by the municipality of Rotterdam, there's a disconnect with its operational systems. Regrettably, the city’s maintenance teams have repeatedly destroyed the plants we've carefully nurtured—ironically, the very plants they've funded." The Shared Ground team has developed a strategic response to this ongoing issue. "We noticed that the maintenance teams spare certain plants they recognize as 'government plants'—the ones deemed 'good' by official standards. So, we adapted our strategy to group our recently planted species with the ones from the municipality—effectively blending our efforts with the existing municipal landscape. This approach has turned our garden into a kind of guerrilla garden, where we continuously adapt and innovate in response to these challenges. It's fascinating to immerse oneself in these complex dynamics."Guillem discusses their efforts to redefine this patch of land beyond the conventional label of a park, emphasizing the complex relationships that influence this urban space: "We aim to transcend traditional definitions and grasp the real-time, authentic dynamics that characterize this area. A park embodies multiple possibilities throughout a single day—used one way in the morning and quite differently at night. Labeling it as a 'park' or 'garden' is merely our way of interpreting it, but we've come to recognize that this is just our perspective. The animals, the homeless person who finds shelter here at night, or the child playing during the day, each interact with the space in unique ways, reflecting the true diversity of the community. Each use of the space adds a layer to its story: this understanding allows us to truly appreciate and enrich its contribution to the community," explains Guillem.The team behind the garden hopes their efforts will encourage other cities to rethink their approach to urban green spaces. Maziar expands on this vision: "Within the realm of urban architecture, we are often lumped together with the concept of ‘a park’, yet there are countless underutilized spaces that could serve the community—if only there was more support from municipal systems. Our focus isn't just on enhancing biodiversity and fostering community ties: we aim to transform an overlooked plot into a recognized and cherished local garden. By adopting such innovative practices, we shed light on pressing urban issues, bringing what was once invisible into the forefront of public awareness." Kate highlights the significance of each interaction within the garden, noting, "Every interaction, no matter how minor, is crucial to recognizing and valuing this space. These moments of engagement are just as important as the broader ecological changes we are striving to achieve."Curious about Shared Grounds? <a href="https://dev.content.iabr.nl/media/pages/nature-of-hope/botanical-monuments/babc90725f-1719488888/a3_map_def_en.pdf" target="_blank">Click here</a> for their spot on the Botanical Monuments route. Opening hours, activities, and more information can be found <a href="https://iabr.nl/en/nature-of-hope/botanical-monuments" target="_blank">here</a>.

Shared Grounds

Nature of Hope approaches architecture as an ecological practice. People are not separate from nature, but an integral part of it. But the binary thinking in which nature is everything that is not human or made by people has a long and dominant history. To introduce the exhibition, IABR therefore asked researchers, philosophers, historians and writers to reflect on how we look at nature. Every week we share one of the contributions, which can also be seen in the exhibition.William Myers reflects on what might be the first organizational chart.  This diagram is a multilayered proposal envisioning how organizational roles, responsibility, and connectivity could be organized in a mobility network. The context is the railroad system in the New York, New Jersey, and Pennsylvania region in development in 1855, a heyday of expansion and modernization in the USA. The proposal is dense with information, including job hierarchy and function, reporting structure, and the location of offices, eateries, as well as machine shops.   The striking, branching form of the diagram echoes that of trees, with details that resemble budding growths along the lines connecting nodes. The overall appearance may reference the pussy willow, or Salix caprea tree found in regions of the network as well as in Scotland, where McCallum was born.   The diagram is a product of a unique context: a map of power relationships, a chain of command described in almost militaristic tone, with directors as a ‘fountain of power’ and emphasizing the roles of President and General Superintendent. At this time in the USA, significant pioneering, conquering acts had moved further west, but the essential desire to organize and control both the landscape and people is expressed here potently. Yet, for its ambition and grandeur, one of the diagram’s unique qualities is its visualization, albeit the first, of what we may regard as mundane today: the importance of middle management. New York and Erie Railroad diagram representing a plan of organization: exhibiting the division of academic duties and showing the number and class of employés engaged in each department: from the returns of September 1855

William Myers - Plan of Organization, New York and Erie Railroad

ARCH+ The Business of Architecture published a <a href="https://dev.content.iabr.nl/media/pages/nature-of-hope/exhibition/1319525256-1726736551/archbusiness_rotterdam_biennale_es-1.pdf">PDF about Nature of Hope</a>, providing insights into how architecture can address contemporary crises and reshape our relationship with the environment, materials, and communities. Saskia van Stein, Janna Bystrykh, Hani Salih, Noortje Weenink, Catherine Koekoek and Alina Paias all wrote a short piece for this publication. You can find all English publications of ARCH+ <a href="https://archplus.net/de/shop/english-publications/" target="_blank">here</a>.Originally published in ARCH+ The Business of Architecture (September 2024)Liaison-Building as a Cultural Strategy by Saskia van Stein:This section explores the role of architecture and urban planning in addressing socio-ecological crises. It emphasizes how the discipline must confront its complicity in material extraction, labor exploitation, and CO2 emissions. The piece also introduces the central theme of the 2024 IABR, Nature of Hope, as a space for critical reflection and action to create sustainable, regenerative futures.Learning from Land-Based Practices by Janna Bystrykh:Janna discusses the concept of regenerative practices, originally from organic farming, and its application to architecture. By integrating biodiversity, soil health, and community-building, she advocates for a shift toward ecological design that focuses on restoring ecosystems and enhancing human well-being.Infrastructure and Systems by Hani Salih:This section delves into how infrastructure and design influence and are influenced by political and economic systems. It highlights the need for architects to rethink the layers of infrastructure, consumption, and value systems that shape the built environment and suggests new ways of connecting systems and fostering resilience.Resistance as (Architectural) Practice by Noortje Weenink:Noortje explores how architecture can be a tool for activism and resistance. She presents examples such as Extinction Rebellion’s The Beacon, which illustrates how architecture can empower social movements and challenge systemic structures through physical and symbolic actions.Collective Work and Knowledge by Alina Paias:Alina discusses the importance of alliances over collaborations in architectural practice. She highlights examples of collective work and skill exchanges, focusing on how non-commercial, community-based efforts can redefine the way architects engage with space and materials, often learning from traditional communities and marginalized voices.Practice Place: Conditions for Hope by Catherine Koekoek:Catherine emphasizes the need for architecture to adopt ecological approaches by transforming both its processes and materials. She argues that creating conditions for regenerative practices requires collective exploration, activism, and collaboration, aiming to reimagine the future of the discipline through the assembly of diverse perspectives.<a href="https://dev.content.iabr.nl/media/pages/nature-of-hope/exhibition/1319525256-1726736551/archbusiness_rotterdam_biennale_es-1.pdf">Check the PDF</a>

ARCH+ The Business of Architecture - "Nature of Hope"

Nature of Hope approaches architecture as an ecological practice. People are not separate from nature, but an integral part of it. But the binary thinking in which nature is everything that is not human or made by people has a long and dominant history. To introduce the exhibition, IABR therefore asked researchers, philosophers, historians and writers to reflect on how we look at nature. Every week we share one of the contributions, which can also be seen in the exhibition.Alex Putzer reflects on the rights of nature. The rights of nature describe a concept that recognizes the value of nature independent of human interests. Originating in the seminal article ‘Should Trees Have Standing’ by Christopher Stone (1972), it breathes life into a relational understanding between humans and their environment. It is an understanding that has always co-existed in both Western and non-Western worlds. It is one, however, that was all too frequently ignored.  Amid multiple environmental crises, concepts like the human right to a healthy environment are fostering new hope. The rights of nature go one step further and protect nature for its own sake. Decisions are negotiated between human and non-human nature. This radical idea puts the rights of nature in line with revolutions of the past. Following Copernicus and Galileo, the Sun replaced the Earth as the centre of the solar system. After Darwin and Wallace, the human became only one of many life forms. The rights of nature combine such re-centring and de-centring to better reflect an entangled reality within ethics and law.  With the rights of nature, to quote Article 71 of the Constitution of Ecuador (2008), nature begins to have ‘the right to integral respect for its existence.’ Growing both in theory and practice, between 2006 and 2024, 495 initiatives in 40 countries and territories across the globe paint the image of a diverse movement. Its multifaceted cultural expressions and legal implementations present a challenge for tracing it. The Eco Jurisprudence Monitor took up this challenge and has been documenting global initiatives since 2022. The website acts as a continuously updated interactive platform operating on the principles of open access and collaboration. The presented map is based on its data. Both map and Monitor aim at building an alliance between citizens, activists, policymakers, researchers, and, ultimately, all of nature.

Alex Putzer - The Rights of Nature: Mapping a Global Movement 2024

Who builds towards a green future on a daily basis? To show how big ideas and visions find their way into reality, "Botanical Monuments" is part of this edition of the biennial: a collection of Rotterdams community initiatives around urban nature. They represent the ambition of the IABR to change the relationship between architecture and nature. But how does this ambition come to life in and around the city, who are the people behind big visions and what can we learn from them? Sabine and Jocelyn create the series "Hope Sowers" and engage with those taking steps towards an architecture that, in collaboration with nature, builds for future generations.One of the Botanical Monuments is Hefpark: twelve years ago, a derelict site, now a green patch of land filled with blooming poppies, strawberry plants, buzzing bees, and roaming chickens. The park, located next to the Hefbrug, is a unique green space, born from the initiatives of Rotterdam citizens and practical decisions by the municipality. It consists of a series of interconnected vegetable gardens, flowering meadows that attract insects and birds, winding paths, and a small garden house where visitors can enjoy a coffee.Volunteer Caspar shares, "From Rotterdam South station to the Hofbogen, there was a long, undeveloped strip of city above the train tunnels. Since it's above a train tunnel, building wasn't possible. It was an eyesore at that time. When construction plans were put on hold due to the financial crisis, local residents and the city together gave the land a temporary new purpose with vegetable gardens as a result. Together with other neighborhood residents, we wanted to make something beautiful out of it — as a thank you, I received my own garden, which I have now maintained for twelve years." Twenty people from diverse cultures, ages, and backgrounds collectively manage Hefpark. They regularly gather here to maintain their gardens and meet each other.There is now a long waiting list for a garden plot in Hefpark, and for good reason: it's a special green space in a densely built-up area of Rotterdam. We walk past Caspar's lush garden. Everything seems to blossom. "My garden is a wild mess, but it's the diversity and colors that matter to me," says Caspar. "I don’t adhere to a strict plan or philosophy for my garden—no complicated trendy gardening methods here, just letting it grow as it comes. Every day, I see which plant has decided to grow. The plants themselves determine what they want from me as their caretaker and what my garden looks like," Caspar explains about his gardening strategy.Caspar’s garden illustrates the organic character of the community surrounding Hefpark. "When we talk about connecting people, that’s what I attribute to nature," says Caspar. "But there’s no one here dictating how that should happen or how people should manage their garden. Some come daily, others once every six months. Some people engage in complex permaculture while others might only grow simple onions. You also have people more involved in organizing activities than gardening itself at this location. Think about birthday parties, live music, plant-based food kitchens, painting workshops, and yoga. It's quite diverse," Caspar adds.  "We also have local youth and homeless people using the park at night. This also adds character as that is also how the city lives."The rusty bridge in the background not only offers a unique cityscape. Across the Maas, another part of the park is managed by the municipality. This contrast between municipal management and resident management shows two extremes of how nature and urbanization can meet. However, this difference also brings challenges for Hefpark. "We do everything ourselves here. The park doesn’t have an address, so we can’t dispose of the waste, and it becomes a magnet for litter. The trash cans regularly overflow, and a lot of garbage ends up in the gardens," Caspar explains. Despite these issues, he sees a lot of potential: "I would love it when Hefpark becomes a sort of urban biotope with walls so no one can throw trash”, tells Caspar.  Ironically enough, the chickens on the site don’t need any walls. They naturally stay within the small piece of land, despite the busy road around it.Curious about Hefpark? <a href="https://dev.content.iabr.nl/media/pages/nature-of-hope/botanical-monuments/babc90725f-1719488888/a3_map_def_en.pdf" target="_blank">Click here</a> for their spot on the Botanical Monuments route. Opening hours, activities, and more information can be found <a href="https://iabr.nl/en/nature-of-hope/botanical-monuments" target="_blank">here</a>.

Hefpark

The IABR 2024: Nature of Hope education symposium, <a href="https://iabr.nl/en/nature-of-hope/updates/educatiesymposium-nature-of-knowledge">Nature of Knowledge</a> on Friday September 20th, will explore innovative approaches in architecture and spatial design education that address the ecological crises and their impact on design practices. One of the keynote speakers of the day, <a href="https://profiles.uts.edu.au/Daniel.Barber" target="_blank">Daniel Barber</a>, Chair of Architecture History and Theory at TU Eindhoven, is a renowned historian and theorist specializing in the environmental dimensions of architecture across time. He was until recently the Head of School Architecture at the University of Technology Sydney. His work delves into how architectural pedagogy and practice are evolving in response to the challenges of climate instability. We had the opportunity to discuss his vision on education, architecture, and more—a preview of the insights he will share at the upcoming symposium in a few weeks. Knowledge For A Post-Growth World Barber, along with four international speakers, will open the symposium with Block 1: Knowledge for a Post-Growth World. This session will address the urgent need for the design and construction industries—responsible for a third of landfill waste and 40% of carbon emissions—to move beyond outdated models of production and extraction. In the face of ecological and social crises, the symposium will explore new frameworks that challenge traditional views of nature, advocating for regenerative and equitable practices suited to a finite planet.At the symposium, Barber will discuss two key areas: how to teach architects about decarbonisation as a cultural project, and how design can be a part of the just energy transition. His 2019 essay, <a href="https://www.e-flux.com/architecture/after-comfort/">After Comfort</a>, has sparked a global conversation on the role of design in changing habits and patterns within the built environment. Barber contends that both design practices and social behaviors must evolve to achieve meaningful reductions in carbon emissions. “We need to learn how to live in spaces without fossil fuels. It doesn’t have to be uncomfortable”, as Barber put it. “In teaching architecture, the question of how the field can position itself relative to these challenges is crucial, with a focus on advocacy and civic engagement. In their design interventions,” Barber explains, “architects are increasingly operating as agents of decarbonization, concerned about building as a carbon medium, a carbon accounting.” As a historian, he examines narratives driven by technological change and also by customary strategies of building. “We need to be wary of both techno-solutions and nostalgic appeals to natural processes. He encourages his students in design and history to focus on  decarbonization. We need to critically engage with the fact that the history of architecture has largely been a history of carbon production. Most of the sustainable rationales have led to more building, more energy. How do we consider sufficiency measures and other means of reducing absolute demand as part of what the architect does?”The education symposium As the IABR 2024 symposium approaches, we are reminded of the power of education and innovation in transforming our living environments. During The Nature Of Knowledge on Friday September 20th, Daniel will be accompanied by many other inspiring speakers exploring these transformative ideas and be part of a movement that is redefining the very foundation of urban design. He is also participating with 'Climate Portrait: Nieuwe Instituut', a film exploring the climate control system and the comfort habits of the host institution. Find more info, the full program and tickets for the symposium <a href="https://iabr.nl/en/nature-of-hope/updates/educatiesymposium-nature-of-knowledge">here</a>.

