October 2014

Beyond thebeauty of art inbotanic gardens

Botanic Gardens Conservation International Education Review

Volume 11 • Number 2 • October 2014

• Glass in the Gardens:an interview withDale Chihuly

• Art as a gateway tothe botanical world

• The Living Beehive:innovative gardendesign

• Using biophilia andart to transformvisitor experience

• Communicatingthrough landscapes

Community Projects World Map

BGCI’s Community Projects World Maplets you investigate community projects that arehappening around the world. The map is part ofCommunities in Nature, which aims to supportbotanic gardens to develop community projectsthat combat both social and environmentalissues. This easy-to-use, interactive map collatesglobal information to provide examples of howyou too can grow your social role.

If you have a project like this, we want to hearabout it. Contact liliana.derewnicka@bgci.org formore details and to get your projects on the map!

REGISTER NOW!Online registration now open

#BGCI2015EDUwww.bgcieducationcongress2015.org

Start exploring now!

http://www.bgci.org/education/community-projects-map/

Using biophilia and art totransform the botanic garden visitorexperience Richard Piacentini, PhippsConservatory and Botanical Gardens andSonja Bochart, SmithGroup JJR,Pittsburgh, U.S.A

The subtle art of attractingpeople to Lisbon Botanic Garden Maria Amélia Martins-Loução, Centro deBiologia Ambiental, Gisela Gaio-Oliveira,Pavilion of Knowledge - Ciência Viva,Teresa Antunes and Ireneia Melo, JardimBotânico, Museu Nacional de HistóriaNatural e da Ciência Universidade deLisboa, Lisbon, Portugal

Educational resources for botanic gardens

Glass in the gardens: an Interview with Dale ChihulyTim Richardson

First word: Art in the garden Asimina Vergou, Liliana

Derewnicka & Alicia Fernández Rodríguez

Art as a gateway to the botanicalworld Madelaine Zadik, Botanic Garden ofSmith College, Nothampton, U.S.A

The Living Beehive: innovativegarden design to engage children withconservation Leon Kluge, Leon KlugeGarden Design, Mpumalanga , South Africa

Bringing science and artstogether for plant conservation Teodolinda Balcazar Sol and JavierCaballero, Jardín Botánico del Instituto deBiología de la Universidad NacionalAutónoma de México, Mexico City, Mexico

Roots is published by Botanic Gardens ConservationInternational (BGCI). It is published twice a year.Membership is open to all interested individuals,institutions and organisations that support the aims 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: info@bgci.org, 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: seed@aha.ru, www.bgci.ru

• BGCI-Netherlands, c/o Delft University of TechnologyJulianalaan 67, NL-2628 BC Delft, NetherlandsTel: +31 15 278 4714 Fax: +31 15 278 2355E-mail: l.j.w.vandenwollenberg@tudelft.nlwww.botanischetuin.tudelft.nl

• BGCI-Canarias, c/o Jardín Botánico Canario Viera y Clavijo,Apartado de Correos 14, Tafira Alta 35017, Las Palmas de Gran Canaria, Gran Canaria, Spain. Tel: +34 928 21 95 80/82/83, Fax: +34 928 21 95 81, E-mail: jmlopez@grancanaria.es

• BGCI-China, 723 Xingke Rd., Guangzhou 510650 China.Tel:(86)20-85231992. email: Xiangying.Wen@bgci.orgwww.bgci.org/china

• BGCI-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: jardin@gaitana.interred.net.co,www.humboldt.org.co/jardinesdecolombia/html/la_red.htm

• BGCI(US) Inc, c/o Chicago Botanic Garden, 1000 Lake Cook Road, Glencoe, Illinois 60022, USA.E-mail: usa@bgci.org, www.bgci.org/usa

BGCI is a worldwide membership organisation established in1987. Its mission is to mobilise botanic gardens and engagepartners in securing plant diversity for the well-being ofpeople and the planet. BGCI is an independent organisationregistered in the United Kingdom as a charity (Charity Reg No1098834) and a company limited by guarantee, No 4673175.BGCI is a tax-exempt 501(c)(3) non-profit organisation in theUSA and is a registered non-profit organisation in Russia.

Opinions expressed in this publication do not necessarilyreflect the views of the Boards or staff of BGCI or of itsmembers.

Forthcoming IssueVolume 12 Number 1: Marketing for public engagement

Cover Photo: Student using observation tools to examine a sculpture by artist Philip Haas at the Desert BotanicalGarden (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,LuxembourgLoïc Ruellan – Conservatoire Botanique National de Brest,FranceAnne Lindsey - FranceAllison Marshall – FranceRéjane Brun & Mélissa Garrigue – Bordeaux BotanicGarden, France

For the Spanish Section:Alicia Fernández Rodríguez - UKOrlik Gómez García - Jardín Botánico Francisco JavierClavijero, MexicoLulú Rico- Royal Botanic Gardens, Kew, UK

For the English Section:Jan ChamierNeville EvansSophie WrightAlicia Fernández Rodríguez

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Art projects at the NationalBotanic Garden, Vácrátót, Hungary Éva Halász-Szakács, Gergely Lunk, andTünde Thalmeiner, Nemzeti Botanikus,Vácrátót, Hungary

A biommicry connection in theSanoran desert Susan Caldwell, NinaAvila, Desert Botanic Garden, Phoenix, U.S.A

Communicating throughlandscapes in Australian BotanicGardens Janelle Hatherly, McMahonsPoint, Australia

EDITORSAsimina Vergou Head of Education

Liliana Derewnicka Education Officer

Volume 11 • Number 2

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First wordArt in the garden

Premier mot: Art au jardinPrimera palabra: Arte en el jardín

02 BGCI • 2014 • Roots • Vol 11 (2) • 02-05

ESPAÑOL

Principios para el desarrollo de unamente completa: Estudia la ciencia

del arte. Estudia el arte de la ciencia.Desarrolla tus sentidos – en especial elde aprender a ver. Así comprenderás deque todo se conecta con todo lo demás”Leonardo da Vinci (1452-1519) (Atalay & Wamsley, 2008, p.96).

