Botanic Gardens Conservation International Education Review

Volume 11 • Number 2 • October 2014 October 2014

Beyond the beauty of art in botanic gardens

• Glass in the Gardens: an interview with Dale Chihuly • Art as a gateway to the botanical world • The Living Beehive: innovative garden design • Using biophilia and art to transform visitor experience • Communicating through landscapes REGISTER NOW! Online registration now open

www.bgcieducationcongress2015.org #BGCI2015EDU

Community Projects World Map

BGCI’s Community Projects World Map lets you investigate community projects that are happening around the world. The map is part of Communities in Nature, which aims to support botanic gardens to develop community projects that combat both social and environmental issues. This easy-to-use, interactive map collates global information to provide examples of how you too can grow your social role. Start exploring now! If you have a project like this, we want to hear http://www.bgci.org/education/ about it. Contact [email protected] for community-projects-map/ more details and to get your projects on the map! Volume 11 • Number 2 02 First word: Art in the garden Asimina Vergou, Liliana Derewnicka & Alicia Fernández Rodríguez

EDITORS 24 Asimina Vergou Head of Education 06 Using biophilia and art to Liliana Derewnicka Education Officer Glass in the gardens: transform the botanic garden visitor an Interview with Dale Chihuly experience Richard Piacentini, Phipps Tim Richardson Conservatory and Botanical Gardens and

Forthcoming Issue Sonja Bochart, SmithGroup JJR, Volume 12 Number 1: Pittsburgh, U.S.A Marketing for public engagement Cover Photo : Student using observation tools to examine a sculpture by artist Philip Haas at the Desert Botanical Garden (Jesse Tallman) Design : John Morgan, www.seascapedesign.co.uk BGCI would like to thank the co-editors for their work in the production of Roots For the French Section: Thierry Helminger - Musée national d’histoire naturelle, 10 Luxembourg Bringing science and arts Loïc Ruellan – Conservatoire Botanique National de Brest, together for plant conservation France Anne Lindsey - France Teodolinda Balcazar Sol and Javier Allison Marshall – France Caballero, Jardín Botánico del Instituto de Réjane Brun & Mélissa Garrigue – Bordeaux Botanic Garden, France Biología de la Universidad Nacional 27 For the Spanish Section: Autónoma de México, Mexico City, Mexico Art projects at the National Alicia Fernández Rodríguez - UK Orlik Gómez García - Jardín Botánico Francisco Javier Botanic Garden, Vácrátót, Hungary Clavijero, Mexico Éva Halász-Szakács, Gergely Lunk, and Lulú Rico- Royal Botanic Gardens, Kew, UK Tünde Thalmeiner, Nemzeti Botanikus, For the English Section: Jan Chamier Vácrátót, Hungary Neville Evans Sophie Wright Alicia Fernández Rodríguez 14 Roots is published by Botanic Gardens Conservation Art as a gateway to the botanical International (BGCI) . It is published twice a year. world Madelaine Zadik, Botanic Garden of Membership is open to all interested individuals, institutions and organisations that support the aims Smith College, Nothampton, U.S.A of BGCI. Further details available from: • Botanic Gardens Conservation International, Descanso House, 199 Kew Road, Richmond, Surrey TW9 3BW UK. Tel: +44 (0)20 8332 5953, Fax: +44 (0)20 8332 5956 E-mail: [email protected], www.bgci.org • BGCI-Russia, c/o Main Botanical Gardens, Botanicheskaya st., 4, Moscow 127276, Russia. Tel: +7 (095) 219 6160 / 5377, Fax: +7 (095) 218 0525, E-mail: [email protected], www.bgci.ru 30 • BGCI-Netherlands, c/o Delft University of Technology A biommicry connection in the Julianalaan 67, NL-2628 BC Delft, Netherlands 18 Tel: +31 15 278 4714 Fax: +31 15 278 2355 The Living Beehive: innovative Sanoran desert Susan Caldwell, Nina E-mail: [email protected] www.botanischetuin.tudelft.nl garden design to engage children with Avila, Desert Botanic Garden, Phoenix, U.S.A •B GCI-Canarias, c/o Jardín Botánico Canario Viera y Clavijo, conservation Leon Kluge, Leon Kluge Apartado de Correos 14, Tafira Alta 35017, Las Palmas de Gran Canaria, Gran Canaria, Spain. Garden Design, Mpumalanga , South Africa Tel: +34 928 21 95 80/82/83, Fax: +34 928 21 95 81, E-mail: [email protected] •B GCI-China, 723 Xingke Rd., Guangzhou 510650 China. Tel:(86)20-85231992. email: [email protected] www.bgci.org/china •B GCI-Colombia, c/o Jardín Botánico de Bogotá, Jose Celestino Mutis, Av. No. 61-13 – A.A. 59887, Santa Fe de Bogotá, D.C., Colombia. Tel: +57 630 0949, Fax: +57 630 5075, E-mail: [email protected], www.humboldt.org.co/jardinesdecolombia/html/la_red.htm •B GCI(US) Inc, c/o Chicago Botanic Garden, 1000 Lake Cook Road, Glencoe, Illinois 60022, USA. E-mail: [email protected], www.bgci.org/usa 21 The subtle art of attracting BGCI is a worldwide membership organisation established in 1987. Its mission is to mobilise botanic gardens and engage people to Lisbon Botanic Garden 33 partners in securing plant diversity for the well-being of Maria Amélia Martins-Loução, Centro de Communicating through people and the planet . BGCI is an independent organisation registered in the United Kingdom as a charity (Charity Reg No Biologia Ambiental, Gisela Gaio-Oliveira, landscapes in Australian Botanic 1098834) and a company limited by guarantee, No 4673175. BGCI is a tax-exempt 501(c)(3) non-profit organisation in the Pavilion of Knowledge - Ciência Viva, Gardens Janelle Hatherly, McMahons USA and is a registered non-profit organisation in Russia. Teresa Antunes and Ireneia Melo, Jardim Point, Australia Opinions expressed in this publication do not necessarily Botânico, Museu Nacional de História reflect the views of the Boards or staff of BGCI or of its members. Natural e da Ciência Universidade de 36 Educational resources Lisboa, Lisbon, Portugal for botanic gardens Premier mot: Art au jardin Primera palabra: Arte en el jardín

First word Art in the garden

ENGLISH FRANÇAIS ESPAÑOL

“ rinciples for the Development of a “ rincipes pour le développement d’un “ rincipios para el desarrollo de una PComplete Mind: Study the science of Pesprit complet: étudier la science de Pmente completa: Estudia la ciencia art. Study the art of science. Develop l’art. Étudier l’art de la science. del arte. Estudia el arte de la ciencia. your senses - especially learn how to Développer ses sens – surtout apprendre Desarrolla tus sentidos – en especial el ‘see. Realize that everything connects to à observer. Se rendre compte que tout de aprender a ver. Así comprenderás de everything else.” est interconnecté.” que todo se conecta con todo lo demás” Leonardo da Vinci (1452-1519) Leonardo da Vinci (1452-1519) Leonardo da Vinci (1452-1519) (Atalay & Wamsley, 2008, p.96). (Atalay & Wamsley, 2008, p.96). (Atalay & Wamsley, 2008, p.96).

Almost a decade after his visit to Kew Près d’une décennie après sa visite aux Casi una década después de su visita a Gardens, a colleague from a Science jardins de Kew, un collègue d’une Kew Gardens, un compañero de Science Foundation in Switzerland recalled his fondation scientifique en Suisse s’est Foundation en Suiza recordaba su experience, which was earmarked by souvenu de son expérience, marquée par experiencia, destinada a la exposición Chihuly’s exhibition, Gardens of Glass, l’exposition de Chihuly, Jardins de verre, Chihuly, Jardines de Cristal, que estaba that was taking place at the time. Our qui se déroulait à l’époque. Notre teniendo lugar en ese momento. Nuestro colleague commented on the power of collègue s’exprime sur le potentiel compañero comentó el poder de usar el using art for public engagement in a d’utiliser l’art pour engager le public dans arte como medio de participación botanic garden. Pieces of art like un jardin botanique. Les œuvres d’art, pública en un jardín botánico. Las obras Chihuly’s inspirational glass work comme l’inspirant travail du verre de de arte como el inspirador trabajo de encourage people to make comparisons Chihuly, encouragent les gens à faire des cristal Chihuly animan a la gente a hacer between living plants and manmade comparaisons entre plantes vivantes et comparaciones entre las plantas vivas y objects; hence they may observe nature objets artificiels; et peuvent ainsi les los objetos hechos por el ser humano; a more closely. It also allows a way in for amener à observer la nature de plus près. partir de ese momento observarán más people who may not know the scientific L’art peut constituer une ouverture pour de cerca la naturaleza. También permite names of plants, making them more les gens qui ne connaissent pas les noms que la gente que no conoce el nombre confident when wandering around the scientifiques des plantes, l’art met les científico de las plantas se sienta con gardens as the art work will allow them to gens plus à l’aise lors de leurs más confianza cuando pasee por el develop connections with the living plants promenades à travers les jardins, il leur jardín botánico ya que el arte les without requiring them to be scientific permet de faire des connections avec les permitirá desarrollar conexiones con las plantas vivas sin requerirles ser expertos científicos. Hein (2006, p.xix) explica que es arte es poderoso y con su “presencia estética sin mediación se insinúa en nuestro ser, haciéndonos ver y entender las cosas de manera diferente”

El arte en los jardines botánicos puede adoptar muchas formas diferentes, desde exposiciones hasta instalaciones de arte creadas por artistas profesionales, para ofrecer programas de educación de adultos sobre arte botánico o realizando festivales de arte para un público más amplio.

El arte siempre se ha inspirado en las plantas y las plantas se han interpretado de numerosas formas artísticas Architecture students at Smith College design pavilions based on plants (Smith College) diferentes, desde la escultura y la pintura

02 BGCI • 2014 • Roots • Vol 11 (2) • 02-05 experts. Hein (2006, p.xix) explains that plantes vivantes sans devoir être des art is powerful and with its ‘unmediated experts scientifiques. Hein (2006, p.xix) aesthetic presence insinuates itself into explique que l’art est puissant et ‘par sa our being, causing us to see and présence esthétique immédiate s’insinue understand things differently’. dans notre être, nous menant à voir et à comprendre les choses de façon Art in botanic gardens can take many différente’. different forms, from exhibitions and art installations created by professional L’art dans les jardins botaniques peut artists, to offering adult education prendre de nombreuses formes programmes in botanical art and running différentes, depuis les expositions et art festivals for the wider public. installations d’art crées par des artistes professionnels, l’offre de programmes Art has been inspired by plants and plants d’éducation pour les adultes en arts have been interpreted in many different art botaniques, jusqu’à l’organisation de forms from sculpture and paintings to festivals d’art pour le grand public. photography and poetry. But art has also been a medium for botanic gardens to L’art a été inspiré par les plantes et les communicate their messages to the plantes ont été interprétées sous de public, attract a different type of audience, nombreuses formes artistiques, de la that is not necessarily into plants, and sculpture à la peinture, de la photographie engage visitors with plant science. à la poésie, mais l’art est aussi un moyen pour les jardins botaniques de Peacock Blue Tower by Dale Chihuly was installed at Botanic gardens as scientific institutions communiquer leurs messages au public, Garfield Park Conservatory, Chicago, in 2001 can use the arts to present the value of d’attirer une audience différente, qui n’est (Dale Chihuly) plant science to the public. Combining pas forcément proche des plantes et de art and science can not only connect mettre leurs visiteurs en relation avec la a la fotografía y la poesía. Pero el arte ha with people visually, aurally or through science des plantes. sido también un medio para comunicar touch, without the need for language, los mensajes de los jardines botánicos al but it can communicate with people on Les jardins botaniques en tant público, atraer a un tipo distinto de an emotional level. Art, such as music, qu’institutions scientifiques peuvent audiencia, no interesada especialmente according to McNealy’s (2013) research utiliser les arts pour présenter en las plantas, e involucrar a los can be used to provoke thought and l’importance de la science des plantes visitantes en la ciencia de las plantas. make connections between the things au public. Combiner l’art et la science that are familiar to people and scientific permet non seulement d’accrocher les Los jardines botánicos como concepts which are not. And when gens visuellement, par l’ouïe ou le instituciones científicas pueden utilizar science students are involved in creating toucher, sans besoin de langage, mais las artes para presentar el valor de la art projects that communicate scientific aussi de communiquer avec eux sur un ciencia de las plantas al público. concepts (see Gurnon, Voss-Andeae and niveau émotionnel. Selon les recherches Combinando arte y ciencia no sólo se Stanley, 2013) they may understand the de McNealy (2013), l’art, tel que la permite conectar con las personas concepts better, whilst the audience that musique, peut être utilisé pour visualmente, auditivamente o través del experiences the art may become provoquer la réflexion et instaurer des tacto sin la necesidad del lenguaje, sino interested in learning more about the liens entre les choses qui sont familières también sirve para comunicarse a nivel science behind the art. aux gens et des concepts scientifiques, emocional. El arte como la música, qui ne le sont pas. Et lorsque des según la investigación de McNealy In this issue of Roots we have asked étudiants en sciences sont engagés (2013), se puede utilizar para provocar la various professionals linked to botanic dans la création de projets d’art qui reflexión y establecer conexiones entre gardens to give us their perspective on good but better with «portent sur des» las cosas que les resultan familiares a la how art can be used for public concepts scientifiques (voir Gurnon, gente y conceptos científicos que no lo engagement. Contributions include Voss-Andeae et Stanley, 2013), ils son. Y cuando los estudiantes de perspectives from artists, educators and peuvent mieux comprendre ceux-ci, ciencias se involucran en crear the directors of gardens whose tandis que l’audience qui découvre l’art proyectos de arte que transmiten leadership has supported the use of art peut être intéressée pour en savoir plus conceptos científicos (ver Gurnon, Voss- as a medium to interpret the plant world au sujet de la science derrière l’art. Andeae y Stanley, 2013) entienden mejor and encourage visitor’s understanding of los conceptos, mientras el público que and connection with nature. Dans ce numéro de Roots, nous avons experimenta el arte se interesa más por demandé à différents professionnels liés la ciencia que hay tras el arte. We hear the opinion of artists through a aux jardins botaniques de nous donner Q&A with Dale Chihuly by Tim leur point de vue sur les manières dont En esta edición de Roots hemos pedido Richardson in which they discuss how l’art peut être utilisé dans le but que varios profesionales vinculados a los Chihuly started to collaborate with d’impliquer le public. Les diverses jardines botánicos nos dieran su punto botanic gardens, why he is interested in collaborations comprennent les points de de vista sobre los artistas, educadores y

BGCI • 2014 • Roots • Vol 11 (2) 03 focusing his art on plants, and how he vue d’artistes, d’éducateurs et de directores de los jardines cuyo liderazgo uses the gardens’ plant collections to directeurs de jardins dont l’administration ha apoyado un mayor uso del arte como create the glass displays. While, land artist a apporté un soutien à l’utilisation de l’art medio para interpretar el mundo de las and garden designer Leon Kluge comme support en vue d’interpréter le plantas y aumentar tanto la comprensión discusses his Living Beehive, which mixes monde végétal et de stimuler la de los visitantes como su conexión con innovative planting and traditional Zulu compréhension des visiteurs concernant la naturaleza. architecture to engage children with the la nature ainsi que leur lien avec celle-ci. importance of conserving ecosystems. Nous découvrons l’avis d’artistes par le Escuchamos la opinión de artistas a biais de questions-réponses avec Dale través de una entrevista con Dale From the point of view of the botanic Chihuly par Tim Richardson, où ils Chihuly realizada por Tim Richardson en garden, Teodlinda Balcázar Sol and discutent de la façon dont Chihuly a la cual debaten sobre cómo Chihuly Javier Caballero discuss two projects in commencé à collaborer avec les jardins comenzó a colaborar con los jardines which Jardín Botánico de la Universidad botaniques, de pourquoi il s’intéresse à botánicos, por qué le interesa centrar su Nacional Autónoma de México joined tourner son art vers les plantes, et de la arte en las plantas y cómo utiliza las forces with artists to transform living façon dont il utilise les collections de colecciones de plantas del jardín para collections, old pipes and sewers with plantes des jardins pour créer les crear la exhibición de cristal. Mientras installations, sculpture and painting to verreries. Par ailleurs, l’artiste du « land tanto, Leon Kluge, artista y diseñador de highlight the harmonious relationship art » et paysagiste Leon Kluge explique jardines, debate sobre su colmena between art and science. sa ruche vivante, qui mélange des viviente, la cual mezcla la arquitectura plantations innovantes et l’architecture innovadora y la arquitectura Zulu Creative and well thought out landscape traditionnelle zouloue pour impliquer les tradicional para involucrar a los niños en design can be a powerful tool for enfants quant à l’importance de la la importancia de la conservación de los connecting people with nature. Janelle conservation des écosystèmes. ecosistemas. Hatherly showcases examples of ‘art in the landscape’ from across Australia. Pour illustrer le point de vue des jardins Desde el punto de vista del Jardín Whilst, Richard Piacentini and Sonja botaniques, Teodlinda Balcazar Sol et Botánico, Teolinda Balcázar Sol y Javier Bochart describe how biophilic design Javier Caballero discutent de deux Caballero discuten dos proyectos en los can be used to create inspirational projets dans lesquels le Jardín Botánico cuales el Jardín Botánico de la spaces to engage audiences and improve de la Universidad Nacional Autónoma de Universidad Autónoma de México unió human and environmental health. México s’est associé à des artistes afin sus fuerzas con varios artistas para de transformer les collections vivantes, transformar las colecciones vivas, But sometimes it’s the taking part that les vieux conduits et les égouts grâce à tuberías viejas y alcantarillas en esculturas counts and Nina Avila showcases the des installations, des sculptures et des y pinturas para destacar la harmoniosa school programme at the Desert Botanic peintures pour souligner la relation relación entre el arte y la ciencia. Garden in Phoenix, Arizona, which uses harmonieuse entre l’art et la science. the concept of biomimicry to get students El diseño de paisajes creativo y bien to think about the form and function of Une conception paysagère créative et planificado puede ser una poderosa natural objects and inspire their own bien pensée peut être un outil puissant herramienta para conectar a las innovative designs. While at the Botanic pour relier les individus à la nature. personas con la naturaleza. Janelle Garden of Smith College in Northampton, Janelle Hatherly présente des exemples Hatherly muestra ejemplos de “arte en el USA, they are not only engaging students d’« art dans le paysage » provenant de paisaje” de toda Australia. Por otra of all ages with science through practical toute l’Australie. Aussi, Richard parte, Richard Piacentini y Sonja Bochart art projects but also using these projects Piacentini et Sonja Bochart décrivent muestran como el diseño biofílico puede as an opportunity to study how small comment la conception qui tient compte usarse para crear espacios de children learn. du besoin de relation avec la nature inspiración que involucren al público y («biophilie») peut être utilisée pour créer mejoren la salud humana y del medio And it’s not just visual arts that can be des espaces d’inspiration afin ambiente. used as powerful communication tools. d’impliquer le public et d’améliorer la Maria Amélia Martins-Loução, Gisela santé humaine et environnementale. Pero, en ocasiones, el hecho de formar Gaio-Oliveira, Teresa Antunes and Ireneia parte es lo que cuenta y Nina Avila Melo describe the subtle art of attracting Mais parfois, c’est le fait de participer presenta el programa escolar del Desert people to Lisbon Botanic Garden through qui compte et Nina Avila présente le Botanic Garden en Phoenix, Arizona, que a variety of cultural events mixing music, programme scolaire du Jardin botanique usa el concepto de biomimetismo para games, performances, art, science and du désert à Phoenix, en Arizona, qui que sus alumnos reflexionen acerca de conservation. utilise le concept du biomimétisme pour la forma y la función de los objetos de la encourager les étudiants à réfléchir à la naturaleza y usarlos como inspiración Art in botanic gardens has been used forme et à la fonction d’objets naturels et para sus propios diseños innovadores. from the day the institutions were à utiliser ces éléments pour en inspirer Mientras que el Botanic Garden of Smith established, in the form of botanical leurs propres conceptions innovantes. College en Northampton, EEUU, no sólo drawings which aimed to portray plants Au Jardin botanique du Smith College à involucra en la ciencia a estudiantes de with scientific accuracy and level of detail Northhampton aux États-Unis, il ne todas las edades a través de proyectos for them to be recognized and s’agit pas uniquement d'impliquer des artísticos prácticos, sino que usa estos