Daniel Barber: architects as agents of decarbonization

Who builds towards a green future on a daily basis? To show how big ideas and visions find their way into reality, "Botanical Monuments" is part of this edition of the biennial: a collection of Rotterdams community initiatives around urban nature. They represent the ambition of the IABR to change the relationship between architecture and nature. But how does this ambition come to life in and around the city, who are the people behind big visions and what can we learn from them? Sabine and Jocelyn create the series "Hope Sowers" and engage with those taking steps towards an architecture that, in collaboration with nature, builds for future generations.Yes, you read that right: hidden within Rotterdam lies a swamp, known as the Arie Berkelaar Path, or as the locals call it, Charlois Swamp. On the winding, 120-meter-long path, we meet musician John Hill, the initiator who has taken it upon himself to maintain this park. Originally from Ireland, John has a deep connection with nature and has channeled his passion to rejuvenate the swamp. “The path was established in 2014 but had fallen into disrepair. It was rediscovered by flute-playing locals from Charlois Swamp, including myself, who began using the place for their music due to its beautiful acoustics. This inspired us to make it more accessible and gradually breathe new life into it,” John explains.The first question, of course, is how do you manage a swamp? "It was initially a challenge due to a lack of experience," John shares. "Fortunately, the Land Swamp Fund provided a lot of valuable information and now about fifteen volunteers from the neighborhood come weekly to pick up trash and prune." He continues, "It's remarkable what our work has done for the area's biodiversity. With laying tiles, cleaning, and protecting nesting geese - last year we had one, this year already thirteen - the swamp has been transformed. Moreover, forty percent of the swamp is now water, and fifty frogs have settled in."Walking on the path feels like stepping out of the city. This was also the vision of Arie Berkelaar, who originally laid the path, to create a paradise for both humans and animals. John Hill adds, "Arie's vision was always to create a place where humans and nature could coexist harmoniously. I try to keep that dream alive by making the area accessible and sociable." Originally there was a straight path, but due to nuisance from fast-food delivery riders on electric bikes speeding through, the area was not relaxing. "That's why the path has now been modified with more curves, creating a calmer and more inviting atmosphere," explains Hill. Now, in the summer, families come to picnic, locals make music, and in the winter, you can skate or paddle.The maintenance of the path is currently the main unifying factor for the people who come here. Daily maintenance includes combating litter, pruning, and preventing overgrowth to keep the path walkable. "How did we bring our community together? It actually happened quite organically," John shares. "The swamp now attracts people who want to contribute from their own experience and interest, spontaneously forming a community. We are also starting with social media soon to share this example more broadly and to show how citizens themselves can manage a piece of land, something that is often unknown. We always cycle past green spaces but don't realize that if you really want to, you can actually build a relationship with it.”From a roadside to a swamp accessible to city dwellers: this initiative shows how urban green spaces, regardless of scale or form, can be utilized in new and creative ways. "In Ireland, there is a strong relationship with nature, but there is less opportunity to take action in conservation yourself. People often don't realize that they can manage a piece of land in a city if they want to. With Charlois Swamp, we want to show that it's possible and how to do it," says Hill. "It's wonderful to see how this area has become a meeting place for people of all ages, but especially how nature management and community come together." Curious about Charlois Swamp? <a href="https://dev.content.iabr.nl/media/pages/nature-of-hope/botanical-monuments/babc90725f-1719488888/a3_map_def_en.pdf" target="_blank">Click here</a> for their spot on the Botanical Monuments route. Opening hours, activities, and more information can be found <a href="https://iabr.nl/en/nature-of-hope/botanical-monuments" target="_blank">here</a>.

Charlois Swamp

On 14 July, feminist architect and researcher Karin Reisinger joined us from Vienna for a tour of the exhibition and a conversation following the screening of Jumana Manna’s film <a href="https://www.jumanamanna.com/Foragers" target="_blank">Foragers</a>. Alina Paias and Catherine Koekoek had been working with Karin for the last months on her contribution to the exhibition: the Listening Station on practices of hope amid extractive violence. This was also the first time that Karin saw the installation, and it was touching to hear her talk about her history of working in this northernmost part of Sweden – closing off with her reading of Lis-Mari Gurák Hjortfors’ poem In the Spirit.   The Listening Station documents the work of Pernilla Fagerlönn, Lis Mari Gurák Hjortfors, Miriam Vikman, and Karina Jarrett in Malmberget, a town that is about to disappear in the face of a series of mining operations including an iron ore mine. Karin told us how the last people will move out this August. These four women, whose stories you can listen to in the exhibition, use embroidery, walking, organizing, and poetry to reclaim their surroundings as a place full of life, Sami culture, and history, and not just exploitation. How to practice hope when it feels like no future is possible? Although most contexts are not as extreme as Malmberget, this is a question that all of us face in different ways. Foragers documents the impact of Israeli nature protection laws on foraging customs in Palestine, showing how oppressive legislation and economic constraints cut off Palestinians from their connection with the land (already before the genocide in Gaza that has now been ongoing for almost ten months). But it also shows the often-humorous resistance practices of Palestinian foraging, using a mix of fiction and documentary work.  Alongside Karin, we invited Golnar Abbasi to join us, and the audience, for a reflective Sunday afternoon conversation. Golnar is an artist/architect, researcher, publisher, and educator based in Rotterdam, and she was also one of the teachers of Catherine Koekoek when she studied in Delft. What tactics and tools can we use as designers to practice hope amid violence? Golnar described how the harmful consequences of our actions as architects – like how our use of steel impacts the community of Malmberget – are often obscured. Documenting these consequences, these histories of eviction, is a crucial step for designers before another future can be possible. And perhaps, Karin reflected finally, it’s good that we don’t have ready-at-hand tools to use in contexts like these: it invites us to invent the ones we need, as Audre Lorde already explained that the master’s tools will never dismantle the master’s house.   The first Hope Conversation took place on 14 July. The recording of the event can be watched <a href="https://youtu.be/R9mf5RMsVfc" target="_blank">here</a>.

Designing hope in violent circumstances

Nature of Hope approaches architecture as an ecological practice. People are not separate from nature, but an integral part of it. But the binary thinking in which nature is everything that is not human or made by people has a long and dominant history. To introduce the exhibition, IABR therefore asked researchers, philosophers, historians and writers to reflect on how we look at nature. Every week we share one of the contributions, which can also be seen in the exhibition.Rosi Braidotti describes what space debris tells us about the times we live in.Posthuman times are tough. Most people agree by now that we have a problem on Earth with environmental waste, pollution, and degradation. And guess what? We have exported this problem to outer space, to our orbit, as well as to our nearest and dearest satellite: the Moon.   Recent studies show that humans started affecting the lunar surface back in 1959, when the first human-made object was launched. Humanity’s influence intensified after the first Moon landing in 1969. Ultimately, 12 NASA astronauts walked on the surface of the Moon between 1969 and 1972. Sustained human involvement – including the more than 100 spacecraft that have been launched to our natural satellite over the past 60+ years – has left its mark. Spacecraft sometimes crash land, bringing not only humans but all kinds of equipment, like rovers, to the Moon. It is estimated that 227,000 kilograms of trash currently litter the lunar surface, including buggies, excrement, statues, golf balls, human ashes, family photos, and flags.  Humans have not even fully explored the Moon or other celestial bodies yet, let alone lived there – the first human settlement is planned for 2026 – and they have already polluted them. 12,897 satellites and flying objects are currently in orbit around the Earth. This situation underscores the scale of the phenomenon known as the ‘Lunar Anthropocene.’ It shows that when humans interfere in places where they were not invited, things start to change, and not for the better. The damage has already been done, perhaps even irreversibly.   While others dream of space exploration, I prefer to stay grounded and to take care: not only of the planet we inhabit, but also of the satellite that illuminates our dark nights. The ESA (European Space Agency) designed and manufactured the Hubble’s solar panels. They were replaced twice by Space Shuttle astronauts on servicing missions, with used panels being brought back to ESTEC for inspection. On them, scientists observed first-hand the effect of strikes by meteoroids and space debris, and corrosion caused by oxygen molecules from the Earth’s atmosphere.

Rosi Braidotti - Solar panel from the Hubble Space

Who builds towards a green future on a daily basis? To show how big ideas and visions find their way into reality, "Botanical Monuments" is part of this edition of the biennial: a collection of Rotterdams community initiatives around urban nature. They represent the ambition of the IABR to change the relationship between architecture and nature. But how does this ambition come to life in and around the city, who are the people behind big visions and what can we learn from them? Sabine and Jocelyn create the series "Hope Sowers" and engage with those taking steps towards an architecture that, in collaboration with nature, builds for future generations.We spoke with Koen and Anne Karin about their work and vision for Stadspark West. "The area is a water-rich zone of over 450 hectares in the middle of the city and boasts a range of green, built, and intangible heritage that is characteristic of the city's edge development," Koen explains. "Here, you’ll find allotment gardens, municipal parks, marinas, a hotel, the zoo, a riding school, a campground, challenging natural playgrounds, dog parks, stops for nature experiences, various sports clubs, spaces for urban sports, fitness trails, walking and cycling paths. It has it all. The quality, scale, diversity, and interweaving of this park are unique to Rotterdam." Stadspark West is not only a physical area but also a concept for the city. A park culture, as seen in other major European cities, is not really known in Rotterdam. Yet, Stadspark West, seemed to be the ideal ground for this. "Stadspark West is a complex, multifaceted and rich area, as so much is already happening," Koen says. "Our goal from the start has been to work with the diversity of how this park is used. We have many associations, facilities, and clubs in this area. All communities manage a part of the park themselves, and that is unique. We bring this together under one name, Stadspark West, a park that combines various functions and unites communities under one name, without losing the uniqueness of each place." The driving force behind this initiative is a group of active neighborhood residents with professions such as architects, urban planners, scenographers, graphic designers, and artists, which both are part of. "We are researchers, connectors, and initiators. From our field and our knowledge of the area, we are committed to putting it on the map. Koen draws maps, while I do more connecting work by organizing small-scale activities and bringing communities together. We organize everything for different audiences, from canoe trips, night walks, field trips to expert meetings," says Anne Karin. The strength of their approach is collaboration. "The approach is grassroots: we have received funds from the municipality and the state, but the real support of the park is the involvement of the team," Anne Karin continues. From walking, cycling, sports, and recreation to gardening, dancing at festivals and swimming, the park offers something for every Rotterdammer. The designers are proud of what they have achieved. Koen emphasizes the importance of a new attitude as a designer, where it is more about programming than actually designing physical structures. "We work with what is already there, and that is a significant break from traditional participation trajectories. Our energy aligns with the energy of the users of the place. It has to come from the area itself, and that really happens. People approach us, from local residents to students who have been with us before, and we make sure people can find us by making ourselves visible. Sometimes we plant seeds, sometimes we harvest." Curious about Stadspark West? <a href="https://dev.content.iabr.nl/media/pages/nature-of-hope/botanical-monuments/babc90725f-1719488888/a3_map_def_en.pdf" target="_blank">Click here</a> for their spot on the Botanical Monuments route. Opening hours, activities, and more information can be found <a href="https://iabr.nl/en/nature-of-hope/botanical-monuments" target="_blank">here</a>.

