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Art & the Biosphere ARNA Art & Nature, Sweden
Art & the Biosphere Ambitious, that is the word I often hear when talking
about ARNA's vision. We are working in an area that
engineers, artists, filmmakers, designers and very many
might become a new UNESCO biosphere reserve and
people with interest in heritage.
our vision is for it to become the world's first to include the Culture dimension of sustainability in its foundation.
There has been a shift in the world in believing in the combination of the arts and a sustainable development.
The reason why we are called ambitious must be that
UNESCO's Man and the Biosphere Program has now
most people don't have a clear picture of what the arts
taken in a long term goal for all biospheres in the world to
could add to a sustainable development. With financial
include the Culture dimension as the fourth pillar of
support from Kulturbryggan we have in the project 'Art &
sustainability. In UN's new Agenda 2030, culture is for the
the Biosphere' created two very different sub projects to
first time part of the international Sustainable Deve
explore how the Culture dimension of sustainability can
lopment Goals. It is also declared that 'no development
become the connector between the environmental,
can be sustainable without culture'.
economical and social dimensions of sustainability. In the 'Green Outhouse project' our partners were within the
Yes, we are ambitious, but also experienced. We say that
public sector, through 'Länsstyrelsen Skånes naturvårds
the new Culture dimension can become a powerful tool in
avdelning' and the architect school at Université Laval in
sustainability and biosphere reserves great places to
Quebec, Canada. The project built a toilet for a nature
create good examples in. Here in Vombsjösänkan in
reserve that in the end also included a barbecue area and
Sweden we can become the first to do so. As UNESCO
a 'outhouse art gallery'. In 'The windmill project' our
describe the aim for Man and the Biosphere Program:
partner was the NGO Hammarlunda mölleförening. During their final steps of a renovation of the old windmill,
Biosphere reserves are ‘learning places for sustainable development’.
the project lifted questions around future audiences and
They are sites for testing interdisciplinary approaches to under
the European landscape convention, ELC. Through
standing and managing changes and interactions between social and
ARNA's international call for applications, two young
ecological systems, including conflict prevention and management of
artists were invited to create their personal interpretations
biodiversity. They are places that provides local solutions to global
of the windmill's history. The results, a sculpture and a
soundscape, is now part of the site. By focusing on creating real life things for long therm use,
Kerstin Jakobsson www.arna.nu
many different questions have been set in the context of a sustainable development through the project. The project
Leaflet about UNESCO's Man and the Biosphere Program.
has been working from local needs and challenges but
has involved young, international artists to bring in fresh
perspectives. It has also involved many specialists as;
Art & the Biosphere ARNA Art and Nature
The Culture Dimension of Sustainability ”Culture is who we are and what shapes our identity. No development
UNESCO about culture's role in a sustainable development
can be sustainable without including culture.”
"UNESCO's work promoting cultural diversity, and UNESCO’s Culture UNESCO
Conventions, are key to the implementation of the 2030 Agenda for Sustainable Development."
Background of the Culture dimension of Sustainability The Bruntland commision defined the three pillars of
"The 2030 Agenda for Sustainable Development marks a substantial
sustainability as environmental, economical and social
step forward for sustainable development in many fields, and
development 1987. But was this enough? No, something
particularly for culture as it is the first time that the international
was missing. 2004 is was declared in the UN Agenda 21
development agenda refers to culture within the framework of
for Culture that sustainable development need to have a
Sustainable Development Goals related to education, sustainable
fourth pillar, the Culture Dimension. The task to promote
cities, food security, the environment, economic growth, sustainable
Culture's role in sustainability was given to the United
consumption and production patterns, peaceful and inclusive
Cities and Local Governments (UCLG), and they describe
why; “The present canonical triangle of sustainable development
"From cultural heritage to cultural and creative industries, Culture is
environment, social inclusion and economics either doesn’t include
both an enabler and a driver of the economic, social and
culture or it is considered an instrumental element. Therefore, the
environmental dimensions of sustainable development."
Agenda 21 for culture is a tool to turn culture into a fourth pillar of sustainable development. This confirms the importance of having solid
Find out more through UNESCO's website:
and autonomous cultural policies as well as the establishment of
bridges to other dominions of the governance.”