Casi una década después de su visita aKew Gardens, un compañero de ScienceFoundation en Suiza recordaba suexperiencia, destinada a la exposiciónChihuly, Jardines de Cristal, que estabateniendo lugar en ese momento. Nuestrocompañero comentó el poder de usar elarte como medio de participaciónpública en un jardín botánico. Las obrasde arte como el inspirador trabajo decristal Chihuly animan a la gente a hacercomparaciones entre las plantas vivas ylos objetos hechos por el ser humano; apartir de ese momento observarán másde cerca la naturaleza. También permiteque la gente que no conoce el nombrecientífico de las plantas se sienta conmás confianza cuando pasee por eljardín botánico ya que el arte lespermitirá desarrollar conexiones con lasplantas vivas sin requerirles ser expertoscientíficos. Hein (2006, p.xix) explica quees arte es poderoso y con su “presenciaestética sin mediación se insinúa ennuestro ser, haciéndonos ver y entenderlas cosas de manera diferente”

El arte en los jardines botánicos puedeadoptar muchas formas diferentes,desde exposiciones hasta instalacionesde arte creadas por artistasprofesionales, para ofrecer programasde educación de adultos sobre artebotánico o realizando festivales de artepara un público más amplio.

El arte siempre se ha inspirado en lasplantas y las plantas se han interpretadode numerosas formas artísticasdiferentes, desde la escultura y la pintura

FRANÇAIS

Principes pour le développement d’unesprit complet: étudier la science de

l’art. Étudier l’art de la science.Développer ses sens – surtout apprendreà observer. Se rendre compte que toutest interconnecté.”Leonardo da Vinci (1452-1519) (Atalay & Wamsley, 2008, p.96).

Près d’une décennie après sa visite auxjardins de Kew, un collègue d’unefondation scientifique en Suisse s’estsouvenu de son expérience, marquée parl’exposition de Chihuly, Jardins de verre,qui se déroulait à l’époque. Notrecollègue s’exprime sur le potentield’utiliser l’art pour engager le public dansun jardin botanique. Les œuvres d’art,comme l’inspirant travail du verre deChihuly, encouragent les gens à faire descomparaisons entre plantes vivantes etobjets artificiels; et peuvent ainsi lesamener à observer la nature de plus près.L’art peut constituer une ouverture pourles gens qui ne connaissent pas les nomsscientifiques des plantes, l’art met lesgens plus à l’aise lors de leurspromenades à travers les jardins, il leurpermet de faire des connections avec les

ENGLISH

Principles for the Development of aComplete Mind: Study the science of

art. Study the art of science. Developyour senses - especially learn how tosee. Realize that everything connects toeverything else.”Leonardo da Vinci (1452-1519) (Atalay & Wamsley, 2008, p.96).

Almost a decade after his visit to KewGardens, a colleague from a ScienceFoundation in Switzerland recalled hisexperience, which was earmarked byChihuly’s exhibition, Gardens of Glass,that was taking place at the time. Ourcolleague commented on the power ofusing art for public engagement in abotanic garden. Pieces of art likeChihuly’s inspirational glass workencourage people to make comparisonsbetween living plants and manmadeobjects; hence they may observe naturemore closely. It also allows a way in forpeople who may not know the scientificnames of plants, making them moreconfident when wandering around thegardens as the art work will allow them todevelop connections with the living plantswithout requiring them to be scientific

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Architecture students at Smith College design pavilions based on plants (Smith College)

03BGCI • 2014 • Roots • Vol 11 (2)

a la fotografía y la poesía. Pero el arte hasido también un medio para comunicarlos mensajes de los jardines botánicos alpúblico, atraer a un tipo distinto deaudiencia, no interesada especialmenteen las plantas, e involucrar a losvisitantes en la ciencia de las plantas.

Los jardines botánicos comoinstituciones científicas pueden utilizarlas artes para presentar el valor de laciencia de las plantas al público.Combinando arte y ciencia no sólo sepermite conectar con las personasvisualmente, auditivamente o través deltacto sin la necesidad del lenguaje, sinotambién sirve para comunicarse a nivelemocional. El arte como la música,según la investigación de McNealy(2013), se puede utilizar para provocar lareflexión y establecer conexiones entrelas cosas que les resultan familiares a lagente y conceptos científicos que no loson. Y cuando los estudiantes deciencias se involucran en crearproyectos de arte que transmitenconceptos científicos (ver Gurnon, Voss-Andeae y Stanley, 2013) entienden mejorlos conceptos, mientras el público queexperimenta el arte se interesa más porla ciencia que hay tras el arte.

En esta edición de Roots hemos pedidoque varios profesionales vinculados a losjardines botánicos nos dieran su puntode vista sobre los artistas, educadores y

plantes vivantes sans devoir être desexperts scientifiques. Hein (2006, p.xix)explique que l’art est puissant et ‘par saprésence esthétique immédiate s’insinuedans notre être, nous menant à voir et àcomprendre les choses de façondifférente’.

L’art dans les jardins botaniques peutprendre de nombreuses formesdifférentes, depuis les expositions etinstallations d’art crées par des artistesprofessionnels, l’offre de programmesd’éducation pour les adultes en artsbotaniques, jusqu’à l’organisation defestivals d’art pour le grand public.

L’art a été inspiré par les plantes et lesplantes ont été interprétées sous denombreuses formes artistiques, de lasculpture à la peinture, de la photographieà la poésie, mais l’art est aussi un moyenpour les jardins botaniques decommuniquer leurs messages au public,d’attirer une audience différente, qui n’estpas forcément proche des plantes et demettre leurs visiteurs en relation avec lascience des plantes.

Les jardins botaniques en tantqu’institutions scientifiques peuventutiliser les arts pour présenterl’importance de la science des plantesau public. Combiner l’art et la sciencepermet non seulement d’accrocher lesgens visuellement, par l’ouïe ou letoucher, sans besoin de langage, maisaussi de communiquer avec eux sur unniveau émotionnel. Selon les recherchesde McNealy (2013), l’art, tel que lamusique, peut être utilisé pourprovoquer la réflexion et instaurer desliens entre les choses qui sont familièresaux gens et des concepts scientifiques,qui ne le sont pas. Et lorsque desétudiants en sciences sont engagésdans la création de projets d’art quigood but better with «portent sur des»concepts scientifiques (voir Gurnon,Voss-Andeae et Stanley, 2013), ilspeuvent mieux comprendre ceux-ci,tandis que l’audience qui découvre l’artpeut être intéressée pour en savoir plusau sujet de la science derrière l’art.

Dans ce numéro de Roots, nous avonsdemandé à différents professionnels liésaux jardins botaniques de nous donnerleur point de vue sur les manières dontl’art peut être utilisé dans le butd’impliquer le public. Les diversescollaborations comprennent les points de

experts. Hein (2006, p.xix) explains thatart is powerful and with its ‘unmediatedaesthetic presence insinuates itself intoour being, causing us to see andunderstand things differently’.

Art in botanic gardens can take manydifferent forms, from exhibitions and artinstallations created by professionalartists, to offering adult educationprogrammes in botanical art and runningart festivals for the wider public.

