It’s typical on return from intense fieldwork to find writing about it to be impossible. What I feel is a little similar. And yet four full days later, I still want to make sense, to document, to hold on to the excitement, of last week at the Jardim Botânico Tropical, Lisbon.

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This was the 1st workshop organized by the EASA network #Colleex, on Ethnographic Experimentation. Fieldwork Devices and Companions.

Instead of extended discursiveness then, I will make a few notes and share some of the wonderful photos taken by Vitor Barros, one of the members of Lisbon’s Ebanocollective, whose art is supported by ethnographic research and who partnered with #Colleex in organizing the event.

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With Ebano’s site-specific work, come also new collectives and thinking. New ways to attend to what makes knowledge – like the fragile places we inhabit. The library space, for instance, where papers were presented, with its colonial and other ghosts, and where Francesca da Luca (centre), also of Ebano, introduced proceedings on the first day – no longer quite in character as a Cleenik physician to ethnographically disordered patients… hence our white coats.

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New collectives and new thinking also came out of the workshop programme and all that spilled out of it. There were five sessions of pre-circulated papers and myriad less conventional formats and audiovisual presentations.

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Of these, there will be more. Fellow network-convenor, anthropologist and film-maker Anna Ramella (above) and her local support, shot I-don’t-know-how-much footage. Thank you to them all!

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Here is a picture of one format in process. It was initiated by a fellow design-department-associated anthropologist Rachel Harkness (left in the photo). She got Marta Morgade Salgado, me, Nadine Wanono and Camille Sineau (and others), to do something as difficult as it was ultimately pleasurable: a collective act, of which I am sure we will hear more in due course.

In this picture, all looks easy and controlled. Yet it was not a smooth operation for upwards of seventy people to come together on a shoestring budget and minimal institutional infrastructure. Catering solutions were devised, tickets designed, email instructions collectively drafted, sent and resent, black-out fabrics purchased and fixed to recalcitrant window frames …

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The day before, in the sweltering July heat, anything that was ready-to-hand was used to prepare the dilapidated buildings of this space of colonial histories for #colleex.

The local organizers, Francesca de Luca, Chiara Pussetti, Vitor Barros and Giorgio Gristina have, I hope, been able to get some serious rest. I feel I cannot thank them enough!

My sincere gratitude also to the two initiators of #Colleex Tomás Sanchez Criado (below) and Adolfo Estalella. They created it last year as an EASA network.

They identified an urgent issue in the discipline: a lack of serious attention to what is happening to knowledge practices in relation to ethnography particularly. After all, like all types of expertise, anthropology is evolving in our (epistemologically) troubling new times towards new norms and new forms.

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To quote from the #Colleex manifesto:

The network is organized as a collaboratory whose main agenda is to foster practical explorations alongside theoretical debates on what we call ethnographic experimentation.

One of many things to cherish about the collaboratory is its inclusive atmosphere combined with the intellectual ambition. That it works so well is substantially thanks to Adolfo’s care with the recipe (below, contributing at a paper session).

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Finally, Andrea Gaspar, I guess what I want to be writing is an epistemic love letter. But the workshop reminded me that caution is called for in approaching matters of the heart. Neither ethnography nor anthropologists should be romanticized let alone mythologized. And not fixed into words chosen too quickly. More later.

A todos muito obrigada!

 

I’ve been keeping busy with all sorts of things that I have been thinking would be worth sharing, but in the absence of time to write coherently about these things, I’m sharing a blog post that I wrote for the Arts in the Environment Symposium to be held in Helsinki at the end of the summer.

The symposium will be held on Vartiosaari island, a place cherished by all who know it. It is, however facing the state-sponsored vandalism misleadingly known as “urban development”. We could more honestly call the process a legalised form of theft that encloses shared heritage – like some epic views – for the enjoyment of the few. My post begins below this picture, taken in winter 2016. Other images of the island are from one of my first visits in 2014. More can be found in an earlier post here.

