Ask the mountains - Master's Thesis in Landscape Architecture

A SK T HE M O U N TA I N S FI S KARS FI NLAND

Master’s thesis in Landscape Architecture, 2021 A NNA V O N FR E Y M A NN

A S K T H E M OU N TA I N S FI S KA RS , FIN LA ND

ASK THE MOUNTAINS FISKARS, FIN LAND

Master's thesis in Landscape Architecture, 2021 ANNA VON FR E Y M ANN

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N A M E O F T H E PA R T

A S K T H E M O U N TA I N S F ISKARS, FINLAND

ABSTRACT

The inherent nature of landscape architecture as a discipline is holistic. Additionally, to overcome the diff iculties arising from the Anthropocene, it has become incumbent to practice systems thinking. This thesis addresses this requirement through a site study of Fiskars in Finland and applies an interdisciplinary approach in its research of f inding a holistic solution for the development of Fiskars. Illuminating the site’s intrinsic character and its relationships to the environmental and cultural forces that shaped it will lead to a set of design directions that put the focus on interconnections and meaningful connections to the place and the planet.

PREFACE

I have always found it tricky to explain to people outside the discipline the word “landscape architecture”. We are dealing with phenomena more than only the complexity of beauty, form, delight and plants.

Landscape architecture is about reading the language of the landscape.

This is not a simple nor fast task if done with deeper thought.

Coming from a background with a bachelor’s degree in both landscape design and consumer economics has had a huge impact on the focus of the thesis. The approach ended up being something interesting as holism and multi-perspectivity. The intuitive response to this was that it would challenging, but in the end, would be rewarding.

Already from the start, I knew that I would not like to focus on one “atomic” phenomena that I would dive into. My goal is to stay at the level where I study and investigate the phenomena from the perspective of the mountains. By this, I mean that the thesis is working at a philosophical, strategic and conceptual level.

Following Malene Hauxner’s footsteps, I hope that the thesis can inspire people in and beyond the discipline to discuss how the language and state of our outer nature tell much about our inner natures and how we see, perceive and aim to treat the world and others around us. The idea of nature indeed includes us.

I would like to thank my beloved family for their support. A special thanking goes to Mikkel who has been listening and supporting and helping continuously with the daily duties when I have been doing the work at home during the COVID-19 lockdown.

I would like to thank Gertrud for her valuable comments, and for helping to create the project as it is today. Thank you also for persons in Fiskars helping me to reveal the story of Fiskars.

Finally, I would like to thank my curiosity. It guided me to step outside my comfort zone to discover and learn something new, meaningful and essential.

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I N TRODUCTI ON

LITERATURE STUD IES

INTRODUCTION TO FISKARS

A B ST RAC T P RE FAC E

I N TRODUCTI ON

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LITERATURE STUD IES

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STORY OF FISKA RS

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WH Y FO C U S O N HO L I SM ?

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PHILOSOPHY

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TIM ELINE

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HO L I S M

ARTS AND HUMANITIES

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FACTS AND STATISTIC S 3 4

WH Y FO C U S O N F I SKA RS?

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R E A DI N G GUI DE

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GE N I U S LO C I

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FISKARS B RAND

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P R OJECT RATI ON ALE

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NATURAL SCIENCES

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VOICES

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DE S I GN WI T H N AT U RE

RESEARCH QUESTION

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SOCIAL SCIENCES

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AIM AND OBJECTIVES

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PL AC E ATTAC HME N T

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M ETH ODOLOGY

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ECONOMICS

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PL AC E - BRA N DI N G

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SUM M ARY KEY CONCEPTS

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R E G I ST RATI ON AN D A N A LY S I S

SY N THESIS

DISCUSSION

LO C AT I O N & CON TEX T

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VI SI ON

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D ISCUSSION

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L A N D S C A PE CH AN GE

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ORCHESTRATION

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RESOURCES

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P H OTO S A FARI

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AC U P U N C T U RE

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L I T E RAT U RE L I ST

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L A N D S C A PE AN ALY SI S

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C U RAT I O N

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L I ST O F F I GU RE S

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CLIMATE

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COEVOLUTION

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APPENDIX

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TER RAIN

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DESI GN DEVELOPM ENT 82

WATER

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MASTERPLAN

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LA NDCOV ER

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PATH SYSTEM S

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FLORA

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S ERIA L V IS ION

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CEN TRUM DEVELOPM ENT

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V IS IBILITY AN D L I G HT

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ACUPUNCTURES

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C O N N E C T I ON S

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T HE PAST U RE

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T HE C E N T RA L PI A ZZA

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T HE ATE L I E R

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V I STA E

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V I STA W

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PH ASING PLAN

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INFRASTR U CT U R E , DISTU RBANCE S A N D A N C I E N T 6 6 MOU NDS CENTRAL S ERV I C E S A N D POTENTIAL AR E A S

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H U MAN- WILD L I F E I N T E RAC T I O N 7 0

Q U E ST I O NN AI RE FOR LO C A L S

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E X I ST IN G MAP AN D SECTIONS

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S W OT

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PA RT I INTRODUCTION

INTRODUCTION W H Y FO CUS O N HO LISM ?

The effects of human activity have spread to the whole biosphere. Even the planet’s most remote areas have been impacted (Crutzen, 2002). There has been an inability to recognise that our very own survival is dependent on biosphere’s systems even in ways that we do not know yet. The current “megatrends”, which include forces such as climate change, biodiversity loss, population growth, urbanization and rural decline as well as overexploitation of natural resources, are a crucial part of the discussion around envisioned futures. Megatrends are different visions of the future, a general direction of development and interlinked phenomena. (Dufva, 2020).

A holistic approach directs us towards systems thinking and away from treating phenomena and landscapes as distinct patches separate and unrelated to each other (Hedfors, 2011).

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The environmental crisis and megatrends that loom in the background of our lives cannot be neglected in the work of landscape architecture as ‘the landscape’ is the arena where megatrends are taking place and being interlinked. The landscape integrates nature and culture, science and art, time and space (Antrop and Van Eetvelde, 2017, p 4.). Landscape is a complex term and playground for anyone to contemplate. This is why I also highlight that the thesis is an attempt to study landscape with holistic approach. There is no single “objective” way to explain the holistic nature of landscapes in a holistic manner (Brandt, 2017, p. 7). But the inherent nature of landscape architecture as an interdisciplinary and process-oriented f ield makes it as such a holistic discipline. This is why I have taken an interdisciplinary approach as a starting point and challenge. The aim is to study Fiskars with multiple lenses and envision a direction that amplif ies the site-specif icity, the health of the place and environment and gives guidance for the development of the future Fiskars.

I have chosen key concepts to represent different perspectives, namely ecology, humanities and arts, sociology and economy and I study them through literature. The chosen concepts are ‘’design with nature’, ‘genius loci’, ‘place attachment’ and ‘place branding’. They inspire my expedition and process to investigate Fiskars with multiple perspectives. This transdisciplinary approach and attempt to achieve systems thinking has guided me to choose different site analysis methods and data collection. Finally, the study results are ref lected in the design proposal and vision.

Seen as a whole, the thesis is a report on the mundane discussion between us and space, time and our home planet Earth, that we are interconnected with and a ref lection on how to nurture it. I ought to ask the long-standing mountains.

PART [ 01]

WH Y FO CU S O N F ISKARS? Fiskars is a small village situated in southern Finland close to the coastline. I wanted to take the challenge to investigate a site which is at risk of declining. The interesting culturalhistorical background and link to larger uniformed green-blue areas was another reason to choose the site. Fiskars is an example of a village which is further away from intense urban areas, that has the potential to stay as an attractive place where people stay and move into.

The World Health Organization forecasts that two-thirds of all people will live in urban areas by 2050 (WHO, 2021). I have an initial curiosity to think of what will happen to these more remote areas further from the buzzing cities, which are on the brink of declining.

Fiskars is on the nationally important landscapes list concluded by the Ministry of Environment in Finland (Ministry of Environment, 1995). This makes the site sensitive to big changes according to authorities, but also because of its intrinsic heritage value. The site is an important part of Finnish industrial development and has gone through a transformation from a copper- and ironworks industrial site into a cultureand travel destination. The site is a fascinating but challenging case for investigation.

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Additionally, the 2019 Red List of Finnish Species reported by the Ministry of Environment and the Finnish Environment Institute states that most of the threatened species in Finland have forests and rural biotopes and cultural habitats as their primary habitat (Hyvärinen et al., 2019). Fiskars is surrounded mostly by forests and has areas categorized as important rural biotopes and cultural habitats. This has been an important factor when choosing the location, as the personal goal was to learn more about how to support threatened species and their habitats through the work of landscape architecture.

Finally, the reason to choose Fiskars as a case site was the unique atmosphere and art and design-related image of the place. As an outsider who had visited the place a few times during childhood, Fiskars appeared to be an unexplored place and a mental object characterized by huge amounts of imagination, mixed ideas about what to discover, see and explore. The thesis work continued to evolve this further from the f irst-impression to a deeper understanding of the site.

I N T R ODU CT I ON

RE A D ING G UID E The thesis applies in its f inal form a structure of IMRaD. IMRaD is an acronym for Introduction – Methods - and – Discussion and a general form of a research report (Hirsjärvi, Remes and Sajavaara, 1997).

The thesis comprises six chapters. The f irst chapter introduces the project rationale: the background and focus of the thesis and research question, aim and objectives. The chapter also includes the methodology that has been used.

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The second chapter represents a collection of selected key literature. The key literature outlines key concepts that propose different perspectives from the disciplines that landscape architecture is linked with: ecology, art and humanities, social sciences and economics. The key concepts from the literature explain and support the analysis, process and later design decisions.

The fourth chapter is the most expansive piece of the thesis.

It portrays the understanding of the cultural and ecological history of the site, combines raw statistics and more poetic analysis through site visit photographs and archive investigations. The catalogue of thematic maps aim to open up the site as a ‘whole’ and the questionnaire for locals deepens the understanding of how the locals are using the area currently and what they wish for the future. Finally, SWOT analysis concludes the strengths, weaknesses, opportunities and threats.

In the fourth chapter, the research question via analysis is bridged into a design vision, principles and a development proposal.

The f inal chapter concludes the project with a discussion and personal ref lections on the process. The project concludes with an open-ended trajectory where the future is inherently taken as an unknown but framed through the analysis results with redirecting philosophies.

PART [ 01]

T H E P R OJ E C T R A T I O N A L E RE SEAR CH Q U E STIO N

How could Fiskars village be regenerated in the future so that the development illuminates the site’s immediate history and identity and simultaneously regenerates healthy f lexible systems at social and ecological level?

AIM

The aim of this thesis is to present a general level proposal for the development of future Fiskars.

O B JECTIV ES

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The objective is to study Fiskars from in a holistic manner, by applying interdiclipline approach and combination of qualitative and quantiative methods.

I N T R ODU CT I ON

METHODOLOGY AND PROCESS For the overall thinking, the thesis has been inspired by a Danish professor in landscape architecture, Marlene Hauxner (1942-2012) and her book “Open to the Sky”. Hauxner places landscape architecture in the medium of garden art. Art is the method to investigate, to see and meet the world and nature is the material and medium. According to Hauxner, the outdoor space can be understood by seeing different spaces in a larger space, where the walls and f loors are created by natural elements and the sky is an element that unif ies all the spaces.

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Hauxner sees context analysis as a backbone for developing an understanding of place, this is done by asking many questions and through the creative process of art and thinking through the questions, we are able to f inally arrive at a synthesis of understanding the phenomenon. Her approach gives room for intuitive phenomenological investigation, while simultaneously and systematically investigating the place and leaving space for open-ended questions that ref lect the awareness of nothing being static but rather in continuous change.

Hauxner asserts that how the landscape is being treated, reveals something about our ‘inner’ nature and how we perceive our ‘outer’ nature. She distinguishes two different concepts; 'pastoral’ and ‘horticultural’ landscape. They represent a landscape spectrum which helps us to understand the connection between aesthetic language and meaning.

A pastoral landscape is a space where nature rules, there is order and system, but it is an order created by nature. A pastoral landscape is characterized by randomness and anarchy, it is breathing freely and autonomy is encouraged. The aesthetics lies in the picturesque, crooked, mature and even dead trees. Whereas a horticultural landscape is a cultivated place, there is order and system determined by humans. Plants standing in rows and trees in delimited plantations.

Hauxner emphasises that the work of landscape architecture always ref lects the social-cultural contexts of that specif ic time and space.