Art has been inspired by plants and plantshave been interpreted in many different artforms from sculpture and paintings tophotography and poetry. But art has alsobeen a medium for botanic gardens tocommunicate their messages to thepublic, attract a different type of audience,that is not necessarily into plants, andengage visitors with plant science.

Botanic gardens as scientific institutionscan use the arts to present the value ofplant science to the public. Combiningart and science can not only connectwith people visually, aurally or throughtouch, without the need for language,but it can communicate with people onan emotional level. Art, such as music,according to McNealy’s (2013) researchcan be used to provoke thought andmake connections between the thingsthat are familiar to people and scientificconcepts which are not. And whenscience students are involved in creatingart projects that communicate scientificconcepts (see Gurnon, Voss-Andeae andStanley, 2013) they may understand theconcepts better, whilst the audience thatexperiences the art may becomeinterested in learning more about thescience behind the art.

In this issue of Roots we have askedvarious professionals linked to botanicgardens to give us their perspective onhow art can be used for publicengagement. Contributions includeperspectives from artists, educators andthe directors of gardens whoseleadership has supported the use of artas a medium to interpret the plant worldand encourage visitor’s understanding ofand connection with nature.

We hear the opinion of artists through aQ&A with Dale Chihuly by TimRichardson in which they discuss howChihuly started to collaborate withbotanic gardens, why he is interested in

Peacock Blue Tower by Dale Chihuly was installed atGarfield Park Conservatory, Chicago, in 2001(Dale Chihuly)

focusing his art on plants, and how heuses the gardens’ plant collections tocreate the glass displays. While, land artistand garden designer Leon Klugediscusses his Living Beehive, which mixesinnovative planting and traditional Zuluarchitecture to engage children with theimportance of conserving ecosystems.

From the point of view of the botanicgarden, Teodlinda Balcázar Sol andJavier Caballero discuss two projects inwhich Jardín Botánico de la UniversidadNacional Autónoma de México joinedforces with artists to transform livingcollections, old pipes and sewers withinstallations, sculpture and painting tohighlight the harmonious relationshipbetween art and science.

Creative and well thought out landscapedesign can be a powerful tool forconnecting people with nature. JanelleHatherly showcases examples of ‘art inthe landscape’ from across Australia.Whilst, Richard Piacentini and SonjaBochart describe how biophilic designcan be used to create inspirationalspaces to engage audiences and improvehuman and environmental health.

But sometimes it’s the taking part thatcounts and Nina Avila showcases theschool programme at the Desert BotanicGarden in Phoenix, Arizona, which usesthe concept of biomimicry to get studentsto think about the form and function ofnatural objects and inspire their owninnovative designs. While at the BotanicGarden of Smith College in Northampton,USA, they are not only engaging studentsof all ages with science through practicalart projects but also using these projectsas an opportunity to study how smallchildren learn.

And it’s not just visual arts that can beused as powerful communication tools.Maria Amélia Martins-Loução, GiselaGaio-Oliveira, Teresa Antunes and IreneiaMelo describe the subtle art of attractingpeople to Lisbon Botanic Garden througha variety of cultural events mixing music,games, performances, art, science andconservation.

Art in botanic gardens has been usedfrom the day the institutions wereestablished, in the form of botanicaldrawings which aimed to portray plantswith scientific accuracy and level of detailfor them to be recognized and

vue d’artistes, d’éducateurs et dedirecteurs de jardins dont l’administrationa apporté un soutien à l’utilisation de l’artcomme support en vue d’interpréter lemonde végétal et de stimuler lacompréhension des visiteurs concernantla nature ainsi que leur lien avec celle-ci. Nous découvrons l’avis d’artistes par lebiais de questions-réponses avec DaleChihuly par Tim Richardson, où ilsdiscutent de la façon dont Chihuly acommencé à collaborer avec les jardinsbotaniques, de pourquoi il s’intéresse àtourner son art vers les plantes, et de lafaçon dont il utilise les collections deplantes des jardins pour créer lesverreries. Par ailleurs, l’artiste du « landart » et paysagiste Leon Kluge expliquesa ruche vivante, qui mélange desplantations innovantes et l’architecturetraditionnelle zouloue pour impliquer lesenfants quant à l’importance de laconservation des écosystèmes.

Pour illustrer le point de vue des jardinsbotaniques, Teodlinda Balcazar Sol etJavier Caballero discutent de deuxprojets dans lesquels le Jardín Botánicode la Universidad Nacional Autónoma deMéxico s’est associé à des artistes afinde transformer les collections vivantes,les vieux conduits et les égouts grâce àdes installations, des sculptures et despeintures pour souligner la relationharmonieuse entre l’art et la science.

Une conception paysagère créative etbien pensée peut être un outil puissantpour relier les individus à la nature.Janelle Hatherly présente des exemplesd’« art dans le paysage » provenant detoute l’Australie. Aussi, RichardPiacentini et Sonja Bochart décriventcomment la conception qui tient comptedu besoin de relation avec la nature («biophilie») peut être utilisée pour créerdes espaces d’inspiration afind’impliquer le public et d’améliorer lasanté humaine et environnementale.

Mais parfois, c’est le fait de participerqui compte et Nina Avila présente leprogramme scolaire du Jardin botaniquedu désert à Phoenix, en Arizona, quiutilise le concept du biomimétisme pourencourager les étudiants à réfléchir à laforme et à la fonction d’objets naturels età utiliser ces éléments pour en inspirerleurs propres conceptions innovantes.Au Jardin botanique du Smith College àNorthhampton aux États-Unis, il nes’agit pas uniquement d'impliquer des

directores de los jardines cuyo liderazgoha apoyado un mayor uso del arte comomedio para interpretar el mundo de lasplantas y aumentar tanto la comprensiónde los visitantes como su conexión conla naturaleza.

Escuchamos la opinión de artistas através de una entrevista con DaleChihuly realizada por Tim Richardson enla cual debaten sobre cómo Chihulycomenzó a colaborar con los jardinesbotánicos, por qué le interesa centrar suarte en las plantas y cómo utiliza lascolecciones de plantas del jardín paracrear la exhibición de cristal. Mientrastanto, Leon Kluge, artista y diseñador dejardines, debate sobre su colmenaviviente, la cual mezcla la arquitecturainnovadora y la arquitectura Zulutradicional para involucrar a los niños enla importancia de la conservación de losecosistemas.

Desde el punto de vista del JardínBotánico, Teolinda Balcázar Sol y JavierCaballero discuten dos proyectos en loscuales el Jardín Botánico de laUniversidad Autónoma de México uniósus fuerzas con varios artistas paratransformar las colecciones vivas,tuberías viejas y alcantarillas en esculturasy pinturas para destacar la harmoniosarelación entre el arte y la ciencia.