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To consider art and the environment I would start with cities. The more they are pressured to grow, the more every environment beyond them is also put under pressure. The world as a whole is now required to service cities, providing them with everything they cannot provide for themselves. That means most things, from construction materials and food to landfill. It is also breathing space to ‘get away from it all’, whether this be a golf course or a supposedly pristine wilderness. And, as some would have it, cities need to be constantly pumped up with ‘talent’.

And the more cities grow, the more we all need art.

I am not quite sure how to define ‘art’ but my own most exquisite moments of gratitude for life are bound up with it. An encounter with art can produce a similar delight to what I feel sometimes towards the elements – the earth, air, fire, water and their descendants. I say descendants because history has technologized them. Earth, air, fire and water are now mixed with the artefacts of culture, particularly of the culture I call my own, that of the urban, colonially created, commodity-intensive global North.

Towns and cities are human technological creations too. I am not sure, though, whether cities can properly be considered art, or indeed, if everyone agrees with me that cities are, for most people today, our environment.

Over the centuries though, many cities have been experienced much like as art might have been, not just as beautiful or stylish, but as entire worlds that speak to us. Some cities, like uninhabited landscapes, have more magic than others, but most places reward both tourists and locals who explore or just pay attention to them.

As someone who organizes occasional urban walks, I know how some people truly delight in (re)discovering familiar surroundings with others and take pleasure in discovering and creating new meanings through this shared activity. Like field-scientists fascinated by the workings of the environment, more and more urban dwellers are turning to different forms of local exploration. Perhaps they are intrigued by what anthropologist Tim Ingold has recently called “the sheer richness and complexity of a world which human beings have irrevocably altered through their activities and yet in which they are puny by comparison to the forces they have unleashed” (Ingold 2016: 19).

The urban environment in Helsinki is, obviously, unique. I say obviously, because so far cities pretty much are unique, though that is changing. Helsinki has been incredibly lucky to have been able to develop both a distinctive architectural style and an identity so seamlessly tied to its location.

We know its trees are reducing in number, but only a handful of people would be able to say by how much. The waterfront is comparatively more researched. Depending on the season, on who is measuring, how and for what, Helsinki currently has near about 100km of it, with more stretching out both East and West. IMG_2256

And in Vartiosaari it has an irreplaceable landscape where cultural and natural have colluded over time to produce an environment with clearly paradisiac qualities within city limits.

It’s not just that Helsinki seems somehow ‘close to nature’. Architects, designers, musicians, artists and many other visitors from around the world have long appreciated Helsinki for its special built environment, as architectural critic and friend of Helsinki Jonathan Glancey so movingly writes (2015). Like no other city, it has pushed itself up and out from the local granite to become an original and above all environmentally well adapted city. Its buildings have been mainly low-rise, which makes the best of sparse sunlight and tempers harsh winds from the sea, and it still has a rather pleasing mix of old and new, of the engineered and the organic.

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Unfortunately it cannot be taken for granted that these qualities will be enhanced into the future. Even in Helsinki landscapes are at risk of becoming less local, less easy to cherish, less worth exploring. As in so many cities in Helsinki there is a housing crisis, but arguably the more significant pressure to build comes from the city administration wanting to make the city more ‘competitive’, a vague term that seems to favor wealthy taxpayers and tourists. By comparison, existing strategies for nature conservation and dealing with climate change tend to get de-emphasized. And as local and global interests jostle for space in these situations, there can be a strong feeling that democracy is being hollowed out.

In this context someone with an interest in sustainable urban development like myself is going to have to start paying attention to art.

On first reflection, I think of two opposing ways in which the term ‘art’ could be involved in directing the course of events and shape of the future. I might think of the proliferation of what used to be called ‘artist’s’ renderings’ or pretty pictures of the future city. The production of such imagery has intensified in the last two or three decades though it is a very old practice. After all, the seductions of the drawn image were important in persuading Renaissance princes just as they are necessary to urban politics today. Ridiculous computer-generated visuals of utopian future cityscapes are now peddled around the globe in efforts to sell an almost identical and equally fantastical product commonly but less and less accurately called ‘city’.