Furthermore, landscape architecture does not only ref lect the paradigms of the time but also tells us about future changes and society’s thoughts about the future. (Hauxner, 2010, 14–25; 340–343) Hauxners approach is a way to fuse methods and aspects from arts, phenomenology, ecology and philosophy. I have applied her thinking as a 'big scale' methodology for the thesis and how to read the existing landscape and the language of my own design intentions.

PART [ 01]

Here is a detailed description of the methods I have used in the study.

IN S PI RAT I O N F R O M P O D CA STS , ART, P RO F E S S I O NAL WO R KS A N D E V E RY DAY LIF E L I T E RAT U R E STUD IES

• theoretical framework and other inspirational wrtitings • history of Fiskars and Fiskars now

SK E TCH I N G, NOTES 3 S I T E V I S I TS ( CAR A N D WA L K I NG ) AND P H OTO G RA PH ING A RCH I V E I N VESTIG ATIO N

• videos of the history, at Fiskars museum's webpage • visit in Fiskars museum

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P E RS O N A L C O M M U N I CATIO N WITH SO M E STA K EHO LD ERS O N SI T E A N D V I A E- M AIL TH E M E M A P FO RM U L AT I ON

• def ine, categorize and limit spatial entities criteria (characters, functions, accessability, publicness etc.)

• download reference raster maps (terrain and hydrology, ortophotos, local map, corine landcover, tourist map, protected areas, archeological map, LiDar shadow map, historical drawn maps, current plans

OV E R L AY A NALYSIS IN T E RN E T B ASED M U LT I CH O I C E SURV EY IN FINNISH

• using Google forms • def ine, categorize, limit the current possible activities, areas to focus on, what could the locals wish for improvements • translate into English

C O M PU T E R B ASED P O ST -PR O D U CTIO N, 3 D M O D E L L ING AND G RA PH I C D E SIG N FO R F I N A L I Z ING AND STO RY T E L L I NG

I N T R ODU CT I ON

PA RT I I LITERATURE STUDIES

LITERATURE STUDIES

H O LISM

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“In many ways, the environmental crisis is a design crisis. It is a consequence of how things are made, buildings are constructed, and landscapes are used. Design manifests culture, and culture rests firmly on the foundation of what we believe to be true about the world.

Our present forms of agriculture, architecture, engineering, and industry are derived from design epistemologies incompatible with nature’s own. It is clear that we have not given design a rich enough context. We have used design cleverly in the service of narrowly defined human interests but have neglected its relationship with our fellow creatures. Such myopic design cannot fail to degrade the living world, and, by extension, our own health.” -Van der Ryn and Cowan, 2007 (Van der Ryn and Cowan, 2007) In a holistic worldview, the world is a network where human and other living things are all fundamentally interconnected and interdependent parts of the whole. Holism is a philosophical perspective and was f irst introduced by the South African statesman Jan Smuts (Smuts, 1926). He def ined holism as the “tendency in nature to form wholes that are greater than the sum of the parts through creative evolution”. In 20th century science, the holistic perspective became known as systems thinking, it was pioneered by biologists. They viewed living organisms as integral wholes, whose essential properties cannot be reduced to those of its parts, the properties arise from the interactions and relationships between the parts. By the end of 1930’s, the key criteria of systems thinking had been formulated by biologists, Gestalt psychologists and ecologists. (Capra et al., 2014, 63) (Capra and Luisi, 2014, p. 10)

When applying holism to landscape architecture, the landscape should be considered as a complex whole that is more than the sum of its composing parts. Holistic thinking offers ideas to think further than a few generations ahead, to take care of the landscape, to understand what to change and remove, to derive the identity of the place, to reuse existing functions and let disfunctions regenerate into new healthier functions.

However, holism is an abstract concept that is diff icult to apply. (Antrop, 2005, p. 35) It holds a paradox, as in principle it is not possible to reconstruct the whole from a detailed analysis of all its parts, so ‘the more than a sum’ will always be missing. It is challenging, even impossible to study everything, to approach the whole completely. How can we interpret “more than the sum”? This is why holism has been criticised and reductionism and the experimental approach has been promoted instead. Consequently, holistic thinking remains as an important principle, and left to be studied from different aspects.

(Antrop and Van Eetvelde, 2017a, p. 82) Like Smuts implies ‘through creative evolution”, the “more than a sum” could be seen to generate from creative and psychological processes. ‘The more’ arises from the connections and relationships Knowledge in the discipline of landscape architecture is collected from many different f ields ranging from the natural sciences (e.g. ecology), social sciences e.g. environmental psychology and sociology), humanities and arts (e.g. garden history, architecture and

PART [ 02 ]

design, aesthetics) (Jansson, Vicenzotti and Diedrich, 2019, p. 8). Svava Riesto and Ellen Braae address ‘epistemes’ in their compendium for the course “Theories and Methods in Landscape Architecture”.

According to Riesto and Braae, we have to apply a collection of different epistemes, which in generally speaking can be called ‘lenses’. They help us to analyse the different angles of the phenomena. Each of the lenses enables us to discover different aspects of the design and analysis process. (Riesto and Braae, 2019, p. 4) Holism is then the biggest lens within a systemic perspective.

In addition to ‘thinking with different lenses’, Selman’s (2006) scale explanation is relevant. He talks about scale in three dimensions: a spatial dimension, a temporal dimension and a modif ication dimension.

The knowledge of temporal and spatial scales and the modif ication scale is needed to understand the dynamic forces driving the landscape and changes in the way of life.

The task is to see and evaluate the phenomena with different lenses, tune back in time and further towards the future. Further on we need to answer global challenges both on the global and regional scales while focusing on the intrinsic site characteristics and history on a local scale. We also apply understanding from what modif ication level we are working with, such as considering if the site has already been highly altered and whether it is in need of reintroducing elements that could help the system to recover and function well. (Selman, 2006, p. 25–26)

aspiring goal. Holistic understanding in the work of landscape architecture ought to carry through the whole process of design and analysis via various lenses and methods of investigation. But as Murphy (2016) mentions, the purpose is not to apply all available knowledge. The attempt is rather to apply a combination of the most critical knowledge and let some aspects be tuned down. (Murphy, 2016, p. 245) Some aspects are ‘good to know’ but not the most relevant or suitable aspect or solution in the specif ic case. Murphy elaborates that considering the different aspects can give a broader scope of possibilities and a ground on which to make choices for delineations and compositions of spatial interventions.

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The holistic picture formulation for an individual designer (or anyone else) is an LI T E RAT U R E ST U DI E S

G E N IUS LO CI

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Norwegian architect Christian NorbergSchulz (1920-2000) returns to the concept of Genius loci, which is originally a Roman belief that every independent being has its genius, its guardian spirit. He argued it was important to come to terms with the genius of place and believed that a ‘good’ physical and mental relationship with the genius was a matter of survival. Christian NorbergSchulz (1920-2000) described genius loci as the essence of a place, the spirit of the place. In his book “Genius Loci - Towards phenomenology of architecture” in 1976, genius loci is described as the essence of a place, the spirit of the place. The book is an antidote to modernism and globalization that has caused much of the detachment and monoculturalisation of places.

He argues that genius loci is a qualitative phenomenon and therefore cannot be described in an analytical, ‘scientif ic’ manner as it comprises more intangible phenomena such as feelings and atmosphere. All places have character, and it changes with time, the seasons, the course of the day and the weather and light conditions. A character of a place, ‘the spirit’ is a complex whole and can be interpreted in different ways.

Poetics and art with their phenomenological methods are able to express ‘the essence’.

The essence is the totality which constitutes animals, trees, f lowers, sky, soil, towns light, materials, colors and textures.

Also, a place means something more than location, a place is enclosed, and the local circumstances of a place create a particular identity to a place. He differentiates ‘space’ as the existential dimension, the continuum without enclosure. A place is part of a space with the characterized elements.

He mentions that it is important for the man’s dwelling that he can identify and orient himself in a place, the characteristics and

symbolism of the place give a psychological aid for orientating and identifying man’s being in the world. Identif ication is the basis of the sense of belonging. The task of architecture is to visualize and symbolize the culture in form, to concretize the genius loci. Architects have to have the sensibility to understand and read ‘the spirit’ and give an existential foothold for people to belong to a place. Norberg-Shultz talks about man being an integral part of the environment from a phenomenological existential point of view and says that forgetting this can only lead to human alienation and environmental disruption. With this, he indicates the problematics of modernization. The spirit of the place and the contextuality is the point of departure in architectural investigations and is needed to anchor and give meaning to the work. (Norberg-Schulz, 1976) When I ref lect on Norberg-Shultz ‘s writings, he remind us that reading and listening to the essence is crucial, and to do this we need to include phenomenology in the work of architecture. By ref lecting on the roots of the place and the primordial us, we can help us to understand ourselves and others and the place we inhabit and understand and sense our interconnectedness with the place and our co-inhabitants.

PART [ 02 ]

D E S I G N WI T H NATUR E

“Let us abandon the self-mutilation which has been our way and give expression to the potential harmony of man-nature. The world is abundant, we require only a defense born of understanding to fulfil man’s promise.

Man is that uniquely conscious creature who can perceive and express. He must become the steward of biosphere. To do this he must design with nature.” (McHarg, 1971, p. 5) This is a short extract from Ian McHarg’s (1920-2001) book Design with Nature from 1969. McHarg has had a huge impact on the discipline and his ecological approach has been widely used in the works of landscape architecture. McHarg’s ecological inventory method has been later called “the layer cake -method” and systematically drew on and ordered layers of climate, geology, hydrology, soils, vegetation and wildlife (Spirn, 2000, p. 107). McHarg promotes a coexisting model where man works with, rather than versus, nature. He states that the places and inhabitants are the source of understanding of the physical, biological and cultural history and it is necessary to decode it, if we are to understand the place, man, or our co-habitants of this “phenomenal universe” as McHarg puts it.

evolution of the system would contribute to health, nurturing complexity, diversity, interdependence (symbiosis), stability, a high number of species and low entropy.

McHarg’s ecological approach could be criticized for being a scientif ic procedure, which leaves little work for the creative mind.

McHarg himself believes that the ecological method goes well hand-in-hand with the design process of landscape architects. The nature of the world is always in the process of becoming something and this continues during the shift design takes part in. A skilled designer reads the origins of the design and lets the earth and its processes give the pre-form and implication to their work that is about to transform into its next form through the process of designing with nature. (McHarg, 1967, p. 346–347)

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Landscape reading is the prerequisite for intelligent and appropriate interventions and adaptation. McHarg formulates the understanding from the past; what is the physical evolution of the place and how the changes over time have left marks on it. The evolution explains the present form and the revealed natural processes are resources to predict future communities and dynamics.

He elaborates that the intentions used might aid either regression or evolution.

Regression of the system would mean illness of the system through simplicity, uniformity, instability, low number of species high entropy and independence. Contrary, LI T E RAT U R E ST U DI E S

PL ACE ATTACHMENT

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People form emotional attachments to others, environments and places and this is a fundamental aspect of our quality of life.

Place creates our identities, gives meaning to our lives, and can improve societal processes (Havik et al., 2020, p. 120). When collecting literature about place attachment, quite soon one can notice that the terminology related to place attachment is vast. There are concepts such as “place meanings”, “place bonding”, “topophilia”, “sense of place”, “biophilia” etc. Through my investigations, it seems like that the research related to place attachment seems to be trying to explain the same things with different concepts and terminology, which makes it seem chaotic and not very well-def ined. The phenomena of place attachment is another complex study area.

There have been various attempt to study place attachment in multiple ways and several models have been developed to explain place attachment and its components. One highly used model offers a three-dimensional framework to explain place attachment, the model explored the phenomena with person-process-place components. The person component refers to the fact that meanings emerge from people’s particular histories, identities and experiences. The place component focuses on the characteristics of place which includes the physical and semantical aspects. The process component refers to the notion that place attachment is formed through combination of feelings (affection), thoughts (cognition) and behaviour. (Manzo and Devine-Wright, 2019, p. 137–139) The places we are attached to may evoke feelings of happiness, and create a sense of security, belonging and comfort (Marcus, 2006). Other studies show that identifying with one’s favourite places in everyday life can support a sense of positive self-esteem,

a sense of pride about one’s neighbourhood or hometown (Twigger-Ross and Uzzell, 1996). Natural place attachment refers to emotional attachment directed towards natural features of one’s local area.

(Scannell and Gifford, 2010, p. 290) Place attachment is a relevant framework in the context of landscape architecture as by formulating places we are interested how can we shape places that contribute to the quality of life and higher levels of place attachment. Higher levels of place attachment matter as they can boost a desire to engage in stewardship in the community and environment and foster resilience (Ruggeri, 2021, p. 243). People who feel an emotional attachment to a place are more likely to be active in taking care of the place.