El diseño de paisajes creativo y bienplanificado puede ser una poderosaherramienta para conectar a laspersonas con la naturaleza. JanelleHatherly muestra ejemplos de “arte en elpaisaje” de toda Australia. Por otraparte, Richard Piacentini y Sonja Bochartmuestran como el diseño biofílico puedeusarse para crear espacios deinspiración que involucren al público ymejoren la salud humana y del medioambiente.

Pero, en ocasiones, el hecho de formarparte es lo que cuenta y Nina Avilapresenta el programa escolar del DesertBotanic Garden en Phoenix, Arizona, queusa el concepto de biomimetismo paraque sus alumnos reflexionen acerca dela forma y la función de los objetos de lanaturaleza y usarlos como inspiraciónpara sus propios diseños innovadores.Mientras que el Botanic Garden of SmithCollege en Northampton, EEUU, no sóloinvolucra en la ciencia a estudiantes detodas las edades a través de proyectosartísticos prácticos, sino que usa estos

BGCI • 2014 • Roots • Vol 11 (2) 04

distinguished from other species.Considering the long tradition of the useof art in botanic gardens it is now time toquestion its purpose and effectiveness. Isart currently a medium that has beenoverused in botanic gardens and is beingrecycled and repeated, in its currentform? Is art in botanic gardens banal ordoes it still have the power to bringinnovative ways of communicating plantscience to people and connecting themto plants? What is the current evidencefrom the practice of botanic gardensaround the world and where can it lead?

References

, Atalay, B., & Wamsley, K. (2008).Leonardo’s Universe: The RenaissanceWorld of Leonardo da Vinci. NationalGeographic Books.

,Gurnon. D, Voss-Andeae. J andStanley, J. (2013). Integrating Art andScience in Undergraduate Education.PLOS Biol 11(2).

,Hein, H. (2006). Public Art: ThinkingMuseums Differently. Lanham, NewYork, Toronto & Oxford: AltamiraPress.

,McNealy, T. (2013). Connecting music,art and science for increased creativityand topic engagement. Journal ofMicrobiology and Biology Education.14 (2): 267- 268.

Asimina Vergou, Liliana Derewnicka &Alicia Fernández Rodríguez

étudiants de tout âge dans la science parle biais de projets artistiques pratiques,mais également de se servir de cesprojets comme opportunité pour étudierles moyens d’apprentissage des jeunesenfants.

Et il n’y a pas que les arts visuels quipuissent être utilisés en tant que puissantsoutils de communication. Maria AméliaMartins-Loução, Gisela Gaio-Oliveira,Teresa Antunes et Ireneia Melo décrit l’artsubtil d’attirer les gens au Jardin botaniquede Lisbonne grâce à une diversitéd’évènements culturels qui mêlent lamusique, les jeux, les spectacles, l’art, lascience et la conservation.

L’art dans les jardins botaniques a étéutilisé depuis le jour où les établissementsont été fondés, sous la forme de dessinsbotaniques dont le but était de représenterdes plantes avec une précision scientifiqueet un niveau de détail leur permettantd’être reconnues et distinguées des autresespèces. Au vu de la longue tradition del’utilisation de l’art dans les jardinsbotaniques, il est maintenant temps dequestionner son objectif et son efficacité.L’art est-il actuellement un support qui aété surexploité dans les jardins botaniqueset qui est recyclé et répété dans sa formeactuelle ? L’art dans les jardins botaniquesest-il banal ou a-t-il encore la possibilitéd’apporter des moyens innovants decommuniquer sur la botanique auprès dupublic et de le relier aux plantes ? Quelssont les témoignages actuels découlant del’expérience des jardins botaniques dans lemonde et à quoi cela peut-il mener ?

Références

, Atalay, B., & Wamsley, K. (2008).Leonardo’s Universe: The RenaissanceWorld of Leonardo da Vinci. NationalGeographic Books.

,Gurnon. D, Voss-Andeae. J andStanley, J. (2013). Integrating Art andScience in Undergraduate Education.PLOS Biol 11(2)

,Hein, H. (2006). Public Art: ThinkingMuseums Differently. Lanham, NewYork, Toronto & Oxford: Altamira Press

,McNealy, T. (2013). Connecting music,art and science for increased creativityand topic engagement. Journal ofMicrobiology and Biology Education.14(2): 267- 268.

proyectos como una oportunidad paraestudiar como aprenden los niños máspequeños.

Y no es sólo que las artes visualespuedan ser utilizadas como poderosasarmas de comunicación. Maria AméliaMartins-Loução, Gisela Gaio-Oliveira,Teresa Antunes y Ireneia Melo describeel sutil arte de atraer a la gente al JardínBotánico de Lisboa a través de unaamplia variedad de eventos culturalesmezclando música, juegos,espectáculos, arte, ciencia yconservación.

El arte en los jardines botánicos se hausado desde el día en que se fundaronlas instituciones, en forma de dibujosbotánicos que pretendían representarlas plantas con exactitud científica ynivel de detalle para poder reconocerlasy distinguirlas de otras especies.Considerando la larga tradición del usodel arte en los jardines botánicos, hallegado el momento de cuestionar supropósito y efectividad. ¿Es actualmenteel arte un medio que ha sido utilizado enexceso en los jardines botánicos y estásiendo reciclado y repetido? ¿Es el artealgo banal en los jardines botánicos otiene aún el poder de ser unaherramienta innovadora para comunicarla botánica a las personasconectándolas con las plantas? ¿Quéevidencias existen en la actualidadsobre las prácticas en los jardinesbotánicos de todo el mundo y haciadónde conducen?

Bibliografía consultada

, Atalay, B., & Wamsley, K. (2008).Leonardo’s Universe: TheRenaissance World of Leonardo daVinci. National Geographic Books.

,Gurnon. D, Voss-Andeae. J andStanley, J. (2013). Integrating Art andScience in Undergraduate Education.PLOS Biol 11(2).

,Hein, H. (2006). Public Art: ThinkingMuseums Differently. Lanham, NewYork, Toronto & Oxford: AltamiraPress.

,McNealy, T. (2013). Connectingmusic, art and science for increasedcreativity and topic engagement.Journal of Microbiology and BiologyEducation. 14 (2): 267- 268.

BGCI • 2014 • Roots • Vol 11 (2) 05

Xerekua (nests), sustainable art installation by AnaIsabel Guillén, Elizabeth Merchant and Tsanda KutsiSalas (UNAM)

BGCI • 2014 • Roots • Vol 11 (2) • 06-0906

Glass in the gardens:an interview with Dale Chihuly

Verres dans les jardins : entretien avec Dale ChihulyJardines de cristal: una entrevista con 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)

(2007), Phipps Conservatory (2007), DesertBotanical Garden (2008, 2013) Franklin ParkConservatory (2009), Cheekwood BotanicalGarden and Museum of Art (2010), FrederickMeijer Gardens & Sculpture Park (2010),Dallas Arboretum (2012) and Denver BotanicGardens (2014). An estimated 8 millionpeople have visited Chihuly’s botanic garden shows, the most popular being theshow at Missouri.