04 BGCI • 2014 • Roots • Vol 11 (2) étudiants de tout âge dans la science par proyectos como una oportunidad para le biais de projets artistiques pratiques, estudiar como aprenden los niños más mais également de se servir de ces pequeños. projets comme opportunité pour étudier les moyens d’apprentissage des jeunes Y no es sólo que las artes visuales enfants. puedan ser utilizadas como poderosas armas de comunicación. Maria Amélia Et il n’y a pas que les arts visuels qui Martins-Loução, Gisela Gaio-Oliveira, puissent être utilisés en tant que puissants Teresa Antunes y Ireneia Melo describe outils de communication. Maria Amélia el sutil arte de atraer a la gente al Jardín Martins-Loução, Gisela Gaio-Oliveira, Botánico de Lisboa a través de una Teresa Antunes et Ireneia Melo décrit l’art amplia variedad de eventos culturales subtil d’attirer les gens au Jardin botanique mezclando música, juegos, de Lisbonne grâce à une diversité espectáculos, arte, ciencia y d’évènements culturels qui mêlent la conservación. musique, les jeux, les spectacles, l’art, la science et la conservation. El arte en los jardines botánicos se ha usado desde el día en que se fundaron Xerekua (nests), sustainable art installation by Ana L’art dans les jardins botaniques a été las instituciones, en forma de dibujos Isabel Guillén, Elizabeth Merchant and Tsanda Kutsi utilisé depuis le jour où les établissements botánicos que pretendían representar Salas (UNAM) ont été fondés, sous la forme de dessins las plantas con exactitud científica y botaniques dont le but était de représenter nivel de detalle para poder reconocerlas distinguished from other species. des plantes avec une précision scientifique y distinguirlas de otras especies. Considering the long tradition of the use et un niveau de détail leur permettant Considerando la larga tradición del uso of art in botanic gardens it is now time to d’être reconnues et distinguées des autres del arte en los jardines botánicos, ha question its purpose and effectiveness. Is espèces. Au vu de la longue tradition de llegado el momento de cuestionar su art currently a medium that has been l’utilisation de l’art dans les jardins propósito y efectividad. ¿Es actualmente overused in botanic gardens and is being botaniques, il est maintenant temps de el arte un medio que ha sido utilizado en recycled and repeated, in its current questionner son objectif et son efficacité. exceso en los jardines botánicos y está form? Is art in botanic gardens banal or L’art est-il actuellement un support qui a siendo reciclado y repetido? ¿Es el arte does it still have the power to bring été surexploité dans les jardins botaniques algo banal en los jardines botánicos o innovative ways of communicating plant et qui est recyclé et répété dans sa forme tiene aún el poder de ser una science to people and connecting them actuelle ? L’art dans les jardins botaniques herramienta innovadora para comunicar to plants? What is the current evidence est-il banal ou a-t-il encore la possibilité la botánica a las personas from the practice of botanic gardens d’apporter des moyens innovants de conectándolas con las plantas? ¿Qué around the world and where can it lead? communiquer sur la botanique auprès du evidencias existen en la actualidad public et de le relier aux plantes ? Quels sobre las prácticas en los jardines References sont les témoignages actuels découlant de botánicos de todo el mundo y hacia l’expérience des jardins botaniques dans le dónde conducen? , Atalay, B., & Wamsley, K. (2008). monde et à quoi cela peut-il mener ? Leonardo’s Universe: The Renaissance Bibliografía consultada World of Leonardo da Vinci . National Références Geographic Books. , Atalay, B., & Wamsley, K. (2008). , Atalay, B., & Wamsley, K. (2008). Leonardo’s Universe: The , Gurnon. D, Voss-Andeae. J and Leonardo’s Universe: The Renaissance Renaissance World of Leonardo da Stanley, J. (2013). Integrating Art and World of Leonardo da Vinci . National Vinci. National Geographic Books. Science in Undergraduate Education. Geographic Books. PLOS Biol 11(2). , Gurnon. D, Voss-Andeae. J and , Gurnon. D, Voss-Andeae. J and Stanley, J. (2013). Integrating Art and , Hein, H. (2006). Public Art: Thinking Stanley, J. (2013). Integrating Art and Science in Undergraduate Education. Museums Differently. Lanham, New Science in Undergraduate Education. PLOS Biol 11(2). York, Toronto & Oxford: Altamira PLOS Biol 11(2) Press. , Hein, H. (2006). Public Art: Thinking , Hein, H. (2006). Public Art: Thinking Museums Differently. Lanham, New , McNealy, T. (2013). Connecting music, Museums Differently. Lanham, New York, Toronto & Oxford: Altamira art and science for increased creativity York, Toronto & Oxford: Altamira Press Press. and topic engagement. Journal of Microbiology and Biology Education. , McNealy, T. (2013). Connecting music, , McNealy, T. (2013). Connecting 14 (2): 267- 268. art and science for increased creativity music, art and science for increased and topic engagement. Journal of creativity and topic engagement. Asimina Vergou, Liliana Derewnicka & Microbiology and Biology Education.14 Journal of Microbiology and Biology Alicia Fernández Rodríguez (2): 267- 268. Education. 14 (2): 267- 268.

BGCI • 2014 • Roots • Vol 11 (2) 05 Verres dans les jardins : entretien avec Dale Chihuly Jardines de cristal: una entrevista con Dale Chihuly

Glass in the gardens: an interview with Dale Chihuly

Dale Chihuly is a world renowned American artist working in the realm of glass sculpture. His glasswork has been exhibited in botanic gardens across the globe. In this interview with Tim Richardson he discusses his love of nature, the merits of working in and with botanic gardens and how his work is enhanced by a natural setting.

Niijima Floats , 2005, Fairchild Tropical Botanic Garden, Florida (Dale Chihuly)

06 BGCI • 2014 • Roots • Vol 11 (2) • 06-09 ale Chihuly is a Seattle-based glass (2007), Phipps Conservatory (2007), Desert TR: Did you have any interest in artist who developed his unique Botanical Garden (2008, 2013) Franklin Park plants and gardens in childhood Dstyle in the late 1960s and 1970s, Conservatory (2009), Cheekwood Botanical or in the earlier part of your career? when he taught at the Rhode Island School Garden and Museum of Art (2010), Frederick of Design and then at his own Pilchuck Meijer Gardens & Sculpture Park (2010), DC: I grew up in a house that had Glass School in Washington State. Dallas Arboretum (2012) and Denver Botanic a large garden [in Tacoma, Chihuly's work is exhibited in major Gardens (2014). An estimated 8 million Washington]. My mother worked in museums and galleries worldwide. His people have visited Chihuly’s botanic the garden every day, about eight botanic garden series began in 2001 with garden shows, the most popular being the hours a day. It had about 90 an installation of his glass forms among show at Missouri. rhododendrons and azaleas and I the plants at the Garfield Park would play in the garden with my Conservatory, Chicago. Chihuly exhibited Here Dale Chihuly (DC) talks to Tim little toy soldiers and so on. I would at the Royal Botanic Gardens, Kew, Richardson (TR), a contemporary landscape play in the garden but I never helped London in 2005. Other botanic garden critic and author who contributed an essay my mother. I don't know why that is - venues include New York Botanical Garden to the book Chihuly Garden Installations I loved seeing the flowers but I never (2006), Fairchild Tropical Botanic Garden (2011), about the nature of his work in gardened. Every now and then after I (2006, 2007), Missouri Botanical Garden botanic garden settings. left she would find a little toy soldier.

TR: What are the practical challenges of working in botanic gardens? Did you find that the scientific remit of these institutions had any impact on the work, the way it is presented and its reception by both visitors and staff?

DC: The botanic gardens were just so helpful - more so than working with a museum or gallery, in my experience. They worked with us in terms of lighting, planting, pruning and cleaning. The directors got very engaged with what we were doing - always very excited. In most cases they'd seen my work at another institution so they had a pretty good idea of what it was going to be.

TR: Is there a fundamental difference, for you, between working with plants in glasshouses and working out of doors?

DC: It all started off at Garfield Park in Chicago. That was a huge glasshouse: 50,000 sq ft. I've always loved glasshouses and I felt quite comfortable in them. Later we started working outside and in places where there were hardly any glasshouses. I found there was not a real difference working indoors and outside - you just had to get used to it. I probably do prefer the installations being outside. It seems so natural. At Chihuly Garden and Glass [in Seattle] visitors have the interior situation - eight interiors - then a glasshouse I designed, and then they go outside into the garden. We take photographs of people in the space and we often ask them which The Sun, New York Botanical Garden, installed 2006 (Dale Chihuly) was their favourite. I'm always stunned

BGCI • Roots • Vol 11 (2) 07 TR: The garden shows are quite theatrical in flavour. What role do the visitors/audience play, if any?

DC: I do see them as theatre. Even on the inside, when I do shows in glasshouses, it’s theatrical, and that has a lot to do with the lighting.

TR: Do you like the gardens to be full of people, or is it better to view the works in solitude?

DC: I tend to like it with a lot of people, as I know more people are enjoying the work. I think people feel good about the fact they are seeing something they are liking and other people are enjoying it as well. It’s like when you go to a great show of Van Gogh paintings; there are by definition a lot of people in that gallery, yet you enjoy the paintings just as much as if you were alone.

TR: I have tried to make comparisons between the development of your series of forms in glass and the way plants develop and vary in nature through a process of natural selection. Does that comparison make sense to you?

DC: The way I work with glass is very organic - it’s a natural way of making glass pieces using centrifugal force, heat Macchia Forest, 2007, Phipps Conservatory and Botanical Gardens, Pennsylvania (Dale Chihuly) and gravity. by how popular the garden installation is. DC: We didn't do the night shows as TR: At what point in your development We have 600,000 people a year and a lot much in the beginning. We were working as an artist did apparently organic of them are probably gardeners, so they on the inside, mainly, and the forms start to become important to can relate to the outside. glasshouses weren't open at night. But you? To what extent did these forms once we started working outside we did a arise from the properties of glass itself? TR: The episodic nature and the lot more. The most important thing is the rhythm of the botanic garden shows lighting. We found that once [botanic DC: It’s been like that from the very seems to be extremely important. garden staff] had seen one of the shows beginning. Traditionally glass forms were How do you work that out? with night lighting, they were convinced always made in a symmetrical way. What they wanted it, too. Some people prefer it I did was start to make new and different DC: I just trust my gut. If I make each at night, some in the day. The two forms. piece work well then they all go together experiences are totally different. For one as a whole. We don’t try to create a thing you light up the installation. It TR: In terms of the plant types your particular rhythm - we just try to make stands on its own against darkness. The pieces 'work' with - or against, or each installation as beautiful as we can. difference [between night and day] is like entwine with - do you favour exotica They should work together naturally. taking a photo of something against a in general, i.e. strident forms and black background, not a white bright colours, or are there examples TR: Can you describe the challenges background. We like people to be able to of you working with quieter forms of and potential of creating installations see both. When we sell a ticket for a plantlife, or native plants? and episodes which function at night- Chihuly garden show, people always have time? Does nightfall fundamentally an option to come back at night to see it. DC: So much of it has to do with the alter the character of installations and I do have a lighting person, Steve way I feel at the time, when I do my episodes, or does it deepen what is Cochran, who always works hand in hand walk around the garden. It's really already there? with the garden. what I want to do at that time.

08 BGCI • 2014 • Roots • Vol 11 (2) Chihuly Garden and Glass, 2012, Seattle, Washington (Dale Chihuly)

I take in the atmosphere, the plantlife and DC: There is some of that. I think of RESUMEN so on. It's been that way from the them [the installations] as detailed beginning of the series until the end. individual projects but it can be that all La obra del artista afincado en Seattle the parts make up one big, beautiful Dale Chihuly se puede contemplar en TR: Are there any noticeable installation. A lot of [the botanic garden museos y galerías de todo el mundo. En similarities between the many botanic shows] feel like a complete project. 2001, comenzó a desarrollar garden settings in which you have instalaciones para jardines botánicos. worked? Do you come across the Chihuly is creating a new exhibition at Hasta ahora, se exhiben en algunos de same issues and opportunities again the Fairchild Tropical Botanic Garden in los jardines botánicos más respetados and again, or does it always feel new? December 2014. en todo el mundo, incluyendo el Jardín Botánico Tropical de Fairchild, los DC: I found them all different. I've never Reales Jardines Botánicos de Kew, el been to one where I felt I was looking at RÉSUMÉ Jardín Botánico de Missouri y muchos the same place again. There are all kinds más. En esta entrevista el artista habla of different things in a garden which allow Le travail de l'artiste Dale Chihuly basé con el crítico de paisaje contemporáneo me to make an installation. Going around à Seattle peut se découvrir dans des y autor, Tm Richardson. Los dos looking at [different botanic gardens], I'm musées et galeries du monde entier. En debaten sobre la relación de Chihuly con fortunate to be able to pick and choose 2001, il a commencé à développer des las plantas, los retos y las oportunidades where I want to work. installations pour les jardins botaniques, de trabajar con y en los jardines jusqu'à présent exposées dans botánicos y sobre la relación entre la TR: Has the experience of working in quelques-uns des jardins botaniques obra del artista y los entornos naturales. botanic gardens changed the direction les plus reconnus à travers le monde, and nature of your work, would you notamment le Jardin botanique tropical Dale Chihuly say, or is it simply another way of de Fairchild, les Jardins botaniques Glass Sculptor showing off the works? royaux de Kew, le Jardin botanique de Chihuly Studio Missouri et bien d'autres. Dans cet 1111 NW 50th St DC: It has certainly added a great deal. entretien, l'artiste échange avec l'auteur Seattle, WA 98107-5120 One major installation is Millefiori. That et critique contemporain en Email: [email protected] would not have developed without paysagisme, Tim Richardson. Website: http://www.chihuly.com/ working in the gardens. It's a garden in Ensemble, ils discutent des relations itself and it made a big difference that it tissées par Chihuly avec les plantes, Tim Richardson was to be sited outside. des défis et des opportunités de Landscape critic and author travailler dans et avec les jardins Email: [email protected] TR: Is it your intention to create a botaniques et de la relation qui existe sense of a total work of art with each entre le travail de l'artiste et les décors of these garden shows, and if so how naturels. do you aim to achieve that?

BGCI • 2014 • Roots • Vol 11 (2) 09 Mêler science et art pour la conservation des plantes Uniendo la ciencia y artes para la conservación vegetal

Bringing science and arts together for plant conservation

The Jardín Botánico del Instituto de Biología de la iven that the Jardín Botánico del Instituto de Biología, UNAM in Universidad Nacional Autónoma de México (UNAM) is GMexico receives over one hundred thousand visitors each year the collaborating with young artists – committed to Mexican ministry of public education (SEP) has recognized it as an ideal sustainable art and the environment. Teodolinda Balcazar location to engage adults and children with botany. The botanic garden is Sol and Javier Caballero explain how the artists’ work committed to achieving the goals of the Global Strategy for Plant Conservation has transformed sewer covers and enhanced living (GSPC) (BGCI, 2002; Caballero et al ., 2012) and therefore the garden’s displays to communicate the connection between culture program of guided visits, workshops, and educational activities, directed at the and nature to the public. general public, aim to build a culture of conservation surrounding the flora of Mexico.

Since its creation, the botanic garden has been the stage for a variety of visual and performance arts. Along its 55 years of existence our garden has hosted painting (Hernández, et al 1994a) and sculpture exhibitions as well as theater, and for the past 25 years has offered spring and fall concert seasons annually (Hernández et al ., 1994b; Balcázar et al ., 1997).

In compliance with Target 14 of the GSPC regarding education, the botanic garden invited young enthusiastic artists, committed to contributing to a harmonious and sustainable relationship between nature and culture, to develop innovative activities which blend science and the arts. The activities aimed to raise public awareness for conserving biodiversity.