In the work of landscape architecture, place attachment is particularly interesting in a sense that we are interested to know what type of landscape preferences can promote place attachment. We have relatively little verif ied research of what exactly people are attached to and the effect of place attachment on landscape preferences (Kaltenborn and Bjerke, 2002, p. 384) The question of what exact landscape elements formulate place attachments is a multifaceted and ongoing research topic among academics and professionals.

PART [ 02 ]

PL ACE B RA ND ING

In the era when the economic survival of places increasingly depends on their capacity to attract visitors, taxpayers, economical investments (Broudehoux, 2018, p.xii).

Landscape architects work in dynamic landscape formulation as ‘producers’ with other creative industries including professional marketers. We are part of the processes of creating landscape images with meaning and concepts that sell. Images are culturally constructed and involve more than a discussion about colourful logos or analysing real estate or architect companies’ ‘juicy’ visualizations. Beyond these layers is a complex process of identity construction and management. (Porter, 2016, p. 5–6) Place image processes are far from being politically neutral (Broudehoux, 2018, p. xxi).

Place branding models draw reference from product and corporate business branding as an extension to marketing strategies to address the decline-renewal challenges(Butler, 1980). Place branding can be a useful tool to secure a desired position within mobilized global f inancial, human and cultural resources and can help to maximise positive place experience. Place brand can be strategic guidance for place development and can be used as an instrument for envisioning a desired vision for the place’s future. Place brand can also provide a basis for stakeholders’ cooperation and act as a collective goal that the stakeholders work together towards.

(Ashworth, Kawaratzis and Warnaby, 2015, p. 4) The production of the place brand is developed through different modes of interventions: the conceived (imagined), the built (physical, material) and the lived image of the place (experienced or social. The conceived image construction is the product of specialists in advertising, place marketing and destination branding. The process is

sponsored by local governments, tourist organizations and local interest groups and f inally diffused out through mass media.

(Broudehoux, 2018, p. xiv–xviii) The topdown place branding stakeholders look to create images and welcoming spaces for underdeveloped zones or instigate major efforts such as spectacular architecture to signal conf idence and continued growth, which often have a risk of not representing the local people and a large enough multiplicity of voices. (Evans, 2015, p. 155) The built place brand is focusing on the physical place, both natural- and manmade. Architecture and urban design communicate information from the society and culture that created it. (Broudehoux, 2018, p. xvi) The physical place-branding efforts of cities, towns and peripheral places can be constructed through iconic architecture, refurbishing buildings such as cultural facilities, public buildings, off ices, shopping malls, transportation, public art/ installations or renovations of historical sites. Whereas urban design public realm improvements mean focusing on parks and open spaces, squares, cultural, heritage and creative quarters, transport and routes, area-based cultural, housing and eventled regeneration. (Evans, 2015, p. 139)

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Social place branding aims to seek to reform public behaviour. This can be often be an act of ‘cleaning’ the image of a place, and banning certain behaviours in public spaces.

(Broudehoux, 2018, p. xx–xxi) On the other hand, I argue that social place branding is constructed also through f inancing street festivals, supporting local shops and restaurants to expand the life of streets, promoting small-scale urban farming initiatives or regenerating green parks where people are more likely to express the desired behaviours.

LI T E RAT U R E ST U DI E S

SUMMARY OF LITERATURE STUDIES How are these concepts related to each other? They all have specif ically targeted value to emphasize in the study of landscape and places. Holism is a philosophical perspective, that puts the focus on relationships, interconnectedness and the future.

When emphasizing the genius loci of the place, we anchor the site development to its roots and the site is carefully investigated. Genius loci aim to focus on the phenomenological aspects of a place and to give a voice for the intangible qualities of the place. Landscape architecture’s task is to give a form that resembles the site’s essential characters.

26

Design with nature aims to address the importance of ecology, and us part of the ecological system. Humans ought to build with ecological systems and fusion it together with the social world without disrupting the health of the ecological system.

Place attachment highlights the importance of environmental psychology. We built attachment with places and hypothetically the awe, support and inspiration it provides to us will contribute to wellbeing and stewardship with the community and caring for the environment.

Place branding is a conscious act to give the place and image that would most likely attract people to visit, engage and move to. Place branding is a way to promote places with a risk of decline, it is the face and imago the stakeholders promote to gain investments, good reputation, new taxpayers and tourists to the area.

Each of these concepts rises from different traditions and emphasize different component of the whole phenomena.

All of the studied concepts are also positioned at the borderlands of multiple knowledge empires. This thesis attempts to test these concepts in the circumstances of Fiskars. Finally, the framing concepts are being modif ied into new concepts through the outcome of the analysis and my creative journey.

PART [ 02 ]

FRAMING KEY CONCEPTS Megatrend: “An important shift in the progress of a society or of any other particular f ield or activity; any major movement.” (Oxford English Dictionary, 2021f) Holism: “A term coined by General J. C. Smuts (1870–1950) to designate the tendency in nature to produce wholes (i.e. bodies or organisms) from the ordered grouping of unit structures.” (Oxford English Dictionary, 2021d) Interdisciplinary: “Of or pertaining to two or more disciplines or branches of learning; contributing to or benef iting from two or more disciplines.” (Oxford English Dictionary, 2021e) Systemic thinking: “The theoretical and practical ability to observe, think, model, simulate, analyze, design, and synthetize components, functions, connections, structures, interrelationships, and dynamics across disciplines, functions, organizations, people, trends, and cultures in ways that lead to insightful problem interventions for attaining solutions aligned with sustainable development.” (Gallón, 2019, p. 1) Space: “Physical extent or area; extent in two or three dimensions.” (Oxford English Dictionary, 2021h) Place: “A particular part or region of space; a physical locality, a locale; a spot, a location.

Also: a region or part of the earth's surface.” (Oxford English Dictionary, 2021g)

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Landscape: “An area, as perceived by people, whose character is the result of the action and interaction of natural and/or human factors.” (Tveit, Ode Sang and Hagerhall, 2019, p. 52) Ecocentric: “Centring on environmental conservation; emphasizing the importance of protecting the environment rather than the needs or rights of human beings considered in isolation; of or relating to ecocentrism.” (Oxford English Dictionary, 2021b) Anthropocentric: ”Centring on humanity or human beings; regarding humanity as the central or most important element of existence, esp. as opposed to God or the natural world.” (Oxford English Dictionary, 2021a) Ecology: “Ecology is generally described as the study of the interactions of organisms and environment which includes other organisms.” (McHarg, 1967, p. 341) Genius Loci: “A guardian spirit or god associated with a place.“ or “The essential character or atmosphere of a place.” (Oxford English Dictionary, 2021c) Place attachment: “The emotional bonds that individuals and groups have towards places of varying geographic scales.” (Bonnes et al., 2019, p. 121) Place brand: “is a network of associations in the consumers’ mind based on the visual, verbal, and behavioural expression of a place, which is embodied through the aims, communication, values, and the general culture of the place’s stakeholders and the overall place design.” (Zenker and Braun, 2010, p. 3) Regenerative: ”Relating to the improvement of a place or system, especially by making it more active or successful, or to making a person feel happier and more positive.“ (Cambridge English Dictionary, 2021)

LI T E RAT U R E ST U DI E S

PA RT I I I FISKARS

STORY OF FISKARS

30

PART [ 03]

XXX THE STAGE FOR THE MOVIE “DOGVILLE” BY LARS VON TRIER

The name “Fiskars” originates from a myth about a f isherman (‘f iskare’), who lived next to Degersjö lake where Fiskars river has its source as a stream. It is told that in old times, f ishes thrived and used the river for migration towards the inner lands. (Matvejew, 1981, p. 7) The start of Fiskars ironworks can be traced from the middle ages when the resources of iron ore were found in the lakes. When the technology developed, the formation of ironworks started close to lakes and forests and the f irst ironworks was established in Kvarby in the 1540s. The concentration of ironworks is in South-West Finland, close to the sea and close to the transportation ports towards the Baltic Sea. Following this trajectory, Fiskars village was established in 1649 during the time when Finland was part of Sweden.

The site has gone through 300 long years of industrial identity formation. The story includes wars, the mixing of cultures, changes in power dynamics between stakeholders and the people living and working on the site, and different landscape-altering levels arising from the Anthropocene

31

The site has faced radical structural change over the past 30 years from an industrial site into art- and artisan works, with residential possibilities and becoming an attractive destination for travellers. During the 1990s many ironworks have gone through a transformation from industrial-based structures into a heritage site. The culture and artistic f ields are the basis for much Finnish ironworks to form new sources of identity construction. The closeness to the metropolitan area (90km) and to the coast has been the key to the success story of Fiskars. (Sairinen, 2019) The area of Fiskars has been recognized as an important landscape with valuable cultural and natural heritage.

As was stated in the introduction, the area is recognized in the nationally important landscapes list concluded by the Ministry of Environment in Finland (Ministry of Environment, 1995) The site has been constructed of multiple layers of landscape modif ications and evolutions related to industrial usage, agriculture, nature management and urbanisation. The environment and humans have together produced the site of the ironworks.

FI SKARS

TIMELINE people arrive to fiskars

h ol oscene star ts 32

1600

1700

FISKARS IRON WORKS IS FOU NDED

TRAN SFORMAT I O N I NTO COPPER WORK S

Pohja region became the centre of Finnish iron manufacturing in the 17th century. Its surroundings offered unexploited waterpower and good water routes, as well as plenty of forested areas for making wood coal.

Finland’s Great Famine of 1695-97 was followed by the Great Northern War, which broke out in 1700. The hard times naturally also had an impact on the operations of Finland’s ironworks, which were already in competition. The Great Northern War marked the end of Sweden-Finland’s days as a superpower and Finland was occupied by Russia, that was the new superpower of the Baltic Sea.

Most of the bar iron produced in Fiskars was sent to Sweden to be sold on the Iron Market in Stockholm’s Old Town.

The iron was also used to manufacture nails, wire, knives, and hoes, as well as iron-reinforced wheels, casseroles and frying pans.

The iron production required more talented professionals, also from other countries, such as the heart Sweden, Germany and the Netherlands. The number of employees in Fiskars during the time was between 14-95.

None of the buildings from the earliest days of the ironwork remains in the village.

During the 18th century the Fiskars mill had become the best-known mill in the parish and the population of the village increased to 115 people.

The industrial revolution and the invention of the steam engine revolutionized industrial workshops and introduced new iron production methods.

In the 1750s copper was discovered in Orijärvi in Kisko and copper ore ref ining began in Fiskars.

After the wars the village was rebuilt. New buildings and constructions around the river were being developed and new houses were built.

PART [ 03]

1800

1900

2000

STA RT O F B U ILD ING S M A S CH I N E S AND F INE I RO N W O R K S

PR O D U CTS FOR TH E M O D ERN IZATING SOCIETY

TH E TRANSFORMATION IN TO A CU LTU RE- AND TOU RIST DESTINATION

1822 Johan Julin bought Fiskars ironworks and village. During Julin’s time, Fiskars focused on iron ref ining and expanded agriculture and forestry.

The crop rotation was introduced and cattlebreeding f lourished to the 1970s.

The industrial and economical development in Europe was gaining pace and experts were brought to the workshop from England. Fiskars started producing items such as table cutlery and scissors.

Finland’s f irst machine workshop was established in Fiskars in 1837, which manufactured the f irst Finnish steamship engine.

From the 1850s onward, agricultural tools, such as plows, chaff, rakes and seeders were also produced.

Also, casseroles, frying pans and stoves were produced.

Fiskars became a jointstock company in 1882 and was listed on the Helsinki stock exchange in 1915. At the beginning of the 20th century, the business was prof itable, and products were exported much to Russia.

The productivity was developed by investing in new machinery and methods of processing steel. After World War II the production had been expanded to mass production.

In 1967 Fiskars manufactures the world’s f irst plastic-handled scissors, which are iconic and the best-known product of Fiskars.

Fiskars gave up its iron production in the 1960s and consumer products started to be their focus of the industry.

After the industrial production had been moved abroad the site with its buildings and natural areas has been transformed with new forms of usage.

Fiskars Group has recognized the site as important part of the brand image and storytelling.

Consequently, the company has invested a lot to maintain and develop the site into an attractive tourist destination. The affordable housing and workspaces have attracted ‘the creative class’ to move to the area.

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The community has organized and formed community association, is active in decision making with the landowner and the municipality.

(Fiskars Village, no date; Sairinen, 2019; Fiskars heritage walk)

Many social reforms also took place during Julin’s era, the village got its school and hospital. There are still buildings and traces from Julin’s times such as the bell tower.