Here Dale Chihuly (DC) talks to TimRichardson (TR), a contemporary landscapecritic and author who contributed an essayto the book Chihuly Garden Installations(2011), about the nature of his work inbotanic garden settings.

TR: Did you have any interest inplants and gardens in childhood or in the earlier part of your career?

DC: I grew up in a house that had a large garden [in Tacoma,Washington]. My mother worked inthe garden every day, about eighthours a day. It had about 90rhododendrons and azaleas and Iwould play in the garden with my little toy soldiers and so on. I wouldplay in the garden but I never helpedmy mother. I don't know why that is -I loved seeing the flowers but I nevergardened. Every now and then after Ileft she would find a little toy soldier.

TR:What are the practicalchallenges of working in botanicgardens? Did you find that thescientific remit of these institutionshad any impact on the work, theway it is presented and itsreception by both visitors and staff?

DC: The botanic gardens were just sohelpful - more so than working with amuseum or gallery, in my experience.They worked with us in terms oflighting, planting, pruning andcleaning. The directors got veryengaged with what we were doing -always very excited. In most casesthey'd seen my work at anotherinstitution so they had a pretty goodidea of what it was going to be.

TR: Is there a fundamentaldifference, for you, between workingwith plants in glasshouses andworking out of doors?

DC: It all started off at Garfield Park inChicago. That was a huge glasshouse:50,000 sq ft. I've always lovedglasshouses and I felt quitecomfortable in them. Later we startedworking outside and in places wherethere were hardly any glasshouses. Ifound there was not a real differenceworking indoors and outside - you justhad to get used to it. I probably doprefer the installations being outside. Itseems so natural. At Chihuly Gardenand Glass [in Seattle] visitors have theinterior situation - eight interiors - thena glasshouse I designed, and thenthey go outside into the garden. Wetake photographs of people in thespace and we often ask them whichwas their favourite. I'm always stunned

07

The Sun, New York Botanical Garden, installed 2006 (Dale Chihuly)

BGCI • Roots • Vol 11 (2)

Dale Chihuly is a Seattle-based glassartist who developed his uniquestyle in the late 1960s and 1970s,

when he taught at the Rhode Island Schoolof Design and then at his own PilchuckGlass School in Washington State.Chihuly's work is exhibited in majormuseums and galleries worldwide. Hisbotanic garden series began in 2001 withan installation of his glass forms amongthe plants at the Garfield ParkConservatory, Chicago. Chihuly exhibitedat the Royal Botanic Gardens, Kew,London in 2005. Other botanic gardenvenues include New York Botanical Garden(2006), Fairchild Tropical Botanic Garden(2006, 2007), Missouri Botanical Garden

08 BGCI • 2014 • Roots • Vol 11 (2)

by how popular the garden installation is.We have 600,000 people a year and a lotof them are probably gardeners, so theycan relate to the outside.

TR: The episodic nature and therhythm of the botanic garden showsseems to be extremely important.How do you work that out?

DC: I just trust my gut. If I make eachpiece work well then they all go togetheras a whole. We don’t try to create aparticular rhythm - we just try to makeeach installation as beautiful as we can.They should work together naturally.

TR: Can you describe the challengesand potential of creating installationsand episodes which function at night-time? Does nightfall fundamentallyalter the character of installations andepisodes, or does it deepen what isalready there?

DC: We didn't do the night shows asmuch in the beginning. We were workingon the inside, mainly, and theglasshouses weren't open at night. Butonce we started working outside we did alot more. The most important thing is thelighting. We found that once [botanicgarden staff] had seen one of the showswith night lighting, they were convincedthey wanted it, too. Some people prefer itat night, some in the day. The twoexperiences are totally different. For onething you light up the installation. Itstands on its own against darkness. Thedifference [between night and day] is liketaking a photo of something against ablack background, not a whitebackground. We like people to be able tosee both. When we sell a ticket for aChihuly garden show, people always havean option to come back at night to see it.I do have a lighting person, SteveCochran, who always works hand in handwith the garden.

TR: The garden shows are quitetheatrical in flavour. What role do thevisitors/audience play, if any?

DC: I do see them as theatre. Even onthe inside, when I do shows inglasshouses, it’s theatrical, and that hasa lot to do with the lighting.

TR: Do you like the gardens to be fullof people, or is it better to view theworks in solitude?

DC: I tend to like it with a lot of people,as I know more people are enjoying thework. I think people feel good about thefact they are seeing something they areliking and other people are enjoying it aswell. It’s like when you go to a greatshow of Van Gogh paintings; there areby definition a lot of people in thatgallery, yet you enjoy the paintings justas much as if you were alone.

TR: I have tried to make comparisonsbetween the development of yourseries of forms in glass and the wayplants develop and vary in naturethrough a process of natural selection.Does that comparison make sense toyou?

DC: The way I work with glass is veryorganic - it’s a natural way of makingglass pieces using centrifugal force, heatand gravity.

TR: At what point in your developmentas an artist did apparently organicforms start to become important toyou? To what extent did these formsarise from the properties of glass itself?

DC: It’s been like that from the verybeginning. Traditionally glass forms werealways made in a symmetrical way. WhatI did was start to make new and differentforms.

TR: In terms of the plant types yourpieces 'work' with - or against, orentwine with - do you favour exoticain general, i.e. strident forms andbright colours, or are there examplesof you working with quieter forms ofplantlife, or native plants?

DC: So much of it has to do with the way I feel at the time, when I do my walk around the garden. It's really what I want to do at that time.

Macchia Forest, 2007, Phipps Conservatory and Botanical Gardens, Pennsylvania (Dale Chihuly)

I take in the atmosphere, the plantlife andso on. It's been that way from thebeginning of the series until the end.

TR: Are there any noticeablesimilarities between the many botanicgarden settings in which you haveworked? Do you come across thesame issues and opportunities againand again, or does it always feel new?

DC: I found them all different. I've neverbeen to one where I felt I was looking atthe same place again. There are all kindsof different things in a garden which allowme to make an installation. Going aroundlooking at [different botanic gardens], I'mfortunate to be able to pick and choosewhere I want to work.

TR: Has the experience of working inbotanic gardens changed the directionand nature of your work, would yousay, or is it simply another way ofshowing off the works?