Stadspark West

Exploring Urban Environments from a Bird’s Perspective, Nature-Inclusive Design, and the Excursion by Vogelbescherming, Bureau Stadsnatuur and IABR.In the quest for a sustainable future, integrating nature into our urban environments has become a crucial focus for architects, urban planners, and environmental organizations. The upcoming <a href="https://iabr.nl/en/nature-of-hope/public-program#vogelbescherming-x-iabr-het-belang-van-natuurinclusief-ontwerpen">knowledge session</a> and digital excursion on September 18, co-organized by <a href="https://www.vogelbescherming.nl/" target="_blank">Vogelbescherming Nederland</a>, <a href="https://www.bureaustadsnatuur.nl/" target="_blank">Bureau Stadsnatuur</a>, and IABR, aims to explore how we can design cities that support both human life and the natural world. We spoke with expert Merel Roks from Vogelbescherming Nederland, who shared her perspective on the importance of nature-inclusive design and the upcoming excursion.The importance of urban biodiversityUrban areas are often seen as concrete jungles, with little space for nature. However, what many people don’t know or expect is that cities actually have enormous potential to become vibrant ecosystems that support a wide range of plant and animal species, including birds. There’s a common misconception that birds and other animals only belong in natural areas, but this is far from true. Despite the abundance of concrete, certain species thrive in cities. If you pay close attention, you’ll notice just how many different bird species are flying around. As Merel Roks explains, "Birds are an indicator of how well our environment is doing. They are always looking for a place to build a nest, find shelter from predators, and locate food. If you see birds in your city, it means they have found a good environment. But if they suddenly disappear, it indicates that the habitat is no longer suitable."How birds live in urban environmentsDuring the excursion, participants will be introduced to the habitats of various bird species, not just in visions for the future, but also in the ways birds already inhabit urban spaces. Birds see skyscrapers as cliffs, parks as open fields, and city streets as places to hunt for prey. They don’t see boundaries or structures as we do—they simply translate these into their survival-oriented view of the environment. In Rotterdam, for instance, high buildings have become habitats for species that naturally prefer high vantage points. "The peregrine falcon, for example, enjoys living on tall buildings in Rotterdam, just as they would on cliffs in nature," Roks explains.Roks emphasizes that by understanding how birds perceive the city, we can better incorporate their needs into urban design. "Each species has specific needs, and it’s fascinating to show architecture professionals how birds experience the city and its buildings because they can easily integrate this into their work. If we consider how a bird experiences the city, we can incorporate that into our architectural designs from the drawing board, ensuring that necessary shelter and food are available," she says. This approach can lead to more sustainable urban environments that benefit both humans and animals.Shaping the futureThe idea of designing for birds is not just theoretical or visionary. Nature-inclusive projects are being successfully implemented in cities around the world, offering a blueprint for how we can build more resilient and ecologically balanced urban environments. This is the goal of the excursion organized by Vogelbescherming, Bureau Stadsnatuur, and IABR: to inspire future designers and planners to use nature-inclusive building techniques—designs that are in harmony with the environment for both humans and animals.André van Stadsnatuur echoes this sentiment: "Sometimes, hostile design is unintentionally created. Large reflective glass complexes and light pollution, for example, are very disorienting for birds, especially at night. Cities are primarily designed for humans, not for birds. How can we ease the conflict between humans and animals so that we can live in greater harmony? That is the question for the future."Roks sees great potential in nature-inclusive design methods: "There are many opportunities to creatively combine biodiversity and ecology with the design and layout of our environment, not just for humans but also for birds, better preparing cities for the challenges of climate change. We’ve previously collaborated with IABR on <a href="https://bouwnatuurinclusief.nl/award" target="_blank">the award for Nature-Inclusive Building &amp; Design.</a>"The excursionCurious to learn more? We invite you to join the excursion on September 18 during the Knowledge Session and digital excursion organized by Vogelbescherming Nederland, Bureau Stadsnatuur, and IABR. The excursion offers a unique experience that combines learning with exploration: with experts from various disciplines, from (landscape) architects to ecologists, we will explore ways to promote biodiversity in the built environment, encourage biobased construction, and improve bird habitats in our cities. The excursion will be conducted in Dutch. Check the <a href="https://iabr.nl/en/nature-of-hope/public-program">IABR program</a> for more information on tickets and other events this month.Participants can also use <a href="https://mijnvogelroutes.vogelbescherming.nl/" target="_blank">an app</a> that guides them on a walking or cycling route, with each stop along the way offering a story about the relationship between architecture and birds. The app’s content is saved so you can revisit the information at any time.

The Skyscraper as a Cliff

Nature of Hope approaches architecture as an ecological practice. People are not separate from nature, but an integral part of it. But the binary thinking in which nature is everything that is not human or made by people has a long and dominant history. To introduce the exhibition, IABR therefore asked researchers, philosophers, historians and writers to reflect on how we look at nature. Every week we share one of the contributions, which can also be seen in the exhibition.Marinke Steenhuis takes us to the cause of dualistic thinking in the Dutch cultural landscape.For centuries, the sandy soils of northwestern Europe were subject to a clear order of land use. The manure used on the ashes was produced by the sheep on the collective agricultural heath. The united organization of farmers was called the marke; its members helped each other bring in the harvest and performed neighborly duties in the case of births, illness, death, and natural disasters. The agricultural system was restrictive; water and soil were guiding, every part of the cultural landscape was used. The concept of nature did not exist. From 1850, this balance changed completely. The poor sandy soils had to be made more profitable and be distributed, an idea that finally found a legal basis in the Marke Laws of 1886. Farmers organized the distribution in the marke itself. Wealthy families and newly founded nature organizations from the cities bought large parts of the heaths to plant forests and establish estates that enjoyed tax advantages under the 1928 Natuurschoonwet (Natural Beauty Act). The Veluwe, the Sallandse Heuvelrug, the Oisterwijkse forests and fens, or the Goois Nature Reserve: they are all former collective properties of farmers. In the public perception of around 1900, these areas went from desolate to valuable; the socially acceptable paintings of the Hague School reinforced this image. The policy category of a ‘nature’ that had to be preserved, was born. For a century and a half, the imperative of physical and political growth has applied to both agricultural and conservation policy. In farming communities, the sense of loss of control over the integral agricultural cultural landscape is still strong. Farmers feel alienated from their own, once collective land and work ‘around nature reserves.’ Nature organizations, on the other hand, think in terms of natural areas and are concerned about the loss of biodiversity. This is the historical explanation for the harmful polarization between agriculture and nature.  In the area-specific approach developed by SteenhuisMeurs, the system and living worlds are brought together from a variety of (archival) sources and conversations with agricultural and nature parties. Awareness of the essential mechanisms and characteristics of an area changes the relationship between farmers, officials, and nature conservationists. Stagnation and mistrust give way to recognition, pride, and understanding – resulting in a tremendous softening of the process. The area-specific process is the key to a new future – respecting each other’s origins, time horizons, and historical connections.

Marinke Steenhuis - Map of wastelands in the Netherlands

Rotterdam, 29 August 2024 How has Paris transitioned to biobased construction over the past decade? This question is the focus of a special edition of the Carbon Stories series that will take place on 1 October at Het Nieuwe Instituut in the context of Nature of Hope. The IABR cordially invites you to this edition of Carbon Stories organized in collaboration with CHRITH architects and Emma Diehl, and with the generous support of Built by Nature.  Event Details <ul><li>Date: 1 October 2024 </li><li>Time: 7:30 - 9:30 PM (doors open at 7 PM) </li><li>Location: Auditorium, Het Nieuwe Instituut, Rotterdam </li><li>Language: English </li></ul>France is at the forefront of biobased construction, driven by national environmental legislation that promotes low-carbon construction and the use of biobased materials in public projects. Paris, with its goal of becoming carbon neutral by 2050, exemplifies this movement. The city’s building policy emphasizes the use of wood, straw, hemp, raw earth, and natural stone, and enforces an ‘end of demolition policy.’ The French approach provides valuable lessons for the Netherlands and other countries seeking to transition to biobased construction.  Paris Biobased Research Project The Paris Biobased research project, led by architect Christina Eickmeier, co-founder of CHRITH architects, and landscape architect and researcher Emma Diehl, highlights the efforts of the French government, construction industry, and architects to promote the use of low-carbon materials over the past decade. During the event, prominent French architects will discuss the current materials transition in Greater Paris and the role of legislation and incentives in facilitating this shift. Carbon Stories Carbon Stories fosters discussion about the opportunities and challenges of a climate-positive built environment. The evening will provide a platform for the perspectives of designers, financiers, developers, builders, residents, consultants, and material suppliers. Carbon Stories is an initiative of the Architecture Biennale Rotterdam (IABR), in collaboration with GROUP A-CARBONLAB and the KeileCollectief.   This edition of Carbon Stories marks the beginning of a longer collaboration between Built by Nature, CHRITH architects, Emma Diehl, and the IABR, focusing on knowledge sharing, networking, dialogue, and debate. More Information To attend the symposium, please register at <a href="mailto:pers@iabr.nl">pers@iabr.nl</a>. For additional information and/or images, please see the press kit or contact us at <a href="mailto:pers@iabr.nl">pers@iabr.nl</a>.  For more information about Nature of Hope, please click <a href="https://iabr.nl/en/nature-of-hope">here</a>. For more information about this edition of Carbon Stories, please visit <a href="https://iabr.nl/en/nature-of-hope/public-program#carbon-stories">Carbon Stories: Learning from Paris</a>. About Built by Nature <a href="https://builtbn.org/" target="_blank">Built by Nature</a> is a network and grant-making fund dedicated to accelerating the timber building transformation in Europe: radically reducing embodied carbon, safely storing carbon in our buildings for generations, and sequestering carbon by championing forest stewardship and regeneration.  About the IABR The IABR promotes research by design in the fields of architecture, landscape, and urban design. Every two years, the IABR presents a comprehensive cultural public program that celebrates the imaginative strength of architecture to address the humanitarian, spatial, economic, and social consequences of climate change.

'Nature of Hope' Presents 'Carbon Stories – Learning from Paris'

Who builds towards a green future on a daily basis? To show how big ideas and visions find their way into reality, "Botanical Monuments" is part of this edition of the biennial: a collection of Rotterdams community initiatives around urban nature. They represent the ambition of the IABR to change the relationship between architecture and nature. But how does this ambition come to life in and around the city, who are the people behind big visions and what can we learn from them? Sabine and Jocelyn create the series "Hope Sowers" and engage with those taking steps towards an architecture that, in collaboration with nature, builds for future generations.We visited Marian Bentvelzen at the botanical garden, an oasis in the vibrant Afrikaanderwijk, a district known for its diversity, housing 172 nationalities. Marian passionately shares the history and current role of the garden in the neighborhood. "This garden will be 100 years old next year," Marian starts. "Originally, the garden was used for biology lessons. That building still stands and is now used as a mosque. Thirty years ago, part of the garden was developed into a botanical garden, and now it has resumed its educational role. Many students come here for lessons, and there are also many adult volunteers who help maintain the garden. And, of course, it serves a crucial role as a delightful place to relax, right in the middle of the city." It immediately becomes clear why this place is so special: this beautiful, large garden is teeming with various plant species and stories. Marian confirms this: "This garden is actually a living collection of plants that have accidentally arrived in the city through the port and railways, planted by migrants, or blown in by the wind. It's also a beautiful metaphor for the multicultural character of both the Afrikaanderwijk and the city of Rotterdam," she explains. "Plants from other countries in this garden serve as memories or medicinal remedies that people have brought with them. We try to tell everyone’s story through plants that come from all over the world, from Suriname to South Africa." Marian has been involved with the garden for twelve years and has seen it truly grow. Although Marian calls the garden a living museum, nature here is not just to be observed: the garden also functions as a source of affordable greenery for the neighborhood residents. "We propagate seeds, take cuttings, and repot plants, and we intentionally plant them around the area to increase diversity. People also come here to pick up plants and sometimes even to grow their own vegetables," Marian shares. "Our team of volunteers also ensures that they are placed throughout the neighborhood, spreading nature more widely across the city." While sitting on a bench, Marian can count more than 100 species – from trees to butterflies. Because the garden is so diverse, it's a fantastic place for nature education: Marian believes these lessons are essential for the younger generation. "If you want to care for something, it starts by creating love for it. We are passing this planet on to children, but we notice that young residents from this district often have a negative association with nature: it's dirty, boring, sometimes ‘scary’ people live in it, and criminal activities occur. There is also a lack of knowledge: some children often don't even know how things grow or where supermarket products come from. We familiarize them with the species they use, eat, and see daily." The challenge lies in balancing the maintenance of the garden and maintaining contact with the neighborhood, as both require a lot of work. "Just as plant species work together in the garden, our strategy has always been to form partnerships with other organizations, such as the Natural History Museum, Arboretum Trompenburg, Diergaarde Blijdorp, Stadskwekerij de Kas, Rotterdam Mint, Foundation Natuurstad, and Foundation Stone Soup. We also have a strong connection with the neighborhood residents," says Marian. That's why she is pleased that the garden is part of the Botanical Monuments route - another great partnership through which the garden's mission and story are told. Curious about this Botanical Monument? <a href="https://dev.content.iabr.nl/media/pages/nature-of-hope/botanical-monuments/babc90725f-1719488888/a3_map_def_en.pdf" target="_blank">Click here</a> for their spot on the Botanical Monuments route. Opening hours, activities, and more information can be found <a href="https://iabr.nl/en/nature-of-hope/botanical-monuments" target="_blank">here</a>.