FI SKARS

V I L L A G E FA C TS A N D STAT I ST I C S CO M M UNE

34

LO C AT I O N

S O U T HE RN F I N L A N D

M U N I C I PA L I T Y

RA A S E PO RI

L A N DA R E O F T HE C O M M U N E , L A N D - A R E A / F R E SH WAT E R A R E A S ( 2 02 0 )

1 1 48,3 / 67 ,1 5 KM2

L A N G U AG E ( 2 0 1 8 )

64,6 F I N N I S H S PE A KI N G 40% S WE DI S H S PE A KI N G % OT HE R

P O P U L AT I O N C O M M U N E ( 2 0 1 8 )

27 592 PE RS O N S

P O P U L AT I O N E X P E C TAT I O N IN YEAR 2030

25 208

N E T M I G RAT I O N I N C O M M U N E (2019)

MI N U S 1 84

FO R E I G N C I T I Z E N S ( 2 0 1 8 )

3,5 %

F ISKARS V ILLAG E FO U N D E D

1 649

AREA KM2

26405 65 8M2

LAKES

9

V I SI TO RS / Y E A R

200 000

P O P U L AT I O N ( 2 0 1 8 )

540 PE RS O N S

P O P U L AT I O N D E N SI T Y ( 2 0 1 8 )

40,7 P/KM

MEN/WOMEN (2018)

269/27 1

AV. AG E ( 2 0 1 4 )

44 YE A RS

HO U SE HO L D S ( 2 0 1 8 )

25 7

AV E RAG E SI Z E O F A HO U SE HO L D ( 2 0 1 8 )

2,1

M O ST C O M M O N LIVING TYPE

OWN HO U S E (5 6%) RE N TA L (38%)

R E SI D E N T I A L B U I L D I N G S (2018)

224

SU M M E R C OTTAG E S ( 2 0 1 8 )

29

E M P LOY M E N T RAT E ( 2 0 1 8 )

74,4%

AV. I N C O M E ( 2 0 1 7)

21 7 63 € /Y

R E G I ST E R E D C O M PA N I E S ( 2 0 1 9 )

1 22

(MA A N MI TTAU S L A I TO S , NO DATE B; J Ä RVI - ME RI WI KI , 201 1 ; F I S KA RS GRO U P, 201 9B ; WI KI PE DI A , 2020)

PART [ 03]

Fiskars is a village of 540 population.

The area which can be calculated from the postal code area is around 2640 hectares. The age-groups are relatively evenly distributed but indicating a slightly bigger representation of people at the age of 55-64 years (16%).

Most of the people living in the area are in work life.

14 percentage are retired.

Children under 18 years represent 18 percentage of the inhabitants. People are working mostly in the f ield of services, industry and primary production and processing.

Professional and research services and retail works are also represented in the top 5 most common f ields of work. (Tilastokeskus, no date)

AG E D I STRI BU T I O N (201 8) over 85 y

4%3% 16% 5% 6,5% 7,5%

75-84 y

15%

14%

65-74 y 55-64 y 45-54 y

14% 14%

35-44 y 25-34 y 18-24 y 13-17 y

L I F E SI T U AT I O N (201 8)

EMPLOYED

5,5% 5,5%

8,5%

0-12 y

UNEMPLOYED

40%

35

CHILDREN STUDENTS

18%

RETIRED

14%

OTHER

W O R K F I E L D (201 8)

18,4% PRIMARY PRODUCTION, PROCESSING 31,5% SERVICES 0,3% AGRICULTURE 15,8% INDUSTRY 2,2% BUILDINGS, CONSTRUCTION, INFRA 6,6% RETAIL 5% ACCOMMODATION, RESTAURANT BUSINESS 0,3%INFORMATION SERVICES 7,3% RESEARCH SERVICES 3% EDUCATION 3% HEALTH SERVICES 6% ARTS, CULTURE, RECREATION 0,6% OTHER SERVICES FI SKARS

WO RKE RS O U TS I DE T HE COP P ER FAC TO RY AT T HE LOWE R BRUK, A RO U N D 1 860.

U PPE R BRU K 1 947 . T HE CENTRUM I S MO RE O PE N T HA N W HAT IT IS N OWA DAYS .

36

LO G DRI VI N G O N F I S KARS RIVER IN 1 920' S .

PART [ 03]

A PA RT Y AT BA KL U RA I N 1 908. T HE S POT I S WHE RE T HE C U RRE N T C O MMU N I T U S AU N A I S N E X T DE GE RSJ Ö L A KE .

S KI J U MPI N G AT T HE BAC K O F F L AGGBE RG WHI C H I S T HE HI GHE ST PO I N T I N T HE S I T E A RE A . PHOTO F RO M 1 939.

37

PI C N I C BE S I DE T HE L A KE AT 1 930' S.

FI SKARS

38

AU TH O R' S C O L L AG E A N D INTE R P R E TAT I O N O F T HE I M AG E O F FIS KA RS A F T E R SI T E V I SI TS

PART [ 03]

FISKARS BRAND Fiskars def ines its name and brand as followed: "Fiskars is a leading global lifestyle brand dedicated to empowering people to shape their world in the home and garden. Established in 1649 as an ironworks in a small Finnish village, the company encourages everyday creativity through purposeful design.”

(Fiskars Group, 2019a)

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The brand ‘Fiskars’ is built upon the success story of rising from a small industrial site into a worldknown brand and company.

Nowadays the whole village has been promoted strategic storytelling and image creation, high-level webpages and groups dedicated to keep the image fresh, attractive and interesting. There is even a logo for ‘Fiskars Village’.

The events such as ‘Art and Design Biennale’, ‘Slow Food Festival’ and ‘Bike Expo’ are all part of the marketing of the place.

FI SKARS

VOICES Extracts from the summer exhibition 2020 “Niitty-ÄngenMeadow” arranged by ONOMA The Cooperative of Artisans, Designers and Artists in Fiskars.

M EAD OW “In the meadows, the slow evolution of the distinctive local ecosystem meets accelerating global changes. Meadows harbour a rich array of life, from plants and pollinators to thriving soil communities. This biodiversity is crucial for our food webs as well as for planetary health. […]

Conservation efforts have saved meadow ecosystems from extinction in Finland. Rather than representing a return to the past, meadows attune our senses to the entanglement of the life and death of different species with the transformation of human cultures and technologies.

40

In Fiskars, the environment has been signif icantly impacted by agriculture, forestry, and mining for many centuries. Specif ic ways of life have f lourished here thanks to the local natural resources as well as migration and trade across the Baltic Sea.” WATER “Human tears are as salty as the brackish water of the Baltic Sea. All the water bodies on Earth are connected across the planet in constant f lows. Water not only carries most life forms on Earth, but also the circulation of medicines, hormones, fertilisers, plastics, cruisers, and cargo ships. […]

Waterways are the arteries of all land ecosystems and communities. In Fiskars they have been rerouted and dammed for transport and generation of energy. Treasured today for their recreational value, local rivers and lakes also bear traces of the long-term impacts of mining, agriculture, and forestry.”

AIR " Air is not a void between us, but a medium, like water, that weaves together all life, intimately. […] Air currents carry birds and butterf lies on their migration. It is the wind that gives wings to seeds, and it forms part of the clouds that circulate rains across the globe. […]

The number of insects in the air have plummeted everywhere.

Who remembers having to clean insect roadkills off their car windscreen? The use of pesticides threatens the future of pollinators, while the destruction of wetlands and old-growth forests endangers dragonf lies as well as myriad bugs that transform organic rot into nutrients.”

PART [ 03]

FO R EST “Human cultures have always been shaped by their local forests. Different types of timber have given form to diverse modes of life, architecture, and mythologies alike. Even in today’s urban sprawl, trees continue to give people a sense of rootedness and wellbeing. While trees communicate in their own multi-species forest communities, we humans seem to have lost the shared language.

Forests are literally the fuel for early industrial development, as witnessed by many coal kilns now hidden under moss in the forests of Fiskars. The maritime f leets and slave ships of European empires were also built from wood and sealed with tar extracted from Nordic forests.”

EARTH “Earth” is the word both for the planet and the very ground beneath our feet. Earth is rocks, minerals, metals and soil. It fuels both human bodies and our everyday technologies.

41

Soil is a dynamic ecosystem of microbes, worms, and everything but inanimate matter. Humans are also part of this thriving community – the humus of life. Yet, intensive agriculture has disrupted these ancient cycles of growth and decay. Five years ago, the UN estimated that currently farmed lands across the world are so depleted that they have only 60 harvests lefts.

Human food cultures tell a centuries-long story of global exchange and coevolution with other animals, plants, and minerals. Plants have always been mobile, but increatsingly so with the assistance of humans. Will potatoes one day travel to other planets, as in escapist fantasies? Can we really depend on the controlled climate of greenhouses as global climate change spins out of control? […] How can we attune again to the slower cycles of the Earth?” (Niitty-Ängen-Meadow, 2020)

FI SKARS

PA RT I V R E G I ST RAT I O N A N D A N A LY S I S

TH E H ARBOU R OF POH JANKU RU 44

T H E LAKE D EG ERSJ Ö N TH E LAKE BOR GBY TRÄ SK E T

TH E CEN TRU M OF FISKARS THE UPSTR E AM OF RIVER FISKARS

PA RT[ 04 ]

THE B ALTIC SEA AND G ULF OF FIN LAND 4 0 KM AWAY TAMMISAARI 25 KM AWAY

S A N DV I KEN

45

PO H J A 5K M AWAY

R EG I ST RAT I ON AN D AN ALYSI S

80 KM TURKU NUMMIPUSULA

KLAUKKALA

LOHJA PERNIÖ HELSINKI KIRKKONUMMI

TALLIN 80KM

FISKARS KARJAA INKOO

POHJA TAMMISAARI 270KM STOCKHOLM

THE BALTIC SEA AND THE GULF OF FINLAND

HANKO

20KM

N

MAINROAD

THE LAKE BORGBYTRÄSKET

TUNNEL

THE UPSTREAM OF RIVER FISKARS

S

THE CENTRUM OF FISKARS

THE LAKE DAGERSJÖN

AR EA IN FO CU

AREA IN FOCUS

46

N

1 KM 1 km

PART [ 04 ]

LOCATION AND CONTEXT

LOCATION IN THE W O R L D M A P

LO C AT I O N I N E U RO PE

Finland is located in the North-East corner of Europe. When looking at the satellite map of Finland (the map on the right), it can be seen that the southeast part Finland has the most fragmented forest body of the whole country. The land is an interplay between different landscape types such as forests, lakes and agricultural land. Most of the land in Finland is covered with different forest types (Marttila et al., 2020, p. 1723)

history as a harbour at the furthest end of Sandviken.

Pohja and Sandviken is also the f inal destination for the water f lows of Fiskars river.

Fiskars is located in the south-west part of Finland, only 40km away from the Baltic Sea. The bay of Sandviken penetrates into the inland and has been an important connection between the sea and the inland.

Travellers, expeditors, f ishes and boats have been moving in and out through Sandviken. Pohja town is a small town with a

When zooming towards the centrum of Fiskars, the landscape is tuned with the larger characteristics found in southern Finland: lakes, forests, mediate undulation and agricultural patches.

Fiskars village rests in the valley closely attached to Fiskars river.

PRO PO RT I O N O F L A N DC OVE R I N F I N L A N D, AC C O RDI N G TO MA RTT I L A E T A L . 2020.

47

The closest train station is in Karjaa, this is an important connector for people to move towards the capital areas of Helsinki and Turku.

Hanko is the southeast point of Finland and an important harbour for cargo boats arriving with goods from all around the world.

7,5% 19,6% 72,9%

R EG I ST RAT I ON AN D AN ALYSI S

AGRICULTURAL LAND, MEADOW, GARDENS

ROAD

FOREST AREA

TRAIN TRACKS

INDUSTRIAL AREA

DAM

WATER

BUILDING EARLY 1800 CENTURY.

48 N

EARLY 19 00 CENTURY

N

1 : 50 0 0

PART [ 04 ]

LANDSCAPE CHANGES The old maps of Fiskars tell the old visions of people.

I have attempted to trace old maps to f ind the story of how the village was formulated. The biggest landscape change drivers over the past 400 years have been industrialization, agriculture, river damming, forestry and nowadays climate change and water eutrophication.

The investigations imply that people have started their land modif ications close to the upper stream of the Fiskars river with powerful water forces. The development is formed also close to the intersection of Fiskars river and Rissla river, where two streams create a bigger stream.

