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EXTRACT<br />

N o 1 — 2 011<br />

ABST RAC T<br />

Ideas, fActs ANd Fictions<br />

—<br />

Land in Sight<br />

<strong>The</strong> rural future<br />

And other stories about the<br />

quantification of culture,<br />

cristall balls for financial bubbles<br />

and the anti-jetlag pill<br />

48


Content<br />

Land IN SIGHT<br />

12 <strong>The</strong> differences between town and country must remain<br />

Interview with Mike Guyer<br />

20 Grabopoly<br />

By Michèle Wannaz<br />

30 Of satellites and ploughshares<br />

Interview with Jürg Minger<br />

38 More trees!<br />

By Guido Hager<br />

44 <strong>The</strong> conversion: reversing the urban sprawl<br />

By Matthias Gnehm<br />

60 If land went public …<br />

By Burkhard Varnholt<br />

62 Court martial for Iseblitz<br />

By Gerd Folkers<br />

66 Restoring the urban-rural relationship<br />

By Michael Pawlyn<br />

74 Perspectives on the rural future<br />

By Robert Huber and Alina Günter<br />

84 Metamap<br />

88 IdeAs<br />

Innovation, trends and visions that form the spirit of the age<br />

160 From Fiction to Science<br />

166 Culture & Gadgets<br />

180 Ag e n da


Restoring<br />

the Urban-<br />

Rural<br />

Relationship<br />

Cities have always depended on the countryside and the relationship<br />

has been one of extraction and depletion. This reflected<br />

a mindset that was rooted in the belief that humans<br />

could ultimately conquer nature. New approaches such as<br />

biomimicry offer the potential for a reconciliation with nature<br />

and a restorative approach to the land.<br />

By Michael Pawlyn<br />

Cities became possible when agriculture had advanced to<br />

produce a significant surplus and increasing numbers of<br />

people were released from the drudgery of food production.<br />

Urbanism therefore has always depended on the<br />

countryside and, for most of the last two millennia, that<br />

relationship has been based on a highly extractive model of<br />

land use. Perhaps the most striking example can be found<br />

in Julius Caesar who, after exhausting the fertility of the<br />

land within the empire as it then stood, embarked on a militarised<br />

shopping trip to North Africa. What he found was<br />

a wooded landscape covered with cedar and cypress trees.<br />

Over a short period the forests were cleared and farms established.<br />

For the next 200 years North Africa supplied the


LAND in Sight<br />

empire with half a million tonnes of grain per annum but,<br />

gradually, deforestation, salinisation and over-exploitation<br />

of the land took its toll. Productivity dropped, the climate<br />

changed and the Sahara desert spread northwards.<br />

<strong>The</strong> view that humans could tame the countryside<br />

and ultimately dominate nature prevailed and in many<br />

respects is still the mindset of the industrial age. Stanley<br />

Kubrick captured this brilliantly in “<strong>The</strong> Ascent of Man”<br />

which forms the twenty minute opening to “2001 a Space<br />

Odyssey” and culminates in the cut from the bone thrown<br />

into the air to the space-ship orbiting a distant planet – arguably<br />

the most stunning time-cut in cinematic history.<br />

<strong>The</strong> point that Kubrick appears to have been making was<br />

that once humans had discovered fire and learnt how to<br />

make tools and weapons, it was really just a matter of time<br />

before we dominated nature and went beyond the limits of<br />

our planet. Many of the advances that civilisation has produced<br />

are indeed miraculous, like modern medicine and<br />

the digital revolution, but we are now at a point in time<br />

that demands an urgent rethink. At the start of the industrial<br />

revolution people were scarce and resources were<br />

abundant; now we have the opposite scenario.<br />

Amory Lovins neatly captures the inadequacy of<br />

“sustainability” when he says “If you asked one of your best<br />

friends how their relationship was with their partner and<br />

they said ‘Well, it’s sustainable’ you would probably say<br />

‘I’m sorry to hear that.’” We need to move beyond sustainable<br />

to restorative ways of existing and paradoxically one<br />

of the most promising sources of solutions to our problematic<br />

relationship with nature can be found in nature itself.<br />

Biomimicry is a rapidly emerging discipline that looks<br />

to nature as a source of inspiration for innovative solu-<br />

68


tions. Comparing the design of man-made systems with<br />

the way that ecosystems operate reveals some stark contrasts.<br />

Ours tend to be simple, linear and extractive whereas<br />

natural systems are complex, cyclical and regenerative.<br />

Whereas mankind concentrates on the maximisation of a<br />

single goal, life on earth has developed into zero waste systems<br />

that run on current solar income and emit no longterm<br />

toxins. Zooming in from systems to individual species<br />

one can see some remarkable adaptations and highly<br />

efficient structures that could inspire new man-made solutions<br />

that achieve radical increases in resource efficiency.<br />

One of the simplest justifications for biomimicry would be<br />

to look at nature as being like a sourcebook of solutions<br />

that have all benefited from a 3.8 billion year research and<br />

development period and, given that level of investment, it<br />

makes sense to use it.<br />

It would be hard to find a better example of what<br />

this discipline can offer than the Namibian fog-basking<br />

beetle. This creature has evolved a way of harvesting its<br />

own freshwater in a desert. <strong>The</strong> way it does this is that, at<br />

night, it climbs to the top of a sand dune and, because it is<br />

matt black, it is able to radiate heat to the night sky and become<br />

slightly cooler than its surroundings. When the<br />

moist breeze blows in off the sea droplets of water form on<br />

the beetle’s back. <strong>The</strong>n just before sunrise it tips its shell<br />