The Culture Dimension in Agenda 2030 In September 2015 the United Nations General Assembly adopted the “2030 Agenda for Sustainable Development”, with 17 ambitious, universal goals to transform our world. UNESCO ensures that the role of culture is recognized through a majority of the Sustainable Development Goals (SDGs), including those focusing on quality education, sustainable cities, the environment, economic growth, sustainable
peaceful and inclusive societies, gender equality and food security.
Art & the Biosphere Ylva van Meeningen, PhDstudent, Lund University
Photo Andrew Sawyer
Ecosystem services – and their connection to culture The term ecosystem services involve the products and
is directly experienced and intuitively understood by
services which mankind gets from nature and that have
people, it might be used as a tool for communicating the
various benefits to our wellbeing. It got its main influence
importance of protecting different ecosystems. But in
when a research team supported by UN published a
order to do so, attention needs to be paid to
report called “The Millenium Ecosystem Assessment”
communication, the constant change of cultural values
(MEA) in 2005 regarding the different values and types of
and an open mind to how different cultural values are
uses humans can get out of nature. In MEA, ecosystem
perceived by different individuals. What is apparent is that
services are divided either into supportive, regulating,
there is a need to give a better description of what cultural
provisioning or cultural services. Whilst supportive,
services entails and what it means for practical activities.
regulating and provisioning services have an economical
The connection between cultural services and practical
value of some kind, like for an example the importance of
activities has received little attention and it would be
clean air and water, cultural services are harder to define.
desirable to improve that connection further. That would
It is not providing any direct material benefits, but its
not only improve the understanding of cultural services,
values are rather defined by the practices of different
but would have positive effects on other ecosystem
social groups and how well that is communicated
services and evidently improving the wellbeing of
humans as a whole.
Ylva van Meeningen
influenced and been influenced by their surrounding environments, this connectivity has shaped people’s identity, values and perception of the world. Cultural services are therefore often defined by what values,
My name is Ylva van Meeningen and I work as a PhD student in Physical
beliefs and how different social groups perceive the world.
Geography and Ecosystem Science at Lund University in Sweden, with a
For example, a rock can simply be a rock to some, but to
main focus of interest towards ecosystem dynamics. I am also the secretary
others it can be a boundary marker, a piece of sculpture
and the environmental expert for ARNA during my spare time.
or a religious symbol depending on the person‘s beliefs or background.
Sources: Millenium Ecosystem Assesment, 2005, Ecosystems and Human Well
Cultural services are usually divided into two groups,
Being: Synthesis. Island Press, Washington, D.C.
where one topic covers spiritual, religious, aesthetic or
Chan, K., Goldstein, J., Satterfield, T., Hannahs, N., Kikiloi, K., Naidoo, R.,
inspirational values, whilst the other topic involves
Vadeboncoeur, N., Woodside, U., (2011) Cultural services and nonuse
recreational values, ecotourism, heritage and education.
values. In: Natural capital: Theory & practice of mapping ecosystem
They can be enjoyed on various scales where humans
services. Oxford University Press, Oxford, UK, 206228.
like to interact, from domestic gardens to regional
Hirons, M., Comberti, C. and Dunford, R., Valuing Cultural Ecosystem
landscapes. The importance of cultural services is often
Services. Annual Review of Environment and Resources, 2016, in review.
recognized, but as they are often characterized as being
Church, A., Burgess, J. and Ravenscroft, N. (2011), Cultural services. In:
intangible and difficult to quantify they are rarely
The UK National Ecosystem Assessment Technical Report. UK National
considered in decisionmaking processes. However, as it
Ecosystem Assessment, UNEPWCMC, Cambridge.
Art & the Biosphere Pia Sander, Skånes hembygdsförbund
Photo Andrew Sawyer
We are the landscape! Landscape,
landscape, both volunteers and professionals. Desired
convention, is "an area such as perceived by people, whose
character is the result of the influence of and interaction of natural
• a sustainable development
and/or human factors".
• rich living environment • boost the local community participation in landscape
In Sweden the local heritage movement is firmly rooted in
the history of Swedish popular movements and it has an
• increase awareness of landscape value and importance
impressive infrastructure of local associations throughout
• develop a holistic view of landscape values, including
the country. Sweden also has a long and strong tradition
cultural and natural heritage, and management of these
of popular education.
• exchange knowledge and experiences.