The positioning and angles of the buildings have been following the main roads and the body of Fiskars river.

The alley of old wooden houses and trees direct the movements and the attention towards longer vistas.

The forests close to the river were cut down to give space for the purposes of agriculture and the growing population of workers. The people needed to be fed.

49

At the beginning of the 1900 century, the village with its urbanizing fabric and agricultural land had spread more and more towards the surroundings.

More roads were created to bring wood from the surrounding forests and goods from the region.

In 1890 construction of narrow train tracks started. This would bring eff iciency for the industry, to import raw materials into the village and export ref ined works towards the harbour of Pohja. In 1891 a small train called “Pikku-Pässi” transferred goods and people two times per day between Fiskars and Pohja. The whistle of Pikku-Pässi's horn was last heard in 1952.

PI KKU - PÄ S S I WI T H PA S S A N GE RS

After 1959 the train tracks were removed completely. Between 1959-2016 Pikku-Pässi was outside as a standing memory.

Rusting started to affect the train and it was taken away in 2017 to be restored. There are ideas to bring the train tracks back, the train would travel between the upper and lower bruk and serve as transportation for people visiting the area.

(Fiskars Museum, no date)The exact route plan is still under planning.

R EG I ST RAT I ON AN D AN ALYSI S

50

PART [ 04 ]

51

R EG I ST RAT I ON AN D AN ALYSI S

52

PART [ 04 ]

53

R EG I ST RAT I ON AN D AN ALYSI S

WIND ROSE

COLD SLOPE

>21-12 M/S 9-12 M/S 6-9 M/S 3-6 M/S

WARM SLOPE

0,1-3 M/S

54

N 1:11000

PART [ 04 ]

AIR The microclimate at the bottom of the valley creates a humid atmosphere and fertile soil tender the comfort and growth of the plant communities. The water bodies store heat and consequently have lower temperatures in the winter that the surroundings are not so cold or prone to frosts.

Contrary during the summer the valley offers a warm hug.

The coldest winter months are December-March. The winters in the northern part of Finland have been getting milder as the average yearly temperature has raised 2 Celsius degrees since the 1800 century (Ilmasto-opas, no date). The snowy days are not for granted in south.

The interplay between the terrain and the sun creates a continuous dance of warmth and cold. The south-facing slopes are places for warmth and dryer soil and the north-facing slopes can create shadowy, moist and cold atmospheres. For some spots the sun never hits as the rays of the sun can be very insubstantial up in the North during the winter.

The wind blows mostly from the south-west throughout the year.

The topographic structure of the valley creates moderate ‘speed-ups and wind tunnels at the bottom of the valleys. The speed-ups are mildewed by the undulating tree canopies that slow down the wild pace of the winds from the close by the sea.

AVERAGE TEMPERATURES IN THE REGION (C0)

55

25 20 15 10 5 0 -5 -10

J

F

M

A

M

J

J

A

S

O

N

D

A

M

J

J

A

S

O

N

D

AVERAGE RAINFALL IN THE REGION (MM)

80 70 60 50 40 30 20 10 0

J

F

M

R EG I ST RAT I ON AN D AN ALYSI S

CONTOUR LINE

CONTOUR LINE

56

N 11 :: 11 11 0 00 00 0

<5 M

<40 M

<10 M

<50 M

<20 M

<60 M

<30 M

<70 M

PART [ 04 ]

TERRAIN

The planes of Earth have memory layers beyond human understanding. The earth is about 4600 years old and the oldest rocks over 4000 million years old. The land is on a continuous journey, the excursion has been across the globe as part of ancient and present continents. In Finland, the bedrock is very old, formed into its present state about 3000-1400 million years ago, only some geological processes have taken place since, but they have not been extensive. There have been time when the area has been completely covered by water and ice.

57

Any materials younger than the current bedrock have migrated as a result of several ice ages. Kilometer long massive ice cubes have consumed the bedrocks and took loose rock then with them. The ice ages lowered the mountains of Finland and left little to be seen. Most of the Finnish bedrock is covered by a few meters to ten meters thick soil layer.

The bedrock is exposed and bare only for the 3 percentage of the landcover. (Lehtinen, Nurmi and Rämö, 1998) The highest peak of Fiskars is around 75 meters above sea level, from there one can see far and deep. Borgby lake is under 5 meters high and lake Deger lake lying at a high around 15-20 meters above sea level.

R EG I ST RAT I ON AN D AN ALYSI S

MAIN WATERSHED DIVIDER WATER FLOW DIRECTION SMALL STREAM, DITCH WATER DAM

katthavet pond

trind lake

rissla river

degersjön deger lake

fiskars river

58

borgbyträsket borgby lake

N 1:11000

PART [ 04 ]

WATER

ön ake

Water is everywhere, but gravity directs it to travel towards the lowest points and to collect into ponds, groundwater stocks and lakes. Fiskars river is around 2km long starting from Deger lake and descents to Borgby lake. The river has been dammed and is therefore denying free passage to f ish and macro-invertebrates. The dams create thus picturesque landscape with ponds and down f loating waterfalls. The human-made ditches in the forest and agricultural land are shown as straight lines on the fabric of the land.

59

According to the Finnish Environmental Institute, Deger lake has been stated to be in good ecological status after collecting data of the surface and groundwater between 2012-2017. The same source tells also that Fiskars river and Rissla river is having satisfactory status. (SY KE, no date) Some smaller streams meandering down from the hills are also an important habitat for many micro invertebrates, insects, birds and plants.

R EG I ST RAT I ON AN D AN ALYSI S

CONIFEROUS FOREST

HEAT

WATER

MIXED FOREST

AGRICULTURAL FIELD

CONSERVATION AREA

DECIDUOUS FOREST

YOUNG CLEAR-CUT FOREST

CONIFEROUS TREES

GARDEN AND PARK AREAS

INDUSTRIAL AREA

DECIDUOUS TREES

60

N 1:11000

PART [ 04 ]

LANDCOVER AND FLORA

The area provides various atmospheres which are created by different landcover types and open and closed areas. The area includes conifer and deciduous dominated forest types and a mixture of both. The larger intensif ied forests are situated especially at the outskirts of the centre.

These forests are highly monitored and managed by people. Some young clearcut areas are indicating the hard hand of humans to manipulate their outers and intent to put trees in rows with the same appearance and age, like men in an army.

Deciduous tree species such as oaks, hazel, aspen, birch, alders, ashes and maples thrive here better than when moving more north

The central area and detached housing areas are with more light and space between the trees, the atmosphere is not cramped. The trees may grow their silhouette balanced and spread their canopies vertically and horizontally. They are with less competition, able to gather nutrients and water from the fertile soil of the valley bottom.

In the central zone, the riparian edge includes mostly Alnus incana and glutinosa and Prunus padus species. The park areas in the central zone include majestic old Quescus robur, Fraxinus excelsior, Ulnus glabra and Acer platanus trees. (Faunatica, 2017)

The cow keeping in the area ended in Fiskars in the 1970’s, but since 2001 some of the agricultural lands has been rented to local farm ‘’Nyby”. The “Simmental” cows pasture next to Borgby lake in the south part of the village. They maintain traditional biotopes and prevent overgrowth and succession.

Sheep are used for landscape management in some semi-open places in the centrum area.

Three areas are marked as conservation areas. These conservation areas include threatened nature types such as Ulnus glabra groves and Corylus avellana grove.

(Faunatica, 2017) Also old bare bedrock area has been mentioned as conservation area (Maanmittauslaitos, no date). The conservation areas can be seen in the map of landcover types on the previous spread.

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Long hay species grow in the old pasture lands of the centrum. There are also initiatives for meadow areas, the locals have been together with the landowner seeded meadow seed mixes to some areas of the park. Aggressive invasive species such as Impatiens glandulifera has been found in the area and needs monitoring and ought to be removed (Faunatica, 2017).

The area is part of the coastal hemi boreal zone.

R EG I ST RAT I ON AN D AN ALYSI S

PINUS SYLVESTRIS

PICEA ABIES

BETULA PUBESCENS

BETULA PENDULA

POPULUS TREMULA

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QUERCUS ROBUR

SORBUS AUCUPARIA

TILIA CORDATA

SALIX CAPREA

ALNUS INCANA

ALNUS GLUTINOSA

PRUNUS PADUS

TILIA CORDATA

JUNIPERUS COMMUNIS

PART [ 04 ]

SERIAL VISION

IN AN OPEN FIELD

BETWEEN OPEN FIELD AND FOREST EDGE

NEXT TO LAKE WITH OPEN VIEW

HEAT AND PASTURE

INSIDE TRANSPARENT FOREST

INSIDE DENSE FOREST

ON TOP A HILL WITH VISTA

NEXT TO RIVER

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ALONG TREE ALLEY R EG I ST RAT I ON AN D AN ALYSI S

RIDGE

1-STEP FOREST EDGE

WATER

CLIFF

CONIFER TREES

HISTORICAL IMPORTANT TREE AVENUES

DECIDUOUS TREES

VISTA POTENTIAL VISTA

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N 1 :1 1 0 0 0

DEEP SHADOW

PARTLY SHADOW

LIGHT SUN 45O ALTITUDE FROM NORTH-WEST

PART [ 04 ]

VISIBILITY AND LIGHT

The area contains several places for vistas and potential vistas. There are also humans attempts to direct the sight and direction of movement with tree alleys. The village opens up fully at both ends towards the lakes and the hillsides at both sides of the river provide a potential invitation to observe the life of Fiskars.

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The dialect between light and shadow form the essential atmosphere for all places, the light orchestrates our mood and perception. In Fiskars the conifer forests are the places for shadows and shelter. They can always provide prospect and refuge. The deciduous trees provide delicate shadow during the summer but expose us to the sky during the winter.

The language of Fiskars is not too contrasted, there is a relatively short rhythm of open and closed area. The edges between agricultural land and forested areas are occasionally sharp, but the land has a soft transition from landcover type to others. There are signs of younger trees curious to enter the forest zone next to them, thus they may soon grow in hunger for light like a young Acer Platanus at the forest edge of massive Picea abies. Nature has also its order.

The day is 19 hours long during the summer solstice and 6 hours during the winter solstice (Ilmatieteen laitos, no date a). The light is the source of all being, it structures our everyday lives and seasonal changes. Light is particularly important in the northern hemisphere, where seasons have prominent chapters. Summer is much appreciated and full of life outdoors and the winters are long, and the activities take place mostly indoors.

R EG I ST RAT I ON AN D AN ALYSI S

BUILDINGS

PATHS

ZONE

ASPHALT ROAD

IMPORTANT NODES

GRAVEL ROAD

PORTAL (TUNNEL)

MAIN TRAFFIC NOISE

WATER

ANCIENT MOUND

upper bruk area 66

central area

lower bruk area

N 1:11000

tunnel 145 m long

PART [ 04 ]

INFRASTRUCTURE AND ANCIENT MOUNDS Fiskars main road swipes through the village from south to north at the western side of Fiskars river. It is the only road with completely impermeable material, all the other roads are gravel roads that let the water penetrate through. The main road with car traff ic is the source of the loudest noise in the area.

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The main road has several intersections with smaller roads leading towards west and east. The various intersections create a sense of danger, as both the car drivers and light traff ic have to aware not to crash with each other. This is causing an insecure experience. It is also confusing that the cars seem to be able to drive almost everywhere, there are no clear car-free zones in the centre. The pedestrians and cars are mixed on the gravel roads. The smaller paths are the only roads dedicated to only pedestrians.

The area includes important ancient mounds that have been formed in the Bronze Age around 1500 BCE and 200 CE (Laulumaa, 2007). The ancient mounds are assembled from stones. The dead were buried both as corpses and cremations in stone mounds (Soikkeli-Jalonen, 2015). They have been suggested to have been associated with broader meanings to be part of the surrounding landscape as monuments and symbolic signif icances (Tuovinen, 2002, p. 64–65). They arise imagination and wonder.