Botanical garden in the Afrikaanderwijk

Hopecast is a series of five hopeful summer podcasts on how architecture can contribute to social change. In each episode, de Architect editor-in-chief Merel Pit and Nature of Hope curator Catherine Koekoek will speak with a guest from the design world about how their work fosters hopeful change and about the challenges and opportunities they encounter along the way. The Hopecast podcast series is a production of de Architect in collaboration with the Architecture Biennale Rotterdam. All of the guests blend a social and societal perspective with a practical emphasis on sustainability and materiality in their work. The talks are inspired by the meetings that take place at the Practice Place during the IABR 2024 exhibition with the goal of building alliances for the transformation of the practice of architecture. #1: – Everything Comes From Somewhere, with Floor Frings <a href="https://open.spotify.com/episode/79TjznfRWIISaPsFhCeQJu" target="_blank">https://open.spotify.com/episode/79TjznfRWIISaPsFhCeQJu</a>‘Everything comes from somewhere’ is a quote by American researcher Kiel Moe, whose diagram of the material use of New York’s Seagram Building opens the exhibition. This phrase also serves as the motto for the architecture firm Werkstatt, winner of the Young Maaskant Prize 2021. Driven by a passion for making, experimenting, and collaborating, Werkstatt integrates social and material sustainability into their designs. For Floor, an ecological approach is multifaceted, increasingly rooted in a long-term connection with the environment and the knowledge it holds. <a href="https://www.dearchitect.nl/295159/floor-frings-als-we-ergens-kalkhennep-voorschrijven-moet-dat-ergens-vandaan-komen" target="_blank">Read more on the Architect (Dutch)</a>#2 – Are We Nature? with Lian Blok <a href="https://open.spotify.com/episode/5eGt6oxY36UtyA8F5ZuMP8" target="_blank">https://open.spotify.com/episode/5eGt6oxY36UtyA8F5ZuMP8</a> Lian Blok advocates the integration of nature into the portfolio of the Central Government Real Estate Agency. As an architect with the Board of Government Advisors, she and her team have developed a scheme that dedicates 20 percent of a project’s land area to nature. This is quite a challenge, given the slow pace of government processes. However, as she explains in the second episode of the five-part Hopecast podcast series, a production of de Architect in association with the IABR, many in the organization share her ambition. <a href="https://www.dearchitect.nl/295338/lian-blok-over-natuur-bij-het-cra-het-is-een-complex-vraagstuk-maar-we-hopen-dat-het-antwoord-simpel-is" target="_blank">Read more on the Architect (Dutch)</a>#3 – The Design Process as a Catalyst, with Pinar Balat <a href="https://open.spotify.com/episode/059ntCF6Lzc3uwpHPJDVNE" target="_blank">https://open.spotify.com/episode/059ntCF6Lzc3uwpHPJDVNE</a>  Pinar Balat combines a commitment to equity with ambitious ecological goals. As an architect and urban designer, she envisions creating a forest in the concrete-heavy, postwar neighborhood of Pendrecht in Rotterdam. Who is the client? She is. Her goal is to enhance the neighborhood’s ecological and social resilience. In the third episode of the Hopecast podcast series by de Architect and the IABR, she discusses the advantages of being her own client, particularly in terms of involving residents in the design process. By not working for a housing association, client, or municipality, she emphasizes that she can truly focus on serving the needs of the people. <a href="https://www.dearchitect.nl/295510/pinar-balat-je-kan-geen-veerkrachtige-gemeenschappen-creeren-op-een-kwetsbare-planeet" target="_blank">Read more on the Architect (Dutch)</a>#4 – How to Not Build a Building, with Tim Vekemans <a href="https://open.spotify.com/episode/2rMuZDwb9A1HDMAhtVb2Ue" target="_blank">https://open.spotify.com/episode/2rMuZDwb9A1HDMAhtVb2Ue</a>  One of the smallest contributions to the Nature of Hope exhibition is The First Stone for Not Building by Flemish design and research practice RE-ST. In the Hopecast podcast series, Merel and Catherine speak with Tim Vekemans, architect and co-founder of RE-ST. After winning a tender to extend a school without actually expanding the building, Vekemans specialized in non-building. He established RE-ST to radically transform the construction industry by making better use of existing resources. According to Vekemans, the Netherlands does not need to build more to address the housing demand. There’s no shortage, there’s a surplus. <a href="https://www.dearchitect.nl/295674/tim-vekemans-pleit-voor-een-ruimtelijk-dieet-er-is-een-overschot-aan-gebouwde-ruimte" target="_blank">Read more on the Architect (Dutch)</a>#5 – Structures and Strategies, with Evelien Pieters <a href="https://open.spotify.com/episode/3j6kvxWazsox04yp13LeVO?go=1&amp;sp_cid=04c884731436a94db4ac5a150e23197b&amp;utm_source=embed_player_p&amp;utm_medium=desktop&amp;nd=1&amp;dlsi=b7b0c50dacb647ad" target="_blank">https://open.spotify.com/episode/3j6kvxWazsox04yp13LeVO</a>Evelien Pieters is the founder of <a href="https://www.paf.community/" target="_blank">PAF</a>, a platform dedicated to architecture and feminism. In the Flemish context, PAF fosters discussions about experiences, explores underlying structures, and gathers insights to promote a more equitable architectural practice. For architecture to be truly regenerative and ecological, a cultural shift is essential: the way we work impacts who is heard and who is not.<a href="https://www.dearchitect.nl/295864/evelien-pieters-doorbreekt-de-norm-met-paf-creeren-wij-een-gelijkwaardige-en-inclusieve-architectuursector" target="_blank">Read more on the Architect (Dutch)</a>

Hopecast

The first two Practice Place sessions took place at the beginning of the summer. The Practice Place is a meeting area in the exhibition space for hosting a series of gatherings aimed at encouraging the design community to collectively focus on the ecological transformation of the discipline. The first session focused on the basics: soil. During the concluding writing exercise, participants expressed a need for more knowledge about soil, possibly through additional training. There was also an emphasis on interdisciplinary and interorganizational collaboration and the exchange of knowledge about the layers we build on. We hope that many more collaborations will emerge from this series of Practice Place sessions. With around 30 participants, including Jannemarie de Jonge, Floor Frings, and Irene Fortuyn, exhibition participants such as Joyce van den Berg, CHRITH, and La-di-da, and contributors from Collective Walden, Debra Solomon, and Lot Locher, we have at least made a good start. Towards Bioregional Building? was the second session, which explored what it would truly take to build in a circular and bioregional manner. During the concluding meeting, one participant wrote: ‘Large storage spaces,’ which made me laugh but also rang true. Sometimes, ‘working with what is available’ can also mean ‘holding onto items for a while without knowing exactly how they will be used in the future.’ Our discussions not only covered such practical considerations, but also emphasized the need for a shift in mindset – for listening more, working slowly, spending time outdoors, walking, and taking the long view. How can we create space for this? In September we’ll be bringing more people together around themes such as nature-inclusive design, resident initiatives, solidarity at work and beyond, and building feminism. Local meetings will also take place in Zutphen, Zeeland (Saeftinghe), and Deventer. On 10 October 2024, we will present the results at Het Nieuwe Instituut in Rotterdam. To browse the full program, please click <a href="https://iabr.nl/nature-of-hope/public-program?program=program-3">here</a>.

Practice Place, a retrospective through the eyes of Catherine Koekoek

Who builds towards a green future on a daily basis? To show how big ideas and visions find their way into reality, "Botanical Monuments" is part of this edition of the biennial: a collection of Rotterdams community initiatives around urban nature. They represent the ambition of the IABR to change the relationship between architecture and nature. But how does this ambition come to life in and around the city, who are the people behind big visions and what can we learn from them? Sabine and Jocelyn create the series "Hope Sowers" and engage with those taking steps towards an architecture that, in collaboration with nature, builds for future generations.One of our stops is Park 1943. Rini Biemans, a former artist and doctor, manages the park, which spans about one and a half hectares of native nature where "there's no such thing as weeds," as he puts it. The park includes a lawn, side gardens, flower beds that you are free to roam through, a baby playground, and is a popular spot for residents of the Tussendijken neighborhood. For Rini, Park 1943 is not just a park, but also a critical manifesto against conventional urban green management, often seen as "ecocide". "We are 25 years behind," complains Rini, "the municipality settled on ideas on how to manage nature in cities from the 50s. The city spends a lot of money on planting non-native greenery, even more to keep it looking perfect, while it is already perfect in itself. It's like marrying a woman and asking her to never change," jokes the doctor. What exactly does Rini do differently here than other parks that are publicly managed? "Well, just let nature take its course. Let it grow organically. We don’t weed, because that is pure destruction of native nature that is so valuable. On fallow lands, fast-growing pioneer plants often appear, which are usually removed by city workers, but by letting nature run free, a richer diversity of species emerges. Here, we celebrate ordinary plants. Practical plants that are good for the green experience but uninteresting to insects, you won't find here." It’s a simple, cost-effective, and effective approach. "In five years, we haven’t bought a single plant, and yet the diversity of species in our garden has grown immensely," Rini proudly shares. Rini jokes a lot and tells many stories, but behind them lies a profound vision. The former doctor advocates for integrating an ecological perspective and sees people, plants, and animals as a unity. "The world also experiences us through thistles and nettles, can you imagine that?" he asks, referring to a deeper connection with the world around us, where we think less from a human-centric and more from an environmental and all-encompassing perspective. "I strive for a worldview where we see ourselves as part of the whole. People do not consider themselves part of nature. That's why plants are treated this way, and that's what I want to change," Biemans explains. We walk along the narrow paths that meander through the verges. Unlike other parks, you are free to wander through the beds and explore here. We wander off, both in the garden and into the many unique perspectives Rini offers us to see nature, the city, and our own role as humans differently. Meanwhile, Rini rigorously pulls plants from the ground. “One of our methods here is to mimic grazing. Randomly clearing spots from the ground. This increases the complexity of the environment, which attracts more light and new plant species.” Rini is not alone in his work, luckily. Volunteers play a crucial role in managing Park 1943. “We have about 30 volunteers from all walks of life, nationalities, and backgrounds - often people with some emotional luggage find safe ground here to work with nature.” Rini's background as an artist is clearly noticeable, especially in his aesthetic vision of how certain parts of the garden should look. He views the outdoor space as a canvas that can be arranged, and enthusiastically explains how he plans to prune the hedges with his team next season. But Rini's plans go beyond the park we are now in: he dreams that his approach to green management will be adopted by other cities. "This park shows how letting go of control and embracing natural processes can lead to a thriving ecosystem, even in an urban setting, if you consider nature as a collaborative partner," he shares with us. Curious about Park 1943? <a href="https://dev.content.iabr.nl/media/pages/nature-of-hope/botanical-monuments/babc90725f-1719488888/a3_map_def_en.pdf" target="_blank">Click here</a> for their spot on the Botanical Monuments route. Opening hours, activities, and more information can be found <a href="https://iabr.nl/en/nature-of-hope/botanical-monuments" target="_blank">here</a>

Park 1943

Nature of Hope approaches architecture as an ecological practice. People are not separate from nature, but an integral part of it. But the binary thinking in which nature is everything that is not human or made by people has a long and dominant history. To introduce the exhibition, IABR therefore asked researchers, philosophers, historians and writers to reflect on how we look at nature. Every week we share one of the contributions, which can also be seen in the exhibition.Daphina Misiedjan describes the relationship between ownership, colonialism and nature.How would you prove that a piece of land is yours? Would you build a fence around it? Would you name it after yourself? During the colonial era, various European empires fought over the lands of the so-called New World. They had decided that even though Peoples lived on these lands, these Peoples could not own these lands as it looked as though they had not done anything to the landscape. It looked too ‘natural,’ and it was not used to its full potential as God had required from humankind according to Genesis. And so the European empires came up with concepts, ideas to help them claim the land. Some said: ‘First come, first serve.’ Which motivated empires to keep ‘discovering’ new lands. Yet others said, whoever cultivated the land could keep it. As a result, they started to cut down trees in the New World at a high speed to show that they had changed the land as God intended and therefore became the owners of the land. We can still see the ramifications today in landscapes that have been forever altered. And the ideas of exclusive ownership and exploitation of nature have become dominant around the world.

Daphina Misiedjan - Slaves Working on a Plantation

Who builds towards a green future on a daily basis? To show how big ideas and visions find their way into reality, "Botanical Monuments" is part of this edition of the biennial: a collection of Rotterdams community initiatives around urban nature. They represent the ambition of the IABR to change the relationship between architecture and nature. But how does this ambition come to life in and around the city, who are the people behind big visions and what can we learn from them? Sabine and Jocelyn create the series "Hope Sowers" and engage with those taking steps towards an architecture that, in collaboration with nature, builds for future generations.  During our journey along the Botanical Monuments route, we explored one of Rotterdam's food forests. A food forest is a garden or semi-open forest that functions as a natural ecosystem producing a wide variety of fruits, nuts, and edible leaves and flowers by harnessing the ecological principles of a natural forest. We speak with Clara and Renée, caretakers of one of the largest food forests in Rotterdam: Voedselbos de Overtuin, located in the botanical garden Trompenburg Tuinen &amp; Arboretum. With a special collection of trees and many exotic plants, this historic estate is rich in stories, species, and methods of green management. Six years ago, the food forest was planted by an enthusiastic group of volunteers. Currently, the forest is managed by volunteers under the leadership of the duo, bound by a shared interest in biodiversity and what it means to be human in the hustle and bustle of the city. “Renée and I started as caretakers and volunteers at Voedselbos de Overtuin. Through the years, we discovered so much beauty about nature that we want to share,” Clara explains. “That's why we thought about how we could activate this place.” They now guide the volunteer group and organize various activities, such as tours, educational lessons for schools, workshops for groups, and harvest dinners. “De Overtuin is a magically green place, as if you're not in the city. It's a young food forest and therefore an experimental and educational place. We also learn a lot from the management and apply that knowledge in our lessons. It's beautiful to see how every visitor is surprised by the contrast with the urban environment,” Renée adds. “Every corner of the garden has a new surprise: a leaf with a spicy wasabi flavor, a berry with a sour drip, or a colorful edible flower.” Clara and Renée want to show how to build a relationship with nature, especially in a dynamic city like Rotterdam. By strengthening this relationship, they hope people will also take better care of their natural surroundings at home. “If we dream big, we'd love to see every green space in the city designed as a place to pick, sow, and harvest. Yet, the green spaces of Rotterdam are managed with functionality, safety, and aesthetics in mind. You can walk through them, and that's it,” Clara explains. “A good example is that fruit trees are not allowed in the city because they cause mess with their fruits. These are precisely the types of trees that could allow Rotterdammers to pick their own food, but the city prefers nature that looks nice and is easy to manage. As a result, people miss the chance to build a relationship with nature. It simply cannot be done.” Trompenburg, with Voedselbos De Overtuin, can offer a counterpoint by creating a place where people can learn about greenery from a different perspective. Therefore, the focus is now more on education than on large-scale production. “Special crops are taken by local restaurants. For example, in spring, a lot of wild garlic grows here, a plant that wild animals such as badgers eat after their hibernation. It's a very tasty plant and is therefore popular among top chefs in the city.” But above all, Voedselbos De Overtuin is an inspiring place where people can learn to build a relationship with plants. “The dream is to show as many people as possible, young and old, how you can look at nature differently and how you can use it in everyday life as a city dweller,” says Renée. Curious about Voedselbos De Overtuin? <a href="https://dev.content.iabr.nl/media/pages/nature-of-hope/botanical-monuments/babc90725f-1719488888/a3_map_def_en.pdf" target="_blank">Click here</a> for their spot on the Botanical Monuments route. Opening hours, activities, and more information can be found <a href="https://iabr.nl/en/nature-of-hope/botanical-monuments" target="_blank">here</a>.