Though of course, to use the term ‘artist’s renderings’ is absurd. Actually one increasingly hears more apt names for these creations, like ‘property porn’ or even ‘horrenderings’, as urban scholar Geci Karuri-Sebina has suggested.

Looking for a more contemporary and hopeful role for art, I am drawn to its capacity for exploration, for questioning, for exploding simplified binaries and false choices. As art activism or ‘artivism’ art combines with all manner of locally committed as well as spatially mobile people to lavish both attention and care on the environment. Often it awakens political instincts, whether quietly or more brashly and rudely. Artivism alerts us to the necessity of friction in life in general, wary of commercially driven dreams of happiness and designed well-being.

In fact maybe it isn’t artivism as an overtly political standpoint that achieves these necessary outcomes, but art in general. From the better funded performing arts to conceptual works in and out of gallery spaces, and to the tiniest community initiatives and street art, what nurtures our humanity – common or not – in ways that few other things do, is the care and the collective imagining that flows through artistic practice.

Now retired, with a distinguished career behind him but wielding ever more influence across art, design and architecture as well as the social sciences, Tim Ingold whom I quoted above also raises art above his earlier passion, science. Art is also more ecological now, he suggests. Meanwhile science, Ingold worries, is seduced by innovation and by numbers and is anyway in the hands of a global scientific elite in collusion with corporate power. In such a context we need art more than ever.

Indeed we do. I wonder, however, if with art we might also destabilize the seemingly hard boundary between art and science itself. Building on that virtue that Ingold values so highly, of curiosity, it might be possible yet to care and imagine collectively among the scientists too, maybe even the economists (who knows?). Like him, however, I’m looking more and more to art.

Glancey, Jonathan. 2015. ‘Here and nowhere else’, in E. Berglund and C. Kohtala (eds) Changing Helsinki? 11 Views on a City Unfolding, Helsinki: Nemo, pp. 124-131.

Ingold, Tim. 2016. ‘From science to art and back again: The pendulum of an anthropologist’,   ANUAC. VOL . 5, N ° 1, GIUGNO  2016: 5-23.

Be good to Helsinki 2010-ish

“Be good to Helsinki”

So, I learned a new skill today. It is called urban hitchhiking. Find out more about this excellent pursuit via this Facebook page from last year. And harken to possible encounters with it anon.

Even before hearing the papers at the Urban Studies Days in Helsinki, I was  primed for thinking about walking. Spring is, or should be, the season for walking. Through most of history, cities grew up to accommodate the needs and express the meaning of people on foot.

Masses of people on foot have made history in the world’s towns and cities, a phenomenon that is beginning to irritate those people for whom political protest has become more and more necessary and therefore ordinary in recent months.

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Cities also grew up to be diverse and full of surprises.

This morning’s plenary speaker, Geci Karuri-Sebina, reminded us about that.

She also encouraged us urbanites to reconnect with earth.

It used to be so that dirt or earth didn’t so much come into one’s thoughts in relation to urban living. The rise and rise of urban gardening has changed that, for good I hope. Still, I was startled by her invitation for us to think about how many times a day, a week, we get into contact with earth, with dirt, in our city lives. Not often, unless you are very active in a community or other garden, I’d guess.

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This picture from London (Glengall wharf), from last year, the idea of green shoots on this late and cold April day in Helsinki feels depressingly distant.

Karuri-Sebina also asked her audience this morning how often we come into contact with people who live very different lives from ours: people not in the same workplaces, not part of our family, not at the same schools. Those famous strangers that 20th-century urbanists celebrated.

She explained that as cities get bigger and denser, it seems they also get more disconnected socially, more “exclusive”. She mentioned a billboard advertising a luxury development in South Africa that actually explicitly said that it was aimed at the “fortunate few”!

After leaving the conference, I learned that thousands of farmers across Europe woke up this morning to see devastation wrought by unprecedented frosts. These things are all results of how modernity didn’t just forget in general (to recall Paul Connerton’s great read), but forgot the body specifically.