up, the water runs down to its mouth, it has a good drink<br />

and goes off and hides for the rest of the day. <strong>The</strong> effectiveness<br />

of beetle’s adaptation goes even further because it has<br />

a series of bumps on its shell which are hydrophilic and between<br />

them is a waxy finish which is hydrophobic. <strong>The</strong> effect<br />

of this is that as the droplets form on the bumps they<br />

stay in tight spherical form which means that they are<br />

much more mobile than they would be if it was just a film


LAND in Sight<br />

of water over the whole beetle’s shell. So, even when there<br />

is only a small amount of moisture in the air, it is still able<br />

to harvest it effectively. It’s a remarkable adaptation to a<br />

resource-constrained environment and consequently, very<br />

relevant to the kind of challenges we are going to be facing<br />

over the next few decades.<br />

We have used many of these ideas in the design of<br />

the Sahara Forest Project which, ambitiously, proposes a restorative<br />

model of land use – a way in which areas of desert<br />

could be returned to vegetation. <strong>The</strong> scheme brings together<br />

two existing technologies, the Seawater Greenhouse and<br />

Concentrated Solar Power (CSP), for the first time. <strong>The</strong><br />

greenhouse uses the evaporation of seawater to create a cool,<br />

humid growing environment for crops in arid regions and<br />

condenses some of that humidity in a process that is effectively<br />

identical to the beetle. CSP uses mirrors to focus the<br />

sun’s heat to turn water to steam to drive turbines that generate<br />

electricity and this technology offers the potential to deliver<br />

vast quantities of energy to cities from the world’s deserts.<br />

One of the striking things about the first Seawater<br />

Greenhouse that was built was that it produced slightly more<br />

water than it needed for the plants inside. This surplus was<br />

spread on the land surrounding the greenhouse. <strong>The</strong> effect of<br />

this, combined with the elevated humidity created around<br />

the greenhouse, had a striking effect on the site. Prior to the<br />

project’s construction the land was largely barren; one year<br />

after completion the greenhouse was surrounded by new<br />

vegetation. In this sense the scheme went beyond “sustainable”<br />

to achieve “regenerative” design. <strong>The</strong> Sahara Forest Project,<br />

by integrating CSP with the greenhouses, aims to push<br />

this effect even further. Waste heat from the electricity generation<br />

could be used to evaporate more seawater and potentially<br />

create more fresh water while the shade created by the<br />

70


Namibian fog-basking beetle<br />

CSP mirrors make it possible to grow crops underneath that<br />

would not survive in the direct sunlight. <strong>The</strong> Sahara Forest<br />

Project is a model for how we could produce food, fresh water<br />

and clean energy in arid regions as well as restoring areas<br />

of denuded land.<br />

Our best chance of creating an abundant future lies<br />

neither in vainly trying to dominate nature nor in simply<br />

preserving small pieces of countryside, but in reaching a reconciliation<br />

with nature in which we can retain the many brilliant<br />

things that civilisation has developed but rethink the<br />

things that have proved to be poorly adapted to the long<br />

term. Biomimicry may well prove to be one of the most powerful<br />

tools in facilitating the shift from the industrial age to<br />

the ecological age of mankind and in brokering a deal between<br />

the city and the country that sees both as essential<br />

parts of the same living system.


LAND in Sight<br />

Sahara Forest Project<br />

72


Michael Pawlyn is the founder of Exploration Architecture<br />

which develops transformative design solutions to contemporary<br />

challenges. He recently delivered a talk featured on<br />

TED. Com, is currently working on the Sahara Forest Project<br />

and has written a book titled “Biomimicry in Architecture”<br />

which is due for publication in September 2011.


Contact<br />

sia@thewire.ch<br />

Editorial staff<br />

Simone Achermann<br />

Editor in chief, Researcher W.I.R.E.<br />

Dr Stephan Sigrist<br />

Head of W.I.R.E.<br />

Dr Burkhard Varnholt<br />

CIO, Bank Sarasin & Cie AG<br />

Prof. Dr Gerd Folkers<br />

Director, Collegium Helveticum<br />

Editorial contributors<br />

Daniel Bütler, Michèle Wannaz, Florian Huber,<br />

Beate Kittl, Annina Coradi, Sarah Jäggi<br />

Design<br />

Kristina Milkovic<br />

Head of Graphic Design W.I .R.E.<br />

Graphic contributors<br />

Marcel Morach<br />

Sub-editing and Printing<br />

Neidhart + Schön AG<br />

Partner<br />

Neue Zürcher Zeitung Publishing<br />

Disclaimer: this publication is for information purposes only. Inasmuch as reference is made<br />

herein to Bank Sarasin & Cie AG, this constitutes neither an offer nor an inviation by<br />

Bank Sarasin & Cie AG to purchase or sell securities. <strong>The</strong> sole aim of this publication is<br />

communication. It should also be noted that developments occurring in the past are not<br />

reliable indicators for developments in the future.<br />

Picture credits:<br />

Cover illustration: Stephan Troll (www.trollinteriors.ch)<br />

Unless otherwise noted, the rights belong to the authors or their legal successors.<br />

We have endeavoured to find the owners of all rights. Should we nevertheless not have<br />

succeeded in notifying any of the owners, they are requested to contact W.I.R.E.<br />

www.thewire.ch

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