2016 SHF, the Swedish Local Heritage Federation,
The methods to achieve this is among others a citizens '
celebrated 100 years, ”Hembygdens år”. Together with
perspective, participation in planning, codetermination
it´s 2 040 local member organisations and 450 000
and, of course, many activities, hikes and seminars where
individual members, the local heritage has been in focus
people meet and talk. A way to measure the civil dialogue
for public activities including thousands of volunteers. The
is through Arnsteins participatory ladder. It starts with
regional heritage organisation in Scania, Skånes hem
information, the lowest degree, to consultation, dialogue,
bygdsförbund, chose the European landscape conven
participation and finally to codecision.
tion as a theme for 2016. Why? Simply because land scape relates to issues of importance for the cultural
Landscape management is ultimately about the place
heritage, such as local identity and the development of
and the people who use it. Pia Sander
Head of private office Skånes hembygdsförbund
The European landscape convention is the starting point for our project. A first step is to discuss what do we mean by landscape? How do we relate to the LANDSCAPE outside us and within us? What kind of landscape do we need and want for the future? How can local cultural heritage be part of basic structures? And how can know ledge within the local heritage movement contribute to a landscape where quality of life is priority? Together with our member organisations and some of the scanian municipalities, Skånes hembygdsförbund are working in a multiyear project aiming to involve more people in the dialogue and in activities concerning
Art & the Biosphere Anta Germane, Artist
Photo Andrew Sawyer
ODLAREN Through my project I wanted to talk about the heritage of
seen in many places around the area. The sculpture is
the windmill and its special role in the local community.
wrapped in red luminescent wire that can be seen glowing in the dark and creates a stitched line drawing of
During the residency I learned about the area, the
a horse pulling a wagon.
community effort to restore the windmill, the future plans for it and the stories of its past. Charmed by the brilliant
By using a public space I hope activate the area around
construction of the mill and its history, I developed a
the windmill, highlight it as something much more than a
concept for a sculpture presenting two horses pulling a
landmark and to interest people both in it's history and
wagon of grains. The aim is to tell a story from its history,
contemporary use. The opportunity to work with a
play with the physical space and bring attention to the site
community of inspirational people that share a common
as an active space used by the community.
goal efficiently and creatively has truly charged my creative drive. During the residency I have been thinking
The design of the sculpture is created in reference to a
about the ways in which I can give back through my work
functioning windmill. The construction implies that a
and how much can a work of art do in a rural setting. My
farmer would enter the mill with a wagon and horses. The
aim was to put heritage and community into the spotlight.
bags of grain would be then unloaded and taken upstairs.
This experience has shaped my ideas about future
Researching relevant details and imagining what a horse
projects and helped me to see and define the long term
driven wagon would have looked like, I selected a time
impact I wish for my art to have. In the project I am using
frame based on the last long term miller that worked in
the accessibility of public art as a metaphorical arrow
the space and also ran a bakery across the street. I
pointing to the windmill and saying â€œgo here, see this,
brought in details such as the wagons used in late 19 th
and early 20 th century in the area, breeds of Swedish
work horses that would have been common at the time and a characteristic style of a hat. By exploring the everyday use of the space, the road right passing the mill and the path a visitor would take I decided to play with the perspective. The sculpture can be seen when passing the windmill by road, it appears as horses pulling a wagon of grain upward to the windmill, however the perspective from the windmill itself places the sculpture in front of the building that used to be run as a bakery. Made from steel, the sculpture will rust and change it's
Artist Anta Germane
colour becoming closer to the iron based paint used
commonly for Swedish barns. This shade of red can be
Art & the Biosphere Ante Germane
Photos Andrew Sawyer
Art & the Biosphere John Daltiero, Artist
Photo Andrew Sawyer
Hammarlunda mölla In memory of Ola and Clas On the third floor of Hammarlunda Mölla rests a central turbine that displays the monogram of one of the mill’s earliest and most prominent owners Ola Håkansson. Ola’s monogram is not just a tag like the countless others that adorn the walls of Hammarlunda Mölla; the rose insignia scribed above his initials exudes emotion and hints at Ola’s human nature. I began to romaticize Ola’s life and the mill itself, and imagined what life was like for him. I’ve come to know Ola through small bits of information that the local residents have given me: He occupied the windmill from 18971912; he was an avid fiddler; he had a jackdaw as a pet, which lived and worked with him in the mill and by worked I mean ate all of the spilled grain and got quite chubby, according to Görhan Hansson. I’ve learned other bits about him as well, but with just
My first construction is a soundscape comprised of violin tuning and songs, jackdaw chirps, footsteps, and the moving mechanisms of the windmill. To deliver that soundscape I built a speaker system that travels from one central stereo to opposite sides of the mill’s third floor. This creates the illusion that Ola and Clas are moving freely about the room using simple panning techniques and audio cues. My second construction takes the form of a permanent installation of feathers that span a jackdaw’s entire lifetime, placed in the cracks of the mill’s central turbine, which also holds Ola’s monogram and rose insignia. This creates a symbols that visually bonds Ola and Clas together. In experiencing this combination of sound and symbol one may come to better understand what life may have been like nearly one hundred years ago for the miller Ola and his jackdaw Clas. John Daltiero
those three points I believed I had enough information to bring them both back to life, so I started building.