There’s no city, no life, in fact, that will survive on the augmented, enhanced, digitally rendered (“horrenderings” as Karuri-Sebina called them) that guide most planners’ urban visions and dreams.

Horrendering is indeed a great name for this property porn used to titillate Helsinki’s leadership over the possible future of Pasila a couple of years ago!

YIT.fi:images:businesspremises: etc Uusi Pasila Pohjoisesta

A city is not a computer, wrote Shannon Mattern in a great article recently, and nor is it code or software or informatics.

It’s possible that some places called cities (‘shopping city’, ‘movie city’, ‘eco-city’, ‘smart-city’) are largely made up of those things. Yet those are things that probably shouldn’t be confused with cities as such.

You’d know, because you’d not be able to inhabit them let alone get to them on foot. It would be escalators, elevators and a myriad contraptions you might call disconnectors. It all makes me think of George Clooney Up in the Air (and that was, I guess, the point of the film).

So in just over a week I’m going to reconnect with Helsinki by walking and talking, hopefully with lots of people I don’t know yet, many of whom will hopefully also have different working lives from mine.

Yes, Jane’s Walk season is upon us and there are 2 walks coming up in Helsinki.

The first in Vuosaari on Friday 5.5.2017 is kin to the series of walks we did with my Narratiimi partner Hanna Kaisa Vainio last summer. Among other things, those memorable forest-walks helped generate the almost-one-off newspaper, Skutsi Huutaa (Call of the Forest) now available at Vuotalo (Mosaiikkitori 2). The walk will explore the city spilling into the forest and the woods spilling into urban life. Everyone is welcome!

Skutsi huutaa kansi

Two days later, with experienced urban explorer Pauliina Jalonen we head off towards Lauttasaari, at 2pm from Sähinä (address Heikkiläntie 10), a hotbed of cultural and community activity with a great vegan cafe.

“Investigating integrated landscapes” could be one way of capturing what we’ve been thinking about doing. Though usually Jane’s Walks are led by residents, we do have an aim, namely to map out and sketch those things in the townscape that don’t usually merit our attention (more on that here via Facebook). We hope locals together with visitors can more easily pick out what to see.

I realise that all these variations on walking seem to be making it rather contemporary: walking-plus, a bit of value added. Hitchhiking, gardening, telling stories (narratiimi is a kind of narrating team), sketching.

We kind of captured this on the front page headline of our paper. We put a shocking story there more or less about “people found walking”.

Recalling Keruri-Sbeina’s talk at the conference, changing perspective is actually quite easy when you’re on foot. Just turn around for a moment.

Here are some notes on two books that I’ve recently reviewed, and one I simply enjoyed. They all relate to a growing preoccupation with futures. The plural is important, grand narratives scare me as much as simple stories do.

First off, Douglas Murphy has written an expert and entertaining book about past futures. Last Futures: Nature, Technology, and the End of Architecturewas published late 2015 by Verso. The publisher’s blurb captures its essence very well.

In the late 1960s the world was faced with impending disaster: the height of the Cold War, the end of oil and the decline of great cities throughout the world. Out of this crisis came a new generation that hoped to build a better future, influenced by visions of geodesic domes, walking cities and a meaningful connection with nature. In this highly readable work of cultural history, architect Douglas Murphy traces the lost archeology of the present day through the works of thinkers and designers such as Buckminster Fuller, the ecological pioneer Stewart Brand, the Archigram architects who envisioned the Plug-In City in the ’60s, as well as co-operatives in Vienna, communes in the Californian desert and protesters on the streets of Paris.

Now the 1960s came and went, but not entirely. World-improving activism is once again on the rise. Communes and geodesic domes, not to mention DIY-cultures of many hues, seem to be here to stay.

(This post is illustrated with examples from around Europe that I visited last summer.)