Two successful projects were Art of the Earth and Urban Nature . In the exhibition Art of the Earth , held in 2010, a series of installations were interwoven with the garden’s plant collections to highlight the Xerekua (nests) by Ana Isabel Guillén, Elizabeth Merchant and Tsanda Kutsi Salas, this interactive art aims to beauty of nature and the need to prevent connect people with nature. Art included in the Earth exhibition (UNAM) its destruction (Anonymous, 2010). In the

10 BGCI • 2014 • Roots • Vol 11 (2) • 10-13 In the third phase garden senior staff and representatives of the artists’ groups, critically reviewed the proposals. The garden staff and the artists jointly decided the location of each artwork, so that the installations would be integrated into the display area and the impact on visitors would be maximized.

In both cases, the results of the exhibitions surpassed our expectations. Twenty-four pieces of art were displayed in the garden as the result of the work of over forty artists participating either individually or as a group. The installations presented mythological creatures as well as conservation ideas, endangered species, biological processes, environmental issues, and the relevance botanic gardens to society. Tables 1 and 2 describe the works of art exhibited in the two projects. Visitors investigating Florecimiento by Felix Carranza (UNAM) exhibition U rban Nature, in 2012, artists Table 1. Examples of artwork exhibited as part of Art of the Earth were invited to transform the pipelines, sewer boxes and manhole covers as these were left as scars of urban Name of the Work and Artist(s) Description expansion in areas of the garden by contractors and engineers. The artists painted and sculptured native and mythic Florecimiento (Blossom) A giant flower made out of fabric and plants and animals representing the urban Felix Carranza wood symbolizing the negative impact of spaces return to nature. Art of the Earth humans on the ecological balance was financed by external funds obtained by the participating artists and U rban Invasion (Invasion) Wire and rubber objects displayed in Nature was funded by the botanic garden. Eliana Muhlia various locations across the garden. These represented invasive insect species Integration of science and art and symbolized our fear of the ‘other’ which may be harmless elements of The work displayed in both exhibitions nature with which we coexist was focused on establishing a shared language and a vision between scientists Urbanucactus eolici Industrial artifacts used in air circulation and artists. The process took place in Ariadna Gómez devices simulating the shape and function three phases. In the first phase, talks of Globose cacti (Mammillaria). and guided tours informed the artists about the objectives, structure, and Basilisco Urbano (Urban basilisk) Water snake made out of ceramic parts function of the botanic garden, and its Thania Estrada and plastic bottles representing the relevance to education and conservation disturbance of ecological balance due to (Caballero, e t al., 2010). Artists were also the introduction of alien species made aware of the considerations they must pay to the living collections and the Efecto Dominó (Domino effect) Rectangular installations placed on the limitations they may pose to the design Exa Sánchez grass forming an interactive mosaic which and installation of their works of art. It represented the impact of urbanization was decided that the artists would use and the ecosystem resilience biodegradable materials, preferably of natural origin, or recycled. Xerekua Nests made out of seeds and other plant Ana Isabel Guillén, Elizabeth materials representing the role of women During the second phase artists Merchant & Tsanda Kutsi Salas in the oral tradition and the link between developed their proposals including nature and culture honing their conceptual foundations, producing images or models of their project and deciding the materials to be used.

BGCI • 2014 • Roots • Vol 11 (2) 11 Table 2. Examples of artwork exhibited as part of Urban Nature References

Name of the Work Theme , Anónimo, (2010). Arte de la Tierra, Jardín Botánico: Reflexiones sobre el Arte y la Naturaleza. Cooperación Victoriae reginae Installation inspired by the endemic Sociedad y Arte, COSA, A. C. Mexico Abigail Hernández species of Mexican agave, Agave victoria- City, 47p. reginae , which is threatened by extinction. The plant is also the emblem of the , BGCI. (2002). Estrategia Global para la botanic garden of UNAM Conservación Vegetal. Canary Islands, Spain, 13p. Tigridia Artwork representing Tigridia pavonia , one Andrea Garduño of the most beautiful Mexican flowers , Caballero, J. (2010). The Institute of which is also used for medicine and food. Biology’s Botanical Garden A Gem Nestled in the UNAM. Voices of Alegoría a la Conejera Inspired by the magic of stories and the Mexico Número 87, Spring-Summer: (Allegory of the rabbit hole) botanic garden 33-41. Centro de Investigaciones Antonio “Topoi” Alborez sobre América del Norte. Universidad Nacional Autónoma de México. Axolote Inspired by an emblematic species endemic Inés Barrón to the lacustrine zone in southern Mexico , Caballero, J., L. Scheinvar, S. Arias, City. The artwork is a metaphor for the ex García-Mendoza, A., T. Balcázar, F. situ conservation at the botanic garden Basurto, R. Bye, V. Corona, L. Cortés, V. Chávez, B. Don Juan, V. Evangelista, Flor de la Vida (Flower of life) Represents the diverse manifestations C. Hernández, E. Herrera, E. Linares, J. Sara Gabriela Silva of life L. López, C. Mapes, J. Martínez, J. Nieto. I. Omaña, G. Olalde, G. El Ritual (The ritual) Captures the beauty of metamorphosis of Palomino, H. Quero, L. Rangel, J. Yael Sol-Luna butterflies and reveals the transformation Reyes, J. Saldívar, E. Sandoval, A. of life Téllez, T. Terrazas, A. Vallejo, F. Vergara, A. Zarate. (2012). El Jardín Cactus Represents cactuses as species resistant Botánico del Instituto de Biología de la Felix Carranza to hostile environment containing liquid UNAM y la Estrategia Global, para la essential for life Conservación Vegetal. 77-88p. En: J. Caballero. Jardines Botánicos Contribución a la Conservación Vegetal de México. Primera edición, Hundreds of visitors were engaged with vote for the best art work in the Comisión Nacional para el Uso y the exhibitions and interacted with the exhibition. This captured their interest in Conocimiento de la Biodiversidad. pieces of art. Artists and environmental art activities, and stimulated discussions Mexico City, Mexico. 183pp educators provided guided tours to the about the structural, conceptual and public, bringing together art and science biological aspects of each art work and providing a space for dialogue. exhibited. The exhibitions enabled the Bringing these worlds together was a garden to bring new and innovative art to communication challenge, given that the the public which in turn has allowed artists’ work often does not require them and the garden staff to explore explanation, while the visitors to a new methods for communicating botanic garden expect description and biodiversity conservation messages. interpretation of what they are observing. As a solution to this challenge the artist Acknowledgments collaborated with the educator, so that the information they provided to visitors The authors of this paper are grateful to was complementary; while the artist the artists who contributed to the spoke about their work, the educator exhibits. We are also grateful to the could refer to biology topics relevant to it. environmental educators of the Jardín Botánico of the Institute of Biology of the The public was encouraged to contribute Universidad Nacional Autónoma de to the projects in different ways. In Art of México for their enthusiastic collaboration the Earth , some of the work allowed and in guiding the tours through the exhibits invited interactions such as climbing to along with the artists. We would also like nests or moving domino tiles. During to acknowledge the public for their Visitors listen to Ariadna Gómez talk about the Urban Nature the public were asked to interest and participation. creation of Urbanucactus eolici (UNAM)

12 BGCI • Roots • Vol 11 (2) , Hernández, C. C., E. Linares, T. Balcázar, C. Jiménez, L. Carmona, (1994a). El Encuentro de Pintura Infantil, una actividad de gran atractivo para niños. In : E. Linares, C .C. Hernández, E. Herrera (eds.). La Educación en los Jardines Botánicos: Un Mundo de Ideas. Asociación Mexicana de Jardines Botánicos A. C. y el Jardín Botánico del IB-UNAM. Mexico City. pp. 66-68.

, Hernández, C. C., T. Balcázar, E. Herrera, L. Rangel, E. Linares.(1994b). Actos Especiales: Conciertos y Bazares, Actividades de Esparcimiento y Educación. In : E. Linares, C. C. Hernández, E. Herrera (eds.) La Educación en los Jardines Botánicos: Un Mundo de Ideas. Asociación Mexicana de Jardines Botánicos A. C. y el Jardín Botánico del IB-UNAM. Mexico City. pp. 78-82.

, Balcázar, T., (1997). Los Jardines Botánicos, un complemento a la formación de profesores de educación básica y media. PLUMERIA 5:73-78

RÉSUMÉ

Afin de développer une approche originale pour sensibiliser le public à la conservation de la biodiversité, le Jardin botanique de l’UNAM s’est associé Decorated sewer cover from the exhibition Urban Nature (UNAM) récemment à des artistes, jeunes et enthousiastes, qui ont la volonté de travailler de façon durable et harmonieuse RESUMEN y esculpieron imágenes de plantas y avec la nature et la culture. Les animales nativos y míticos de esta expositions « Arte de la Tierra » et « Con la meta de crear conciencia de la manera representando el regreso a la Urban Nature » sont les deux projets qui biodiversidad y conservación para el naturaleza a partir de un espacio urbano. ont été réalisés et qui ont remporté un público visitante, el Jardín Botánico de la El público visitante fue invitado a franc succès. La première exposition UNAM junto con un grupo entusiasta y interactuar con el trabajo de esta tarea y consistait en une série d’installations diligente de jóvenes artistas unieron sus así aprendieron los lazos que existen intégrées à la collection de plantes esfuerzos recientemente en un trabajo entre el arte, ciencia y que tan esencial vivantes pour sensibiliser le public à la sustentable conectando es la biodiversidad para sus vidas. beauté de la nature et sur l’importance armoniosamente naturaleza y cultura, d’arrêter de la détruire. Pour la seconde, resultando en exposiciones de dos Teodolinda Balcazar Sol les artistes devaient transformer les proyectos principales: El Arte de la Tierra (Education and Outreach Department) tuyaux et les égouts laissés par les y Naturaleza Urbana. El primero & Javier Caballero (Director) ingénieurs et les constructeurs dans consistió en incorporar la colección de Jardín Botánico del Instituto de divers endroits du Jardin botanique. Les plantas vivas del jardín, combinando la Biología de la Universidad Nacional artistes ont peint et sculpté des plantes et belleza y su naturaleza y la necesidad de Autónoma de México (UNAM). des animaux natifs et mythiques dessus detener su destrucción. En el segundo, Circuito Exterior s/n, pour représenter le retour de la nature artistas tuvieron como tarea transformar Ciudad Universitaria, México, dans les espaces urbains. Les visiteurs los restos de fontanería y cañería de D. F. Delegación Coyoacán, C.P. 04510 étaient invités à interagir avec les oeuvres desagüe en varias áreas del jardín Email: [email protected] & pour découvrir la connexion entre art et botánico que habían sido abandonados [email protected] science et apprendre pourquoi la por ingenieros y constructores. Website: http://www.ib.unam.mx/jardin/ biodiversité est essentielle à leur vie. En estos materiales los artistas pintaron

BGCI • 2014 • Roots • Vol 11 (2) 13 L’art comme porte d’entrée au monde de la botanique Uniendo la ciencia y artes para la conservación vegetal Art as a gateway to the botanical world

Pavilions inspired by flowers, Pompeian flower boxes and lithographs based on chrysanthemum dissections. Madelaine Zadik describes how the Botanic Garden of Smith College is utilising the wealth of creativity on its doorstep by collaborating with students to highlight the relevance of plants to people’s lives.

onnecting people with plants is intrinsic to botanic gardens’ Cmission to educate about the science, beauty and importance of the plant kingdom. Gardens are great learning environments and can reach people on an emotional, physical, intellectual and even spiritual level. Yet, not everyone is instinctively drawn to plants and gardens, so often we do not reach those without a preexisting botanical inclination. Finding new ways of reaching out to these groups and getting them excited about plants is an ongoing challenge. Art offers a communication channel that creates an inviting way in, is accessible to a wider public, and A kindergarten child’s painting based on the Spring Bulb Show and exhibited at Smith College. therefore enables gardens to better serve See full exhibition: http://www.smith.edu/garden/exhibits/edc231/ (Smith College) as advocates for the plant world.

14 BGCI • 2014 • Roots • Vol 11 (2) • 14-17 At the Botanic Garden of Smith College, We began with two art professors running Our two most successful art related Massachusetts hosting art related courses using the botanic garden as a projects involved an architecture class exhibitions, including those displaying teaching tool. The first taught lithography and an education class, both producing botanical printing, floral x-rays, and plants and the second art history. The exhibitions for the general public. These transformed into works of art has been lithography students had little science projects were particularly successful successful in appealing to broader background, but with help from our staff because of how involved and creative audiences and providing new ways of they learned all about chrysanthemums in the professors of these classes became. looking at plants. However, we were still a variety of hands-on activities—studying Relying on the faculty’s expertise in their seeking methods to provide the public with floral anatomy, dissecting flowers, and respective fields assured that the more active ways of engaging with plants. even attempting hybridization. The course botanical component of the classes was culminated in an exhibition of lithographs, totally integrated with the class syllabus. Being situated in a small liberal arts inspired and informed by their college, our primary audience is the investigations surrounding The botanical architecture project college community. However, many chrysanthemums. The art history class provided a perfect interdisciplinary students don’t necessarily feel the explored the role of plants in Pompeian approach to our plant collection. botanic garden is relevant to them, life. Students planted Pompeian flower Students in Introduction to Architecture: especially those majoring in engineering, boxes, while researching the culinary, Language and Craft (a studio art class), dance, architecture, or other non- medicinal and ornamental uses of these were given the task of reinterpreting the botanical subjects. Not connecting with plants. They learned how archaeological “spatial language of a flower”. The this audience, right at our doorstep, palynology (pollen study) has helped assignments required close botanical means our wonderful conservatory and identify plants growing in the ancient city. observation: each student chose a gardens were being missed by far too An exhibition, Pompeian Gardens: flower, photographed it, and analyzed its many. Our academic setting offers a Illustrations from A Pompeian Herbal with spatial character in terms of architectural wealth of disciplines and expertise which drawings by Wilhelmina Jashemski, was organizational principles. Students can be utilized to widen our audiences. hosted in the art department gallery. In developed their own vocabulary for Perhaps we need to get a little out of our both cases, art students never expected describing what they observed. They comfort zone to create learning to be engaging with the botanic garden built models to abstractly represent the environments where students interact when they registered for their classes. flower according to this visual language. with our plant collections in unexpected Many admitted they would not have Finally, they used what they learned from ways. Involving faculty outside of the otherwise stepped foot inside our facility, the floral architecture to design an biological sciences to use our plant yet we were able to provide a window outdoor pavilion. Through this process collection and gardens as pedagogical into the botanical realm and get them students learned about form and tools represented such an opportunity. directly interacting with plants. function in plants, discovering that

Pavilion design process by architecture student at Smith College as exhibited in project exhibition. See full exhibition at: http://www.smith.edu/future/NewsEvents11/ArtExhibit11 (Pamela Dods)

BGCI • 2014 • Roots • Vol 11 (2) 15 were paired with kindergarten children from the Smith College Campus School. Our staff worked closely with the education professor and the kindergarten teachers to develop a leaf study curriculum. The goal was that, while the education students were engaged in guiding botanical explorations, they would gain first-hand experience of inquiry-based teaching and learning contexts for young children. Together the college students and children looked closely at leaves in the greenhouses and in the classroom and learned to use hand lenses and microscopes. They described the leaves using scientific language, but also employed art as a study tool. They sketched the leaves, traced them, painted them, made rubbings of them, and photographed them. Additionally, they read poetry and books about leaves and kept journals and field notebooks.

The leaf study laid the groundwork for the students’ exploration of our Spring Bulb Show. Using the visual arts as a tool for recording information in their scientific studies, the children became immersed in a painting exercise. The Campus School art curriculum focuses on developing students’ individual expression and students had already been exposed to a variety of materials and techniques. They were given specific instructions for looking at the flowers. They used a “thinking pen” (a marker with the cap still on) to plan their Children investigating leaves as part of the Foundations and Issues of Early Childhood Education project (Susan Etheredge) architectural and biological forms have much in common, including structure, circulation, and the influence of other factors such as sunlight, air, and water. Their photographs, models, and final projects were displayed in our exhibition gallery, wowing and surprising visitors, staff and students alike. Unsuspecting visitors became immersed in the connections between architectural and biological forms. It was a valuable learning experience for everyone, including the botanic garden staff. I am the first to admit that this project forever changed how I look at flowers!