Artist John Daltiero USA www.johndalterio.com
Art & the Biosphere John Daltiero
Photos Andrew Sawyer
Art & the Biosphere Jörgen Nilsson, Länsstyrelsen Skånes naturvårdsavdelning
Klingavälsån's valley and the Vomb hollow The area around lake Vombsjön and Krankesjön, with
In the end of the 1940:ies, lake Vombsjön became a
Kävlingeån river and Klingavälsån's valley, is one of the
water source for the city and region of Malmö, and the
county's most speciesrich areas. It is the variety of
lake surface was raised with a levee. Today, the road runs
habitats ranging from very dry sandy soils into lakes,
by the lake on top of the levee. For a time, the western
rivers, streams, wet peatlands and everything in between,
shore along the road was used as recreational beach with
that is creating the conditions for biodiversity. It features
car parks. Gradually, this area became less popular and
all from open pastures and meadows to semiopen tree
the parking areas grew back. After the Environmental
and bushland in to dense forests.
Protection Agency purchased the land west of the road and up against Kävlingeån, a birdwatcher observation
The source of the variation in this environment takes us
tower was built here in 2008. The area continues to
back to the end of the last Ice Age when a large "ice lake"
change, and a Green Outhouse, especially designed for
formed as the glacier ice sheet melted. Into the lake, sand
the location has been erected, together with shelters with
and fine soil (silt) was deposited this is what, today,
spaces for art and information. A new and exciting
represents the area's soil that created the conditions for
outdoor barbecue has also been built here.
the flora and how people have been able to use the area. The County Adminstrative Board's Nature Management The natural values in the area is why it today is identified
Unit is very pleased with the cooperation we have had
as a as a wetland site of international importance, known
with ARNA, concerning Green Outhouse and for all the
as a Ramsar site, (after the city of Ramsar in Iran where
work, dedication and pride of the area that was put down
the Convention was drawn up in 1974). Large parts of the
here. To have locally engaged people and organizations
area are also designated to be parts of the EU network of
is extremely gratifying and of importance in order to
valuable habitats Natura 2000. Klingavälsåns valley is
create a living countryside. It is especially fun when
one of the county's largest nature reserve with more than
something as trivial as an outhouse, could be designed to
2000 hectares. It has a rich bird life and has a number of
become a light and beautiful building that blends into the
facilities for visitors such as bird towers and hides.
landscape. Being able to have such a cooperation, weaves the concrete practical needs with an artistic
Gustaf Rudebeck (19132005) was one of the individuals
touch, adds value for both visitors, passersby, and for
that was most influential for protecting the area and to
those who work in the area.
describe its values. He fought against the lowering and
straighting of Klingavälsån in the 1930s and 40s, and
managed to stop the plans for it in the southern regions.
Deputy Head of Unit
In the beginning of the 2000:ies, he got a revenge since much of what was straightened in the creek was re meandered and the water was allowed to snake its way again.
