What is a “Landschaftswerkstatt” * (“Landscape Studio”)?

Excerpt from: Kenneth Anders and Lars Fischer (2010) Landschaftswerkstatt Schlabendorfer Felder (Landscape Studio Schlabendorfer Felder). In: Hotes, S., Wolters, V. (2010) Fokus Biodiversität. Wie Biodiversität in der Kulturlandschaft erhalten und nachhaltig genutzt werden kann (Focus on Biodiversity. How biodiversity can be preserved and used sustainably in the cultural landscape): 262ff

A landscape studio is an instrumentally heterogeneous and subject-oriented working process in which discourse on the landscape development of a region is temporarily and locally intensified, expanded with regard to content and restructured in accordance with issues related to the development of cultural landscapes. The role of landscape studios can range from the elementary transfer of knowledge and specific conflict mediation to devising regional planning principles.

Transfer of knowledge:
Understanding of common landscape scopes initially requires highly aggregated knowledge of the landscape in which we live. Rather than existing as a homogeneous asset, this knowledge is tied to the respective perspectives determined by uses and interests. Scientists and agriculturalists, conservationists and foresters, residents and artists can all make relevant statements regarding their landscape. Concerning structure, however, these statements can vary significantly. The initial task of landscape studios is therefore to tap this heterogeneous knowledge and the various perspectives and perceptions, and to explain them to the other stakeholders. The fact that landscape knowledge, relationships to landscape and the perception and evaluation of them are linked very closely to the respective utilisation relationship already justifies the establishment of landscape studios at this elementary level; it is unnecessary to set targets beyond this. Science does not occupy an exceptional position in such a transfer process. Scientific knowledge, like that of modern primary land users, is oriented towards application in a system that develops beyond the landscape. This systemic difference creates a structural similarity of research, such as with cash crop farming or other forms of land use: here the land is used, there it is exploited and sold. In many cases, environmental scientific knowledge even turns out to be difficult to apply to landscape-related discourse. For instance, although it is possible to prepare specialist fundamentals in the sense of popular scientific environmental education, the specific knowledge that characterises the respective landscape often lies scattered decentrally, hidden in data collections. This data fails to gain a conciseness of its own which could act as input for discourse on landscape. For this reason, transfer of knowledge is not at all trivial, particularly for scientists.

Conflict mediation:
Landscape is a divided space in which different needs compete with one another. Conflicts between users can only be avoided if the landscape has been subdivided into different areas by segregation and agreement has been reached by its users. Such a structure consisting of influence, power, law and customary law can only ever be of a temporary nature. As soon as dynamics arise in the landscape through changes in technology, type of use, shifts in ownership structures or encroachment by buildings, infrastructural measures, mining and such like, different interests inevitably emerge. Since these differences must be resolved, conflict is the norm with regard to landscapes. It is not the existence of conflicts as such that is problematic, but the fact that there are virtually no shared rules for settling these conflicts, particularly in landscapes with a structure of use that had previously been stable for a long time. In these cases, landscape studios help to develop rules governing discursive conflict resolution, explaining the different interests and determining their legitimacy. The various interest groups are represented in the landscape studio, ensuring their relation to the landscape is perceived as part of the cultural landscape discourse and need not be asserted merely verbally in conversation. For this reason, an exhibition is organised as a framework and context of individual events. This exhibition primarily addresses landscape-related stakeholders. Consequently, such exhibitions need not comply with the otherwise conventional didactic standards, as in environmental education. For a studio exhibition, it suffices to demonstrate the various perspectives of the landscape using simple, concise means. Specialist opinions and political statements, personal attachments to the landscape and the expectations and fears entertained are specifically presented to enable stakeholders who shape the landscape to be recognised as bearers of knowledge and practical experience. By contrast, in classic environmental education, generally established knowledge is prepared and imparted in a popular-scientific manner.

Regional planning:
The contrasts resulting from the different bodies of knowledge and interests in the landscape can also be specifically used to jointly prepare an agenda for regional development. In the case of long-term, successful work, landscape studios can enter the planning stage, following phases of knowledge transfer and conflict mediation. On the basis of comprehensive knowledge systematised jointly in accordance with landscape aspects, clarified interests and recognised scope to realise them in the landscape, contours become apparent that are backed by all stakeholder groups to shape the landscape. This applies not only to the perceived scope but also to the ensemble of various uses, notions regarding landscape aesthetics and a catalogue of rules which stakeholders share and accept. Ideally, landscape studios are able to establish a clear preliminary study for regional planning, the specifications of which will ultimately lead to greater commitment and acceptance than a conventionally designed planning process. In particular, global topics of discourse, such as biodiversity or climate change, can be embedded in local thinking and actions with the help of landscape studios, by breathing life into abstract terms individually and locally.

* The term “landscape studio” used here describes a novel cultural-scientific procedure and should not be confused with the term “workshop” in landscape architecture, landscape aesthetics and open space planning. back