For the education class, our conservatory became a living laboratory for a semester-long investigation of leaves. Students in Foundations and A child and a college student investigate leaves in the botanic garden as part of the Foundations and Issues of Issues of Early Childhood Education Early Childhood Education project (Susan Etheredge)

16 BGCI • 2014 • Roots • Vol 11 (2) drawings before actually taking the cap off and recording their observations. As they formulated how to record what they saw, any mistakes could be corrected before marking the paper. After the pen drawing, they added watercolors. Everyone was so taken with the paintings and as a result, although not originally planned, we created an exhibition that has been on show several times and can still be found online. Every time the paintings are exhibited, the public response is very positive. People are astonished that the work is created by such young children and want to know more about the project. They also frequently ask to buy cards or prints. It is very rewarding to see how the children’s paintings strike such a cord with the visiting public. This project seemed especially fruitful because we managed to engage several types of audiences: the teachers, the college students, the kindergarten children and the general public. Tracing leaves as part of the Foundations and Issues of Early Childhood Education project (Susan Etheredge)

Developing good relationships with informations pour construire des elaborar modelos y diseñar un pabellón. professors (we hired a consultant to help maquettes et concevoir un pavillon. Nos Por otro lado los de educación infantil, el us) and allowing faculty members the serres ont servi de laboratoire vivant lors invernadero fue el laboratorio viviente freedom to create projects that we d’une animation pédagogique destinée à donde los futuros arquitectos could/would not do without their de jeunes enfants. Des collégiens ont observaron como los pequeños de un expertise has been crucial. Sometimes étudié comment des enfants de jardín preescolar aprenden mientras this can be scary, as it is unchartered maternelle apprenaient lorsqu’ils étaient observaban hojas y responden a territory. While some projects have been engagés dans des activités basées sur preguntas especificas. Las exposiciones less effective, successful ones have l’investigation en étudiant des feuilles. publicas de ambos proyectos se been repeated. These forays into Chaque projet a débouché sur une proyectaron aun mas mostrándose al atypical projects have shown how art exposition publique qui a permis de público visitante. Tanto los modelos can function as much more than simply toucher un plus large public. Nous avons arquitectónicos producidos del análisis a lure. It can transform our audiences’ exposé les maquettes que les étudiants de las flores y los pabellones diseñados experiences with our plant collection. en architecture ont utilisées pour por estudiantes, como las acuarelas When we spark our visitors’ curiosity, analyser les fleurs et les pavillons qu’ils originales que los niños crearon usando it triggers their desire to know more. ont conçus. L’exposition des maternelles su motivación y ‘la pluma que piensa’. The trick is continually finding new ways représentait des dessins. Ambas exposiciones proporcionaron to do this. evidencia de la inspiración y aprendizaje en la interacción gente/planta. RESUMEN RÉSUMÉ For information about Foundations and La conexión planta y gente es intrínseca Issues of Early Childhood Education visit: Connecter les gens avec les plantes est en la misión del Jardín Botánico del http://www.smith.edu/garden/exhibits/ed inhérent à la mission du Jardin botanique colegio Smith, aunque frecuentemente c231/ or to view the botanical du Smith College, mais souvent nous alcanza únicamente a aquéllas personas architecture exhibition visit: touchons seulement ceux qui ont déjà que ya tienen una inclinación botánica. http://www.smith.edu/future/NewsEvents un attrait pour la botanique. L’art offre El arte por su parte ofrece una manera 11/ArtExhibit11 une nouvelle voie pour attirer un public nueva de atraer a un público mayor o plus large que notre public habituel en diferente unido a quienes ya tienen un Madelaine Zadik (Manager of fournissant une porte d’entrée attrayante interés en las plantas, esta manera es Education and Outreach) et accessible. Deux projets, qui ont más atractiva y accesible. Estudiantes Botanic Garden of Smith College connu du succès et qui impliquaient des de diferentes edades fueron los Lyman Plant House, étudiants d’âges différents, étaient axés participantes de dos proyectos exitosos 16 College Lane sur l’observation. Des étudiants en enfocados a la observación. Los de Northampton, architecture ont photographié une fleur arquitectura fotografiaron una flor y MA 01063 USA et ont analysé ses caractéristiques analizaron su carácter espacial, la Email: [email protected] spatiales, puis ils ont utilisé ces información generada fue usada para Website: www.smith.edu/garden/

BGCI • 2014 • Roots • Vol 11 (2) 17 La Ruche Vivante : un jardin innovant conçu pour sensibiliser les enfants à la conservation La Colmena Viviente: diseño original de jardín para involucrar a los pequeños en aspectos de conservación

The Living Beehive: innovative garden design to engage children with conservation

Leon Kluge - innovative garden designer and land artist - has had a close relationship with plants his whole life. Here he describes how his Living Beehive has been designed to illustrate some of South Africa’s precious ecosystems. His art aims to reconnect children with the natural world by highlighting our reliance on nature.

had and still have a very close and special bond with botanic gardens; Ilooking back now I had such a unique and privileged childhood growing up, living and playing inside the boundaries of a garden; my father was the curator of the Lowveld Botanical Gardens in Nelspruit, South Africa, and my grandfather was the curator of the Harold Porter Botanical Gardens in Betty's Bay, South Africa. I was basically born into a life of plants and so growing up, weekends would not be spent in a mall, but rather on outings with the orchid society or the local rare plant society looking for strange and wonderful plants in the mountains of eastern Africa. On these expeditions there would be people from all walks of life with one common link, the love for plants and the immense knowledge on flora and fauna they had gathered over the years and shared eagerly and freely with me. Learning so much about nature from a young age made me understand its value to humans, and the importance of conserving it. Leon Kluge and David Davidson, who was part of the dome construction, in front of the Living Beehive (Leon Kluge)

Looking at the society in South Africa Whilst giving a gardening talk to a group water from the tap anymore, or the fact today I cannot help but wonder: “how are of school kids, it shocked me that when I that rain, rivers and springs never even we going to cultivate more appreciation put a simple question to them: “where came up as a possible answer? and love for our local natural heritage if does water come from?” I got the the upcoming younger generations aren’t answer: “the shops”. We have a lot of catching up to do, if we exposed to nature in some way or form want that mindset to change. But we like I was from a young age? How can I don’t know what about that answer cannot blame the kids for not knowing you love and appreciate something if you should have been more worrisome to where clean water, strawberries or even haven’t spent time with it?” me: the fact that they cannot just drink sugar come from. They need to see, smell

18 BGCI • 2014 • Roots • Vol 11 (2) • 18-20 raindrops to drinking water supplying almost all of South Africa’s main urban centres and the millions of people living in them. The grasslands are important because they provide clean water as well as providing grazing for livestock, medicinal plants and preventing soil erosion.

Underneath the grassed outer space of the Living Beehive, a walkway meanders through the inside of the dome, surrounded by vertical walls planted with species found only on the natural cliff- sides on the escarpments of the Drakensberg. These are the plants that very few people get to see, plants that have no fear of heights and thrive on the mist of the tumbling white waterfalls, Interpretation panel explaining the construction of the Living Beehive (Leon Kluge) plants such as Streptocarpus, Begonias, Impatients and many more. and touch the strawberry on the plant or and vistas are one of the true natural break open the sugar cane themselves; wonders of the world. This is where most The ceiling, on the inside of the dome, is that’s how the seed of wanting to know of southern Africa’s rainfall occurs. This is planted with local creepers found in the more about nature gets planted in a child. the starting point for the journey from dense forests surrounding the city of

This is where landscape artists such as me can help, by working closely with botanic gardens to educate the future generations and generate a bigger appreciation of nature in all its forms.

The South African Biodiversity Institute invited me to create the Living Beehive. This project became a garden installation that would explain the importance of keeping all our different and extremely threatened ecosystems alive and healthy and the important role the different ecosystems have in working as one massive filter to provide rural farmers and city dwellers of KwaZulu-Natal their clean drinking water. Living Beehive is based on South Africa’s impressive biodiversity and its importance to providing clean water.

The shape and name of the dome derives from the early Zulu grass huts that were in and around the Durban area a long time ago; these were called beehive huts. Just as the early huts were made out of local grass, the outside of the dome of the Living Beehive is planted with a carefully chosen plant pallet consisting of mainly living grasses, some bulbous plants and other interesting plant species that add variety and color. For example, a wide range of Kniphofias and Dieramas have been chosen, which are part of the flora of the highlands of KwaZulu-Natal. This mountainous area is called the The walkway meanders through the inside of the Living Beehive, where the planting symbolizes dense forest Drakensberg and its endless grasslands and wetlands (Leon Kluge)

BGCI • 2014 • Roots • Vol 11 (2) 19 Durban; they hang from the ceiling prairies et des zones humides d’altitude. sabanas, día con día este recurso está creating a chandelier of foliage, giving the Pour communiquer auprès des enfants siendo más escaso. Una manera de dome the atmosphere of a fairy-tale. sur l’importance de maintenir ces comunicar a pequeños la importancia de écosystèmes, j’ai conçu une structure mantener los ecosistemas ha sido el The water’s journey does not end there; basée sur une hutte zouloue diseño de una estructura basada en la from the massive waterfalls the water traditionnelle en forme de ruche. Le toit instalación de un colmenar tradicional de travels through forest to the coastal vert représente nos escarpements los Zulú. El techo verde representa la wetlands, and so in the dome the water herbeux riches et diversifiés et qui sont riqueza y diversidad de la sabana y flows from the vertical greened walls into les zones de captage pour la plupart de pastos, que es el área de captura de the wetland on the ground below, notre eau potable. A l’intérieur, c’est un agua en la mayoría de ecosistemas. showcasing the plants that would occur in espace pédagogique entouré d’une Dentro se localiza el área de educación, this environment and explaining each and paroi et surmonté d’un plafond jardiné rodeada por jardines verticales y techos, everyone’s role in the journey. All excess avec des plantes endémiques des todos con plantas raras o extraordinarias water in the dome gets caught up in a falaises, rares et sensationnelles, que se encuentran en los peñascos, en Holding tank underground to be recycled plantées pour décrire le chemin suivi par ellos se muestran los diferentes and used again. l’eau à travers les différents ecosistemas en los que el agua es écosystèmes avant d’arriver jusqu’à nos capturada y los caminos que esta sigue We also provided a floor space inside the robinets. Pour former de futures para llegar a nuestros grifos. Para dome with grassed mounds that act as générations plus vertes, il faut permettre inculcar una educación verde a futuras seating areas for people wandering aux enfants d’avoir à un contact proche generaciones, los pequeños necesitan through the Living Beehive. This little avec la nature. Impliquer les artistes estar en contacto con la naturaleza; esta amphitheater acts as the perfect outdoor pour qu’ils jouent avec les plantes et es una manera efectiva de entender y classroom. l’ingénierie humaine est un moyen entrelazarse con un planeta sano. La extrêmement efficace pour sensibiliser instalación involucro artistas que juegan The Living Beehive brings together les enfants sur l’importance de con plantas e ingeniería humana, people, engineering and biodiversity to conserver une planète saine. Fusionner combinando ambos se creó una show the type of innovative design and les deux permet de créer des outils tremenda herramienta educativa para los thinking that will reconnect people to éducatifs excitants pour les jardins jardines botánicos. nature. By investing in our natural botaniques. resources we can create thousands of Leon Kluge jobs. Greater investment in biodiversity Garden designer and land artist can provide society with a wealth of RESUMEN 45 Marloth Street, services that can support service delivery 1200 Nelspruit, and job creation in a low carbon economy. El abastecimiento de agua potable para Mpumalanga, ciudades africanas asegura ecosistemas South Africa Traditional botanic gardens are beautiful sanos que son esenciales para el buen Email: [email protected] and amazing to have a picnic in, but they vivir. Sin embargo, debido a la Website: need to keep up with the times, to attract destrucción de mantos acuáticos y www.leonklugegardendesign.co.za a younger crowd. That means exploiting partnerships between experts, such as artists, landscapers, land artists, architects, engineers and many more to create innovative gardens like the Living Beehive. If the budget is available, projects like the Gardens by the Bay in Singapore, also prove over and over again through the number of eager feet entering the gates every day, that gardens, art and technology can work in harmony to make the younger generations come out from behind the TV screens and experience sunshine and learn about mother nature.

RÉSUMÉ

Pour une vie saine, il est essentiel d’avoir des écosystèmes intacts et salubres qui fournissent une eau potable aux villes d’Afrique. Cependant, l’eau est une ressource qui devient de plus en plus rare à cause de la destruction des Volunteers, with their skills and expertise, were invaluable to the development of Living Beehive. (Leon Kluge)

20 BGCI • 2014 • Roots • Vol 11 (2) L’art subtil d’attirer les gens au jardin botanique de Lisbonne El delicado arte de atraer gente al Jardín Botánico de Lisboa

The subtle art of attracting people to Lisbon Botanic Garden

For the past decade the botanic garden of the University of Lisbon has been developing approaches to attract new local audiences, as well as the tourists who already frequent the garden. Maria Amélia Martins-Loução, Gisela Gaio-Oliveira, Teresa Antunes and Ireneia Melo discuss the garden’s various approaches, including dramatized guided tours and concerts, as well as the partnerships they have formed along the way.

In memory of Alexandra Escudeiro Art and Communication Lisbon Botanic Garden is a scientific lexandra Escudeiro (1949-2013), institution, conducting research and biologist, worked for Lisbon Crafted from nature, gardens are neither running education programs on plant ABotanic Garden since the 1980s. all nature nor all art and design: but a conservation, but it is also able to create She was appointed to study the flora, synergy of the two. Botanic gardens, in aesthetically pleasing refuges from taxonomically, but rapidly she moved particular, are an interaction between modern life. And this is what tourists to philosophy of science and plant nature and scientific construction. In appreciate the most when visiting Lisbon ethnography, areas that she embraced these gardens art, design and nature Botanic Garden. In 2003 foreign tourists while working at herbarium. She was the interact to produce the perfect place to made up 80% of the gardens visitors. pillar of environmental education at inspire people about plants. Therefore we decided to develop new Lisbon Botanic Garden as well as of activities to attract local people. many outreach activities here described.

The Lisbon Botanic Garden

The Lisbon Botanic Garden is part of the National Museum of Natural History and Science of Lisbon University. The garden was established in the 19th century for the teaching of botany, however, in the recent years it is greatly valued as an idyllic spot within the city as well as an institution of cultural and scientific significance. Over four hectares, the garden has a diverse living collection of around 1500 species, which represents Portugal’s cultural and environmental heritage.

Due to decreased funding, over the last 10 years, different approaches to fundraising have been developed, combining the need to attract visitors and the mission of the garden towards biodiversity conservation. Through various projects the total number of visitors has increased from 22,000 in 2002 to approximately 80,000 in 2013. Living mushroom exhibition. Short-term exhibition offered during wintertime to show species of fungi associated with different habitats (LBG)

BGCI • 2014 • Roots • Vol 11 (2) • 21-23 21 Our first attempt in 2004 involved producing good quality and attractive leaflets with the garden map, noting the location of plant species and groups of special interest. Other engagement activities included: (i) selecting a plant species each month and disseminating its taxonomic and geographical information, as well as fascinating facts, on our website and Facebook page; (ii) developing 22 interpretation panels about key plant species (e.g. Dracaena draco ) or groups (e.g. Cycads ) to increase the scientific information provided to visitors; (iii) launching new exhibition areas displaying scientific illustrations as both a form of art and science communication; (iv) offering temporary exhibitions, such as the living mushroom exhibition, that have been attracting large and diverse audiences.

These examples illustrate that to engage An open air violin concert performed by local children (LBG) visitors it is important botanic gardens to maintain attractive plant displays and convey are communicated through what artists use the garden to display their visitor facilities but also to use creative is displayed and the way the plants are work every year. These exhibitions have science communication methods about put together. Therefore, what matters is invited new audiences and increased the plants and their habitats. More than ever, the significance people project onto the garden’s revenue. as well as offering a refuge it is important objects on display and what they may for botanic gardens to raise public communicate to each individual. The strategies awareness for plant diversity and conservation by developing well focused During 2003, as part of the celebrations All the described activities have been communication strategies that include for the garden’s 125th anniversary we developed through different projects and both science and art. developed special guided tours, entitled partnerships. For example, as part of the “The garden through the eyes of…”. European Youth Volunteer project, Art and public engagement Individuals from diverse backgrounds – running from 2004 to 2008, young activities well known in politics, business, students from different backgrounds academia, economics, architecture, came to the garden, to offer their The way in which we appreciate a among others – were invited to offer expertise in art and architecture. This garden is constructed through our tours throughout the garden. The guides was an opportunity to highlight the link previous experiences and knowledge. were asked to describe the botanic between science communication and art Therefore, the way a botanist and non- garden from their own point of view. The and develop ideas and projects that are scientist interpret a garden will be events took place monthly for a year and still being used. The aim was to use the different. Botanic gardens’ displays are a attracted many new visitors. views and creativity of individuals from form of exhibition; the messages they different backgrounds, to diversify, Further recreational activities brought enhance and improve visitor experience. more visitors to the garden during weekends: children’s music concerts, Partnerships with art schools have group performances, young theatre focused on the exchange of expertise. companies, poetry reading and family We teach about plants and biodiversity games. Also, dramatized guided tours, and develop a better understanding of featuring characters like Linnaeus and art expression. Another partnership was Darwin were very popular, informing the established with a film producer who public about the garden and the need to drew parallels between the plant conserve plant biodiversity. conservation efforts of botanic gardens and the actions of Cinematica an Art exhibitions have always been a part institution which preserves and of Lisbon Botanic Garden, although held disseminates film heritage. The parallel sporadically. Since 2003, new was drawn by using the idea of a partnerships, with the Faculty of Fine race against time as depicted in A youth theatre company perform in the garden Arts (Lisbon University) and freelance Alice’s Adventures in Wonderland, (LBG) sculptors were established. Now new by Lewis Carroll.

22 BGCI • 2014 • Roots • Vol 11 (2) Lisbonne, en particulier avec l’école d’art. Cet article aborde les interactions entre ces projets artistiques et le jardin botanique ainsi que leurs impacts sur le nombre de visiteurs et la transmission des messages du jardin au sujet de la conservation.

RESUMEN

El jardín botánico de Lisboa ha atraído siempre una amplia audiencia internacional de turistas y visitantes locales. En la última década especialmente para atraer al público portugués el jardín ha presentado un variedad cultural de actividades. Los dos propósitos principales de estas son el promover actitudes en pro del medioambiente y fomentar el apoyo del público para el jardín. El jardín tiene como meta lograr ambos por medio de juegos “Linnaeus” guiding a tour through the garden (LBG) familiares, talleres de arte, eventos musicales, días abiertos antes del Art per se (e.g. art exhibitions and such as the Faculty of Fine Arts, are truly crepúsculo, y exposiciones de arte en concerts) is an effective tool in attracting rewarding. Through them we have been todo el espacio del jardín durante las visitors to increase revenue. However, able to communicate environmental épocas de primavera/verano. Así se han there is often debate over whether these issues and the beauty of plants. Lisbon desarrollado estrategias de programas activities deviate from the organizational Botanic Garden acknowledges the europeos de voluntarios, y también mission related to plant conservation and importance of running art activities whilst asociaciones con otras organizaciones, engaging the public with plants. also fulfils its scientific mission. Thus, it conjunto con trabajo interdepartamental will continue to promote the awareness dentro de la Universidad de Lisboa, en It is important to run activities in a botanic for plant diversity and conservation particular con la escuela de artes. Esta garden that promote creativity but also through different and creative approaches, contribución describe la interacción y el ensure that these are fully funded. We binding science and art to benefit its impacto que hay entre los proyectos de learnt that diversity in public engagement visitors. arte y el jardín, haciendo referencia a los activities increases the number and números de visitantes y la transmisión de diversity of visitors. We also learnt that los mensajes del jardín en lo que a partnerships with different institutions, RÉSUMÉ conservación refiere.