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Arts for the City, St Petersburg, Russia May 2016

 

Besides, it’s also the case that the breathless cybercapitalist lives that today pass for normal (even desirable) owe a considerable debt to “the long 1960s”. Like environmentalism, they too emerged out of the planetary imaginaries and practical experiments (combined in the world-wide web) also fostered by the techno-eco-utopian tinkerers and artists whose products and fortunes Murphy’s book recounts.

In those days the future was “pop” and not always quite respectable. Now it’s serious business.

The increasingly influential futures research industry is hopefully learning some lessons from the utopian dreams of the past. These are not just about plans that go awry or even about unforeseeable and unintended side effects. In studying past futures one learns that human beings are fundamentally collective, social and political animals, but for all that, highly unpredictable.

That’s where I’m hoping design anthropology’s contributions might be developed.

A little bit like 50 years ago, the world is out of joint and epistemic authority is in disarray. At the meeting points of the design disciplines and the empirical social sciences, that epistemic multiplicity is being studied and fostered.

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From Open Sources Circular Economy Days (OSCE), Helsinki, June 2016

Design Anthropological Futures, edited by Rachel Charlotte Smith, Kasper Tang Vangkilde, Mette Gislev Kjaersgaard, Ton Otto, Joachim Halse, and Thomas Binder. London: Bloomsbury Academic, 2016, 304 pp. PB 9781474280600 $29.95.

This volume has grown out of the work of The International Research Network the Design Anthropology, whose “concluding” conference I reported on earlier on this blog. The book is a collection of mostly short essays. These showcase but also problematize the methodological inventiveness of the research being done at the meeting point of designing for the future and and anthropology originally born of studying the present/past.

What makes it anthropological, is that it takes seriously the endless variety of ways in which past, present and future are conceptualised and managed by human beings. This sensibility has much in common with critical design. But arguably the so-called ethnographic record, produced in anthropology departments over the last century and a half, with its often mindbending challenges to industrial modernity’s common sense, informs its radically open conception of possible futures.

My main misgiving about the volume is that this sensibility is not more thoroughly spelled out. I doubt that the arguments as presented there would convince even a mildly sceptical reader. Still, perhaps this is because so many of the texts are rather short. Who knows what the editorial contraints were, but the authors might have benefited from more space to flesh out the empirical content, conceptual arguments, and unconventional uses of common, but polysemic terminology like ‘design’, ‘anthropological’ and ‘futures’.

To further irritate readers who might be uncomfortable with the vocabulary of critical design or with the methodological looseness of this kind of emerging social research, the prose is often hesitant and hugely self reflexive.

Having said all that, for readers already engaged in debates about creating futures of coexistence between humans and others, the texts here should provide helpful reference points for making sense of the need for and the development of design anthropology.

The other book I’ve been reviewing is:

Urban Cosmopolitics: Agencements, assemblies, atmospheres, edited by Anders Blok and  Ignacio Farias, and published by Routledge.

Cosmopolitics as a concept is likely to gain in popularity among scholars and activists engaged in designing less scary features. Developed above all by Isabelle Stengers, but also by Bruno Latour, the vocabulary and the attitude of cosmopolitics recognises and respects the existence of multiple, divergent worlds, but at the same time also recognises and respects the power of and need for theory.

In Urban Cosmopolitics the concept is invoked to address some of the shortcomings of assemblage-based urban research. Though related, cosmopolitics promises to get a firmer grasp of what is really at stake in the modes of coexistence emerging – being forced upon – the world today.

It is perhaps in cities, where dominant morphological and cultural projects are at their most intense, that future dreams and nightmares are most acutely felt. So, however one approaches the problems, there is certainly a need to spell out more clearly what recent changes in environments (in cities and elsewhere) mean for shared futures.

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Melliferopolis Fest, Helsinki 2016

With a nod to assemblage urbanism, I think the following characterisation of the book might be justified: it is made up ofaccounts by sociologists, anthropologists, geographers and scholars of architecture and technology, who offer analyses involving artists, commuters, public toilets, publics, human and nonhuman actors and infrastructures, drawing on work by John Dewey and Jacques Rancière, about and inspired by networks, Madrid, Hamburg, London, Peter Sloterdijk’s philosophy, architects and, of course, the work of Bruno Latour and Isabelle Stengers.