R EG I ST RAT I ON AN D AN ALYSI S

PRIVAT BUILDINGS

PATH

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p PARKING

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ASPHALT ROAD

THE URBANIC CENTRUM AREA

wc TOILET

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i INFORMATION POINT

MAIN PEDESTIAN AND BIKE ROAD

ELECTRIC BIKE CHARGING

sauna and beach

300m

baklura dance pavilion

p puimala treshing house shop

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shop

Joga-studio

grocery storep

old clocktower cafe

shops

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shops manor house

fiskars real estate office wärssy hotel i restaurant hotel tegel shops

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assemble house p

bike rental

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forge

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shop and glassworks

summer cafe

tourist bus stop info

shop

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old laundry house cafe

vet

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studio community theatre

sawmill community house (2nd floor) sports field

sports field

tennis

museum

p ägräs distillery

old firestation

tennis

restaurant

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main shop square i kiosk wc playground

shops

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candle factory, studio, gardening shop

p bike pump track

primary school

sports club house

PART [ 04 ]

CENTRUM

RIVER

HOTEL

300m

klura nce vilion

s

When zooming in to central area one can map the services and destinations for people’s movement. The central area with its urbanic fabric and aesthetics are mostly old, one cannot experience new architecture. The food services, art exhibitions and designer shops are the artefacts of the modern world fusing thoughts of sustainability, locality and thought of the moment. There is some fascinating atmosphere, the architecture and language of the landscape is clinging on to old times and rebellious in the hyper techno society.

As mentioned in the introduction, Fiskars is one of the nationally important landscapes (Ministry of Environment, 1995). This is a recognition that changes ought to be gentle and respecting the heritage. Every intervention ought to carefully though true so that the fabrication can ref lect the old memories and narratives for future generations to enjoy.

After analyzing the central area, one can also sense some problematic areas. All the zones: the lower bruk, the central bruk and the upper bruk have some key parts dedicated to cars and therefore do not resonate with the essential historical and down to earth identity of the place. The areas are the most open areas with a sense of ‘square’. But they are also the most faceless, aversive and incoherent as cars take over the atmosphere.

The problematic areas are marked in the thematic map as ‘potential areas for development. They are positioned in important nodes where people actively move and transfer. They have the potential to be transferred to places with a welcoming atmosphere and invitations to stay.

MAIN ROAD

RESTAURANT, SHOP AND EXHITIONS

SHOPS

SHOP AND GLASSWORKS STORAGE FIREPLACE FOR FORGE CERAMICS

FIELDS

PRIVAT HOUSE

1 . T HE LOWE R BRU K

MAIN ROAD

PARKING AREA

BUS STOP

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GROCERY SHOP PARKING

SHOP AND PRIVAT HOUSE

KIOSK PLAYGROUND 2. T HE MI DDL E BRU K

MAIN ROAD

FOREST

RIVER STORAGE HOUSES

'PUIMALA' OLD TRESSING HOUSE

SKATEPARK OLD COWHOUSE

3. T HE U PPE R BRU K R EG I ST RAT I ON AN D AN ALYSI S

BUILDINGS

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ROAD

FOREST AREAS

HUMAN TOLERANT

MAIN ROAD

WILDLIFE (HUMAN AVOIDERS) MIGRATION

HUMAN DEPENDENT, EXPLOITER

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N 1:11000

PART [ 04 ]

WILDLIFE-HUMAN CONNECTION

Ministry of Environment and Finnish Environment Institute states in report “the 2019 Red List of Finnish Species” that most of the threatened species in Finland have forests and rural biotopes and cultural habitats as their primary habitat (Hyvärinen et al., 2019). Fiskars is surrounded mostly by forests and has areas categorized as important rural biotopes and cultural habitats.

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According to Faunatica's (2017) nature report from the area, there is a notable populated of baths, that enjoy feeding above the river and catching bugs that f ly above the water surface. Baths hide and breed in the addict of old houses and use old and damaged trees as shelters. Also, some endangered butterf lies (Faunatica, 2017) and endangered bird species have been registered on the site (Suomen Lajitietokeskus, no date).

People and other species form interesting relationships and collective existence. Rodewald and Gehrt (2014) mention that wildlife can be classif ied based on its relationship to urbanization. Urban dependents depend on human food and shelter, usually small (mice) and mobile (pigeons and sparrows) to avoid humans even in urban habitat. Urban exploiters can exploit anthropogenic resources, but do not depend on these resources (fox and squirrel). Urban tolerant species may use some anthropogenic resources, but do not usually enter urban areas (deers, snakes). Urban avoiders are having narrow ecological niches or other traits that conf lict with the urbanic environment. These animals may occur at the margins of urbanic area (lynx, moose, wolf). (Rodewald and Gehrt, 2014, p. 132–134)

R EG I ST RAT I ON AN D AN ALYSI S

QUESTIONNAIRE FOR THE LOCALS The locals were sent a multichoice questionnaire. It aimed to grasp narratives of what people are doing on the site now and what are the themes they would like to see to be further developed. The questionnaire was sent to the locals in the middle of the thesis process when the process was still full of questions to be asked. The locals were reached through the community association. The foreman of the chairman sent the Google questionnaire link to the e-mail list for the locals. A small text was included to introduce what purposes the survey is. The survey got 51 replies in total.

Most of the people who answered the survey are at the age of 55-74 years. Approximately 40 percentage of them answered to work in the f ield of arts and culture, which indicates that the mail list holds many of those working in the f ield of arts and culture and are active in the community association. 72,5 percentage answered that they live in Fiskars, whereas 17,6 percentage said that their relationship to Fiskars is that they work there. Over one third (37,3%) answered that they have lived in Fiskars for over 20 years, which is interesting and indicating a possibly high level of place attachment.

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The prominent reason why they had moved to Fiskars was “the closeness to nature”. “The history of the place”, “the art and culture related identity” was also highly picked choice.

The respondents answered that they visit the central area many times per week or once per day. What comes to transportation, a private car is mentioned as the main medium of moving, walking and biking followed on the second and third popular answer. The respondents reply that they visit the central area mostly for the purpose of shopping, walking and other recreative activities and going to a café or restaurant. According to the survey the local visit the centrum throughout the year and a bit more in the summertime.

The most interesting answers were related to the current activities and the themes the locals wish to be improved. When asking about the current activities they engage with, the respondents answer “berry and mushroom picking” (33 picks), walking and running (31 picks) and being in the surrounding nature areas with family and friends (32 picks) or alone (27 picks). Further, when asking about what themes ought to be developed, 37 respondents mentioned “development of public transportation”, 33 mentioned “possibilities for diverse recycling” and 31 “development of sustainable forestry”. “Development of the central square” and “development of circular economy” got also a high number of picks (33 picks).

The answers suggest a high level of interest and even concern about how the environment is developed. Locals designate nature and history as important themes to them and suggest an active engagement with the surrounding public space. The results don’t represent the voice of all the locals but give the direction of the themes that are important and therefore ought to be preserved.

RI GHT TO P: C U RRE N T ACTIVITIES RI GHT BOTTO M: T HE MES THAT ARE WI S HE D FO R F U RT HE R DEVELOP M ENT

PART [ 04 ]

BEING ALONE IN THE NATURE QUIETING DOWN BEING TOGETHER WITH FAMILY OR/AND FRIENDS STARNIGHT GAZING INSPIRATION SEEKING WALKING OR/AND JOGGING OBSERVING WILDLIFE CYKLING A BOAT ROWING OR/AND CANOEING MEDITATION YOGA PHOTOGRAPHING SWIMMING, ICE SWIMMING OR/AND DIVING CROSS-COUNTRY SKI'ING ROLLERSKATING AOR/AND SKATING TAKING A PET FOR A WALK RIDING FISHING SAUNA PARK GYMNASTICS OR/AND GROUP EXERCISE OUTDOOR GYM MUSHROOM OR/AND BERRY PICKING HIKING, ORIENTEERING AND/OR CAMPING PLAY AND SPENDING TIME WITH KIDS DANCE CLIMBING PICNIC OR/NAD GRILLING WILD FOOD PICKING STUDYING NATURE SUCH AS BUTTERFLIES OR PLANTS GEOCATCHING PADDLE SURFING HUNTING GARDENING HAVING LUNCH ENJOYING THE HISTORICAL ENVIRONMENT

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A DDI T I O N A L A N S WE RS F RO M T HE RE S PO N DE N TS

73 KIDS' AND YOUNGSTERS ENV. DEV. ELDERLY PEOPLE'S ENV. DEV. MORE OR DEV. OF WORKING SPACES COMMUNITY HOUSE DEV. FOR MEETINGS MORE OR DEV. OF EXHIBITION OR/AND EVENTS MORE OR DEV. OF HOBBY AND COURSE ACTIVITIES MORE OUTDOOR EXHIBITION AND ENVI. ART OUTDOOR CINEMA OR OTHER TYPE OUTDOOR EVENT SPACE DEV. OF PARK-LIKE AREAS ELECTRIC BIKES AND RECHARGING SPOTS MORE ELECTRIC CAR RECHARGING SPOTS DEV. OF PUBLIC TRANSPORTATION DEV. OR/AND MOVING PARKING AREAS SLOWING DOWN CAR TRAFFIC CONCENTRATING CAR TRAFFIC TO CERTAIN AREAS DEV. OF THE CENTRAL SQUARE AREA OPENING UP THE KEY VIEWS CONSISTENT SIGNATURE AND GUIDANCE FOR TOURISTS INFOBOARDS OF NATURE, CONSERVATION AND SPECIES DEV. OF LIGHTNING DEV. OF UNIVERSAL DESIGN AND ACCESSABILITY DEV. OF CAMPING FACILITIES DEV. OF WALKING AND BIKE ROUTES POSSIBILITIES FOR COMMUNITY FARMING AND GARDENING POSSIBILITY FOR COMMUNITY-BASED PARK MAINTENANCE MORE ANIMAL-BASED ENVI. MAINTENANCE (SHEEPS ETC.) POSSIBILITITES FOR WILDLIFE OBSERVATION (BIRD OBS. TOWER) DEV. OF CIRCULAR ECONOMY POSSIBILITIES DEV. OF SUSTAINABLE FORESTRY DEV. OF MEADOW AND TRADITIONAL BIOTOPES PROTECTION FROM THE FLOODING RISKS PLACEMENT OF OUTDOOR GYM FACILITIES AND SPOTS DEV. OF THE CROSS-COUNTRY SKI TRAILS PLACEMENT OF BOAT AND KANOYE SHELTERS POSSIBILITIES FOR DIVERSE RECYCLING MORE OR/AND DEV. OF THE OUTDOOR SEATING AND TRASH BINS STOPPING THE CLEAR-CUT FORESTRY AT CLOSE AREAS & PROTECTING OLD TREES MORE POSSIBILITIES FOR SPORTS I DON'T WANT NEGATIVE IMPACT FROM THE TOURISM DEV. OF COMMUNITY-BASED HOBBIES AND ARTS, CRAFTS MAINTENANCE OF THE OLD BUILDINGS AND PROTECTING OLD TREES TAKING THE WHOLE CULTURAL-HISTORICAL MAINTENANCE INTO CONSIDERATION

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R EG I ST RAT I ON AN D AN ALYSI S

CONIFEROUS FOREST

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MIXED FOREST

AGRICULTURAL FIELD

EXISTING BUILDINGS

GRAVEL ROADS

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40 30 20 10 40 0 30 20 40 m 10 30 0 20 40 10 30 m 0 20 10 50 m 0 40 30 m 20 50 10 A - AA S ECTION 40 0 30 50 20 m 40 10 30 50 0 20 40 10 m 30 0 20 70 10 m 60 0 S ECTION B- BB 50 m 40 70 30 60 20 50 70 10 40 60 0 30 50 70 20 40 m 60 10 30 50 0 20 40 10 30 m 0 20 S ECTION C- CC 10 m 0 40 30 m 20 10 40 0 30 20 40 m 10 30 S ECTION 0 D- DD 20 40 10 m 30 0 20

PART [ 04 ]

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R EG I ST RAT I ON AN D AN ALYSI S

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WEAKNESSES

• both pastoral and horticultural landscape language

• doing business as usual and no openness to any changes for the sake of heritage value (toxic conservative)

• relatively healthy place and system in ecological and social level • various landscape types and atmospheres • terrain undulation (10-70m) • the unique spirit with lively local community, art and artisan association • progression-oriented landowner • complex and diverse in social and ecological level 76

• Fiskars as a brand • the current narratives indicate high interest for place identity built upon sustainability • not too polished

• some key places in the centrum are dominated with cars and therefor do not contribute the essential spirit of the place • central area confusing for pedestrians to navigate, mix of cars and pedestrians create unsafety • some interesting narratives and landscape memories such as the ancient mounds are hidden • the river is highly controlled and dammed, it serves for mostly aesthetic reasons but not for well-funtioning ecosystem • the important vistas are over grown • hard-hand forestry, clear cuts

• permeable road materials, only the main road is asphalt O P PO RTUNITIES

TH REATH S

• the public's interest in the honore "the top 100 most sustainable travel destination in the world in 2020" creates a priviledge that helps to invite new stakeholders with visionary thoughts and progressive and sustainability-driven mindsets

• climate change • biodiversity loss • rural decline • collapsing national birthrates • eutrophication of lakes and river (from agriculture ) • swamp and forest ditching • aggressive invasive species • economical decline, shift in market trends (no investments) • polarization between groups and values, no will for good collaboration between people

PART [ 04 ]

77

R EG I ST RAT I ON AN D AN ALYSI S

PA RT V SYNTHESIS

VISION The vision is that Fiskars is a welcoming, f lexible, diverse and ecologically healthy place also for future generations. The industrial history, community, the coastal hemi boreal nature, art and design are the key notions of the place and aimed to be nurtured.