Le Jardin botanique de Lisbonne a Maria Amélia Martins-Loução, toujours attiré un large public de touristes Professor, Centro de Biologia internationaux, plus que de visiteurs Ambiental Universidade de Lisboa, locaux. Durant la dernière décennie, le Gisela Gaio-Oliveira, Project team Jardin a proposé un panel d’activités member Pavilion of Knowledge - culturelles pour attirer le public portugais. Ciência Viva, Teresa Antunes, Les deux principaux objectifs de ces Responsible for the living plant activités ont été d’encourager des collections, Jardim Botânico & attitudes pro environnementales et de Ireneia Melo, Principal Researcher, susciter le soutien du public vis-à-vis du Jardim Botânico Jardin. Pour atteindre ces objectifs, le Centro de Biologia Ambiental & Jardin a réalisé des jeux à faire en famille, Jardim Botânico, Museu Nacional de des performances artistiques, des História Natural e da Ciência événements musicaux lors des soirées de Universidade de Lisboa printemps et d’été, ainsi que des Rua da Escola Politécnica 54 expositions d’art dans le jardin. 1250-102 Lisbon, Portugal Différentes stratégies ont été développées Email: [email protected], : utiliser des programmes de volontaires [email protected], européens, monter des partenariats avec [email protected] Art exhibit by sculptor António Vasconcelos Lapa d’autres organisations et développer le [email protected] (LBG) travail interdépartemental à l’Université de Website: www.jb.ul.pt

BGCI • 2014 • Roots • Vol 11 (2) 23 Utiliser la biophilie et l’art pour transformer l’expérience des visiteurs dans les jardins botaniques Usando el amor a la vida (biofilia) y arte transformando la experiencia de visitar un Jardín Botánico

Using biophilia and art to transform the botanic garden visitor experience

Biophilic design has been proven to improve creativity and wellbeing. The BETA Project at Phipps Conservatory and Botanical Gardens has ensured that natural forms and imagery are found throughout the buildings to bring the garden inside. Richard Piacentini and Sonja Bochart discuss the development of the exhibition and the social and environmental implications of projects of this nature.

The problem gardens are in a prime position to help Traditionally, botanic gardens have reverse this disconnection from nature. addressed issues like loss of habitat and ur society’s estrangement from Humankind is inspired by beauty, biodiversity through both ex situ and in nature has resulted in a therefore, by extending the splendor of situ conservation efforts. In many cases Osignificant decline in human and the garden to the built environment these efforts have been successful in the ecological well-being and has led to through biophilic design and art, we can short term. Less recognized, however, is catastrophic problems such as climate help bridge this divide. the opportunity to address the problems change and loss of biodiversity. Botanic by focusing on the longer term. Rather

CSL was designed to meet the highest green building standards, taking advantage of traditional aspects of biophilic design (Denmarsh Photography, Inc)

24 BGCI • 2014 • Roots • Vol 11 (2) • 24-26 Project brings a new dimension of sensory engagement to the CSL, creating dozens of opportunities for visitors to experience nature’s beauty through the lens of the artist. To reinforce the CSL’s western Pennsylvanian location the exhibitions features mainly local artists, however, because the principles of biophilic design are universal, there is also a dynamic mix of international artists such as Dale Chihuly and Hans Godo Fräbel.

Not just pretty pictures The BETA Project is an exhibition of art which evokes nature staged throughout the CSL (Denmarsh Photography, Inc) Using art to enhance biophilia is not simply a case of hanging pretty pictures than merely treating the symptoms of programs like the BETA Project (Biophilia around the building. It requires a our disconnection from nature, we can Enhanced Through Art) at Phipps concerted effort to understand what work to change the root causes of this Conservatory and Botanical Gardens. concepts resonate with staff and it must situation, altering behaviour in a way that reinforce one or more of 10 BETA themes will result in better human and ecological The process – scale, intrinsic connection, subtlety, health. sensory richness, beauty, mindfulness, The concept of biophilia, as coined by rethinking possible, cycles and seasons, The opportunity Erich Fromm and popularized by symbolic geometry and interactivity – biologist E. O. Wilson, has long been a which were defined at the outset of the We spend 80 per cent of our lives inside part of green building tootlkit and a set of project to ensure unity and consistency of buildings that are designed to isolate and dependable strategies has emerged to purpose. protect us from nature. If we can inspire connections to nature. In our transform the human experience that newest building, the Center for Early on at Phipps, staff members were takes place at the intersection of the built Sustainable Landscapes (CSL), which engaged in interactive creative visioning, and natural world we may be able to was designed to meet the highest green culture and branding sessions. The develop behaviours that bring a greater building standards in the world, we took gatherings began with mindful meditation, respect for and appreciation of nature. advantage of many of the traditional allowing for centring, grounding, and For centuries, people have come to our biophilic design strategies: ample fostering group focus and unity. This gardens for inspiration and learning. An windows provide natural light and shared time together helped to inform and opportunity exists to create ventilation; views of the outdoors inspire the selection of artists, artwork and transformative visitor experiences in our connect staff and visitors to the natural content as well as ensuring the exhibition buildings by capitalizing on biophilia: our environment; the strategic placement of was curated in a manner that was inherent need to connect with other life plants, in this case clean air plants, meaningful and appropriate to the project. forms. We can bring the inspiration of our makes interiors more attractive while During the discussions, staff gravitated gardens into the built environments and purifying the air. towards a few key visual elements: circular encourage others to do so too through forms, which help to instill a sense of Most people incorporate biophilic design wholeness; full spectrum color, which into their buildings because of the well- conveys feelings of inspiration and joy; known and documented benefits to and images of sky and birds, a human health and productivity. Yet, quite representation of uplifting, broad and often, even if we apply these traditional whimsical vision. The resultant variety of forms of biophilic design our buildings media and materials showcased in the can still feel uninspiring. If we want BETA Project give the exhibition depth and people to reconnect with nature then we dimension. Paintings, photographs, must make our buildings beautiful and drawings, sculptures, plants, fossils, and inspirational spaces in which people can even a sound art installation are brought to live, work and play. It is with this idea in life by a palette of elements such as mind that we developed the BETA salvaged wood, steel, bronze, blown and Project: a new art exhibition staged torch-worked glass, mineral pigments, tree throughout the building and surrounding resin, gold leaf, rain water and vellum. The landscape at Phipps’ CSL. The BETA project includes gallery space to display the nature-related artwork from local The interior of the CSL aims to connect the indoors schoolchildren and of regional artists on a with the outdoors by using natural forms and plants rotating seasonal basis, to actively engage (Denmarsh Photography, Inc) our community throughout the year.

BGCI • 2014 • Roots • Vol 11 (2) 25 Bien plus que traiter simplement les symptômes de notre déconnexion avec la nature, nous pouvons changer les bases mêmes, en modifiant en profondeur nos comportements; il en résultera une meilleure santé humaine et environnementale.

RESUMEN

Hoy en día nuestra sociedad se encuentra separada de la naturaleza y esto ha inducido una decaída en el bienestar del medioambiente, al mismo tiempo contribuyendo a problemas catastróficos como son el cambio climático y perdida The design of CLS and the BETA Project exhibition results in a space that feels alive and connected to the de la biodiversidad. Los jardines surrounding environment (Denmarsh Photography, Inc) botánicos están en una posición primordial en ayudar a reconectar la gente The result is a space that feels alive and For more information about Phipps, con la naturaleza. La humanidad se connected to the surrounding the Center for Sustainable Landscapes inspira en la belleza y, extiende su environment. Everywhere you look there is and the BETA Project, visit esplendor en un jardín a partir de un a reminder that we are part of nature and phipps.conservatory.org and read the medio urbano usando un diseño biofilico that it is important that we integrate our BETA Project exhibit guide. y el arte, creando así un puente de unión lives into the systems by which it works. en esta separación de la belleza natural. Reference El amor a la vida [biofilia] es la conexión The Positive effects entre los sentidos y da la oportunidad , Kellert, S.R., Heerwagen, J.H., and para influenciar el comportamiento y Enhancing the spaces where we spend Mador, M.L. (2008) (Eds.) Biophilic experiencia de las gentes. Un diseño most of our lives by means of biophilic Design: The Theory, Science and biofilico artístico requiere de un proceso design and biophilia inspired art can Practice of Bringing Buildings to Life . de pensamiento planeado y profundo, have a profound impact on occupants Hoboken, NJ: John Wiley & Sons que inspira la creación de espacios que and visitors. Substantial evidence exists conectan a la naturaleza y la gente con to demonstrate the positive effect such todos sus sentidos, influenciando nuevas connections can have on human health RÉSUMÉ experiencias y actitudes humanas. Los and well-being and that making beneficios de un diseño biofilico han sido connections to nature, particularly when L’éloignement de notre société vis-à-vis bien estudiados y documentados. No people are young, can profoundly affect de la nature a causé un grand déclin solamente para tratar los síntomas de how we experience and treat the natural dans le bien-être humain et separación con la naturaleza, la biofilia environment throughout our lives (see environnemental, et a contribué à des también puede ser usada para cambiar Kellert et al ., 2008). problèmes catastrophiques comme le de raíz lo causa ese changement climatique et la perte de Climate change and anthropogenic loss biodiversité. Les jardins botaniques sont Richard V. Piacentini of biodiversity are symptoms of our en première position pour aider les gens Executive director disconnection from nature. In the short à se reconnecter avec la nature. Phipps Conservatory and Botanical term, we need to continue our traditional L’humanité est inspirée par la beauté et, Gardens efforts to combat these problems. In the en développant la splendeur du jardin 1 Schenley Dr, Pittsburgh, PA 15213, longer term, we should focus our efforts dans un environnement urbain par le United States not on the symptoms but rather on the biais du design biophilique, il est Email: root of the problem. The connections we possible combler ce fossé. Le design [email protected] make between nature and people biophilique par l’intermédiaire de l’art Website: through our gardens can be fostered by requière un processus de http://phipps.conservatory.org/ bringing natural elements into our built développement bien pensé, qui mène à environments through art, in a way that la création d’espaces qui donnent de Sonja Bochart our visitors can relate to and which can l’inspiration et connectent le public de SmithGroup JJR be replicated in their lives. Through this façon cohérente avec la nature à travers 500 Griswold St #1700, we can play an important role in leading tous les sens, permettant d’influencer les Detroit, MI 48226, United States people to have a greater respect for the comportements et les expériences des Email: natural world of which we are all a part. gens. Les bénéfices du design [email protected] biophilique sont bien documentés. Website: www.smithgroupjjr.com/

26 BGCI • 2014 • Roots • Vol 11 (2) Projets artistiques au Jardin botanique national, Vácrátót, Hongrie Proyectos de arte en el Jardín Botánico Nacional, Vácrátót, Hungría

Art projects at the National Botanic Garden, Vácrátót, Hungary

The National Botanic Garden, Vácrátót, Hungary has a adults. Hungary’s National Curriculum states (NCC, 2012) that: “generations regular programme of activities that link art and science. growing up must know and value the rich variability of life forms in nature and In this article Éva Halász-Szakács, Gergely Lunk and culture... They must learn to use resources consciously, less intensively and Tünde Thalmeiner describe a children’s competition, responsibly in regard to their renewability.” This requires that young people receive story book and trail that engage young people with plants effective environmental education. “Environmental education involves training through imagery in literature. on culture, worldviews, and lifestyle. It conveys information, motivation, and values, but first of all it strengthens the sense of contributing to the efficient use t the National Botanic Garden, Highlighting our reliance on plants is of natural resources, and taking Vácrátót in Hungary we aim to essential as people’s increasing responsibility in protecting the Aattract attention to the beauty of disconnect from nature contributes to the environment.” (Kiss and Zsiros, 2006, p.4). the world of plants, biodiversity, and to perpetuation of many global issues. If we the indispensable role of plants in our life manage to create attachment to nature The garden’s public engagement and culture. One of the ways we do this is by children learning about it and loving it, activities satisfy the National by running programmes related to arts then that may contribute to them Environmental Education Strategy of and plants on an annual basis. becoming environmentally conscious Hungary (see Vásárhelyi, 2010). This was

Landscape painting course held in the National Botanic Garden, Vácrátót in 2014 (National Botanic Garden, Vácrátót)

BGCI • 2014 • Roots • Vol 11 (2) • 27-029 27 found in scientific literature to complement the description. Besides the scientific focus of the activity, the children develop their creativity and self- expression. The botanic garden determines only the size of the artwork (A3); the technique and media are decided by the children. Until now, we have received works in colour pencil, pastel, watercolour and tempera, including many in mixed media. Thanks to inspiring teachers supporting the children, we have received some very innovative and unique entries. Many children created interactive pieces e.g. folded booklets or included interactive elements such as movable flaps, windows and wheel charts. The creation A special prize awarded competition entry by Zalán István Ruff (aged 11), depicting almond (Prunus dulcis) of the artwork is expected not only to (National Botanic Garden, Vácrátót) spark children’s imagination but to also develop their emotional attachment to formulated by the Hungarian National education strategy. For three years we their own work and the plant itself. Environmental Education Committee have run a nationwide art competition for which is based on the 1992 Rio elementary school children, based on Linked to the competition children could Declaration and states that topics related to the garden, called: also participate in a literary treasure hunt extracurricular activities are effective ‘Investigate plants in literature’ . We during our spring programmes. They had educational experiences because of their encourage participating students to read to find 20 stations with plant quotations freedom, relaxed time frame and the fact literature, search for reference to plants in around the garden, each located close to that they allow for experiential learning. them, make pieces of artwork inspired by a living example of the species in Furthermore, they can enhance formal them and research the chosen plant in question giving hints and inspiration for education by adding unique and exciting scientific publications. This competition children to create their own pieces for experiences that promote emotional is of great educational value as it links the competition. attachment. literature to botany and results in fulfilment from creative enterprize. The Although we accept individual entries, The National Curriculum of Hungary has curricula of more subjects are interwoven we decided to reach children mainly with also integrated key competencies facilitating competency-based learning. the help of schools. This year we recommended by the European Additionally, the competition shows received 152 applications from 48 Commission to be adopted by national children that many pieces of literature locations. The works received for the education systems across Europe. At EU contain plants and plant imagery which level eight key competencies have been indicate the close relationship of humans identified as necessary for personal with nature in the past. We frequently development, active citizenship, social come across plants in literature which inclusion and employment. These work as metaphors and this further comprise: communication in native and strengthens the people-plant foreign languages, competence in relationship, enhances students’ mathematics, science and technology, imaginations and widens their digital competence, learning to learn, perspectives. The competition social and civic competences, sense of encourages participants to make initiative and entrepreneurship, and personal observations and research, thus cultural awareness and expression (EC, engaging students with nature, botany 2006). The competency-based and the botanic garden. education can also be linked to Howard Gardener’s (1983) theory of multiple ‘Investigate plants in literature’ intelligences that urged teachers to help encourages young people to do research students to use their combination of in specialist botanical literature to learn intelligences (abilities) for their personal about plant characteristics and get and academic development. inspiration from the botanical illustrations which also have their own artistic value. The National Botanic Garden, Vácrátót is Each student participating in the using art in its education programmes in competition has to create an A3 page to ‘Wonderful plants, Plant wonders’ by Erzsébet line with the key competencies education introduce the plant and use drawings, Fráter; a book about plant-related myths and leg - policy and the national environmental paintings and other plant illustrations ends. (National Botanic Garden, Vácrátót)

28 BGCI • 2014 • Roots • Vol 11 (2) competition are exhibited for a month in Pendant les programmes de printemps, autumn, during which thousands of les enfants sont invités à participer à une visitors can enjoy them as both a means chasse au trésor littéraire pour trouver of botanical learning and works of art. des citations dans le jardin. The competition will be held in coming Enfin, les étudiants de l’école d’art Fót springs as a tradition and aims to attract viennent souvent en visite pour entries from diverse groups of children. s’entraîner à peindre des paysages. Cette année, leurs œuvres feront l’objet This year, the prize for the winners of the d’une exposition. Actuellement le Jardin competition was a signed copy of the et l’école d’art envisagent de proposer book ‘Wonderful plants, plant wonders’ . un cours de peinture de paysages pour The book is by Erzsébet Fráter, the le public. garden’s collections curator, and presents plant-related legends and myths. This book is another example of RESUMEN the garden’s activities that communicate the importance of plants through art and l jardín nacional de Hungría organiza una has also been used to develop an gama de programas que combinan el exhibition in the garden about arte y las plantas. La meta es un biodiversity and humans’ connections to paquete de belleza de el mundo de plants. The book’s beautiful illustrations vegetal, su biodiversidad y la alone are pieces of art, and the legends A winning entry for the ‘ Investigate plants in importancia que este tienen en nuestras and myths about plants have great literature’ competition by Réka Miszori (aged 9). vidas y culturas. educational value. This exhibition is part The dial shows the life-cycle of an apple. (National of the garden’s interpretation that aims Botanic Garden, Vácrátót) Durante los 3 últimos años el jardín a to reach the thousands of people that llevado a cabo una competencia visit the garden every year and , Kiss, F. Zsiros, A. (2006) A környezeti llamada: explore las plantas en la contribute to the shaping of pro- neveléstl a globális nevelésig (in literatura; los pequeños producen environmental attitudes and behaviours. Hungarian) in: Kuknyó, J. (ed) A trabajos buscando referencias de plantas környezeti nevelés MPKKI, en libros. Los ganadores obtienen una In the future we are planning to start a Nyíregyháza, Hungary copia de ‘Plantas maravillosas, maravillas painting course for older children, and de las plantas’, escrito por Erzsébet already students from a secondary art , Vásárhelyi, J. (ed) (2010) Nemzeti Fráter, curador de las colecciones del school are coming to our garden to paint Környezeti Nevelési Stratégia. jardín. Este libro es un ejemplo de cómo landscapes. By utilising different public Alapvetés 2010 . (in Hungarian) Magyar el jardín usa el arte para llevar a cabo su engagement methods including art, we Környezeti Nevelési Egyesület, compromiso con el público y así se aim to ensure that visitors do not only Budapest, Hungary muestran los mitos de historias take pleasure in the beauty of plants but tradicionales que unen a las plantas y la they also learn about the research and cultura. Durante el programa de la conservation work of botanic gardens, RÉSUMÉ primavera, se invita a niños a participar environmental issues and the need to en una búsqueda de un tesoro literario, conserve biodiversity. e Jardin botanique national de Hongrie localizando alusiones en el jardín. organise un panel de programmes qui References combinent l’art et les plantes. L’objectif Finalmente los estudiantes de la escuela est de montrer la beauté du monde des Fót Art que visitan frecuentemente el , NCC (2012). National Core Curriculum plantes et de la biodiversité, et leur jardín, pintan el paisajismo; este año (A Kormány 110/2012. [VI. 4.] Korm. importance dans nos vies et notre culture. habrá una exposición de sus trabajos. Al Rendelete a Nemzeti alaptanterv momento el jardín y la escuela de arte kiadásáról, bevezetésér l és Au cours des trois dernières années le están negociando la propuesta para un alkalmazásáról. Magyar Közlöny, Jardin a organisé un concours « Explorer curso publico de paisajismo y pintura 2012/66, 10635-10847, in Hungarian) les plantes dans la littérature » : les enfants produisent un travail artistique Éva Halász-Szakács (Biologist & , EC (2006) Recommendation of the inspiré par des plantes qu’ils ont trouvé Biology teacher), Gergely Lunk European Parliament and of the dans des livres. Les gagnants sont (Horticultural engineer) & Tünde Council of 18 December 2006 on key récompensés par un livre intitulé « Thalmeiner (Communications competences for lifelong learning Plantes merveilleuses et merveilles de officer) (2006/962/EC), Official Journal of the plantes », par Erzsébet Fràter, le Nemzeti Botanikus Kert European Union, L 394/10 conservateur des collections du jardin. 2163 Vácrátót, Le livre explique comment le jardin utilise Alkotmány út 2., Hungary , Gardner, H. (1983). Multiple l’art pour sensibiliser le public et présente Email: thalmeiner.tunde@ intelligences: The theory in practice, a les mythes et les histoires traditionnelles okologia.mta.hu reader. New York: Basic Books liées aux plantes et à la culture. Website: www.botanikuskert.hu

BGCI • 2014 • Roots • Vol 11 (2) 29 Une connexion biomimétique dans le désert de Sanoran science et à l’art Conexión de la biomimética en el desierto de Sonora

Inspiration from nature: using biomimicry to engage children with plants, science and art

In 2013 the Desert Botanic Garden launched a programme for schools that focussed on biomimicry. In her article Nina Avila discusses how, by exploiting their own creativity in the garden and back in the classroom, this approach was able to engage children with plant physiology, adaptation and local indigenous plants.