Voedselbos de Overtuin

Who builds towards a green future on a daily basis? To show how big ideas and visions find their way into reality, "Botanical Monuments" is part of this edition of the biennial: a collection of Rotterdams community initiatives around urban nature. They represent the ambition of the IABR to change the relationship between architecture and nature. But how does this ambition come to life in and around the city, who are the people behind big visions and what can we learn from them? Sabine and Jocelyn create the series "Hope Sowers" and engage with those taking steps towards an architecture that, in collaboration with nature, builds for future generations. We cycle through the rural areas surrounding Rotterdam, with our destination set for the enchanting Belevenisboerderij Schieveen. This public farm is the result of a unique collaboration between the city of Rotterdam, Natuurmonumenten, and sheep herder Martin Oosthoek and his wife Petra. Their dream of making rural life in Rotterdam accessible to the public has become a reality: the farm comprises an old cowshed transformed into a public farmyard with a large nature playground, a Natuurmonumenten information point and shop, a wool workshop, and a lunchroom. Belevenisboerderij also accommodates sheep, goats, cows, chickens, barn swallows, herbs, flowers, and trees. We spoke with Catherine from DaF Architects, who was closely involved in the development and design. “The lands of the Schieveen polder surrounding Martin and Petra's farm were once purchased by the city of Rotterdam with the idea to partially build a business park and partially create marsh nature. When we started, the question to our team was: how do we connect with the Rotterdam public and how do we create nature with the farmers in the area rather than against them?” The aim was to balance the use of nature for both urban and agricultural needs. "After a prolonged process involving many stakeholders and a limited budget, we converted the seventies cowshed – with the help of a group of Natuurmonumenten volunteers – into a combination of a sheep barn, café, and farm shop," Catherine explains. Belevenisboerderij is part of the Botanical Monuments collection because it uniquely bridges nature and city and integrates nature in both the design process and its use. “For us as designers, this meant employing circular building principles, such as respecting the existing site, reusing materials, and avoiding tropical hardwood,” says Catherine. “The landscape is approached as a human-inclusive natural system. The strategy focuses on dynamic water management that benefits meadow birds and various plants and insects but also enables nature-inclusive agriculture and local food supply. Also, much is done around this principle to engage the public with cultural-historical values, as Catherine believes that sharing the stories of the landscape is equally important. “Sustainable and inclusive building also means embracing the memories embedded in the landscape. We provide insights into the area's history through artistically designed texts that narrate the stories of the people who have lived here.” Due to this strategy, the farm now has become an essential landmark of Rotterdam’s countryside. Thanks to this place, the sense of connection with soil, water, and life around the city is resonating with more and more Rotterdammers. On weekends, it buzzes with nature lovers, playful children, and bleating sheep. You can go bird watching, take walks, shop locally and biodiverse, visit a beautiful wool studio, explore the farmyard, pet lambs, ride horses, and discover the vegetable garden. Children can play in the mud while parents and grandparents enjoy a cup of coffee on the terrace overlooking the Rotterdam skyline. Curious about Belevenisboerderij? <a href="https://dev.content.iabr.nl/media/pages/nature-of-hope/botanical-monuments/babc90725f-1719488888/a3_map_def_en.pdf" target="_blank">Click here</a> for their spot on the Botanical Monuments route. Opening hours, activities, and more information can be found <a href="https://iabr.nl/en/nature-of-hope/botanical-monuments" target="_blank">here</a>.

De belevenisboerderij Schieveen

The IABR 2024: Nature of Hope is hosting an educational symposium to learn from novel and urgent approaches in the way architecture and affiliated spatial design practices are taught, learned and crucially, unlearned.&nbsp;&nbsp;The ecological crises are changing the spatial and material realities within which design operates, demanding a reorienting of design’s priorities and a rethinking of the tools and methods we use to act in relation and response to these changes. After all, systemic change requires not only transformation of our systems of construction and the materials that we use, but also to our values and our frameworks for thinking and doing. What educational formats and practices acknowledge head on the systemic challenges of climate change, biodiversity loss and widening social inequalities, and that equip us to envision collective futures otherwise?In the context of the IABR 2024: Nature of Hope, the symposium Nature of Knowledge will learn from experimental and hopeful pedagogical projects that critically reappraise the knowledges and skills designers need to think with, make with and alliance with. Together we will celebrate some of the essential and inspiring pedagogical initiatives that seek transformative ways of spatially, materially and equitably shaping our living environments with respect and care for the Earth, its lands and its beings.&nbsp;The symposium consists of an afternoon program and an evening program. Please note that tickets for both parts are sold below or via the <a href="https://iabr.nl/en/nature-of-hope/public-program#educatie-symposium">public program</a>.&nbsp;Afternoon program Nature of Knowledge&nbsp;1.30 - 2.00 p.m. Doors open / registration &nbsp; 2.00 - 2.15 p.m Welcome &amp; Introduction by Saskia van Stein, director IABR&nbsp; 2.15 - 3.45 p.m Block 1 | Knowledge for a Post-Growth World&nbsp; 3.45 - 4.15 p.m. Break / Guided tour exhibition&nbsp; 4.30 - 6.00 p.m. Block 2 | Nature of Knowledge&nbsp;<a href="https://architectuurbiennalerotterdam.stager.co/web/tickets/111439472" target="_blank">Tickets</a>&nbsp;Evening program Nature of Knowledge&nbsp; 7.00 - 7.30 p.m. Doors open / registration&nbsp; 7.30 - 9.00 p.m. Knowing and Doing: Practice in Transition&nbsp;<a href="https://architectuurbiennalerotterdam.stager.co/web/tickets/111439474" target="_blank">Tickets</a>Videorecordings: Part I: <a href="https://youtu.be/0OnTPd97vGY" target="_blank">Videorecording</a> Part II: <a href="https://youtu.be/HjEcjGt5R90" target="_blank">Videorecording</a> Part III: <a href="https://youtu.be/HjFJ5pG-RkE" target="_blank">Videorecording</a>Program description &nbsp; 2.15 - 3.45 p.m. Block 1 | Knowledge for a Post-Growth World&nbsp;&nbsp; The design and construction industries, premised on logics of production and material and&nbsp;social extraction, create an estimated third of the planet’s landfill material and at least 40% of the planet’s carbon dioxide emissions. As ecological and social fabrics unravel, these logics no longer hold. Knowledge for a Post-Growth World will learn from academics and practitioners whose pedagogical work challenges our inherited notions of nature and our attitudes towards the environments in which we dwell, seeking alternative frameworks for thinking and doing that prioritise regenerative and equitable living practices on a finite planet.&nbsp;&nbsp;Moderator: Véronique Patteeuw (lecturer at the École Nationale Supérieure d’Architecture et du Paysage Lille and academic editor of OASE)Lectures by: Daniel Barber (Chair of Architecture History and Theory at TU Eindhoven), Katja Schechtner (Urban Scientist at OECD and MIT), Phoebe Lickwar, (Associate Professor at the University of Texas at Austin)4.30 - 6.00 p.m. Block 2 | Nature of Knowledge&nbsp; We build the worlds we draw and we draw the worlds we imagine. The enduring legacy of Western modernity is to discount certain forms of knowledge (such as situated, tacit and embodied knowledge) while privileging select others, drastically limiting our collective imaginations for the possible. The ongoing ecological and social crises might also be considered crises of the imagination. Nature of Knowledge will hear from architects and organisers who seek to radically and inclusively reorient and diversify how, where, from what, and from whom we learn to know and practice as researchers, designers and makers.&nbsp;&nbsp;Moderator: Sergio M Figueiredo (Assistant Professor Architecture History and Theory, TU Eindhoven)Lectures by: Lara Schrijver (University of Antwerp - professor in Architecture Theory), Sofie Pelsmakers (Tampere University - Professor of Architecture / Founder Arch4Change), Kasia Nawratek (Senior lecturer at Manchester School of Architecture)7.30 - 9.00 p.m. Evening program | Knowing and Doing: Practice in Transition&nbsp; Spatial design practice is fundamentally interdisciplinary and collaborative, operating in the ineffable space between the projective and the pragmatic. Research, critique, speculation and intervention are all in the remit of the designer; the built environment is at once the subject and object of both study and design action. Amid crises of knowledge and imagination, linking and alliancing practitioners and pedagoges operating across the breadth of this spectrum is paramount. Knowing and Doing: Practice in Transition will hear from academics and practitioners whose work cross-fertilises knowledges and processes across academia, professional practice, and land-based expertise.&nbsp; &nbsp;&nbsp;Moderator: Janna Bystrykh (head of the Master’s Programme in Architecture, at the Amsterdam Academy of Architecture and co-curator IABR Nature of Hope)Lectures by: Federico Savini (UvA Associate Professor in Environmental Planning, Institutions and Politics Faculty of Social and Behavioural Sciences), Tatjana Schneider (Head of the Institute for History and Theory of Architecture and the City at the Technical University Braunschweig), Sascha Glasl (co-founder Space&amp;Matter), Emma Diehl (landscape architect and architecture researcher)Language: English&nbsp; Tickets afternoon program: 7,50 euros (coffee, tea and entrance to the exhibition included)&nbsp; Tickets evening program: 5 euros &nbsp;

Education Symposium: 'Nature of Knowledge'

Nature of Hope approaches architecture as an ecological practice. People are not separate from nature, but an integral part of it. But the binary thinking in which nature is everything that is not human or made by people has a long and dominant history. To introduce the exhibition, IABR therefore asked researchers, philosophers, historians and writers to reflect on how we look at nature. Every week we share one of the contributions, which can also be seen in the exhibition.Matthew Gandy explores how a grapevine, a plant that sprang up everywhere on wastelands in post-war Berlin, changed the way Berlin ecologists viewed nature.While working in the library of the Institute of Ecology at Berlin’s Technical University in early 2013, I happened to notice a metal filing cabinet by the window. My curiosity got the better of me and I opened one of the drawers to find neat rows of 35mm slides depicting the plants of Berlin that had been used for teaching purposes. The mounts for each slide had a series of neat handwritten inscriptions, revealing that most of the photographs dated from fieldwork carried out in the 1960s and 1970s. One of the most striking images, taken by botanist Ursula Hennig in 1968, depicts a plant known as sticky goosefoot (Dysphania botrys) growing on a wasteland in the former island city of West Berlin, near to what is now Potsdamerplatz. There is something magical about a color transparency with its saturated colors and hyperreal depth of field. We can imagine walking into the frame to take a closer look. Our eye is drawn to a yellow ruler jutting out of the ground, an artfully placed piece of scientific equipment at the center of the composition. This distinctive and highly fragrant plant, originally from the Mediterranean, had spread rapidly on rubble-strewn sites in the wake of war-time destruction. For Berlin’s ecologists Dysphania botrys had become a signature species for the study of so-called Brachen, or empty sites, that were a focus of intense cultural and scientific interest in the post-war period. In 1971, for instance, a botanical journal even published a special issue devoted to this species alone. Dysphania botrys is a distinctive element in the emergence of ‘cosmopolitan ecologies’ that comprise species from all over the world. For the Berlin-based urban botanists a fascination with unusual biotopes also marked a challenge to the earlier emphasis on ‘native ecologies’ within vegetation science that had spilled over into xenophobic anxieties. Here was a new kind of urban ecology that celebrated the complexity of urban nature, including multiple traces of global history to be discovered on every street corner. In recent years Dysphania botrys has become much scarcer in Berlin: most of the former Brachen or wastelands have been built over. When I tried to find the plant in the summer of 2015, during the filming of my documentary film Natura Urbana: the Brachen of Berlin, I only managed to encounter the species by chance in a car park with the help of botanist Birgit Seitz from Berlin’s Technical University. It is ironic perhaps that while most of the original botanical wonderlands associated with ruderal ecologies have gone, we now encounter the staging of a Brachen aesthetic within a number of prize-winning designs for new parks in the city where ecology, memory, and public space have been combined to produce a visual tableau that preserves these unusual aspects of urban history.

Matthew Gandy - Botanical Study Site

Nature of Hope approaches architecture as an ecological practice. People are not separate from nature, but an integral part of it. But the binary thinking in which nature is everything that is not human or made by people has a long and dominant history. To introduce the exhibition, IABR therefore asked researchers, philosophers, historians and writers to reflect on how we look at nature. Every week we share one of the contributions, which can also be seen in the exhibition.Mihnea Tanasescu argues for the importance of relearning to read our environment.The UN declared this the decade of ecosystem restoration. It looks like we are finding a new path. But are we? What does it mean to restore, for what purpose? Most importantly – how?  As we are reshuffling the natural world, we grasp for technical solutions: burning the right kind of fuel, planting to sequester carbon, designing for resilience. But we are losing sight of the basis of ecological crises: a severed capacity to build meaningful relations with our surroundings. We have lost the ability to pay attention to the ecology around us and to understand its terms.  Perhaps, then, what needs to be restored is the capacity to read our environment, to notice what matters in specific places, who the important non-human actors are. Restore gentler, more attentive, bio-literate humans.  Reminders of previous ecological sensibility exist. Secular olive trees in Puglia, Italy, were crafted through generations of ecological knowledge, caring for and reciprocating the life of a plant that became a cherished family member. Olive time, spanning generations, commanded good relationships with the larger environment, too.  With the modernization of the olive ecosystem, a plantation logic developed, driven by ecological simplification through chemical inputs designed to extract maximum yield with minimum labor. This temporarily increased olive oil production, but also weakened trees and disconnected people from their traditions of care. Progress accelerated time, shrank futures, condemned life to a suspended present of loss.  What does it mean to restore an olive grove that took centuries to build, and a fraction of that time to undo? How can a secular giant be revived in a world without the patience of olive time?  The magnificent trees are disappearing, literally being burnt as disease – the bacterium Xylella fastidiosa – ravages their bodies. Restoration cannot mean remaking them as such. Instead, we must relearn the kinds of relationships that took centuries to develop, and that gave us olive trees, and olive people. Perhaps we can create, through many generations, something new that we have not yet imagined. Perhaps we can restore time.