Art & the Biosphere Mathieu Boucher Côté, Lecturer, Université Laval
The Green Outhouse project The idea to build an outdoor toilet in a natural reserve
From an educator point of view, this project is also of
came from an obvious need. But the resulting project, the
great interest for the knowledge exchange possibilities it
bears, as studying and witnessing the building traditions
embodied in an exchange between Swedish and
of another country is probably the best way to reflect on
Canadian culture. Through the creative process that
brought this idea to reality, this project became an
architecture students and young graduates into the
opportunity to bring forward the natural and cultural
creative process of the Green Outhouse added the
specificity of a very special place, the Avian Kingdom.
interest and questioning of a young perspective and
brought a fresh reflection on contemporary construction The pavilion was inspired by the horizontality of the
culture and practices.
landscape and the strong presence of the Swedish sky. Like in rhetoric, where a hyperbole is an exaggeration of
a situation toward the impossible, the signaletic roof of
professionals and craftsmen in both the creative and
the pavilion describes a hyperbolic paraboloid that
construction process of this small building definitively
emphasis the tension between the land and the sky of
made it an occasion for meeting and exchanging around
this valley situated between two tectonic plates. Apart
from covering the w.c. area, the incurved roof creates a
experience and the comprehensive reflections invested
sheltered resting space that can host small exhibitions
through it definitely granted a significant and specific
and open studio. The rather horizontal proportion of the
meaning to the Green Outhouse as it really was a unique
Green Outhouse also generates a new dialogue with the
opportunity for everyone involved to have a tangible input,
vertical observation tower standing beside it.
through architecture, in ARNA’s important work of linking
art and nature. For us, at Université Laval, it was very logical to
Mathieu Boucher Côté
collaborate on this project since we are a Canadian
M.Arch, M.Sc, MIRAC,
leading campus in term of green practices, especially at
Lecturer Université Laval
development is a very active field for both teaching and research.
organisation like us, it is essential to be engaged in cultural exchange and learning activities through tangible projects as it gives us opportunities to both, engage with communities to show examples of what is possible through built work, and collaborate on innovative ideas such as the recognition of culture into the world UNESCO
Université Laval School of Architecture
Art & the Biosphere Mathieu Boucher Côté, Lecturer, Université Laval
Inauguration of the barbecue a windy autumn evening
A place to grill… and much more! The idea to design a place for BBQ can seem trivial, but it
place to eat, rest or sleep for people hiking on the
national trail nearby. To do this we literally extended one
bench of the table into a platform long enough to sleep 3 persons. To this table, we added a concrete block BBQ
To start giving shape to the project we began with the
and a second bench to complete the group.
constraints. In this case, it was the nature preserved site on the bank of Vomb lake. The 3 000m2 site also host a
Throughout the process, we tried to keep the lines of the
watching tower and the Green Outhouse, which serve as
project as simple as possible because we did not wanted
a covered rest area, toilet and exhibition space. Apart
to outstand the main attraction that is the Green
from the site constraints, the program cited the desire to
Outhouse dynamic roof. We rather wanted to discreetly
receive groups up to 15 people with disabled persons and
emphasise the presence of that building by trying to
to accommodate the people camping on site for cooking
stretch the landscape. We then thought of the long and
low form of the table as a stick insect mimicking its environment. This late inspiration influenced the details
Once the constraints are established, we nourish them
and position of the legs of both the table and the bench,
with various sources of inspiration. Here, they were
which are positioned to give movement and life to the
multiple and embodied in our cultural learning process as
bench. To us, this new creature is a playful indirect
foreigners. First, they were things we observed and
reference to the bestiary of wooden sculptures from
thought were typical for Scania such as «The Right of
Canadian surrealist artist Alfred Pellan.
Public Access» which allows to tent one night and take use of what the forests give in a respectful way. They
Finally, one of the best results of an architecture project is
were also constructions that we saw such as small
when people can easily appropriate it and it is exactly
what happened at the inauguration as many persons
construction details. Said differently, our sources of
found new uses that we had not thought of such as a
inspiration were as much cultural, formal than technical.
traditional dance stage or a rest area for ice skating.
The help of different local people were also an important influence in the design and construction process as they
Mathieu Boucher Côté
led us to the use of specific techniques and cultural
M.Arch, M.Sc, MIRAC,
Lecturer Université Laval Canada
The starting point for our formal design initiated from the simple model of picnic table that was found on site. From our inspirations and reflections on the program, we than modified the table to add other functions such as a dry
Université Laval School of Architecture www.arc.ulaval.ca/apropos/presentation.html
Art & the Biosphere Photos from the Green Outhouse project
The project Art & the Biosphere was developed as a partnership between föreningen ARNA i Fågelriket, Länsstyrelsen Skånes naturvårdsavdelning, Universite' Laval in Quebec, Canada and Hammarlunda mölleförening. Many organisations, businesses and individuals in connection to The Avian Kingdom/Fågelriket also took part. A warm THANK YOU to all!