A shared space In addition to the diverse collection of over 50,000 living plants, the Desert Have you ever examined a plant and Botanical Garden is often home to art asked yourself “Why does it look like exhibitions that complement the mission that?” Students and teachers in and values of the institution. Visitors may Phoenix, Arizona have been given be welcomed by man-made sculptures opportunity to do just this when they set within natural plant displays creating visit the Desert Botanical Garden for a a one-of-a-kind experience. Most guided, school field trip. Repeatedly they recently, Carolina Escobar, Philip Haas, are confronted by the Carnegia gigantea , and Dale Chihuly displayed their works the saguaro cactus, and wonder “why of art amongst the mystifying plants of this symbol of the West has spines the desert landscape. instead of leaves? Why does it resemble the shape of an accordion? How does it The contrast of structural art and diverse stand so tall without toppling over?” plant forms was a fortunate match for the education staff at the garden. The visually During the guided tour, students, interesting duo was an opportunity to teachers, and chaperones spend two introduce a fascinating design and biology hours with trained garden staff exploring concept known as biomimicry to the the desert-adapted landscape. The plants formal K-8 (schooling for children aged 5 often appear as though they are from a to 8) learning community. At the garden, different world. However, their unique plant life brings elements of function and forms are adaptations that help the plant biology to the forefront, while the thrive in the dry and hot Sonoran Desert sculptures highlight the creative yet climate. What is noteworthy is that each challenging process of design. The Succulent Gallery at the Desert Botanic Garden observable form is connected to a showcases some of the region’s native flora specific biological function. For instance, Creating a connection (Adam Rodriguez) the accordion shape of the saguaro allows the plant to expand and hold more water Biomimicry is best recognized as the ideas to solving human technological during summer monsoon rains. Once “emulation of nature’s genius” as stated challenges, in order to create a healthier, someone sees and understands a by Janine Benyus (1997, p.2), author of more sustainable planet”. At the Desert connection such as this, they begin to Biomimicry: Innovation Inspired by Botanical Garden, biomimicry offers a look for forms and functions in other Nature . A more in depth definition from chance to teach a new generation to organisms. Consequently, this new Biomimicry Education Network (2013, view and value the natural world in a realization can lead to a greater p.1) helps to paint the picture: “learning different way. Instead of passing by an appreciation for plant life. from and then adapting Nature’s best organism and thinking reflectively that it

30 BGCI • 2014 • Roots • Vol 11 (2) • 30-32 looks interesting, people are challenged students and teachers begin to connect to actively observe and question why it the living plant collection to the artistic might look the way it does. sculptures at the garden. They observe form, function, patterns, and systems in Biomimicry thinking goes a step further nature which are the foundations of and asks: “How can humans mimic the understanding biomimicry. The artistic functions of living organisms to pieces enhance meaningful dialogue sustainably and efficiently solve about what inspiration means and how challenges?” For instance, when actively the design process works. Students observing the spines on a saguaro begin to see value in the natural world. cactus one might wonder if they function Hands-on experiments and biomimicry to provide protection. When biomimicry case studies complete the field trip thinking is applied, the question experience and prepare students for a becomes: “is it possible for humans to design challenge back at school. In the use a similar form, process, or system classrooms, students are equipped with for protection in our lives?” The ideas recycled materials and their new are endless, but the inspiration begins appreciation of desert plants. In small by closely observing nature’s solutions. groups they carry out the design process introduced during the tour by building Real-world examples of nature-inspired models of innovative, nature-inspired design add a layer of relevancy to the designs. Their structure should represent discussions, observations, and activities the ability to efficiently collect, contain, of the garden’s program. Willis (2011, or conserve water or provide protection p.262) suggests that ‘when students from the sun. The teachers have endless know the information they are being opportunities to enhance learning with asked to learn will be used to create presentations, journals, drawings, and products or solutions to problems that other interdisciplinary activities. interest them, the new learning and its A sculpture by Carolina Escobar displayed along the practice are valued because they want to Standards and teacher support trails at Desert Botanical Garden (Adam Rodriguez) know what they have to learn’; this is also something that many teachers As schools in the United States adjust to The shifting standards challenge already know from experience. One of changing academic standards in the teachers to map out long-range units the most common and relevant classroom, it is crucial that cultural, that pose questions, gather and interpret biomimicry examples is Velcro. Seed nature, and science institutions such as data, develop and evaluate solutions, pods known as burrs from the burdock botanic gardens evolve their programs to and build supporting evidence. These plant efficiently attach to clothing and support the skills essential for student goals can be achieved through lessons animal fur with tiny hooks. Careful success. Botanic garden educators have that are relevant, meaningful, and pique observation of this seed dispersal the opportunity to model interdisciplinary the interest of a wide range of learners technique in nature inspired the invention and inquiry-based learning for teachers (Larmer and Mergendoller, 2010). of the quick fastening mechanism that in addition to introducing them to new Project-based learning can help teachers many of us use on daily basis. content within the environmental and life make these connections, and a topic like It is through the lens of biomimicry that sciences. biomimicry is certain to grab anyone’s attention. Biomimicry might appeal to those who are passionate about animals, plants, and the environment but it might also appeal to those who are interested in design, engineering, and innovative technologies.

The Desert Botanical Garden challenges teachers to think of the “text”, referenced in standards, as more than words on a paper. Text should be considered more inclusive and expansive to encompass dance performances, paintings, landscapes, plants, etc. Images and pieces of art tell a story and convey feelings, while plants have unique appearances that translate to biological functions. As educators in an informal setting, we can help enrich Students examine outdoor installation at Desert Botanical Garden (Jesse Tallman) these interdisciplinary connections and

BGCI • 2014 • Roots • Vol 11 (2) 31 d’inspiration pour développer des utilisations pratiques et durables. Le Jardin botanique du désert est un environnement idéal pour cela car il abrite souvent de superbes expositions artistiques intégrées aux plantes et aux animaux adaptés aux déserts. Des discussions sur ce paysage naturel et artistique ont incité les étudiants à réfléchir sur la forme et la fonction des objets. Les enseignants ont reçu les outils nécessaires pour prolonger cet apprentissage au retour en classe, avec pour défi de création inspirée par ces organismes vivants. Cela a pour résultat de former une génération nouvelle qui voit et apprécie le monde naturel d’une façon différente.

RESUMEN

Durante el otoño del 2013 el Jardín Botánico de Phoenix comenzó Students investigate a sculpture by Philip Haas at the Desert Botanical Garden (Jesse Tallman) oficialmente un paseo escolar con una experiencia interdisciplinaria única, en ella provide professional development for , Biomimicry Education Network (2013) se mezcla arte, ciencia, naturaleza y teachers who have the opportunity to Learning from nature: Velcro race game . diseño. Dentro de una gama de bring the environment into their [Online pdf] Biomimicry 3.8. Available actividades manuales que promueven la classroom lessons. Training, curriculum, from: http://www.ben.biomimicry.net observación, sorpresas y pensamiento and modeling inquiry techniques will set [Accessed 28 August 2014]. crítico, se presenta a los participantes el teachers well on their way to achieving mundo del biomimetismo. Este motiva a rigorous academic standards. , Larmer, J. and Mergendoller J. (2010) 8 los individuos a ser creativos tomando Essentials for Project-based Learning . como base las formas, procesos y Finding that spark! [Online pdf] Bunk Institute for sistemas de los organismos vivos de una Education. Available from: manera práctica y con uso sustentable. El Botanic gardens have countless http://bie.org/object/document/8_essen área del desierto en donde se encuentra el educational opportunities on their tials_for_project_based_learning Jardín Botánico es ideal porque allí se doorstep that can make long-lasting [Accessed 14 August 2014]. localizan esplendidas exposiciones de arte impressions on teachers and students. integrando las adaptaciones al hábitat Plants are not of immediate interest to , Willis, J. (2011) Nurturing students’ tanto de animales como de plantas. everyone, but other organisms, patterns, brains for the future, LEARNing Intercambio de opiniones referentes a los systems, design, architecture, ecological Landscapes , vol. 5, no. 1, Autumn, paisajes naturales y artísticos motiva a los relationships, or works of art might pp. 259-265. estudiantes a pensar en la forma y función trigger an unexpected spark in a child. de los objetos. Una vez que ellos se Biomimicry is by no means a new encuentran de regreso en el salón de concept, but it is a tool for educators to RÉSUMÉ clases, su reto es el diseñar lo que los encourage children’s excitement about organismos les inspiraron, y es cuando los the natural world while simultaneously A l’automne 2013, le Jardin botanique du profesores facilitan las herramientas supporting challenging academic goals désert à Phoenix, en Arizona, a necesarias para extender este aprendizaje. that prepare students for future success. officiellement lancé un programme El resultado es una nueva generación que Thoughtful curriculum has the ability to scolaire qui associait art, science, nature visualiza y valora de manera diferente al highlight the intersection between art et design dans une expérience mundo natural. and nature through topics such as exceptionnelle et interdisciplinaire. Divers biomimicry. ateliers basés sur l’émerveillement, Nina Avila l’observation et l’analyse critique ont Children’s Education Manager References permis de confronter des étudiants au bio Desert Botanical Garden mimétisme. Le bio mimétisme nous invite 1201 N. Galvin Parkway , Benyus, J. (1997) Biomimicry: à être innovants et à utiliser les formes, Phoenix, AZ 85008 Innovation Inspired by Nature , New les processus et les systèmes des Email: [email protected] York: HarperCollins Publishing. organismes naturels comme source Website: www.dbg.org

32 BGCI • 2014 • Roots • Vol 11 (2) Communiquer par le biais du paysage dans les jardins botanique australiens Comunicando a través de paisajes en los jardines botánicos australianos

Communicating through landscapes in Australian botanic gardens

Australian landscape and garden design has come a long way since the early colonial settlers. Janelle Hatherly gives us an overview of some of the ways contemporary botanic gardens are using creative design to complement the Australian landscape and communicate powerful messages about science and the environment.

My Country, “our wide brown land”

ustralia is renowned for its expansive arid interior, unique Abiodiversity and spectacular natural beauty. Yet 200 years of intense human colonisation has taken its toll on the fragile ecosystems and now more than ever they need our protection and conservation. Wide Brown Land sculpture at The National Arboretum, Canberra, in the early days of planting (Todd Milton) Literature, music and the visual arts are creative expressions of human time, the focus was on adapting exotics This traditional style remained popular spirituality, values and emotions. to this inhospitable, unfamiliar landscape. until about fifty years ago and is still Collectively referred to as the arts, they Landscape design is another human evident all around Australia. Fine are influenced by culture. construction and is an art form in itself. examples can be found in mature sections of botanic gardens in Australia’s The appeal of Australia’s natural A brief history of Australian first capital cities. environment, and the emotional tug it landscape design has on those born here is captured in The deliberate use of Australian plants in the quintessential bush poetry of the Early colonial settlers brought their design only came into existence with the Australian poet, Dorothea Mackellar domestic and agricultural practices with foundation of our national capital, (1885-1968). Even the youngest them to Australia, clearing and Canberra, a mere one hundred years Australians can recite the second verse cultivating the land in familiar ways. ago. The landscape architect Walter of her poem, My Country , from memory. Mimicking what was popular overseas, Burley Griffin incorporated the natural residential areas, botanic gardens and landform and native plants into his I love a sunburnt country, public parks were developed in the design for the city. Yet, he received and A land of sweeping plains, Gardenesque style. accommodated plenty of advice to use Of ragged mountain ranges, exotics – which still dominate Canberra’s Of droughts and flooding rains. Exotic plants were arranging older suburbs. I love her far horizons, picturesquely, symmetrically or in I love her jewel-sea, geometrical beds and all surrounding The late 1960s and ‘70s saw the Her beauty and her terror - native vegetation was removed. Even development of the Australian landscape The wide brown land for me! fragile plants survived transportation to architectural profession and the Australia in Wardian cases and, once widespread use of native plants in urban Written in 1908, Mackellar’s feelings here, were propagated in glasshouses. design. This had an enormous impact on were not yet represented in Australian Botanic gardens played an important how residential suburbs were created, as horticulture or botanic gardens. At that role in their acclimatisation. well as botanic gardens.

BGCI • 2014 • Roots • Vol 11 (2) • 33-35 33 Museum of Australia in Canberra. The landscaped concrete courtyard makes strong statements about Australian self- consciousness and landscape design. Visitors either love it or hate it – but are definitely affected by it. As with any good exhibit, it provokes thought.

By combining the arts with horticulture, botanic gardens can manifest complex environmental concepts and issues and stimulate meaningful connections with plants and nature.

The National Arboretum in Canberra, opened in 2013, is a fine example of contemporary thinking in Australian botanic gardens. By reaching out to Installations at the Sculpture Garden at the National Gallery of Canberra. Robert Stackhouse’s On the beach visitors through something that is familiar again (1984) in the foreground and Fujiko Nakaya’s Fog sculpture (1976) in the background. (National Gallery to them, it is becoming very popular with of Australia, Canberra) Australians. Nostalgia wells up as locals relate to the sculpture on the hill: “wide Officially opened in 1970, the Australian longer merely collecting institutions with brown land", spelling out the description National Botanic Garden in Canberra displays open to the public. Now of Australia by McKellar, and based on was the first to study and promote learning and social action have taken her handwriting. The landscape and Australia's flora. Other native botanic centre stage. With population growth architectural design create ‘works of art’ gardens soon followed. Despite their and our increasingly urbanised and the planting of seedlings and young presence, growing Australian plant existence, issues related to Australia’s trees has a great ‘future focus’ and assemblages remained challenging natural environment are becoming all the respects the time required to establish because of the overall lack of knowledge more important. ecosystems. The mass plantings of of their horticultural requirements. They single species, arranged into 100 forests also suffered from a common perception Given these trends, botanic gardens are and 100 gardens, enable stronger that, being native, you could just throw becoming more aligned with museums connections to be made with threatened, them in and they would thrive. This was and art galleries than with national parks. rare, and symbolic trees from around the not the case. In new botanic garden developments, world, for example, the historic planners are adding the wow factor and plantations of Cork Oak ( Quercus suber ) The ‘ecological’ botanic garden evolved creative installations which can be forests. in the 1980s and ‘90s, as whole natural interpreted as “Art in the Landscape”. ecosystems were added to botanic Finally, art comes into its own when we estates. Alice Springs Desert Park is a One of the best examples of this is attempt to communicate basic scientific fine example of an in-situ environmental found at the Australian Garden at The concepts. By combining visual elements education facility which interprets the Royal Botanic Gardens Cranbourne. Its with performance and the written word, predominant desert habitat. The displays popularity and ability to communicate the gap between the lay visitor and the work with the natural landscape Australia’s Red Centre has resulted in expert botanist/horticulturist is bridged. recreating what could be there if the other botanic gardens creating museum- Language, as a particular example, is a impact of colonisation was minimised. like exhibitions about Australia’s powerful human construct and over the dominant desert ecosystems. years, as an educator, I have found the Contemporary botanic garden design in creative use of words and symbols as Australia embraces principles of Aesthetic landscape design and artistic installations within thematic sustainability with modern buildings and botanical displays are also becoming a displays greatly facilitates public gardens responsive to environmental creative feature of art galleries and learning. conditions, site and context. museums. An outstanding example is the Sculpture Garden at the National At the Royal Botanic Gardens in Sydney, The botanic garden as a living Gallery of Canberra (http://www.nga.gov. SEX+DEATH , spelt out in Nandina museum au/sculpturegarden/) where evocative domestica plants, introduced the sculptural installations and a mist spray temporary exhibition, of the same name, Sweeping societal changes brought create emotional connections with the at the Tropical Centre in 2005. The about by digital computing and “quintessential Aussie bushland”. exhibition discussed the concept that, communication technology mark the just like humans, plants (in this case beginning of the Information Age. This The most extreme expression of this orchids and carnivorous plants) are has had a significant impact on the role style, to date, is seen at the Garden of capable of seduction, cooperation, of cultural institutions. They are no Australian Dreams at the National death and deception.