DC: It has certainly added a great deal.One major installation is Millefiori. Thatwould not have developed withoutworking in the gardens. It's a garden initself and it made a big difference that itwas to be sited outside.

TR: Is it your intention to create asense of a total work of art with eachof these garden shows, and if so howdo you aim to achieve that?

DC: There is some of that. I think ofthem [the installations] as detailedindividual projects but it can be that allthe parts make up one big, beautifulinstallation. A lot of [the botanic gardenshows] feel like a complete project.

Chihuly is creating a new exhibition atthe Fairchild Tropical Botanic Garden inDecember 2014.

RÉSUMÉ

Le travail de l'artiste Dale Chihuly baséà Seattle peut se découvrir dans desmusées et galeries du monde entier. En2001, il a commencé à développer desinstallations pour les jardins botaniques,jusqu'à présent exposées dansquelques-uns des jardins botaniquesles plus reconnus à travers le monde,notamment le Jardin botanique tropicalde Fairchild, les Jardins botaniquesroyaux de Kew, le Jardin botanique deMissouri et bien d'autres. Dans cetentretien, l'artiste échange avec l'auteuret critique contemporain enpaysagisme, Tim Richardson.Ensemble, ils discutent des relationstissées par Chihuly avec les plantes,des défis et des opportunités detravailler dans et avec les jardinsbotaniques et de la relation qui existeentre le travail de l'artiste et les décorsnaturels.

RESUMEN

La obra del artista afincado en SeattleDale Chihuly se puede contemplar enmuseos y galerías de todo el mundo. En2001, comenzó a desarrollarinstalaciones para jardines botánicos.Hasta ahora, se exhiben en algunos delos jardines botánicos más respetadosen todo el mundo, incluyendo el JardínBotánico Tropical de Fairchild, losReales Jardines Botánicos de Kew, elJardín Botánico de Missouri y muchosmás. En esta entrevista el artista hablacon el crítico de paisaje contemporáneoy autor, Tm Richardson. Los dosdebaten sobre la relación de Chihuly conlas plantas, los retos y las oportunidadesde trabajar con y en los jardinesbotánicos y sobre la relación entre laobra del artista y los entornos naturales.

Dale Chihuly Glass SculptorChihuly Studio 1111 NW 50th StSeattle, WA 98107-5120Email: info@chihuly.comWebsite: http://www.chihuly.com/

Tim RichardsonLandscape critic and authorEmail: tim@space19.demon.co.uk

BGCI • 2014 • Roots • Vol 11 (2) 09

Chihuly Garden and Glass, 2012, Seattle, Washington (Dale Chihuly)

BGCI • 2014 • Roots • Vol 11 (2) • 10-1310

Bringing science and arts togetherfor plant conservation

Mêler science et art pour la conservation des plantesUniendo la ciencia y artes para la conservación vegetal

The Jardín Botánico del Instituto de Biología de la

Universidad Nacional Autónoma de México (UNAM) is

collaborating with young artists – committed to

sustainable art and the environment. Teodolinda Balcazar

Sol and Javier Caballero explain how the artists’ work

has transformed sewer covers and enhanced living

displays to communicate the connection between culture

and nature to the public.

Xerekua (nests) by Ana Isabel Guillén, Elizabeth Merchant and Tsanda Kutsi Salas, this interactive art aims toconnect people with nature. Art included in the Earth exhibition (UNAM)

Given that the Jardín Botánico delInstituto de Biología, UNAM inMexico receives over one

hundred thousand visitors each year theMexican ministry of public education(SEP) has recognized it as an ideallocation to engage adults and childrenwith botany. The botanic garden iscommitted to achieving the goals of theGlobal Strategy for Plant Conservation(GSPC) (BGCI, 2002; Caballero et al.,2012) and therefore the garden’sprogram of guided visits, workshops,and educational activities, directed at thegeneral public, aim to build a culture ofconservation surrounding the flora ofMexico.

Since its creation, the botanic garden hasbeen the stage for a variety of visual andperformance arts. Along its 55 years ofexistence our garden has hosted painting(Hernández, et al 1994a) and sculptureexhibitions as well as theater, and for thepast 25 years has offered spring and fallconcert seasons annually (Hernández etal., 1994b; Balcázar et al., 1997).

In compliance with Target 14 of theGSPC regarding education, the botanicgarden invited young enthusiasticartists, committed to contributing to aharmonious and sustainable relationshipbetween nature and culture, to developinnovative activities which blend scienceand the arts. The activities aimed toraise public awareness for conservingbiodiversity.

Two successful projects were Art of theEarth and Urban Nature. In the exhibitionArt of the Earth, held in 2010, a series ofinstallations were interwoven with thegarden’s plant collections to highlight thebeauty of nature and the need to preventits destruction (Anonymous, 2010). In the

BGCI • 2014 • Roots • Vol 11 (2)

exhibition Urban Nature, in 2012, artistswere invited to transform the pipelines,sewer boxes and manhole covers asthese were left as scars of urbanexpansion in areas of the garden bycontractors and engineers. The artistspainted and sculptured native and mythicplants and animals representing the urbanspaces return to nature. Art of the Earthwas financed by external funds obtainedby the participating artists and UrbanNature was funded by the botanic garden.

Integration of science and art

The work displayed in both exhibitionswas focused on establishing a sharedlanguage and a vision between scientistsand artists. The process took place inthree phases. In the first phase, talksand guided tours informed the artistsabout the objectives, structure, andfunction of the botanic garden, and itsrelevance to education and conservation(Caballero, et al., 2010). Artists were alsomade aware of the considerations theymust pay to the living collections and thelimitations they may pose to the designand installation of their works of art. Itwas decided that the artists would usebiodegradable materials, preferably ofnatural origin, or recycled.

During the second phase artistsdeveloped their proposals includinghoning their conceptual foundations,producing images or models of theirproject and deciding the materials to be used.

In the third phase garden senior staff andrepresentatives of the artists’ groups,critically reviewed the proposals. Thegarden staff and the artists jointlydecided the location of each artwork, sothat the installations would be integratedinto the display area and the impact onvisitors would be maximized.

In both cases, the results of theexhibitions surpassed our expectations.Twenty-four pieces of art were displayedin the garden as the result of the work ofover forty artists participating eitherindividually or as a group. Theinstallations presented mythologicalcreatures as well as conservation ideas,endangered species, biologicalprocesses, environmental issues, andthe relevance botanic gardens to society.Tables 1 and 2 describe the works of artexhibited in the two projects.