The book has one feature in particular in common with Design Anthropological Futures, namely writing style. Hyper-alert to their own positions, to the potentially violent effects of expert abstractions, and to their indebtedness to the nonacademic partners whose work they report upon, many (though not all) of the authors produce prose that can frustrate. Readers looking simply to learn something new and be confident of having learned something new, have to work to pass through the authors’ own hesitations to get to their mostly nuanced and arguably challenging arguments.

Personally I do find both books insightful and illuminating. They testify to a hunger for epistemologies and conversations that have little place in the institutions of industrial modernity and capitalism, including the corporatised University. They indicate that new methodological approaches to more-than-human world-making are taking root and blossoming.

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Urban gardening in Budapest, 2016

P.S. Today’s dominant discourses about the future feature mostly Pollyanna-ish or hyperbolic rhetoric and generally support technology driven visions. Sometimes they do put the human at their centre,  often they invoke the experience-near the virtues of design practice. Rarely, however, do they really get what these books get, which is the incredible creativity as well as unbearable necessity of coexisting with the full range of the creatures that exist through design or accident (or something else).

The discipline that’s done most to nurture appreciation of this situation is, I think, anthropology.

Links to the ventures behind the pictures in order of apperance.

About project

https://fi.okfn.org/2016/06/30/osce-days-2016-helsinki-report/

https://melliferopolis.net/

https://budapest.degrowth.org/wp-content/uploads/sites/2/2016/11/Budapest-Degrowth-Week.pdf

On February 11th, forty or more Helsinkians gathered in the small auditorium of the former mental hospital in Lapinlahti to hear a panel debate. It was dubbed simply Lapinlahti’s Value (“Lapinlahden Arvo”).image003

Designed by Carl Ludvig Engel and opened to patients in 1841, the hospital’s value as architectural heritage is not (or should not be) in doubt. Yet it has required remarkable persistence from poorly resourced volunteers to prevent it from falling into disuse.

Right now – and for at least one more year – Lapinlahti offers natural and architectural beauty near the city centre. There is also a range of unique small-scale commercial activity, a national hub for mental health and good living Lapihlahden Lähde, work spaces for producers of arts and crafts, a cafe, restaurant Loop, and not surprisingly, a sauna.

As one of the organisers of the event, I was surprised and very gratified that so many people came. And they came to listen and debate, not just to enjoy one of the most beautiful and interesting waterside walks in Helsinki. Until 2008 the hospital operated as a psychiatric unit and was for most of us admired from a distance (below, a snapshot taken from Hietaniemi cemetary last weekend).

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For several years after that, the beautiful and serene site was left idle and the buildings fell into disrepair. There were fears its fate would be the same as that of so much city elsewhere: to be turned into luxury properties. Instead, it is a lively and open place of activity. This was achieved largely by the tireless efforts of people in and around the Finnish Association for Mental Health.

As a sporadically active member of the environmental organisation Dodo, I helped contrive the discussion with Katja Seppinen, long-time active member of the organisation. It was effectively a case of us Dodos inviting ourselves to do an event in Lapinlahti.

Four other speakers completed the panel. Katja Liuksiala, chair of Pro Lapinlahti and a manager at Lapinlahden Lähde, Kimmo Lehtonen of the work-space coop Tilajakamo, writer Maija Kerko and artist and PhD candidate in interdisciplinary environmental studies, Antti Majava.

A winter flu meant we didn’t get the recording we planned to post online, so the notes that follow are based on an audio tape.

I pick up just on a few themes. Each talk was a gem in itself, and each one very different. I sincerely hope that they will be developed into texts, connections or joint activities. They would all nourish the good life in Helsinki.

The first theme I want to pick up on is the one we organisers rather had in mind: freedom to just be. As Helsinki’s decision-makers plan for more shopping malls, the public is feeling the downsides of the attendant privatization of public space, relentless surveillance, and architecture shaped to suit profit more than people.