34 BGCI • 2014 • Roots • Vol 11 (2) In 2012, Darwin’s birthday anniversary experts/local knowledge holders acquire was interpreted in one of the through learning and practice. It is the evolutionary beds with a sculptural role of educators to help bridge this gap installation comprising six mirrored between novice and expert and art in letters, each two metres high, spelling landscapes can be an effective out Darwin’s name. Key words communication tool. It combines the (Evolution, Extinction, Variation, familiar with unfamiliar and facilitates Inheritance, Adaptability, Selection and thinking and learning. Divergence) and quotations by Darwin and other great minds appeared to ‘just hang there’ – like moments of inspiration RÉSUMÉ or clarity of thought – offering insights Sex & Death exhibition, 2005, at the Royal Botanic and provoking thought. De même que les sociétés et leurs Gardens in Sydney (David Fisher) besoins changent, nos institutions Linking landscape design to culturelles évoluent également. Comme involucrar al público en los aspectos education leurs missions se focalisent davantage sociales y del medio ambiente; por si sur la participation du public aux solos, los jardines botánicos van a la par Cultural institutions need to distinguish questions sociales et environnementales, mas con los ideales de museos y themselves from each other and les jardins botaniques s’alignent plus sur galerías de arte más que con los de competing recreational attractions whilst les idéaux des musées et des galeries parques nacionales y áreas naturales. focussing on fulfilling their respective d’art que ceux des parcs nationaux et Combinando literatura, artes visuales, missions. For botanic gardens, this des aires naturelles. horticultura y paisajismo en jardines means inspiring the appreciation and botánicos se puede desarrollar conservation of plants and the natural En associant la littérature, l’art visuel et herramientas poderosas de environment, each within its local l’horticulture, les paysages des jardins comunicación. Esta contribución context and cultural sense of place. botaniques peuvent être dessinés pour describe el diseño del paisajismo en être de puissants outils de Australia y muestra como, nuevos But how effectively are botanic gardens communication. Cet article retrace jardines botánicos desarrollaron communicating their mission and values l’évolution du paysagisme en Australie et instalaciones creativas y diseños que to the general public? Are garden displays montre comment les nouveaux pueden ser interpretados como ‘Arte en thematically planned and achieving their aménagements des jardins botaniques el paisajismo’, dando esto un factor intended impact? Visitor feedback ajoutent un facteur d’émerveillement ‘¡guau! [¡sorprendente!]’ invariably includes appreciation of the grâce à des installations créatives et du peace and tranquillity and satisfaction design, et qu’ils peuvent être interprétés Janelle Hatherly with services, but botanic gardens need comme « de l‘art dans le paysage ». Education & Interpretation to provide visitors with more than pretty Specialist flowers and green wallpaper. Managing Editor BGANZ’s The RESUMEN Botanic Garden(er) magazine Most visitors are novices and their 10 Waiwera Street, conceptual framework is different from Así como las sociedades necesitan McMahons Point, that of botanists and horticulturists. They cambiar, lo mismo sucede con nuestras NSW 2060, Australia, lack specialised knowledge, language instituciones culturales. Una parte de la Email: and ways of thinking and looking which misión de ellas es el enfocarse más e [email protected]

The launch of the Darwin Installation on Darwin’s 200th birthday at the Royal Botanic Gardens in Sydney (Simone Cottrell)

BGCI • 2014 • Roots • Vol 11 (2) 35 Disponibles Recursos

Resources

RESOURCES RESSOURCES RECURSOS

Books Livres Libros

1.The art of Tinkering, 1. L’art de bricoler, Exploratorium 1. El Arte de Arreglar, Exploratorium Exploratorium Depuis plusieurs années, Le studio du For several years The bricolage de l’Exploratorium de San Durante varios años, The Tinkering Studio Tinkering Studio at the Francisco a développé des activités, des en el Exploratorium, de San Francisco, ha Exploratorium in San ateliers et des expériences pour desarrollado actividades, talleres y Francisco has been encourager le public à réaliser des experimentos para animar a la gente a developing activities, travaux artistiques mêlés aux sciences producir obras de arte mezcladas con workshops and et technologies. Pour Le studio du ciencia y tecnología. Para The Tinkering experiments to bricolage , ce n’est pas le produit qui est Studio , la mayor importancia no la tiene el encourage people to le plus important, mais la méthode. producto pen sí mismo, sino el proceso. produce art works mixed Bricoler, pour eux, suppose un Arreglar, para ellos, implica un proceso de with science and processus de développement non desarrollo no lineal. Se alienta a las technology. For The linéaire, les personnes sont encouragées personas a explorar y preguntar, a romper Tinkering Studio , it is not the product à se renseigner et à faire de las cosas y a cambiar de dirección hasta itself that is of greatest importance, more l’investigation, de démonter des objets que su resultado final sea claro. En el libro the process. Tinkering, for them, involves et de changer de direction jusqu’à ce El Arte de Arreglar , los autores describen a non-linear development process, que leur résultat final soit clair. L’art de sus ideas y filosofía, dan perfil de artista a people are encouraged to explore and bricoler décrit leurs idées et individuos que utilizan esta técnica inquire, to break things down and philosophies, donnent des profils creativa y proponen actividades para que change direction until their end result artistiques de personnes qui ont utilisé usted pueda también arreglar . becomes clear to them. In the book The cette technique et décrivent des activités Art of Tinkering they describe their ideas pour que vous puissiez bricoler aussi. Karen Wilkinson and Mike Petrich, 2014, and philosophies, give artist profiles of Weldon Owen, San Francisco USA individuals who have used this creative Karen Wilkinson and Mike Petrich, 2014, ISBN-10: 1616286091 technique and outline activities so you Weldon Owen, San Francisco USA ISBN-13: 978-1616286095 can tinker too. ISBN-10: 1616286091 ISBN-13: 978-1616286095 2. Estrategias de Pensamiento Karen Wilkinson and Mike Petrich, 2014, Visual: Utilizando el Arte para Weldon Owen, San Francisco USA 2. Stratégies de pensées visuelles: Profundizar el Aprendizaje en ISBN-10: 1616286091 utiliser l’art pour accroître todas las Disciplinas Escolares ISBN-13: 978-1616286095 l’apprentissage dans toutes les disciplines scolaires Las metodología de enseñanza 2. Visual Thinking Strategies: denominada Estrategias de Pensamiento Using Art to Deepen Learning La méthodologie de l’enseignement des Visual (EPV) implica hacer preguntas Across School Disciplines Stratégies de Pensées Visuelles (SPV), acerca de objetos, imágenes y artefactos, profondément ancrée dans les que están arraigadas en métodos The Visual Thinking strategies (VTS) méthodes d’éducation fondées sur la educativos indagatorios, con el fin de teaching methodology involves asking démarche d’investigation, suppose de desbloquear la comprensión de los questions about objects, images and se poser des questions sur les choses, estudiantes, mientras fortalecen sus artefacts, rooted in inquiry-based les images et les objets, afin de habilidades para el pensamiento crítico, su education methods, to unlock students’ déverrouiller la compréhension des lenguaje y su alfabetización. En su libro, el

36 BGCI • 2014 • Roots • Vol 11 (2) • 36-42 understanding whilst étudiants tout en développant co-creador del contenido de las EPV, increasing their critical leur analyse critique et leurs Philip Yenawine, discute cómo desarrolló thinking, language and compétences langagières. Dans esta metodología, así como la manera en literacy skills. In his ce livre, Philip Yenawine, co- que los profesores pueden, y están, book, co-creator of the créateur du programme SPV, utilizándola para mejorar el aprendizaje de VTS curriculum, Philip explique comment il a développé los niños en una serie de temas y tópicos. Yenawine, discusses cette méthodologie et comment El libro ofrece una introducción y resumen how he developed this les enseignants peuvent s’en de EPV que también pueden ser methodology as well as inspirer pour améliorer aplicadas por los educadores de jardines how teachers can, and l’apprentissage des enfants à botánicos a quienes le gustaría animar a are, using it to enhance travers divers thèmes et sujets. los jóvenes a llevar a cabo observaciones children’s learning Le livre offre une introduction et cercanas de las plantas. across a range of subjects and topics. les grandes lignes des SPV qui peuvent The book provides an introduction and aussi être appliquées par les éducateurs Phillip Yenawine, 2013, Harvard outline of VTS which can be also applied de jardins botaniques qui souhaiteraient Educational Publishing Group, by botanic garden educators who would inciter les jeunes à des observations Cambridge USA like to encourage young people to approfondies des plantes. ISBN-10: 1612506097 conduct close observations of plants. ISBN-13: 978-1612506098 Phillip Yenawine, 2013, Harvard Phillip Yenawine, 2013, Harvard Educational Publishing Group, 3. Diseñar, crear, jugar: Creciendo Educational Publishing Group, Cambridge USA con la próxima generación de Cambridge USA ISBN-10: 1612506097 innovadores STEM ISBN-10: 1612506097 ISBN-13: 978-1612506098 ISBN-13: 978-1612506098 El aprendizaje activo y el 3. Concevoir, faire, jouer: aprendizaje práctico cada 3. Design, make, play: Growing développer la nouvelle génération vez más se muestran the next generation of STEM d’innovateurs « STEM*» como los métodos de innovators enseñanza más eficaces. L’apprentissage actif et par la pratique Este libro es una Active learning and learning by doing is est de plus en plus présenté comme la recopilación de estudios increasingly being shown as the most méthode d’éducation la plus efficace. Ce de caso que exploran effective education method. This book is livre est une compilation d’études de cas formas innovadoras para a compilation of case studies which qui explorent des méthodes novatrices inspirar e involucrar a los explore innovative ways to inspire and pour insuffler et éveiller les enfants aux niños con los temas de engage children with STEM subjects, sujets liés aux STEM, en mettant STEM, con un enfoque with a focus on interdisciplinarity. The l’accent sur l’interdisciplinarité. Ce livre basado en la interdisciplinariedad. El book is aligned with the National est sur cohérent avec le Cadre pour libro está alineado con el Marco del Research Council’s Framework for l’éducation scientifique du Conseil Consejo Nacional de Investigación para Science Education and showcases the national de recherche, et met en valeur la Educación de las Ciencias, y muestra ways in which education professionals in la façon dont les professionnels de las maneras en que los profesionales de a range of sectors, from schools to l’éducation, dans de nombreux secteurs, la educación, en una variedad de museums, are using creative new des écoles aux musées, utilisent de sectores, desde las escuelas a los methodologies to ignite children’s nouvelles méthodes créatives pour museos, están utilizando nuevas natural curiosity and get them thinking attiser la curiosité naturelle des enfants, metodologías creativas para hacer about science, technology and et les amener à réfléchir sur les despegar la curiosidad natural de los engineering. sciences, la technologie et l’ingénierie. niños y hacerlos pensar en la ciencia, la *STEM : sigle de Science, technology, tecnología y la ingeniería. Margaret Honey and David Kanter, 2013, engineering and mathematics: sciences, Routledge, Oxon UK technologies, ingénierie et Margaret Honey and David Kanter, 2013, ISBN-10: 041553920X mathématiques Routledge, Oxon UK ISBN-13: 978-0415539203 ISBN-10: 041553920X Margaret Honey and David Kanter, 2013, ISBN-13: 978-0415539203 4. A Collaboration With Nature Routledge, Oxon UK ISBN-10: 041553920X 4. Una colaboración con la Scottish artist Andy Goldsworthy uses ISBN-13: 978-0415539203 Naturaleza only natural materials, from leaves to snow, to produce sculpture on a range of 4. Une collaboration avec la El artista escocés Andy Goldsworthy scales. Goldsworthy’s pieces aim to Nature utiliza sólo materiales naturales, desde compliment their surroundings leaving de hojas hasta nieve, para producir them undisturbed once they have L’artiste écossais Andy Goldsworthy esculturas en un rango de escalas. returned to their natural states, for utilise uniquement des matériaux Las obras de Goldsworthy pretenden example large structures made of ice naturels, qui peuvent être aussi bien des integrarse a su entorno, dejándolo sun which melt and trickle away as the feuilles ou de la neige, pour réaliser des perturbaciones una vez que regresan a

BGCI • 2014 • Roots • Vol 11 (2) 37 temperature rises. This book is a classic sculptures de tout su estado natural. Por collection of 120 colour photographs format. Les œuvres de ejemplo, grandes estructuras which showcase the artist’s work and can Goldsworthy visent à hechas de hielo que se funden provide inspiration to garden educators exalter leur y gotean a medida que sube about the ephemeral art that visitors can environnement tout en la temperatura. Este libro es create using plant material. le laissant intact una colección clásica de 120 lorsqu’elles retournent à fotografías en color que Andy Goldsworthy, 1990, Harry N. leur état naturel, comme exhiben la obra del artista y Abrams, New York USA par exemple de grandes puede servir de inspiración a ISBN-10: 0810933519 structures de glace qui los educadores de los jardines ISBN-13: 978-0810933514 fondent et coulent botánicos acerca del arte goutte à goutte au fur et à mesure que la efímero que los visitants pueden crear 5. How are you peeling? Foods température augmente. Ce livre est une utilizando material vegetal. with Moods collection classique de 120 photographies en couleur qui mettent en valeur le travail Andy Goldsworthy, 1990, Harry N. This whimsical de l’artiste et peut donner l’inspiration aux Abrams, New York USA book contains a éducateurs de jardins botaniques sur l’art ISBN-10: 0810933519 collection of fruit éphémère que les visiteurs peuvent créer ISBN-13: 978-0810933514 and veg which à partir de matériel végétal. have been brought 5. ¿Cómo descascaras? Alimentos to life. With the Andy Goldsworthy, 1990, Harry N. con humor addition of some Abrams, New York USA peas for eyes even ISBN-10: 0810933519 Este libro contiene una caprichosa the most ISBN-13: 978-0810933514 colección de frutas y verduras que han uninspiring little cobrado vida. Con la adición de algunos vegetable can be 5. Comment pelez-vous? Aliments guisantes o chícharos como ojos, incluso transformed into a funny-faced friend. de toutes les humeurs la verdura más aburrida puede ser This book provides educators with transformada en un amigo de rostro simple and cheap ideas for children’s Ce livre fantaisiste contient une gracioso. El libro proporciona ideas activities which look at plants in an collection de fruits et de légumes qui ont simples y baratas a los educadores para exciting way. Informal education works été portés à la vie. Avec l’ajout de desarrollar actividades para niños en las best when it is fun and the ideas in this quelques pois pour les yeux, même le que las plantas son vistas de un modo book are sure to get kids engaged with plus insipide petit légume peut être emocionante. La educación informal es fruit and veg and encourage them to transformé en un drôle d’ami. Ce livre, más eficaz cuando es divertida y las learn about plants and where their food qui permet de voir les plantes de ideas que proporciona este libro comes from. manière passionnante, offre aux aseguran que los niños se vinculen con éducateurs des idées simples et peu frutas y verduras, y los anima a aprender Saxton Freymann and Joost Elffers, coûteuses d’activités pour les enfants. más sobre las plantas y de dónde 2004, Scholastic, London UK L’éducation informelle est plus provienen sus alimentos. ISBN-10: 0439598419 pertinente lorsqu’elle est amusante et les ISBN-13: 978-0439598415 idées de ce livre permettront à coup sûr Saxton Freymann and Joost Elffers, de réconcilier les enfants avec les fruits 2004, Scholastic, London UK 6. Digital story telling: Capturing et légumes et de les encourager à ISBN-10: 0439598419 lives, creating community apprendre plus sur les plantes et d’où ISBN-13: 978-0439598415 vient leur nourriture. The Centre for 6. Cuentacuentos digital: Captura Digital Storytelling Saxton Freymann and Joost Elffers, vidas, creando comunidad (CDS), over the 2004, Scholastic, London UK years, has ISBN-10: 0439598419 A través de los años, el Centro para la transformed the way ISBN-13: 978-0439598415 Narración Digital (CDS por sus siglas en in which members of inglés), ha transformado la forma en que the scientific, art and 6. Histoires numériques los miembros de las comunidades education révélatrices : récolter des vies, científica, artística y educative piensan y community think and créer des communautés actúan cuando se trata de crear historias, act when it comes to sobre los medios de comunicación, la story, media, culture Le Centre des contes numériques(CCN) cultura y el poder que las historias and the power of a, au fil des années, transformé la façon personales tienen para crear un cambio. personal stories in dont les membres des communautés Este libro ofrece ideas a los educadores creating change. This book provides scientifiques, artistiques et de para vincular a las personas con la ideas about how educators can engage l’éducation pensent et agissent en ce qui expresión de sus propias historias people with expressing their own concerne les contes, les médias, la personales relacionadas con las plantas. personal stories about plants. Co- culture et l’importance des histoires El co-fundador del Centro, Joe Lambert,