Mihnea Tanasescu - Olive Trees in the Time of Xylella, János Chialá

Who builds towards a green future on a daily basis? To show how big ideas and visions find their way into reality, "Botanical Monuments" is part of this edition of the biennial: a collection of Rotterdams community initiatives around urban nature. They represent the ambition of the IABR to change the relationship between architecture and nature. But how does this ambition come to life in and around the city, who are the people behind big visions and what can we learn from them? Sabine and Jocelyn create the series "Seed Sowers" and engage with those taking steps towards an architecture that, in collaboration with nature, builds for future generations. One of the Botanical Monuments is the Voedseltuin, located right in front of the IABR office. We were welcomed with homemade beetroot flatbread and coffee in a space filled with enthusiastic volunteers. Erik, the director, tells us more: “The Voedseltuin was established 14 years ago, starting on a filled-in harbor in Rotterdam, where the first Voedselbank (a food bank providing groceries to those in financial need) in the Netherlands was founded. Now, the garden produces food for about 170 people, working from a simple idea: producing one's own food in the backyard, together with the clients and suppliers of the Voedselbank. The abandoned area was once known as a red-light district, and we were designated by the city as the ‘place-makers’.” By 2024, people on welfare benefits had collaborated over 7000 square meters of formerly vacant land to develop a production garden, learning-work garden, city garden, and incubator space, but this success did not come easily. Erik, who has a sharp vision for creating such a place, explains, "To get a grass-root project like this off the ground, more is needed than just a plan and an ideal. It's crucial to understand the value of such a place and communicate this to different target groups." Over the years, Erik has navigated various roles, requiring him to speak different 'languages'. "Each role demands different words. To convey our relevance to an architect or the city, I speak in broader, overarching terms and use maps and other visual aids. A healthcare institution, on the other hand, requires a more day-to-day approach, focusing on programs, schedules, and personal interactions," explains Erik. This transdisciplinary approach to placemaking has borne fruit. The garden has grown into a thriving environment that collaborates with twelve Rotterdam healthcare institutions. It serves simultaneously as a production site, area development project, social workplace, recreational area, ecological hotspot, and experimental incubator for science and art. It is also a vital source of food for many Rotterdammers. Volunteers produce healthy food annually for hundreds of families on limited budgets. Another aspect of 'placemaking,' according to Erik, involves building relationships. The slow and non-forced growth of a community. For Erik, the concept of community encompasses a wide range of social, commercial, and artistic connections to the Voedseltuin that have developed over the years. "Our team, consisting of a small number of garden guides, is the core of the community, as are the 60 to 80 volunteers who maintain the garden. Our collaboration partners, such as the food bank, healthcare institutions, welfare organizations, and of course the municipality, make up the second layer of what I consider our community. We also maintain good relationships with neighboring offices; mostly trendy, innovative architects, artists, designers, and developers who enjoy taking a walk in the garden during their break. They regularly come up with interesting collaboration proposals and initiatives that continually add new functions to the garden, from artworks to scientific and spatial experiments." The way diverse groups of people get involved and contribute to the garden is remarkable and beautifully illustrates the approach Erik describes. He talks about entering different worlds, bringing them together, and creating relevance for all these groups in one place. “Transdisciplinary working is crucial—thinking beyond the boundaries of your own field and taking on multiple roles: an architect who thinks like a social worker, an artist who engages in social work. I hope the field of architecture will develop in this direction, because this is how you can truly make an impact,” says Erik. Curious about the Voedseltuin? <a href="https://dev.content.iabr.nl/media/pages/nature-of-hope/botanical-monuments/babc90725f-1719488888/a3_map_def_en.pdf" target="_blank">Click here</a> for their spot on the Botanical Monuments route. You can find opening hours, activities, and more information <a href="https://iabr.nl/en/nature-of-hope/botanical-monuments">here</a>.

De Voedseltuin

With more than 70 architects, researchers, designers, and writers, the 11th edition of IABR "Nature of Hope" offers a wealth of perspectives and ideas on how architecture and spatial design can contribute to regenerating nature, biodiversity, and restoring ecological balance. But how do we preserve all those amazing, forward driving perspectives? When an exhibition becomes a place of encounter, the question of documentation arises: that is why IABR invited meta office to create an installation that serves as a digital, live archive. We spoke with Edward Zammit, one of the initiators of meta office about the installation, the biennials’ theme, and the processes involved. <a href="https://meta-office.eu/" target="_blank">meta office</a> began as a research-based design collective, focusing on how tangible materials can interface with digital processes, working at the intersection of architecture, multimedia, and technology. The core team, composed of Lauritz Bohne, Lea Scherer, and Edward Zammit, expanded to include collaborators like digital designer Felix Reiterer and architect-carpenter Manfred Scheibelreiter. meta office innovatively merges physical and digital spaces in its projects, collaborating with a growing network of industrial designers, manufacturers, and media artists. Their work has been featured in museums and exhibitions including Centre Pompidou in Paris, Fondazione Mast in Bologna, and C.I.V.A. in Brussels.And now, the collective can add the IABR at Nieuwe Instituut to that list this year. But instead of showcasing one of their own creations, their work will be in the background, archiving all the works and dynamics from June to October, the duration of the biennial. In collaboration with the edition's curators, meta office developed an interactive live archive to document the event. The installation combines traditional design with interactive elements where participants contribute, adding another layer of engagement by granting visitors ownership. The installation uses four tools to input thoughts and learnings, creating a publicly sourced cartography through sound memos, photographs, and drawings. This feeds into a main ‘open document,’ which will grow continuously throughout the biennale and beyond. The process of archiving, both physical and digital, involves the careful collection, preservation, and organization of information to ensure knowledge remains accessible. The biennale offers an extensive collection of innovative projects and experimental works that are of great value to the future practice within various disciplines. The curators therefore consider it essential to document all these contributions. This is especially important as numerous workshops, events, and activities are organized during the biennale at the <a href="https://iabr.nl/nature-of-hope/public-program?program=program-3">Practice Place</a>. This way, not only the experts but especially the visitors gain ownership over the knowledge that ultimately emerges from Nature of Hope. It embraces the concept of both a physical and digital structure for organizing knowledge, ensuring that it remains available online for future generations of makers once the biennale concludes in October.For Edward, the primary goal is to embrace a more inclusive approach to the discipline of architecture. He explains that at meta office, integrating diverse modes of knowledge into the architectural field is crucial. "We celebrate inclusivity and plurality. Architects often want to do everything themselves, seeing space as an open canvas created by individuals. However, we believe space is shaped by collective efforts. We aim to give room to different visions, knowledge, and working methods that are equally valuable. Participants here will bring the installation to life—people visiting the biennial from various backgrounds, fields, and nationalities, even those outside the realm of architecture. This will generate new knowledge that extends the discourse of architecture beyond the event. Our vision is for participants to be honest and open, ensuring that the project's mapping remains authentic."Given Edward's vision, designing the installation for IABR was a perfect fit for meta office, despite it being their first highly interactive project. The firm typically focuses on object-based design, but this opportunity allowed them to contribute to broadening the discipline. "Architecture needs to let its guard down, become accessible, and open its discourse to other forms of knowledge and practices that are transforming the nature of design disciplines," Edward noted. This installation embodies that philosophy, encouraging a more inclusive and collaborative approach.Edward is eager to see how participants will bring the installation to life. He believes that the longer it runs, the more value it gains. He is also excited about the biennale’s Botanical Monuments and their connection to the public program. “The biennale’s engagement with local initiatives puts the theme of hope into practice across the entire city in a very hands-on way. There’s much to learn from how other disciplines address similar issues. In Rotterdam, small but driven collectives are doing significant work, making it an excellent city for new alliances and uncovering hidden gems for our practice.” Curious? Check out the installation at the Practice Place, part of the exhibition in Nieuwe Instituut.

Live Archive by meta office

Nature of Hope approaches architecture as an ecological practice. People are not separate from nature, but an integral part of it. But the binary thinking in which nature is everything that is not human or made by people has a long and dominant history. To introduce the exhibition, IABR therefore asked researchers, philosophers, historians and writers to reflect on how we look at nature. Every week we share one of the contributions, which can also be seen in the exhibition.Clemens Driessen shows what we can learn from a tuft of grass, such as Albrecht Dürer painted in 1503.Dandelions no longer in bloom, leaves of the broader plantain, common meadow grasses, yarrow and daisy. Growing together as a single tuft of grass.   Historians of both art and science see this image as a key event. Facing a sod of grass at eye level initiated a new way of looking: the realistic representation of the natural world for its own sake.   This is not nature at its most beautiful. The composition appears random. But the level of detail indicates importance. These plants are not just symbols. Nor are they mere background, filling up the margins. It is a portrait of a piece of grass, just the stuff under our feet.   Roots are visible, and exposed soil. Dürer may have pulled the grass out of the ground to portray in his studio. But, even against a white background, this still seems a living piece of turf as found in a meadow, without isolating different species from their environment.  Art here precedes science, through the originality of changing perspective and interest. But this detailed focus on grass could also draw attention to the experience of farmers caring for their land, or of cows eager to get a taste. The image may even invite the viewer to take the position of the dandelions, ready to open up and spread their seeds.  Today, Western culture is said to suffer from ‘grass blindness.’ We have been educated to think of nature as spectacular, to value ecology in terms of rare species or impressive landscapes.   Our current ecological unraveling could in part be due to a lack of appreciation for everyday nature. Artists such as Dürer may guide our experience to move beyond the modern separation of science and art, of reality and experience, of truth and poetry. In order not to tear nature apart into its individual elements, but to see beauty, variety and abundance where we may not expect it.

Clemens Driessen - Das große Rasenstück [The Large Piece of Turf / De grote Graszode]

Who builds towards a green future on a daily basis? To show how big ideas and visions find their way into reality, "Botanical Monuments" is part of this edition of the biennial: a collection of Rotterdams community initiatives around urban nature. They represent the ambition of the IABR to change the relationship between architecture and nature. But how does this ambition come to life in and around the city, who are the people behind big visions and what can we learn from them? Sabine and Jocelyn create the series "Hope Sowers" and engage with those taking steps towards an architecture that, in collaboration with nature, builds for future generations. A stone's throw from Rotterdam, we find a rural polder area where agriculture, nature, and recreation go hand in hand: the <a href="https://www.buijtenland-van-rhoon.nl/" target="_blank">Buijtenland of Rhoon</a>. This vast area of six hundred hectares is the largest in the Netherlands where large-scale experiments with nature-inclusive agriculture are conducted. We spoke with Jeanette about this unique natural and agricultural area, just 10 kilometers from Rotterdam. Jeanette says, "It all started in 2010. The province of South Holland designated this area as compensation for the expansion of the Second Maasvlakte. The original plan was a freshwater clay wetland, but it did not sit well with the residents. Thus, in 2016, the Buijtenland of Rhoon Cooperative was born, a bottom-up initiative of recreation entrepreneurs, local farmers, nature preservation organizations and residents who wanted to do something with this area.” A remarkable landscape, a multitude of landscape elements, diverse crops, and a multi-pillar business model: a unique example of how nature can be regenerative from various perspectives. For Jeanette, it is especially the love of cultivating both for people and nature that makes the area so special. "The farmers here are also nature conservators. The existing nature supports agriculture and contributes to the restoration and maintenance of biodiversity. Therefore, the landscape looks very different from traditional agricultural land. Forty percent of our area consists of natural measures such as winter food fields for birds, nature-friendly banks, and field flora, while the remaining sixty percent is intended for nature-inclusive agriculture. Besides products like onions, potatoes, sprouts, asparagus, apples, and pears, the farmers also cultivate cultural-historical crops such as false flax, various ancient grains, and flax. Instead of mass production, we bring back what was originally there in the landscape," says Jeanette. The cooperative works with many organizations from Rhoon and consists of a diverse group of members, called Buijtenlanders, including nature associations, farmers, recreation entrepreneurs, and residents. One of the farmers in this area is Adjan Vos from De Vossenburg. "Adjan grows regular crops like sweet corn, potatoes, and asparagus, but also flax, sun crown, and elephant grass," Jeanette explains. "He shows that it can be done differently. Instead of creating a monoculture, he takes care of the environment, the soil, and the animals that live there." Jeanette emphasizes the importance of collaboration: "We try to ensure that farmers like Adjan also benefit financially by creating new local chains." Jeanette hopes that a new target audience will discover the area and that the cultivated products will be used in innovative ways, aligning with new consumption patterns of the future. "In a world that is becoming increasingly global, we aim to inspire looking closer to home. Our goal is to tell our story and expand our community, starting with attracting consumers who become familiar with this area and eventually want their shopping baskets filled with local and nature-inclusive products from the land. Additionally, we want to attract creators: from chefs who cook with our products to fashion designers who work with our flax and other innovators who create sustainable products. This way, we can also involve a younger generation in the process." Curious about the Buijtenland of Rhoon? <a href="https://dev.content.iabr.nl/media/pages/nature-of-hope/botanical-monuments/babc90725f-1719488888/a3_map_def_en.pdf" target="_blank">Click here</a> for their spot on the Botanical Monuments route. Opening hours, activities, and more information can be found <a href="https://iabr.nl/en/nature-of-hope/botanical-monuments" target="_blank">here</a>.