Each speaker highlighted the value of Lapinlahti as a good place just to be. (Others have made the same observation, here someone writes in English).

Katja Liuksiala’s connection with the place goes back to when she worked at the psychiatric hospital as an occupational therapist. Channelling Lefebvrian ideals of the right to the city – though I have no idea if she has ever read Henri Lefebvre’s work – Liuksiala talked about the people who have come to Lapinlahti recently because here they are free to just be, free to find they own passion and free to have impact the life of the place. Indeed, free to affect its fate. There is openness and looseness to Lapinlahti that most contemporary urban space simply cannot even aspire to.

Indeed, the grounds are now open, and much of the main building also, plus the sauna. Residents have found the place. Still, although the “keep out” signs at the entrance from the road have been replaced with inviting posters, for many locals the site probably still has associations that are ambivalent at best.

Below and further down are some photos from April 2015.

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Another theme of our discussion was how market values in real estate, dominant in public debate on urban space, actually make little sense.

“We pulled out 2 euros” recalled Kimmo Lehtonen of the Tilajakamo work-space co-operative, talking about their negotiations with the authorities. The city kept insisting on what they called market rent for the site. Well, since there were no other takers, the going rate might be considered close to zero, so 2 euros wasn’t bad!

Although considerable sums went into fixing plumbing, Lehtonen explained, the low rents and low-key maintenance they offer, make a stark contrast with the sums that the city administration deemed necessary for ensuring a future for the site. Tilajakamo (literally translated sort of as “Space Division”) is bringing life into the building as it is. Of course, to run a modern hospital within a site of architectural heritage would, Lehtonen mused, be prohibitively expensive.

In Lapinlahti history speaks. It is not just in the classical architecture or in the tiny room where author Aleksis Kivi was a patient, but in the corridors that are both sombre and light-filled, and in the bunches of wires and other twentieth-century trappings of institutional life.

Patients must have felt the Nature outside the windows calling them. Even today the gardens are beautiful (below two years ago). In Lapinlahti it is easy to appreciate how an environment that so obviously invites gardening has been recognised over the generations as a force for healing.

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Maija Kerko is writing a book about the campaign organisation, Pro Lapinlahti, which was started in the late 1980s to defend the hospital from the combined forces of notional progress and intensifying urban growth. I can’t begin to do justice to her finely crafted talk about the hospital as a place that symbolises a right to vulnerability at the same time as being, in the most concrete way possible, a place of care. She drew on the words of many people, including many former patients, who have been spelling out why Lapinlahti has been so cherished since Tsar Alexander I set it aside for the care of the most vulnerable. I look forward to Kerko’s book!

Antti Majava’s interest in Lapinlahti turned out to have an unexpected source, namely having been brought up as the son of a psychiatrist! His presentation picked up on freedom, vulnerability and markets, but also expertise in financial accounting, and spun from these an intriguing image of a society – ours – severly out of kilter. Antti surmised that it is society, surely, that is mad here, as Erich Fromm suggested.

Lapinlahti may no longer be suited to being a psychiatric hospital. But Majava made the point that “care in the community” has also failed the country. Psychiatric units have been torn down and not replaced. While this is happening, places that make us sick are practically forced upon us. Urban development is a cavalcade of endless shopping opportunities, never mind that this devastates the inter-personal commerce of any town or city.

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One take-home message from our evening’s debate was then that Lapinlahti outshines, in every possible dimension, the tawrdy stuff of the retail therapy that Helsinki is currently building in so many parts of the city.

The challenge is to convey that message to elected politicians and other decision makers. Perhaps the message also needs to go out to the dedicated volunteers involved. For it has begun to seem like the generative capacities and the healing powers of Helsinki’s most valued places need spaces “left over” by retail-led real estate “requirements”. Wellbeing of place and people here rests, for better or worse, on the shoulders of ordinary citizens.

In my travels through Helsinki’s tiny social movements, I meet countless wonderful, interesting and enthusiastic people. Sometimes these encounters yield unexpected results. Yesterday I found myself featured in a professionally written newspaper article.