38 BGCI • 2014 • Roots • Vol 11 (2) founder of the CDS, Joe Lambert, personnelles pour créer le changement. describe la historia y los métodos de sus describes the history and methods of his Ce livre propose des idées sur la façon prácticas de narración digitales, digital storytelling practices, outlining the dont les éducateurs peuvent inciter les destacando el enfoque de los “7 pasos” ‘7-steps’ approach to identifying, publics à exprimer leurs propres para identificar, reunir y compartir assembling and sharing stories, as well histoires personnelles sur les plantes. historias,y a la vez discutir las as discussing the applications of Co-fondateur du CCN, Joe Lambert aplicaciones de la narración y la storytelling and providing resources for décrit l’histoire et les méthodes de cette provisión de recursos para budding storytellers. pratique d’histoires numériques cuentacuentos en formación. révélatrices, expose l’approche en sept Joe Lambert, 2013, Routledge, Oxon UK étapes permettant d’identifier, Joe Lambert, 2013, Routledge, Oxon UK ISBN-10: 0415627036 d’assembler et de partager des histoires, ISBN-10: 0415627036 ISBN-13: 978-0415627030 discute des applications de la narration ISBN-13: 978-0415627030 et fournit des ressources pour les jeunes 7.The power of the arts: creative conteurs. 7. El poder de las artes: strategies for teaching estrategias creativas para exceptional learners Joe Lambert, 2013, Routledge, Oxon UK enseñar a estudiantes ISBN-10: 0415627036 excepcionales. This book is designed with practitioners ISBN-13: 978-0415627030 in mind, for those looking for an Este libro está diseñado por alternative method for teaching 7. Le pouvoir des arts : des profesionales de la enseñanza, y está academic subjects to students with stratégies créatives pour dedicado a todos aquellos que buscan disabilities. With case studies illustrating enseigner à des apprenants un método alternativo para la enseñar the potential of this approach, the book exceptionnels materias académicas a estudiantes con contains step by step instructions capacidades diferentes. Con estudios de enabling readers to deliver activities and Ce livre a été conçu une méthode caso que ilustran el potencial de este use art to access learning. Many of the alternative pour l’enseignement des enfoque, el libro contiene instrucciones activities have been designed by the matières scolaires à des étudiants paso a paso para permitir a los lectores artist-teachers of the Lab handicapés. Avec des llevar a cabo actividades y utilizar el arte School, founded by Sally études de cas illustrant le como medio de aprendizaje. Muchas de Smith, in Washington, potentiel de cette approche, las actividades han sido diseñadas por which is a school widely le livre contient des los artistas-docentes de la Lab School, known for its innovative instructions étape par étape fundada por Sally Smith, en Washington, curriculum and its success permettant aux lecteurs de misma que es una escuela muy in enabling learning for réaliser des activités et conocida por su innovador plan de those who learn differently d’utiliser l’art pour accéder à estudios y por ser exitosa en poner el from. la connaissance. Beaucoup aprendizaje al alcance de aquellas de ces activités ont été personas que aprenden de manera Sally L. Smith, 2001, conçues par les artistes- diferente de los demás. Brookes Publishing enseignants de l’Ecole labo, Company, Baltimore USA fondée par Sally Smith, à Sally L. Smith, 2001, Brookes Publishing ISBN-10: 1557664846 Washington, école connue pour son Company, Baltimore USA ISBN-13: 978-1557664846 programme novateur et son succès dans ISBN-10: 1557664846 la formation des personnes qui ISBN-13: 978-1557664846 apprennent différemment des autres. Web links/Websites Sally L. Smith, 2001, Brookes Publishing Sitios Web / Enlaces Web 1. Cornell Garden-Based Learning Company, Baltimore USA - resources for gardeners and ISBN-10: 1557664846 1. Cornell Garden-Based Learning educators ISBN-13: 978-1557664846 – recursos para jardineros y http://gardening.cce.cornell.edu/for- educadores. educators/lessons/ http://gardening.cce.cornell.edu/for- Liens internet/ Sites educators/lessons/ This website, managed by the Department of Horticulture and 1. L’apprentissage par les jardins Este sitio web, administrado por el Cooperative Extension at Cornell à Cornell – des ressources pour Departamento de Horticultura y Extensión University, offers educators with les jardiniers et les éducateurs Cooperativa de la Universidad de Cornell, inspiring, research-based gardening http://gardening.cce.cornell.edu/for- de Estados Unidos, brinda inspiración a resources to support engaging, educators/lessons/ los educadores, recursos para la jardinería empowering, and relevant learning basadas en la investigación para apoyar experiences for children, youth, adults, Ce site, géré par le Département la participación, el empoderamiento y las and communities. One of the featured d’horticulture et de développement experiencias de aprendizaje relevantes projects is Dig Art! Cultivating Creativity coopératif de l’Université de Cornell, para niños, jóvenes, adultos y

BGCI • 2014 • Roots • Vol 11 (2) 39 propose aux éducateurs des ressources comunidades. Uno de los proyectos stimulantes sur le jardinage pour faire destacados es Dig Art! Cultivar la vivre des expériences d’apprentissage creatividad en el Jardín . Dig Art! integra passionnantes, valorisantes et las actividades propias de la jardinería con pertinentes à des enfants, des jeunes, las artes y actividades basadas en artes. des adultes et des communautés. L’un Está disponible en línea y contribuirá a la de projets présentés est Creusez l’art ! alfabetización ecológica e inspirar un Cultivez la créativité au jardin . Creusez nuevo entusiasmo hacia el aprendizaje l’art ! associe le jardinage avec les arts. basado en jardines. Les activités artistiques disponibles en ligne permettent d’enseigner l’écologie 2. Festival Internacional de et amènent un nouvel enthousiasme Jardines en Redford Gardens, in the Garden. Dig Art! Integrates pour l’apprentissage lié aux jardins. Quebec, Canadá gardening with the arts and the arts http://www.refordgardens.com/english/f based activities, available online, will 2. Le Festival international du estival/edition.php help to teach ecological literacy and jardin aux Jardins de Redford, inspire new enthusiasm for garden- Quebec, Canada El Festival Internacional de Jardines es based learning. http://www.refordgardens.com/english/fe una de los principales fiestas sobre stival/edition.php jardines en el mundo. Tiene lugar desde 2. The International garden el año 2000 y es un foro único para la festival at the Reford Gardens, Le Festival international du jardin est l’un innovación y la experimentación. Como Quebec, Canada des plus importants festivals de jardin evento artístico y turístico también da la http://www.refordgardens.com/english/f dans le monde. Organisé depuis l’an oportunidad al público de descubrir los estival/edition.php 2000, c’est un forum unique pour espacios inspiradores que reúnen a las l’innovation et l’expérimentation. En tant artes visuales, la arquitectura, el diseño, qu’évènement artistique et touristique, il el paisaje y el medio ambiente. Visita el permet également au public de découvrir sitio web de Redford Gardens para des lieux d’inspiration qui associent à la explorar los jardines del Festival creados fois les arts visuels, l’architecture, le desde el año 2000, y encontrar ideas design, le paysage et l’environnement. sobre cómo crear paisajes que integren Visitez le site pour explorer les jardins du el arte y las plantas, e inviten a los festival crées depuis l’an 2000 et trouver visitantes a pensar en la relación que se des idées pour créer, sur votre site, des establece entre los humanos y la paysages qui intègrent l’art et les plantes naturaleza, desde una perspectiva et invitent les visiteurs à réfléchir aux diferente, en tu propio sitio. relations entre les humains et les plantes avec un autre point de vue. 3. La Campaña para Dibujar The International Garden Festival is one http://www.campaignfordrawing.org/ of the leading garden festivals in the 3. La campagne pour le dessin world. It has been running since 2000 http://www.campaignfordrawing.org/ “El dibujo es un medio de obtener y and it is a unique forum for innovation comunicar el conocimiento”, según John and experimentation. As an artistic and « Le dessin est une façon d’acquérir et Ruskin, un gran artista y filósofo tourism event it also gives the de communiquer des connaissances », victoriano, que inspiró la fundación opportunity to the public to discover selon John Ruskin, grand philosophe et “Campaña para Dibujar” en el Reino inspiring spaces bringing together the peintre de l’époque victorienne. Visitez le Unido. Visite el sitio web de esta visual arts, architecture, design, site de l’organisation pour trouver des organización para encontrar recursos landscape and the environment. Visit the ressources sur comment utiliser le sobre cómo se puede utilizar el dibujo Reford Gardens website to explore the dessin pour l’apprentissage, la réflexion, para fomenter el aprendizaje, el Festival’s gardens, created since 2000, la créativité et l’implication sociale et pensamiento, la creatividad y el and get ideas about how to create culturelle de tous dans un jardin compromiso social y cultural para todos landscapes that integrate art and plants botanique et toute autre institution en un jardín botánico u otras and invite visitors to think of the culturelle. Si vous instituciones relationship between humans and nature êtes inspirés, vous culturales. Si te from a different perspective, at your site. pourriez également inspiras, considera la envisager d’accueillir posibilidad de incluir 3. The Campaign for Drawing un évènement du « en tu sitio web uno de http://www.campaignfordrawing.org/ Big Draw » - le Grand los eventos Big Draw dessin- sur votre site. (Gran Dibujo). Éste es ‘Drawing is a means of obtaining and Le Grand dessin est un festival anual que communicating knowledge’ according to un festival annuel tiene lugar durante John Ruskin, a great Victorian philosopher organisé au cours du todo octubre en más and artist, who inspired the founding of mois d’octobre par de 100

BGCI • 2014 • Roots • Vol 11 (2) 40 the Campaign for Drawing charity in the plus de 100 organisations, y compris des organizaciones, incluyendo los jardines UK. Visit the charity’s website to find jardins botaniques, au Royaume-Uni et botánicos, tanto en el Reino Unido como resources on how you can use drawing dans vingt autres pays, proposant des en otros veinte países que ofrecen for learning, thought, creativity and social évènements pour tous les âges et toutes eventos para todas las edades y and cultural engagement for all at a les compétences. habilidades. botanic garden and other cultural institutions. If you get inspired you may 4. Communiquer l’écologie à 4. Comunicando la ecología a also consider hosting at your site a Big travers l’art : ce que pensent les través del arte: lo que los Draw event. Big Draw is an annual festival scientifiques cientìficos piensan running throughout October in over 100 http://www.ecologyandsociety.org/vol17/ http://www.ecologyandsociety.org/vol17/ organisations, including botanic gardens, iss2/art3/ iss2/art3/ across the UK and twenty other countries offering events for all ages and abilities. Prenant en compte la difficulté à Reconociendo la dificultad de generar la impliquer le public sur des questions participación del público en los temas 4. Communicating ecology environnementales, les chercheurs David ecológicos, los investigadores David through art: what Scientists think Curtis, Nick Reid et Guy Ballard intègrent Curtis, Nick Reid y Guy Ballard http://www.ecologyandsociety.org/vol17/ des performances et des expositions integraron espectáculos y exposiciones iss2/art3/ dans la Conférence nationale sur en la Conferencia Nacional de Ecología. l’écologie. Les chercheurs ont ensuite Más tarde, los investigadores Acknowledging the difficulty of questionné les participants à la encuestaron a varios asistentes a la generating public engagement in conférence et reçu de nombreuses conferencia y recibieron muchos ecological issues, researchers David réponses positives qui suggèrent que le resultados positivos que sugieren que Curtis, Nick Reid and Guy Ballard potentiel de communication des arts est las posibilidades comunicativas de las integrate performances and exhibitions de plus en plus reconnu par la artes son cada vez más reconocidos into the National Ecological Conference. communauté scientifique. dentro de la comunidad científica. The researchers then surveyed conference attendees and received 5. Initiative pour la musique et 5. Programa de las Naciones many positive results suggesting that the l’environnement du Programme Unidas para el Medio Ambiente. communicative possibilities of the arts des Nations Unies pour Iniciativa Música y Medio are increasingly being recognised within l’environnement Ambiente. the scientific community. http://www.unep.org/music_env/about. http://www.unep.org/music_env/about. asp asp 5. United Nations Environment Programme. Music and Une collaboration entre le PNUE Una colaboración entre el Programa de Environment Initiative (Programme des Nations Unies pour las Naciones Unidas para el Medio http://www.unep.org/music_ l’environnement) et l’UNESCO Ambiente (PNUMA) y la Organización de env/about.asp (Organisation des Nations Unies pour las Naciones Unidas para la Educación, l’éducation, les sciences et la culture), la Ciencia y la Cultura (UNESCO). Esta A collaboration between the United cette initiative rassemble des iniciativa reune a profesionales de la Nations Environment Programme (UNEP) professionnels de l’industrie de la industria de la música, eventos y grupos, and the United Nations Educational musique, des évènements et des desde músicos y sellos discográficos, Scientific and Cultural Organization groupes, depuis des musiciens et des hasta lugares y festivales. El sitio web (UNESCO), this initiative brings together maisons de disques jusqu’aux lieux de proporciona ejemplos de festivales de music industry professionals, events and spectacles et festivals. Le site fournit música y de artistas que no sólo groups, from musicians and recording des exemples de festivals de musique et trabajan de forma sostenible sino que labels to venue and festivals. The d’activités qui, non seulement travaillent también tienen como objetivo aumentar website provides examples of music de manière soutenable, mais visent la conciencia ambiental entre sus festivals and artists who not only work également à sensibiliser leurs publics à asistentes. También hay recursos para sustainably but also aim to raise l’environnement. Il y a également des aquellos que planean eventos para environmental awareness amongst their ressources pour ceux qui programment apoyarlos en la reducción de su huella attendees. There are also resources for des évènements afin de les aider à de carbono. those planning events to support them in réduire leur empreinte carbone. reducing their carbon footprint. 6.Proyectos de arte ambiental: 6. Projets d’art environnemental educación rural y agricultura dans l’enseignement agricole et (FACE) rural www.tes.co.uk/Download.aspx?storycod www.tes.co.uk/Download.aspx?storycod e=6069679&type=X&id=6466821, e=6069679&type=X&id=6466821 http://www.face-online.org.uk/

Le livret de ressources contient un El sitio de FACE (por sus siglas en inglés) certain nombre d’activités qui peuvent contiene una serie de actividades que se être menées en extérieur. Les activités pueden llevar a cabo en entornos al aire

BGCI • 2014 • Roots • Vol 11 (2) 41 6. Environmental art projects: développent des compétences libre. Las actividades buscan desarrollar Farming and Countryside d’observation et de description – par las habilidades de observación y Education (FACE) Environmental exemple, les élèves sont invités à descripción - por ejemplo, se les pide a Arts dessiner une carte sonore d’un espace los estudiantes que dibujen “mapas de www.tes.co.uk/Download.aspx?storycod extérieur, ce qui les encourage à se sonido” en un espacio al aire libre, lo e=6069679&type=X&id=6466821, concentrer sur ce qui est autour d’eux et que les anima a concentrarse en lo que http://www.face-online.org.uk/ à développer la qualité de leur écoute. Il está a su alrededor y a desarrollar sus y a également des liens vers des œuvres habilidades para escuchar. También hay FACE’s teaching resource booklet d’art d’artistes « environnementaux » qui enlaces con obras de arte hechas por contains a number of activities that can peuvent être utilisées en classe. Après artistas ambientales, quienes además be used in outdoor settings. The un enregistrement (gratuit) en ligne pueden estar con los alumnos en clase. activities develop skills of observation effectué sur le site, le livret de Se require crear una cuenta de acceso and description – in one, for example, ressources peut être consulté et (gratuita) en el sitio web de TES; una vez students are asked to draw ‘sound téléchargé gratuitement. registrado en la página de TES, es maps’ in an outdoor space, which posible obtener acceso al folleto de encourages them to focus on what’s 7. Sciences en scène recursos de FACE y descargarlo de around them and develop their listening http://www.britishcouncil.org/talkingscie forma gratuita. skills. There are also links to artworks by nce-centres-science-on-stage.htm environmental artists which can be with 7.Ciencia en el Escenario students in class. Once a (free) log in « Sciences en scène » du Conseil http://www.britishcouncil.org/talkingscie account has been created on the TES britannique est une collection de projets nce-centres-science-on-stage.htm connect website, FACE’s resource divergents qui utilisent la scène pour booklet can be accessed and explorer les sciences ou les questions “Ciencia en el Escenario” , del Consejo downloaded for free. éthiques autour des sciences. Le Británico, es una colección que incluye Bouleau, par exemple, propose des proyectos divergentes que utilizan 7. Science on stage pièces pour les 7 à 11 ans qui associent medios escénicos para explorer la http://www.britishcouncil.org/talkingscie contes, chants et musique sur les ciencia o las cuestiones éticas nce-centres-science-on-stage.htm sciences et l’histoire naturelle, mêlant planteadas por la ciencia. “Abedul”, por faits, humour et folklore. Pour un public ejemplo, es una obra que presenta The British Council’s Science on Stage is plus âgé, la compagnie de théâtre Y piezas para niños de 7 a 11 años, a collection of divergent projects which Touring associe le spectacle vivant avec combinando la narración con canciones use stage mediums to explore science des débats animés et des techniques de y música acerca de la ciencia y la or the ethical questions raised by vote électronique pour stimuler la historia natural, la mezcla de hechos, science. Birch Tree, for example, perform réflexion et les échanges sur les humor y folklore. Para un público de más pieces for 7 to 11 year olds which sciences et la société. Ils partent en edad, “Y Touring Theatre Company” combine storytelling with songs and tournée avec leurs spectacles à travers mezcla presentaciones en vivo, music, about science and natural history, le Royaume-Uni. Une soirée « scène incluyendo debates facilitados y mixing facts, humour and folklore. For an ouverte sur les sciences », pour stimuler tecnología de votación digital para older audience, Y Touring Theatre de nouveaux partenariats en estimular la reflexión y la conversación Company mix live performances with communication scientifique, est acerca de la ciencia y la sociedad, facilitated debate and digital voting également présentée. llevando sus espectáculos en giras por technology to stimulate reflection and todo el Reino Unido. También hay una conversation about science and society, “noche científica de micrófono abierto” taking their shows on tour round the UK. para estimular nuevas alianzasa para la There’s also a ‘science open-mic night’ comunicación de la ciencia. to stimulate new science communication partnerships.

42 BGCI • 2014 • Roots • Vol 11 (2) Botanic Gardens Education Network

Does your work involve inspiring people about plants and are you keen to share your ideas and learn more? Then join Botanic Gardens Education Network (bgen) and attend the bgen 2014 Conference

Learning for Sustainable Development; bgen membership offers the chance to what have we learnt and where are we going? share and improve skills, knowledge and 5-7 November, 2014 at Paignton Zoo Environmental UK resources, through training workshops, an annual conference and other networking • Planet Botanics: making the case for ‘green’ activities events, and an email newsgroup for rapid • How to achieve knowledge and behaviour change responses to queries. with emotional engagement • Understand your visitors - why the psychology of For more information and to join their values matter to your work contact [email protected] • Food for thought: bucket loads of food growing ideas for activities or visit www.bgen.org.uk • Practical ways to get schools composting • Games for visitors encouraging behaviour change for biodiversity conservation • Speed Making’ session - a fast paced chance to swap practical activity ideas

Call for contributions!

Roots 12:1 Marketing for public engagement Are you a botanic garden marketing genius? Yes!? Then we want to hear your story...

Botanic gardens have a responsibility to cater for a wide audience from all walks of life. Simply developing appropriate resources, services and activities is not enough. They must use creative and effective techniques to reach and inform the public about what they have to offer. From promotion to engagement, the This issue will include ideas from a wide next issue of Roots will discuss marketing in botanic range of perspectives, from marketing gardens. departments and companies, to educators, education departments and garden We will showcase some examples of innovative directors. To achieve this we need your marketing methods and strategies and discuss how help! Please pass on the call to all those and why they should be adapted and targeted to suit creative marketing bright sparks you know. specific audiences . We will highlight effective collaborations between marketing and education departments as well as considering how marketing can To be featured in Roots please contact: be integrated into public engagement activities . [email protected] Botanic Gardens Conservation International

Descanso House, 199 Kew Road, Richmond, Surrey, TW9 3BW, U.K. Tel: +44 (0)20 8332 5953 Internet: www.bgci.org E-mail: [email protected] https://twitter.com/bgci

ISSN 0965-2574