11

Visitors investigating Florecimiento by Felix Carranza (UNAM)

Table 1. Examples of artwork exhibited as part of Art of the Earth

Name of the Work and Artist(s)

Florecimiento (Blossom)Felix Carranza

Invasion (Invasion)Eliana Muhlia

Urbanucactus eoliciAriadna Gómez

Basilisco Urbano (Urban basilisk)Thania Estrada

Efecto Dominó (Domino effect)Exa Sánchez

XerekuaAna Isabel Guillén, ElizabethMerchant & Tsanda Kutsi Salas

Description

A giant flower made out of fabric andwood symbolizing the negative impact ofhumans on the ecological balance

Wire and rubber objects displayed invarious locations across the garden.These represented invasive insect speciesand symbolized our fear of the ‘other’which may be harmless elements ofnature with which we coexist

Industrial artifacts used in air circulationdevices simulating the shape and functionof Globose cacti (Mammillaria).

Water snake made out of ceramic partsand plastic bottles representing thedisturbance of ecological balance due tothe introduction of alien species

Rectangular installations placed on thegrass forming an interactive mosaic whichrepresented the impact of urbanizationand the ecosystem resilience

Nests made out of seeds and other plantmaterials representing the role of womenin the oral tradition and the link betweennature and culture

Hundreds of visitors were engaged withthe exhibitions and interacted with thepieces of art. Artists and environmentaleducators provided guided tours to thepublic, bringing together art and scienceand providing a space for dialogue.Bringing these worlds together was acommunication challenge, given that theartists’ work often does not requireexplanation, while the visitors to abotanic garden expect description andinterpretation of what they are observing.As a solution to this challenge the artistcollaborated with the educator, so thatthe information they provided to visitorswas complementary; while the artistspoke about their work, the educatorcould refer to biology topics relevant to it.

The public was encouraged to contributeto the projects in different ways. In Art ofthe Earth, some of the work allowed andinvited interactions such as climbing tonests or moving domino tiles. DuringUrban Nature the public were asked to

BGCI • Roots • Vol 11 (2)12

Name of the Work

Victoriae reginaeAbigail Hernández

TigridiaAndrea Garduño

Alegoría a la Conejera(Allegory of the rabbit hole)Antonio “Topoi” Alborez

AxoloteInés Barrón

Flor de la Vida (Flower of life)Sara Gabriela Silva

El Ritual (The ritual)Yael Sol-Luna

CactusFelix Carranza

Theme

Installation inspired by the endemicspecies of Mexican agave, Agave victoria-reginae, which is threatened by extinction.The plant is also the emblem of thebotanic garden of UNAM

Artwork representing Tigridia pavonia, oneof the most beautiful Mexican flowerswhich is also used for medicine and food.

Inspired by the magic of stories and thebotanic garden

Inspired by an emblematic species endemicto the lacustrine zone in southern MexicoCity. The artwork is a metaphor for the exsitu conservation at the botanic garden

Represents the diverse manifestations of life

Captures the beauty of metamorphosis ofbutterflies and reveals the transformationof life

Represents cactuses as species resistantto hostile environment containing liquidessential for life

Table 2. Examples of artwork exhibited as part of Urban Nature

Visitors listen to Ariadna Gómez talk about thecreation of Urbanucactus eolici (UNAM)

vote for the best art work in theexhibition. This captured their interest inart activities, and stimulated discussionsabout the structural, conceptual andbiological aspects of each art workexhibited. The exhibitions enabled thegarden to bring new and innovative art tothe public which in turn has allowedthem and the garden staff to explorenew methods for communicatingbiodiversity conservation messages.

Acknowledgments

The authors of this paper are grateful tothe artists who contributed to theexhibits. We are also grateful to theenvironmental educators of the JardínBotánico of the Institute of Biology of theUniversidad Nacional Autónoma deMéxico for their enthusiastic collaborationin guiding the tours through the exhibitsalong with the artists. We would also liketo acknowledge the public for theirinterest and participation.

References

, Anónimo, (2010). Arte de la Tierra,Jardín Botánico: Reflexiones sobre elArte y la Naturaleza. CooperaciónSociedad y Arte, COSA, A. C. MexicoCity, 47p.

,BGCI. (2002). Estrategia Global para laConservación Vegetal. Canary Islands,Spain, 13p.

,Caballero, J. (2010). The Institute ofBiology’s Botanical Garden A GemNestled in the UNAM. Voices ofMexico Número 87, Spring-Summer:33-41. Centro de Investigacionessobre América del Norte. UniversidadNacional Autónoma de México.

,Caballero, J., L. Scheinvar, S. Arias,García-Mendoza, A., T. Balcázar, F.Basurto, R. Bye, V. Corona, L. Cortés,V. Chávez, B. Don Juan, V. Evangelista,C. Hernández, E. Herrera, E. Linares, J.L. López, C. Mapes, J. Martínez, J.Nieto. I. Omaña, G. Olalde, G.Palomino, H. Quero, L. Rangel, J.Reyes, J. Saldívar, E. Sandoval, A.Téllez, T. Terrazas, A. Vallejo, F.Vergara, A. Zarate. (2012). El JardínBotánico del Instituto de Biología de laUNAM y la Estrategia Global, para laConservación Vegetal. 77-88p. En: J.Caballero. Jardines BotánicosContribución a la ConservaciónVegetal de México. Primera edición,Comisión Nacional para el Uso yConocimiento de la Biodiversidad.Mexico City, Mexico. 183pp

,Hernández, C. C., E. Linares, T.Balcázar, C. Jiménez, L. Carmona,(1994a). El Encuentro de PinturaInfantil, una actividad de gran atractivopara niños. In: E. Linares, C .C.Hernández, E. Herrera (eds.). LaEducación en los Jardines Botánicos:Un Mundo de Ideas. AsociaciónMexicana 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 yBazares, Actividades deEsparcimiento y Educación. In: E.Linares, C. C. Hernández, E. Herrera(eds.) La Educación en los JardinesBotánicos: Un Mundo de Ideas.Asociación Mexicana de JardinesBotánicos A. C. y el Jardín Botánicodel IB-UNAM. Mexico City. pp. 78-82.