Some weeks ago I contacted Marko Leppänen, a well known friend of the forest in Finland. He is known for his intriguing and compelling thoughts on the importance of including both city centre and forested periphery in the good urban life (e.g. here in Finnish).

I asked Marko to share what he knows about the island of Vartiosaari, whose unique environment may be destroyed to make room for housing. I knew he could help me produce content for the publication/art-work we have been putting together with community art maker, Hanna Kaisa Vainio. Our project, under the title Narratiimi (Narrateam) began last summer with walks in some of Helsinki’s forests, currently under tremendous pressure from plans for residential development.

img_5653Land on or close to the waterfront is increasingly treated simply as potential real estate, and not as forest, as un-designed space to share, play or walk in, or simply as cherished places that contribute to our sense of home. Scientists increasingly see local forests such as those still standing in Helsinki, as ecosystem services, crucial to the health of human and all other life.

With Marko had a long and enjoyable conversation about Helsinki’s past, present and expected future. He admitted to being nostalgic for a time before he was born, the late 1950s. That was when Helsinki was at its peak as a city: a compact and stylish centre surrounded by unique and highly livable suburban areas of different kinds, often thoughtfully created to suit their physical settings.

Alas, subsequent development has been aimed at turning everywhere into notional “centre”. Yet what makes a place great, what gives it interest, is precisely the dynamic between centres and peripheries.

I hope to write more about this, and maybe to translate some of Marko’s fascinating ideas about a good urban life, in weeks to come. His blogs about these things himself in Finnish.

So Marko published a short profile of me for Kirkko & Kaupunki, which is published weekly by Helsinki’s Lutheran parishes (and recommended to me by many people who have little interest in the church).

This also gave a little much-needed publicity for the book I co-edited with Cindy Kohtala, that we put together for the growing numbers of people interested in pondering Helsinki’s development in a more nuanced way than we are used to.

uusi-helsinki-LO-RGB-200x262 P.S. The book is still available at booky.fi.

vartiosaari-talli-elo-2015-ebA few short lines today, Friday, in anticipation of a small action by committed defenders of urban nature scheduled for tomorrow, Saturday, 22 October 2016, in front of the Railway Station from 11 to 4pm. The city councillors will decide next week, on a controversial long-term plan for the whole city.

The plan includes several extremely controversial sections, covering green spaces and the open, big-skies character of the city in particular, elements that residents cherish – as the city’s own research shows.

Given the shortness of the days already – and winter is only just beginning – one can appreciate the preference here for low-lying architecture and fully public access to the long seafront.

Below some lines from our book (the one in three languages!) on the topic.

“Vartiosaari island in Helsinki’s eastern archipelago covers over 80 ha. Its recreational value and biological diversity have survived because it lacks a bridge to the mainland. Though it was designated as having heritage value in 2009 already, the city opted to build a bridge to open it up to wider use. In 2013 planning principles were adopted aiming for a densely inhabited urban neighbourhood with recreational elements. The controversial planning process rumbles on.

The is one of Helsinki’s most intact historic clusters of country villas (a nicely illustrated Finnish-language report can be found here), with about 50 houses in holiday use and a hundred or so other buildings. They all have their own stories to tell. Some are extremely important from a built heritage perspective, their value only enhanced by the island’s exceptional natural beauty. In the last century many companies used the island and shared its buildings among staff, allowing a range of workers some access to the villa lifestyle. The retail co-operative Elanto was one of several institutions that ran summer programs for children there.

The city owns about one half of the building stock on the island and 90% of the land. In the 1960s the Kansallis Osake Bank controlled over 80% of the area and considered development. The bank’s property went to the city in 1979.”

So sad to see Helsinki’s decision makers denigrating their cultural history, the fundamental importance of rich biotic landscapes (or naturecultures as my colleagues would say) and residents’ efforts to ensure future access to the quietly forested and often very meaningful remaining areas of truly spectacular urban nature.