Buijtenland van Rhoon

Nature of Hope approaches architecture as an ecological practice. People are not separate from nature, but an integral part of it. But the binary thinking in which nature is everything that is not human or made by people has a long and dominant history. To introduce the exhibition, IABR therefore asked researchers, philosophers, historians and writers to reflect on how we look at nature. Every week we share one of the contributions, which can also be seen in the exhibition.Jane Mah Hutton reflects on the invisible effects that one place has, somewhere else.What does construction in one place have to do with changes in another? All design and construction work involves moving construction materials from one place and assembling them in another. Those materials – whether lumber, fertilizers, stone, or steel - are commodities that are bought and sold to perform to specification. Their commodity status means they are interchangeable and, effectively, placeless. But materials are also more than commodities; they are fragments of habitats, cultural landscapes, bedrocks, minerals, beings, and forests. They are shaped and installed by human hands and make up the livelihoods and landscapes where people live. Materials are sold in a certain form and size, but this form and size is only a single moment in the many compositions and configurations in a material’s life. What if we looked at materials not as single-purpose products or commodities, but instead as continually changing matter that comes from and returns to land?   Specifying materials can be a disorienting and disheartening experience. It is hard to see a 2x4 spruce pine fir board as part of a forest or plantation. It is unlikely to be able to trace the labor practices of a single ore in a complex alloy. It is difficult to understand the cultural significance of a territory colonized for mining or property development. How might understanding these so-called externalities of development support material practice that is in solidarity with people, other species, and landscapes elsewhere? What land relations do you want to support and what material production aligns with those values? What material practices could support communities that care for land or strengthen Indigenous sovereignty? What would the costs be to do this; what would need to be let go of? How can working with existing materials remove pressure on the extraction of new ones? How can design, deconstruction, and material care honor already extracted materials, and their fraught histories?

Jane Mah Hutton - Reciprocal Landscapes

With more than 70 architects, researchers, designers, and writers, Nature of Hope offers a wealth of perspectives and ideas on how architecture and spatial design can contribute to regenerating nature, biodiversity, and restoring ecological balance. But what is really needed for a more hopeful, regenerative design practice? How are ambitious visions sown and harvested in the international architectural landscape?One of the speakers who shared his insights during the IABR symposium last weekend, came by bike all the way from Britain, leaving no ecological footprint. This was <a href="http://www.jeremytill.net/" target="_blank">Jeremy Till</a>, a British architect, educator, and writer, and Professor of Architecture at Central Saint Martins, University of the Arts London, representing the collective <a href="https://mould.earth/home" target="_blank">MOULD</a>. We briefly spoke to him about the research collective MOULD, the work showcased at the biennale, and his vision for the discipline.Research Collective MOULDFirst and foremost, Till makes it clear that he is not here as Jeremy Till, but as part of the collective MOULD, which he is part of with five other colleagues. They share the vision he wants to convey in this interview. MOULD is a research collective working at the intersection of spatial practice and climate change. The work of MOULD,  "Architecture is Climate," currently showcased in de Nieuwe Instituut as part of the biennial, reflects the collective’s deep commitment to addressing the urgent challenges posed by climate change. MOULD’s work embodies a collaborative, interdisciplinary approach to architectural practice, with a vision rooted in deep political and ethical concerns about the world. The collective has mapped out various <a href="https://architectureisclimate.net/practices/" target="_blank">practices</a>—not as architecture as we know it, but examples from different regions, contexts, and disciplines that directly address climate change and its spatial implications. They strive to think differently about architecture, not just as the design of buildings, but as a practice informed by diverse forms of knowledge and culture.Architecture and ClimateMOULD’s  work at the biennale, a large installation, reflects these insights and emphasizes the vision that architecture is not separate from the climate; on the contrary, it is deeply intertwined with it. The project underscores that traditional architectural practices are complicit in the causes of climate change. Till explains: "The installation shows that viewing architecture as an external solution is like applying a band-aid to a much larger wound. Instead, we advocate for an upstream approach, addressing the root causes of climate problems much more directly and locally."Underlying their work is a significant critique of current architectural practice: the trend of "sustainable" or "green" architecture, which Till sees too often as a form of greenwashing. He argues that many technical solutions to achieve net-zero emissions are potentially  counterproductive if they enable continuous growth and consumption. These solutions, while necessary, must be accompanied by systemic changes. As Till succinctly puts it:"The most dangerous is the technical solutions - we need them, of course. But the biggest solutions allow endless growth. On the one hand, you can have a solution to get to net zero, that is a technical solution, but then we continue to extract and consume. That will remain damaging  because it will be accompanied by growth which is always accompanied by extractive practices that damage the planet. One has to be quite careful about not privileging the world of architecture too much. We are part of a network of solidarity, which is bound into to politics, economics, and society. We have defined ourselves as a discipline that provides solutions. But that might be too arrogant, to say that architecture is generative. Designers tend to look just downstream, see a wonderful future, reinvent the world. But you first need to look upstream. You need to look at the causes of climate breakdown and address them first. Only then can it be sustainable."It is clear: Till advocates for a more realistic view of architecture that is closer to what is actually happening and what the problems are in each local practice. Environmental problems must be examined in context. That is the only sustainable way to build to prevent ecological collapse, which requires reinvented forms of architecture. "We cannot afford repetitions of the same architectural solutions and must better address specific challenges. From policy solutions to diverse methods of land use, to the use of different resources. This requires a broader view from our discipline", shares Till. Hopeful FutureDespite the challenges, Till remains hopeful. He believes that the necessary systemic changes driven by climate demands will lead to broader social transformations. These transformations will manifest spatially, as social relationships inherently play out in space. This perspective shifts the role of architects from mere builders to spatial designers and agents who use spatial intelligence within a broader context of social change.This is why Till looks forward to the other works on display during the biennale with enthusiasm. "What is encouraging is the diversity of architectural approaches seen here—it shows that they already exist. Architects have historically always identified themselves through their buildings. The past few years have shown how difficult it is for architects to let go of that and recognize that architecture is about much more than just the object and the materials it is made of.. At this biennale, you see that architects dare to identify with other methods. Methods that may still be invisible, not yet visible in the field or iconic architecture magazines, but that will ultimately make a difference."MOULD’s participation in the biennale marks a crucial shift in architectural thinking. Till shared his insights during the IABR symposium on June 30—the work of MOULD is on display in the exhibition. Visit the website for information about curator-led tours for more context on the work.

Jeremy Till of research collective MOULD: A shift in architectural thinking

With more than 70 architects, researchers, designers, and writers, Nature of Hope offers a wealth of perspectives and ideas on how architecture and spatial design can contribute to regenerating nature, biodiversity, and restoring ecological balance. But what is really needed for a more hopeful, regenerative design practice? How are ambitious visions sown and harvested in the international architectural landscape?All the way from Colombia, <a href="https://arqdis.uniandes.edu.co/profesores/pedro-aparicio-llorente/" target="_blank">Pedro Aparicio-Llorente</a>, architect and founding principal of <a href="https://aplo.xyz/" target="_blank">APLO</a> (acronym for aligning planets lines orbits), an architecture and landscape firm based in Bogotá that makes and researches buildings and landscapes, came to speak at the symposium this weekend. His work stems from 10 years of experience in design and construction within the material practices and political ecologies of postcolonial tropical habitats. Pedro holds an architecture degree from Universidad de los Andes and an MDes in Urbanism, Landscape, Ecology from Harvard University Graduate School of Design. We briefly spoke with Pedro about his vision on architecture, his reflections on the biennale's theme, and the work that is on display. The environment shapes architecture Firstly, Pedro takes us through his approach to architecture, which centers on cohabitation and experimental ways of living together. "I have learned to let the environment shape us, rather than us shaping the environment. The environment informs architecture in many ways, especially in biodiverse regions like the Gulf of Tribugá, where the rhythms of the pacific ocean, mangroves, and jungle organize space itself." In more northern countries, this way of thinking is less common—we tend to build with whatever is demanded and with resources that are available. Pedro and his colleagues at APLO adopt a more humble and context-sensitive approach. "We design with the understanding that everything is alive. For example, how can a mangrove forest, which floods and dries out every six hours, inform architectural design? We used contemporary  architectural methods and allowed the behavior  of marine ecosystems  and the technologies devised and used by local people to guide the further design. This philosophy underpins my work and is showcased at the biennale." What makes Pedro’s and his team's view unique is his interest in landscape as a live medium within a cultural context where landscape architecture is not recognized. "In Colombia, landscape architecture is not  a discipline in the same way it is in the Anglo-Saxon context for example, yet we live amidst tropical ecosystems where the interaction and manipulation of live media is an everyday practice and this is then our  entry point to explore space and time." Pedro explains. His previous work in Indonesia exposed him to dynamic environments where volcanoes and obsolete yet operational colonial infrastructures meet. "These habitats connect people deeply to the complexity of somewhat mestizo ecologies—from practical, productive ways of growing food to highly spiritual levels of transmission. This creates a continuum that is fertile and fascinating to consider in terms of contextual and situated architecture, leading to a more expanded notion of whom we design for, for what purpose, and how the environment shapes us as a species. In this matter, as architects we are interested in the turn towards a design of time, rather than a limited practice focused mostly on the design of space."Veanvé: Environmental Infrastructure for Pluriversal PedagogyFor this way of working as an architect, one needs knowledge - very specific and locally sourced knowledge on how nature and people shape the environment. On show in the biennale are three processes  carried out by APLO that give insights in the approach they advocate for: <a href="https://www.youtube.com/watch?v=4DuBr4TGENc" target="_blank">Veanvé</a>, an environmental infrastructure for pluriversal pedagogy and planetary ocean health; <a href="https://www.youtube.com/watch?v=fZq8lWboIfw" target="_blank">Payao</a>, the use and evolution of  an old fishing technology that originated in the Philippines and made its way to the artisanal fishing group Tiburones de Coquí around 10 years ago and; <a href="https://www.youtube.com/watch?v=XrzmGtDz7Yw" target="_blank">Jurubirá</a>, a still incipient landscape plan for community based tourism. During the symposium, Pedro walks us through the ways of feeling-doing that  APLO applies with communities that live in specific ecosystems and how to build from there. One of the projects Pedro discussed is <a href="https://www.youtube.com/watch?v=4DuBr4TGENc" target="_blank">Veanvé</a>, an environmental infrastructure for pluriversal pedagogy and planetary ocean health. In alliance with local leader Josefina Klinger and the Mano Cambiada Corporation, the Center aims to safeguard the traditional knowledge and ecosystems of Colombia's Tribugá Gulf, which was designated as a Hope Spot in 2019 due to its significant contribution to oceanic well-being, making it one of the most biologically diverse regions in the world. Recently, the gulf was declared a Biosphere Reserve by UNESCO for being one of the few ecosystems in the world that is in balance. Veanvé brings to life the evolution of the Pacific Migration Festival, transforming it from an event-based strategy, initiated by the local organization Mano Cambiada in 2010, into a dynamic and educational infrastructure. Each year, the Festival gathers 1,000 young participants, immersing them in a blend of scientific, sporting, and cultural activities. These experiences celebrate the region's unique status as a sanctuary where humpback whales travel thousands of kilometers from Antarctica to the warm and deep waters of Colombia to  give birth. This narrative redefines Tribugá, shifting the perception from a place of violence and hopelessness to one of love and vitality. Guided to envision themselves as waves, birds, turtles, whales, and other elements of their surrounding ecology, they explore the interconnectedness of their environment, learning to appreciate the delicate balance that sustains their home. Finally the building is imagined to happen in the abandoned Telecom station, a public infrastructure that first served the community in terms of telegraph, telephone and internet connection prior to the arrival of mobile phones. Charged with collective memory, this building is now owned by the spanish telecommunication conglomerate Telefonica who bought Colombia’s public communication enterprise in the early 2000’s. Pedro underlines that hopefully an agreement can be settled for it to be transformed into a collective space once again. Hope as a place and projection This brings us to the theme of the biennale, Nature Of Hope. Reflecting on this, Pedro explains, "Why is a place thought dangerous by humans the place chosen by whales to have their babies? Everyone wants to travel the world and seek opportunities, but true hope is rooted in generational care, passing on the responsibility of a specific place. This perspective is hopeful in itself—there is much more than we are aware of and often “closer to home”. It flips the notion of possibility of every place we work with if we learn to view it from a more socio-environmental perspective." Veanvé is a place to experiment with ways for generational relief by equipping children and youth with tools that contribute to their territorial inheritance of caretaking over 200,000 hectares of collective land inhabited by some of the world's most sensitive ecosystems: mangroves, coral reefs and rainforests. Much like the annual migration of species returning to the same place, as celebrated during the Pacific Migration Festival, where hope is intertwined with the well-being of the place, Pedro sees hope as a projection—looking forward to something, traveling, or working towards a goal. Not in a way that the future has to be idealized; rather, Pedro's vision focuses on speculating on a transformed present rather than simply hoping for a better future. "These are not projects of 5 years; they are processes of 30 or 40 years. My personal hope is that, as architects, we can accompany these existing flows, finding new ways to design companionship and by doing so, prepare ourselves and our work for long term causes." To learn about how to do that, you are welcome to visit Nieuwe Instituut, where the work of APLO is exhibited.