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The central area's weak areas will be acupunctured, and the landscape, people and memories will be connected with curated circular trails.

The characteristics of the surrounding landscape will be integrated into the central area. Finally, the river will be restored in the longer run.

PART [ 05]

ORCHESTRATION Just as good medicine depends on the interaction between doctor and patient, successful urban planning involves triggering healthy responses within the city, probing here and there to stimulate improvements and positive chain reactions. Intervention is all about revitalization, an indispensable way of making an organism function and change. -Jaime Lerner (Lerner, 2014, p.1)

Acupuncture is used as a tactic to develop and ‘heal’ the central areas most faceless and incohesive spots of the postindustrial fabric. Acupuncture acts as catalysts for new but gentle regeneration and used to reveal the hidden character of the apathetic spot and stimulate a new connection to its immediate surroundings and history. Acupuncture is also a tactic to not overdesign the place with a top-down approach. The process is intended to be participatory and leaves space for creativity.

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CU RAT I O N The selection and care of objects to be shown in a museum or to form part of a collection of art, an exhibition -Cambridge Dictionary (Cambridge Dictionary, 2021)

CO E V O L U T I O N Coevolution involving successive changes in two or more ecologically interdependent species (as of a plant and its pollinators) that affect their interactions.

-Merriam Webster Dictionary (Merriam-Webster, 2021)

Curation is an act to illuminate the villages essential character and reveal its multifaced spirit and amenities.

The aim is to direct the walking. The old and existing narratives of the place are given stage. New narratives arise from the imagination of those who are discovering the place. The curation formulates a path system that has its logic to swipe through different landscape types and atmospheres and to create continuity of destinations to go to. Curation aims also to consolidate compatible uses together to appropriate areas so that the whole gets rhythm, cohesiveness and legibility.

The interventions aim to promote coevolution which in this context would mean evolution that does not suppress others' evolution and health. Coevolution aims for collaboration between humans and between humans and their surroundings and fellow habitants, the place and the planet. Coevolution builds healthy, balanced and empathic development where there is room for insects, plants, rivers, wildlife, soil and humans to thrive together.

SYN T HE SI S

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DESIGN DEVELOPMENT The solution has been investigated through various methods, with the process of memory, imagination, drawing, selection and targeting.

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Here is shown some of the overlay analysis, the method puts together the thematic maps. The aim is to evaluate, test and mediate for the best possible solutions.

POSSIBLE INTERVENTION TYPES AND PLACES

HUMAN-WILDLIFE CONNECTIONS

VISIBILITY

CENTRAL AREA ZOOM-IN, SERVICES AND CONNECTIONS

INFRASTRUCTURE, DISTURBANCES AND ANCIENT MOUNDS

LANDCOVER AND FLORA

TERRAIN AND WATER

MICROCLIMATES

CONTEXT

PART [ 05]

TA RG E T WE A K PLACES, SEEK FO R DIVERSITY AND BALAN CE

POTENTIAL AREAS FOR DEVELOPMENT BUILDINGS WATER CHOSEN ACUPUNCTURE AREAS SHORT TRAIL MEDIUM LONG TRAIL LONG TRAIL MAIN ASPHALT ROAD

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C O N N E CT TO INF RASTR UCTUR E AND SU RROU N DINGS LINKING PATHS BEETWEEN TRAILS SHORT TRAIL MEDIUM LONG TRAIL LONG TRAIL WATER ANCIENT MOUND CHOSEN ACUPUNCTURE AREA VIEW POTENTIAL VIEW

SYN T HE SI S

2020-12-03

CO NNECT TO V ISTAS, WATER BODIES, DIFFERENT MICROCLIMATES

WATER CONIFER TREES DECIDUOUS TREES POTENTIAL VIEW 1-STEP FOREST EDGE CLIFF VIEW POTENTIAL VIEW DEEP SHADOW

2020-12-03

2020-12-03

2020-12-03

SUN, PARTLY SHADOW COLD SLOPE

WARM SLOPE

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CO NNECT TO EX ISTING INFRASTRU CTU RE, MEMORIES AND ANCIEN T MO UNDS EXISTING BUILDINGS FOCUS AREA AND DESTINATIONS ANCIENT MOUNDS EXISTING TUNNEL SERVICES AND CULTURAL DESTINATIONS INDUSTRIAL AREAS WATER EXISTING CONNEXTIONS SHORT TRAIL MEDIUM TRAIL 500 m LONG TRAIL NEW CONNECTIONS MAIN ROAD VIEW POTENTIAL VIEW

500 m

500 m

500 m

500 m

PART [ 05]

CO N N E CT TO D IF F ER ENT LAND COV E R TY PES AND ECOTOPES CONIFEROUS FOREST MIXED FOREST DECIDUOUS FOREST GARDEN AND PARK AREAS HEAT AGRICULTURAL FIELD YOUNG CLEAR-CUT FOREST INDUSTRIAL AREA WATER CONSERVATION AREA ANCIENT MOUND CONNECTIONS BETWEEN TRAILS SHORT TRAIL MIDDLE LONG TRAIL LONG TRAIL PLANNED TRAIN TRACKS VIEW POTENTIAL VIEW

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SYN T HE SI S

CONIFEROUS FOREST

HEAT

NEW BUILDINGS

MAIN ASPHALT ROAD

MIXED FOREST

AGRICULTURAL FIELD

EXISTING BUILDINGS

GRAVEL ROAD

DECIDUOUS FOREST

INDUSTRIAL AREA

CONIFEROUS TREES

PATH

GARDEN AND PARK AREAS

WATER

DECIDUOUS TREES

ACUPUNCTURAL INTERVENTION ANCIENT MOUNDS

THE ATELIER

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THE CENTER VISTA W

VISTA E

PASTURE

N 1:11000

PART [ 05]

THE PROPOSAL The proposal is highly rooted in the history and local narratives and the ecological paradigm of the 21st century. It is almost invisible but aims to ref lect the need for tenderness, adaptability and mimicry of healthy ecological processes. Acupuncture, curation and coevolution are orchestrating the site’s development.

This trend and interest to direct the landscape towards ‘the pastoral’ will be encouraged. It is a language that mimics the order of outer nature. The agricultural lands outside the central area will also tend, they are part of the heritage of agricultural history and an important voice in the story of Fiskars.

Highlighting and connecting the site’s intrinsic cultural and ecological character and stories will lead to a direction that contributes stewardship and place attachment and meaningful connections to the place and the planet. The image of Fiskars is created through landscape language. The engagement of the people creates a positive image and ‘brand’ of Fiskars. This will ultimately lead to the care of the place and keep it thriving and evolving to the next healthy phases.

Before humans came to Fiskars, the land was covered with forests. Since the f irst settlements were built, the trees have been cut and shaped. The latest language of clear-cuts indicating the power of humans. In the long-term the forests will be managed with an understanding to take advantage of the circulating forest system, the clear-cuts are history and man and nature collaborate to keep the forest continuously as a shelter, food storage and breeding place for other species, but also as a recreational place for people and material resource for building carbon-neutral society. The proposal includes a vision to restore the river and preserve and spread the conservation area if only possible.

When going back to Hauxner’s view of reading the landscape (p.16), one can trace both the language of the shepherd and the farmer in Fiskars. The comparison of old maps, photographs and history of Fiskars with the current status indicates that there is a trend to let the language evolve more towards the pastoral landscape.

The open lands in the central area have started to have a language of succession, trees are growing more in the heart area of Fiskars, some of them are eager to come true the cracks of old industrial structures. Agricultural f ields are shifted from monocultural vegetation towards pastoral meadow areas with more species.

Traditional biotopes are maintained with the help of grazers.

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SYN T HE SI S

BO RGBY L A KE

THE PASTUR

VI STA E

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THE ATELIER

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DEGER LAKE

PART [ 05]

TRAIL I TRARIL II

H E PASTURE

TRAIL III

V I STA W

EXAMPLES WH AT TO EXPERIEN C E T RA I L T RA I L T RAIL I II III

C O MMU N I T Y

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VI S I TO RS T HE CE NTER HI STO RI C A L PA RK

RI VE R

L A KE

S C E N I C VI E W HI STO RI C A L STO N E MO U N DS N AT U RE C O N S E RVAT I O N A RE A WI L DL I F E FO RE ST T RA DI T I O N A L BI OTO PE A N D O PE N ME A DOW STRONG PRESENCE WEAK PRESENCE NO PRESENCE

SYN T HE SI S

U SER GROU PS LOCALS VISITORS LOCALS AND VISITORS

T HE MI DDL E BRU K

p

V I STA W

90

T HE LOW E R BRUK

p p

T HE AT E L I E R T HE C E N T RU M

T HE PA ST U R E

p

E

N

p

VI STA E

THE UP P ER BRUK

PART [ 05]

CENTRUM DEVELOPMENT ACU PU N CT UR E

CO NNECTIVITY

BIOMASS

The centrum is developed towards an atmosphere that embraces slow movement, feeling of safety and being part of the surrounding larger landscapes.

The centrum's characteristic old trees and exotic tree species are nurtured, but the traditional Finnish forest species are also given a chance to integrate into the central area. Together they create a rich, but an exotic atmosphere of domestic and foreign trees.

The acupunctural interventions are implicated in the most urbanic fabrication of Fiskars.

This will be created by moving the parking areas outside the central area, leading the cars to drive around the central area and leaving the space for people's recreational use, slow mobility and natural processes.

'Trail II' and 'trail III' curate the experience through different places in the urbanic centrum. 'Trail II" curve at the edge of the central area and invite to experience the village's community life and the services and recreational activities related to food and culture.

'Trail II' gives also the opportunity to get a bigger picture view from 'Vista E' and ' Vista W' relatively close to the centum.

'Trail III' focus on the program for the visitors, curves through the lower bruk and central square and park. The experience is also closely linked to Fiskars river as one can sense its presence all the time when walking and wondering.

The green fabrication will also include strategic planning where biomass will be concentrated in certain places, forming pocket forest patches with multiple plant layers (tree-shrub-grass and groundcover layers).

This is an invitation for biodiversity, for the insects to have shelter, for the birds to have safe nest places and for the plant community to have protection towards wild winds or soil erosion.

The pocket forests are also a part of creating a pastoral landscape. There are spaces that open-up to the sky and places that provide green edges and a feeling of being inside observing.

The plants are mostly left to do their own thing, to grow old and free. Dead trees are left where possible for the biodiversity's needs.

The lower bruk will get its stimulation point 'the Pasture' that aims to penetrate the atmosphere of the agriculture and pasture that has been characteristic for the specif ic area for a longer time.

The development of the middle bruk will concentrate on creating a cohesive, green and lively central area for Fiskars. The focus will change from cars to people.

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The upper bruk will focus on focusing more on the locals. The acupunctural interventions are done in 'the Atelier' aim to gather the locals and creative minds.

The vistas are small scale intervention spots on both sides of the valley. They create an opportunity to experience the village from the highest points and to observe the village life from above. A balcony is created on both sides to create a sense of place dedicated to observation, gazing and contemplation.

SYN T HE SI S

EXISTING TREES NEW DECIDUOUS TREES NEW CONIFER TREES

HOTEL

RESTAURANT AND EXHIBITION

GUESTHOUSE

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SHOPS SEATING

WORKSHOPS SHOPS

PICNIC AREA PICNIC AREA

NEW PARKING

FRUIT TREES

MEADOW

FIELDS AND PASTURE N 1 :50 0

PART [ 05]

T H E PA ST U R E The acupuncture of ‘the pasture’ is aimed to mimic the surrounding old meadows and agricultural land that has been producing food. The site is transformed from being a faceless open square with cars into a pocket park with pastoral language. The parking area is pushed outside to the right side of the intervention area and the spirit of the place is lifted with invitations to get in contact with the river, the old agricultural land and the old factory. The place includes foraging possibilities for both humans and insect as fruit trees and meadow are seeded and planted.