Pedro Aparicio-Llorente: How the environment shapes us instead of the other way around

<a href="https://www.youtube.com/watch?v=q-bl1noAR2o" target="_blank">Watch the recording of the Opening symposium Part I</a> <a href="https://www.youtube.com/watch?v=5ZGlD8ozuqw&amp;ab_channel=IABR" target="_blank">Watch the recording of the Opening symposium Part II</a>On Sunday afternoon, the sold-out opening symposium of the 11th International Architecture Biennale Rotterdam (IABR) took place. It was a gathering of experts who delved deeply into the theme Building Ecologies – Nature in the City: Jeremy Till, Baerbel Mueller, Pedro Aparicio-Llorente, and Emmanuel Pratt.Jeremy Till from the collective MOULD opened with a keynote on the relationship between architecture and climate, advocating for a fundamental revision of architectural practices. His lecture included enriching interludes with poetic readings from his colleagues in the audience. Baerbel Mueller discussed the "Tamale Old Airfield" project in Ghana, highlighting the necessity of experimental approaches in architecture. Pedro Aparicio-Llorente’s presentation took the audience to the coast of São Paulo, where he spoke about designing to the rhythm of the tides and collaborating with local communities.The concluding panel discussion, led by Najah Aouaki, brought together the diverse themes of the afternoon. The speakers debated the language of architecture and the need for a new, hopeful approach to integrating ecological practices. Emmanuel Pratt from Chicago concluded with his vision of regenerative urban planning, illustrating how communities can be built through sustainable and human-scale projects.<a href="https://iabr.nl/en/nature-of-hope/public-program">Check the program</a>

Impression of the Opening symposium

<a href="https://youtu.be/iQV7tCm46NQ" target="_blank">Watch the pre-opening recording of Nature of Hope!</a>The opening of the 11th International Architecture Biennale Rotterdam (IABR) marked the beginning of an exploration into how architecture can contribute to ecological restoration, with biodiversity and nature as focal points. During the opening, Saskia van Stein, director of the IABR, emphasized the importance of new narratives in architecture and the need to see nature as an organic force. This year, the biennale showcases how architecture and urban planning can play a significant role in reshaping our living environment.The State Secretary for Education, Culture, and Science, Fleur Gräper-van Koolwijk, praised architects and urban planners as visionaries who understand the needs of both today and the future. She expressed her enthusiasm for how the biennale invites us to live more sustainably, in harmony with other species on our planet. Janna Bystrykh shared an inspiring story about the process the team has undergone, highlighting that nature has countless stories and that this diversity is reflected in the exhibition.Said Kasmi, Rotterdam's Alderman for Education, Culture, and Events, officially opened the exhibition and spoke about the power of hope and Rotterdam's efforts to create space for nature. The afternoon concluded with an impressive dance performance by IID Company, followed by a festive opening with music, snacks, and drinks. Visitors enjoyed colorful dishes prepared by Chef Manu and tours by the curators, contributing to a successful and atmospheric start to the biennale.

Opening of 'Nature of Hope'

With over 70 architects, researchers, designers, and writers, Nature of Hope offers a wealth of perspectives and ideas on how architecture and spatial design can contribute to regenerating nature and biodiversity and restoring ecological balance. But what exactly is needed for a more hopeful, regenerative design practice? How are ambitious visions sown and harvested in the real world?During <a href="https://iabr.nl/en/nature-of-hope/public-program#openingssymposium">the symposium</a> on Sunday, September 30th, we will dive deeper into these questions. One of the speakers is <a href="https://www.instagram.com/nav_s_baerbelmueller/" target="_blank">Baerbel Mueller</a>, an architect and researcher based in Austria and Ghana. Mueller is Dean and Associate Professor at the Institute of Architecture (IoA) at the University of Applied Arts Vienna and founder and head of <a href="https://appliedforeignaffairs.net/" target="_blank">[Applied] Foreign Affairs ([A]FA)</a>, a lab that investigates spatial, environmental, and cultural phenomena in rural and urban Sub-Saharan Africa. Here we share some words on her work, vision and relation to the theme of the Biennial. Soft Unsealing During the symposium, Mueller will discuss [A]FA’s project <a href="https://appliedforeignaffairs.net/events/tamale-old-airfield" target="_blank">"Tamale Old Airfield"</a> in Ghana, which is also one of the showcases in the IABR exhibition, a nine-channel video installation titled Soft Unsealing. The installation shows how an abandoned Ghanaian airfield from the 1920s is transformed into a vibrant recreational space in the heart of Tamale—a beautiful case study on how architecture can be regenerative from an environmental-based approach. The project began in 2023 in collaboration with traditional chiefs and local municipal authorities. Mueller's team is responsible for the urban planning, landscape architecture, and design to transform the vast, sealed site—the old runway—into a unique public space for both the neighborhood and the entire city of Tamale.The goal of this project is to bring nature back to the city, revive the history, and fulfill the community's wishes. This location, which initially had little function, is given a new purpose and stimulates further developments in the region. Remarkably, thanks to Mueller, innovative and interdisciplinary architectural methods are used for this project. It began with applied research and experimental interventions by the [A]FA lab team, in dialogue with the community. Mueller explains: “The core of the project is unlearning and experimenting with the ways we as architects are used to building. This is crucial to develop innovative spaces that promote socio-ecological transformation, improve local climate conditions, and create meaningful environments.” The research led to site-specific environmental interventions, such as relocating trees for natural shade and implementing rainwater harvesting systems to address overheating, water scarcity, and poor urban infrastructure. This approach not only revitalizes the airfield but also provides inspiration for future urban development projects.The project underscores Mueller's vision of architecture, which she celebrates as a professor and architect and will share during the symposium. She emphasizes that architecture should no longer be about designing buildings but about creating environments. "Architecture is about building relationships, not just structures. It should be seen as a verb, focused on the process—which is at its best never-ending—rather than an end result. Often, architects believe they understand a context as soon as they begin designing, but the first step should be to engage from what is there and work from within."In the [A]FA lab, Mueller celebrates the method of "Applied Research," where the process of connecting, 1:1 testing, and creating the place leads to the outcome. Each project involves different disciplines, revolves around a clear research interest or commission, and culminates in collaboration with local stakeholders. “In Tamale, we did a lot of talking and building relationships within the environment. When you really know the characteristics of a place, you design differently. Obviously, people in the neighborhood have the most knowledge about their environment—from practical matters like infrastructure and climate conditions to dreams and memories. That’s why the community is involved in the process. Both the community and the local government in Tamale envisioned the transformation of the airfield into a usable space for the local population. We are tasked with realizing this and work with students, local experts, designers from Accra, and students from the university in Tamale.”For Mueller, there is no distinction between her perspective as a human and as an architect; both speak the same language of hope and regeneration. However, she emphasizes the need for a balance between community involvement and the discipline of architecture. “Creativity is essential for progress. Architects and artists are in a position to create new visions for the future. We don’t believe in participation where people design the place themselves because ultimately, we as architects bring the professional expertise to design and implement spaces. But we have had intense involvement from local stakeholders and artists throughout the process,” Mueller explains.This is how Mueller still sees the architect as an expert, contrary to popular opinions in the discourse - with [A]FA lab, she aims to shift methods of spatial creation. “An environment encompasses more than just buildings; it’s about everything that lives in it. For a sustainable future, architects should think more broadly and creatively, considering all scales and also ecological and non-human perspectives. How would you read the space as an insect or a tree? Every tiny animal matters to the whole, requiring a holistic understanding of space and cohabitation. Architecture can be regenerative if architects can adopt different perspectives during the design process. Designing then becomes more about caring than controlling.”IABR Symposium on June 30 Mueller is particularly looking forward to seeing how the exhibition is integrated into the city. “Big ideas need to find their way into practice, where they manifest differently locally. It’s great to have a place where we can see how this is happening worldwide. I look forward to all the other projects, besides our own, that try to make the world more inclusive and serve as role models in various contexts.”Want to hear more about "Tamale Old Airfield”, [A]FA lab, and Mueller's vision and work? IABR and Het Nieuwe Instituut warmly invite you to the symposium on July 30th of the 11th edition of the International Architecture Biennale Rotterdam, Nature of Hope, at Het Nieuwe Instituut in Rotterdam.

Baerbel Mueller: an architectural practice of creating environments

With over 70 architects, researchers, designers, and writers, Nature of Hope offers a wealth of perspectives and ideas on how architecture and spatial design can contribute to regenerating nature and biodiversity and restoring ecological balance. But what exactly is needed for a more hopeful, regenerative design practice? How are ambitious visions sown and harvested in the real world? During <a href="https://iabr.nl/en/nature-of-hope/public-program#openingssymposium">the symposium on Sunday, September 30th</a>, we will delve deeper into these questions. One of the speakers is Chicago-based urban designer Emmanuel Pratt, co-founder of <a href="https://www.sweetwaterfoundation.com/" target="_blank">the Sweet Water Foundation</a>. Sweet Water Foundation's architectural practice is well-known for its creative and regenerative social justice approach to create safe and inspiring spaces. Established in 2009, the Sweet Water Foundation collaborates with youth, their families, and local residents to revitalize the ecology of blighted neighborhoods in Chicago, transforming six contiguous city blocks on the South Side into a hub for green urban living.Pratt has been invited to share his insights during the symposium because the Sweet Water Foundation approach to architecture is innovative and, above all, successful. What makes Pratt's approach particularly unique is the blend of urban agriculture, art, and education to transform spaces written off as 'abandoned' or 'vacant' into creative public spaces that are both sustainable and meaningful to residents—all with a limited budget and in close collaboration with the local community. Their work includes approximately three acres of urban farms and a large community garden, a formerly foreclosed home transformed into a school, and another abandoned home currently being converted into a live-work space for artists and designers. Additionally, they have turned a greenhouse into a woodshop and classroom, transformed a shipping container into a learning laboratory and greenhouse, and built a large-scale, timber-frame mortise-and-tenon pavilion that serves as a community house. During the symposium on Sunday, Pratt will share his vision of architecture as a generative force. "The question is: is the discipline actually generative in itself? It has the potential to catalyze new spaces, but the discipline often views land, buildings, and deadlines in a fixed way, tied to specific timelines, clientele, and capital. This approach can create a disconnect, where architects lack an intimate relationship with the place. The danger is that their work doesn’t truly resonate with the space, a classical result of a top-down approach that is central to the architectural discipline." He explains that in the past, architecture focused more on building, but now it’s about programming. "Generative is about possibility—it’s not about the thing, it is about how it comes alive. We are moving beyond thinking in form and square meters. Your impact as a planner, architect, or designer will need to focus more on activating the space, rather than seeing it as a finished product." That’s why, in all their projects, "the process comes first, evolving the design over time."It comes as no surprise that Pratt will invite us to imagine: "What if development took place on a human and ecological scale?" According to Pratt, the beauty of this approach is that it opens up many interesting pathways for the architecture industry. "We like to nourish the roots. Every space is connected to memory that carries those roots, and we build upon what is already there," he says. In one of their latest restorations, "we transformed an abandoned house that was soon to become a vacant spot. We discovered various images and archival materials, using them as the foundation to design the place and repurpose materials. Most importantly, we let space grow." In that philosophy, the team and volunteers grow their food locally and create "a farmers' market, a civic arts program, events, workshops and lectures around ecology, and a fellowship where young architects learn about our methods—preparing them for transformative, hands-on, and community-rooted work in the field of architecture."Though Sweet Water Foundation is not an architectural firm, it has been featured in various architectural biennales around the globe. This is a strong message in itself. "The practice of architecture is radically changing," Pratt says, "and we take small, incremental steps in it rather than only talking about grand ideas." He argues that hopeful visions in architecture positively impact communities when built over time through real-world relationships with nature and people. "At key moments of societal change, humans tend to reach for utopia," he says, but points out the irony that "utopia" means "no place." Idealized images of a utopian future often ignore the long-term process needed for a vision to become a healthy ecosystem. These visions usually benefit only a privileged few while overlooking those who impede rapid development. Pratt calls for architects to embrace the reality that "hopeful visions are most effective when cultivated over time," creating transformative and inclusive environments grounded in everyday community experiences.That is why Pratt is most looking forward to meeting other solutionaries with whom we share a common set of values. “I am always inspired by others that rebuild communities, re-story spaces and program places in ways that amplify our shared responsibility to each other and the planet.”  Want to hear more about Sweet Water Foundation and Pratts vision and work? IABR and Het Nieuwe Instituut warmly invite you to the symposium on July 30th of the 11th edition of the International Architecture Biennale Rotterdam, Nature of Hope, at Het Nieuwe Instituut in Rotterdam.

Updates

: Retrospect of the curators

Interview: How Change Happens: Alastair Parvin reflecting on the 11th IABR biennale

News: Practice Place: lokaal plekberaad Deventer

Reflect: Clemens Driessen - The Metamorphosis of the Insects of Suriname

Hope Sowers: Shared Grounds

Reflect: William Myers - Plan of Organization, New York and Erie Railroad

News: ARCH+ The Business of Architecture - "Nature of Hope"

Reflect: Alex Putzer - The Rights of Nature: Mapping a Global Movement 2024

Hope Sowers: Hefpark

Interview: Daniel Barber: architects as agents of decarbonization

Hope Sowers: Charlois Swamp

News: Designing hope in violent circumstances

Reflect: Rosi Braidotti - Solar panel from the Hubble Space

Hope Sowers: Stadspark West

News: The Skyscraper as a Cliff

Reflect: Marinke Steenhuis - Map of wastelands in the Netherlands

News: 'Nature of Hope' Presents 'Carbon Stories – Learning from Paris'

Hope Sowers: Botanical garden in the Afrikaanderwijk

News: Hopecast

News: Practice Place, a retrospective through the eyes of Catherine Koekoek

Hope Sowers: Park 1943

Reflect: Daphina Misiedjan - Slaves Working on a Plantation

Hope Sowers: Voedselbos de Overtuin

Hope Sowers: De belevenisboerderij Schieveen

Symposium: Education Symposium: 'Nature of Knowledge'

Reflect: Matthew Gandy - Botanical Study Site

Reflect: Mihnea Tanasescu - Olive Trees in the Time of Xylella, János Chialá

Hope Sowers: De Voedseltuin

Interview: Live Archive by meta office

Reflect: Clemens Driessen - Das große Rasenstück [The Large Piece of Turf / De grote Graszode]

Hope Sowers: Buijtenland van Rhoon

Reflect: Jane Mah Hutton - Reciprocal Landscapes

Interview: Jeremy Till of research collective MOULD: A shift in architectural thinking

Interview: Pedro Aparicio-Llorente: How the environment shapes us instead of the other way around

News: Impression of the Opening symposium

News: Opening of 'Nature of Hope'

Interview: Baerbel Mueller: an architectural practice of creating environments

Interview: Emmanuel Pratt - Transforming Spaces through Programming