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W RKING

SYN T HE SI S

94

PART [ 05]

95

AXONOMETRIC VIEW OF 'THE PASTURE' (TOWARDS NORTH)

SYN T HE SI S

EXISTING TREES NEW DECIDUOUS TREES NEW CONIFER TREES

BUS STOP

PARK AREA MEADOW

96 GROCERY SHOP

SHOP AND PRIVAT HOUSE CENTRAL SQUARE

NEW INFOPOINT OLD KIOSK

N 1 :50 0

SEATING AREA

'NATURE' PLAYGROUND

PART [ 05]

THE CENTRUM

‘The centrum’ is acupunctured from being a big parking area into a welcoming living room. It is the area where both the locals and visitors can easily meet and arrange events and gatherings. ‘The centrum’ vibrates energy in terms of human life and greenery and ought to represent the core character and spirit of the place. The kids' playground is an integrated part of the design and built of materials from the surroundings: trees, soil, grass and water. The old parking areas are situated further out.

97

SYN T HE SI S

98

PART [ 05]

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AXONOMETRIC VIEW OF 'THE CENTER' (TOWARDS WEST)

SYN T HE SI S

NEW PARKING AREA EXISTING CONIFER TREES EXISTING DECIDUOUS TREES NEW DECIDUOUS TREES NEW CONIFER TREES

ATELIERS

ATELIERS SQUARE NEW PARKING AREA

100 STORAGE NEW COMMUNITY HOUSE

ATELIERS

PARK AREA

PUIMALA TRESHING HOUSE

ATELIER PRIVAT HOUSE

NEW TERRACE AREA

SKATEPARK

GARDENIN SHOP

CANDLE FACTORY

ATELIER SHOP

N 1 :50 0

ATELIER PRIVAT HOUSE

PART [ 05]

THE ATELIER

The acupuncture of ‘the atelier’ is aiming to cluster the community and provide a place outside the middle and lower bruk, that are highly used by the visitors. The creative minds are given a chance to do their work without disturbance if so needed. New atelier spaces are placed here and a community house brings both the young and old locals together. The area is transformed being a grey storage area with open land without meaningful activities into a hub for creative minds, a source of inspiration and a place to exchange thoughts. A small square and a new park area are introduced for people and suggest to engage with different activities also outside.

The spirit of the atelier is both outside and inside.

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SYN T HE SI S

102

PART [ 05]

103

AXONOMETRIC VIEW OF 'THE ATELIER' (TOWARDS EAST)

SYN T HE SI S

The vistas are small scale intervention spots on both sides of the valley. They create an opportunity to experience the village from the highest points and to observe the village life from above. A balcony is created on both sides to create a sense of place dedicated to observation, gazing and contemplation.

V I STA W Vista W is an acupunctural spot that aims to create new sights and views of Fiskars. The trees are cut down gently where they are blocking the key vistas towards Deger and Borgby lake. The vistas from here reach long. A small-scale intervention is done by building a wood structured stage or a balcony to the highest point, it is slightly elevated so that one can get a sense of being at the level of the tree canopies.

The structure will be integrated into the landscape and is an inviting affordance in the forest and bedrock landscape.

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70m VISTA

60m

50m

40m STORAGE NEXT TO MANOR HOUSE N 1 :50 0

30m

PART [ 05]

V I S TA E Vista E is another small-scale intervention area, that aims to clarify the potential of the place to be an important spot for gazing Fiskars and its central area. A stage is built upon the existing old meadow area and embedded on the ground. The vista is important place for the locals to visit and observe 15m weather, the seasonal changes, the star night and the the landscape.

20m

105

25m

30m VISTA SPORTS FIELD

35m

40m N 1:500 SYN T HE SI S

45m

106

V ISTA W V IEW TOWA R D S B O R G B Y L A K E DU R I N G T HE N I G HT T I M E

1 : 5 00

PART [ 05]

107

V ISTA E V IEW TOWAR DS F I SKA RS C E N T E R AND TH E WEST H I L L S

SYN T HE SI S

PHASING PLAN The development of the site starts with ‘the center’, which is the spot that is in the most acute need for acupuncture. It is also the place that the locals hope to be transformed. ‘The atelier’ and and ‘the parture’ areas will follow after this. after this the ‘trail III’ will connect these spots. The phase III would incinclude the building the ‘vistas’’ balcony constructions and cut trees where the view is aimed to be opened-up. The phase IV would start the intervention of the trail I and the phase V would include the restoration of river. It is a long process and includes multiple stakeholders from research institutions to community and the landowner.

p

p

p

p p

p

p

p p

p

p

p p

p

p

108

PH A SE I

PH ASE II

PH ASE III

ENC O U RAG I N G T HE LO C A L S FOR ST E WA R D SHI P A N D PART I C I PAT I O N W I T H T HE F U T U R E PLA N N I N G

C O N ST RU C T I O N O F ' T HE PA ST U RE ' A N D ' T HE AT E L I E R'

C O N ST RU C T I O N O F THE VISTA BA LC O N YS

CON ST R U C T I O N O F T HE N E W PA R K I N G A R E A S O U TSI D E T HE CENT RA L A R E A S

DE F I N I N G T HE T RA I L I I I

DE F I N I N G A N D C O NSTRUCTION OF T HE T RA I L I I

CON ST R U C T I O N O F T HE C E N T RA L S QU A R E A N D PA R K

N E W PL A N T I N GS I N T HE ' PA ST U RE ' A N D ' T HE AT E L I E R' A RE A S S U C H A S C O N I F E R T RE E S A N D LOWE R VE GE TAT I O N L AYE RS

N E W YO U N G PL A N TING S OF T RE E S , GRO U PI N G AND CREATION O F VE GE TAT I O N L AYERS IN THE U RBA N I C A RE A

NEW P L A N T I N G S I N T HE C E N T E R AR EA SU C H A S C O N I F E R T R E E S AND LOW E R V E G E TAT I O N L AY E RS

STA RT I N G T HE C O N ST RU C T I O N O F T HE O L D HI STO RI C A L T RA I N T RAC KS

U T I L I ZI N G GRA ZE RS FOR OP EN S PAC E A N D S E MI - OP EN SPACE MA N AGE ME N T

E STA BL I S HME N T O F ME A DOW A RE A S I N ' T HE PA ST U RE ' A N D ' T HE AT E L I E R' A RE A S

C O N T I N U I N G C O RRIDORING THE ME A DOW FA BRI C ATION

ESTA B L I SHM E N T O F M E A D OW AR EA S I N T HE C E N T R U M

PART [ 05]

p

p

p p

p

109

PH A S E I V

PH ASE V

PH ASE VI

CONSTR U V TION O F T HE T RA I L I AND CONNCETIN G TO A N C I E N T MOU NDS

T HE C E N T RU M HA S E STA BL I S HE D PO C KE T FO RE STS WI T H VA RI O U S GE N E RAT I O N S A N D L AYE RS O F VE GE TAT I O N

FO RC E F U L SYST E M AT S O C I A L A N D E C O LO GI C AL L E VE L

PLA NTING AND I M P OV E M E N T O F OLD TREE A LLEY S

T RA N S FO RMI N G C O N VE N T I O N A L L AWN A RE A S I N TO ME A DOW A RE A S I S C O MPL E T E D, S E E D BA N KS A RE C RE AT E D

S U STA I N A BL E FO RE ST RY, N O C L E A R- C U TS

CONS IDERATION FO R B E TT E R LIGH TING IN TH E C E N T RA L A R E A

PL A N FO R RE MOVI N G T HE DA MS A N D ' F RE E I N G' T HE RI VE R, RE STO RI N G PA S S AGE FO R F I S H A N D MI C RO - I N VE RTA BRAT E S

BE TT E R PU BL I C T RA N S PO RTAT I O N

O PE N I N G T HE T RA I N U S AGE FO R T HE PU BL I C

GRA ZE RS A RE U S E D FO R ME A DOW MA N AGE ME N T A N D O PE N S PAC E S

N E W HO U S I N G

C I RC U L A R E C O N O MY, GO O D RE C YKL I N G PO S S I BL I T I E S

C U LT U RA L C E N T RU M (BU I L DI N G)

SYN T HE SI S

PA RT V I DISCUSSION

DISCUSSION

112

The result is an anchored design and intervention proposal that is related to the context and ref lect the analysis results. The design language resonates at the same time solutions for the diff iculties of our epoch that is coloured with unpredictable forces such as climate change and the 6th mass extinction. Acupuncture, curation and coevolution are the concluding philosophies and aim to inspire as mentoring voices to guide Fiskars towards the future. I hope to have accomplished to conclude solutions that give the site and the people of Fiskars f lexibility to add their voice and initiatives to the site improvements.

The interdisciplinary and holistic approach has caused some exhaustive inventory and study. The focus on a relatively large study area and holism is a combination that is an extensive study subject for one person. In professional projects attempting for holism, a big team is intergraded to the process with various different disciplines. I have attempted to conclude the most important investigation material, although the process included paths that seemed also important f irst-hand but irrelevant when the solutions started to be crystallized. The holistic approach and creative process seeds all the time new questions.

The research is result of a combination of both ‘science’ and art realms. I believe that through the combination, we can f ind the most meaningful framework to our understanding and intentions. Thus, I would note that personally for me art as a process and approach is the most f lexible, f luid, versatile and holistic way to understand the world and the landscape in it. Malene Hauxner has inspired me to read the language of the landscape not only as a morphological entity but also as a language of metaphors. Finally I hope that the work can inspire others who are curious to seek for contemplation.

PART [ 06]

D E A R DAR KENING G R O UND

Written by Rainer Maria Rilke Translated and read by Joanna Macy

Dear darkening ground, you’ve endured so patiently the walls we’ve built,

113

perhaps you’ll give the cities one more hour and grant the churches and cloisters two.

And those that labor—let their work grip them another f ive hours, or seven, before you become forest again, and water, and widening wilderness in that hour of inconceivable terror when you take back your name from all things.

Just give me a little more time!

I want to love the things as no one has thought to love them, until they’re worthy of you and real.

DI SCU SSI ON

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LIST OF FIGURES

All the maps and images not listed here are creation of the author.

Frontpage, Google Earth Pro, modif ied by author. p. 30–31, Fiskars museum p. 32–33, Rawpixels (no date) NASA Space Photography Free Public Domain Images.

Available at: https://www.rawpixel.com/board/418580/nasa-space-photography-freepublic-domain-images?sort=curated&mode=shop&page=1 (Accessed: 18 March 2021). p. 34–35, Fiskars museum, photographer C.J. Malmberg (1859) p. 36–37, Fiskars museum; photographer C.J. Malmberg; photographer R.Roos (1947); Paljakka, A. (2001) Ruukin ruokia : Fiskars ennen ja nyt. Helsinki: Kustannusosakeyhtiö Taide; Pihlström, K. (2019) Mäkihyppyä Fiskarsissa. Available at: https://www. kotif iskarsista.f i/index.php/palvelut/Metsablog/maekihyppyae-f iskarsissa (Accessed: 15 March 2021); Fiskars 1649 - 360 vuotta Suomen teollisuuden historiaa. 3rd edn (2009). Fiskars Oyj Abp, Raasepori. p. 46–47, Google Earth Pro, MapBox p. 48–49, traced from old maps ‘Fiskars 1816–1822’ and ‘Fiskars 1922’, no author name.

Provided by Raasepori municipality. p. 51, the last photograph bottom-right: Laulumaa, V. (2007) Pohja. Fiskarsin asemakaavaalueen arkeologinen inventointi. p. 62, Metsä (2021) Metsiemme puita. Available at: https://www.upmmetsa.f i/tietoa-jatapahtumia/tietoartikkelit/metsiemme-puita/ (Accessed: 18 March 2021). Modif ied by the author. p. 69, Google Earth Pro

APPENDIX

T H E Q U E ST I ONS ASKED IN THE INTERNET-BASED MU LTICH OICE QU ESTION NAIRE 1. Your age 2. In which f ield do you work? Pick maximum two appropriate options.

3. What is your life situation?

4. How many persons in the housegold?

5. What is your relationship with Fiskars? Pick maximum two appropriate options.

6. How long have you lived in Fiskars?

7. What was the original reason to move to Fiskars? Pick maximum three appropriate options.

8. How often do you visit the central area?

9. How do you usually move in the village and out from it? Pick maximum two appropriate options.

10. What is the most common reason to visit the central area? Pick maximum two appropriate options.

11. Do you visit the central area during certain season?

12. Which themes should be developed? Pick maximum ten most important options.

13. Which activities should be developed? Pick maximum f ive most important options.

14. Mention the sub-area, that should be developed f irst hand.

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N AT U R E I S N E V E R F I N I S H E D -ROBERT SMITHSON

XXX ANNA VON FREYMANN