,Balcázar, T., (1997). Los JardinesBotánicos, un complemento a laformación de profesores de educaciónbásica y media. PLUMERIA 5:73-78

RÉSUMÉ

Afin de développer une approcheoriginale pour sensibiliser le public à laconservation de la biodiversité, le Jardinbotanique de l’UNAM s’est associérécemment à des artistes, jeunes etenthousiastes, qui ont la volonté detravailler de façon durable et harmonieuseavec la nature et la culture. Lesexpositions « Arte de la Tierra » et «Urban Nature » sont les deux projets quiont été réalisés et qui ont remporté unfranc succès. La première expositionconsistait en une série d’installationsintégrées à la collection de plantesvivantes pour sensibiliser le public à labeauté de la nature et sur l’importanced’arrêter de la détruire. Pour la seconde,les artistes devaient transformer lestuyaux et les égouts laissés par lesingénieurs et les constructeurs dansdivers endroits du Jardin botanique. Lesartistes ont peint et sculpté des plantes etdes animaux natifs et mythiques dessuspour représenter le retour de la naturedans les espaces urbains. Les visiteursétaient invités à interagir avec les oeuvrespour découvrir la connexion entre art etscience et apprendre pourquoi labiodiversité est essentielle à leur vie.

y esculpieron imágenes de plantas yanimales nativos y míticos de estamanera representando el regreso a lanaturaleza a partir de un espacio urbano.El público visitante fue invitado ainteractuar con el trabajo de esta tarea yasí aprendieron los lazos que existenentre el arte, ciencia y que tan esenciales la biodiversidad para sus vidas.

Teodolinda Balcazar Sol (Education and Outreach Department) & Javier Caballero (Director)Jardín Botánico del Instituto deBiología de la Universidad NacionalAutónoma de México (UNAM). Circuito Exterior s/n, Ciudad Universitaria, México, D. F. Delegación Coyoacán, C.P. 04510Email: bsol@ib.unam.mx &jcaballero@ib.unam.mx Website: http://www.ib.unam.mx/jardin/

BGCI • 2014 • Roots • Vol 11 (2) 13

Decorated sewer cover from the exhibition Urban Nature (UNAM)

RESUMEN

Con la meta de crear conciencia de labiodiversidad y conservación para elpúblico visitante, el Jardín Botánico de laUNAM junto con un grupo entusiasta ydiligente de jóvenes artistas unieron susesfuerzos recientemente en un trabajosustentable conectandoarmoniosamente naturaleza y cultura,resultando en exposiciones de dosproyectos principales: El Arte de la Tierray Naturaleza Urbana. El primeroconsistió en incorporar la colección deplantas vivas del jardín, combinando labelleza y su naturaleza y la necesidad dedetener su destrucción. En el segundo,artistas tuvieron como tarea transformarlos restos de fontanería y cañería dedesagüe en varias áreas del jardínbotánico que habían sido abandonadospor ingenieros y constructores. En estos materiales los artistas pintaron

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.

Connecting people with plants isintrinsic to botanic gardens’mission to educate about the

science, beauty and importance of theplant kingdom. Gardens are greatlearning environments and can reachpeople on an emotional, physical,intellectual and even spiritual level. Yet,not everyone is instinctively drawn toplants and gardens, so often we do notreach those without a preexistingbotanical inclination. Finding new ways ofreaching out to these groups and gettingthem excited about plants is an ongoingchallenge. Art offers a communicationchannel that creates an inviting way in, isaccessible to a wider public, andtherefore enables gardens to better serveas advocates for the plant world.

BGCI • 2014 • Roots • Vol 11 (2) • 14-1714

Art as a gateway to thebotanical world

L’art comme porte d’entrée au monde de la botaniqueUniendo la ciencia y artes para la conservación vegetal

A kindergarten child’s painting based on the Spring Bulb Show and exhibited at Smith College. See full exhibition: http://www.smith.edu/garden/exhibits/edc231/ (Smith College)

We began with two art professors runningcourses using the botanic garden as ateaching tool. The first taught lithographyand the second art history. Thelithography students had little sciencebackground, but with help from our staffthey learned all about chrysanthemums ina variety of hands-on activities—studyingfloral anatomy, dissecting flowers, andeven attempting hybridization. The courseculminated in an exhibition of lithographs,inspired and informed by theirinvestigations surroundingchrysanthemums. The art history classexplored the role of plants in Pompeianlife. Students planted Pompeian flowerboxes, while researching the culinary,medicinal and ornamental uses of theseplants. They learned how archaeologicalpalynology (pollen study) has helpedidentify plants growing in the ancient city.An exhibition, Pompeian Gardens:Illustrations from A Pompeian Herbal withdrawings by Wilhelmina Jashemski, washosted in the art department gallery. Inboth cases, art students never expectedto be engaging with the botanic gardenwhen they registered for their classes.Many admitted they would not haveotherwise stepped foot inside our facility,yet we were able to provide a windowinto the botanical realm and get themdirectly interacting with plants.

Our two most successful art relatedprojects involved an architecture classand an education class, both producingexhibitions for the general public. Theseprojects were particularly successfulbecause of how involved and creativethe professors of these classes became.Relying on the faculty’s expertise in theirrespective fields assured that thebotanical component of the classes wastotally integrated with the class syllabus.

The botanical architecture projectprovided a perfect interdisciplinaryapproach to our plant collection.Students in Introduction to Architecture:Language and Craft (a studio art class),were given the task of reinterpreting the“spatial language of a flower”. Theassignments required close botanicalobservation: each student chose aflower, photographed it, and analyzed itsspatial character in terms of architecturalorganizational principles. Studentsdeveloped their own vocabulary fordescribing what they observed. Theybuilt models to abstractly represent theflower according to this visual language.Finally, they used what they learned fromthe floral architecture to design anoutdoor pavilion. Through this processstudents learned about form andfunction in plants, discovering that

BGCI • 2014 • Roots • Vol 11 (2) 15

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)

At the Botanic Garden of Smith College,Massachusetts hosting art relatedexhibitions, including those displayingbotanical printing, floral x-rays, and plantstransformed into works of art has beensuccessful in appealing to broaderaudiences and providing new ways oflooking at plants. However, we were stillseeking methods to provide the public withmore active ways of engaging with plants.

Being situated in a small liberal artscollege, our primary audience is thecollege community. However, manystudents don’t necessarily feel thebotanic garden is relevant to them,especially those majoring in engineering,dance, architecture, or other non-botanical subjects. Not connecting withthis audience, right at our doorstep,means our wonderful conservatory andgardens were being missed by far toomany. Our academic setting offers awealth of disciplines and expertise whichcan be utilized to widen our audiences.Perhaps we need to get a little out of ourcomfort zone to create learningenvironments where students interactwith our plant collections in unexpectedways. Involving faculty outside of thebiological sciences to use our plantcollection and gardens as pedagogicaltools represented such an opportunity.

A child and a college student investigate leaves in the botanic garden as part of the Foundations and Issues ofEarly Childhood Education project (Susan Etheredge)

architectural and biological forms havemuch in common, including structure,circulation, and the influence of otherfactors such as sunlight, air, and water.Their photographs, models, and finalprojects were displayed in our exhibitiongallery, wowing and surprising visitors,staff and students alike. Unsuspectingvisitors became immersed in theconnections between architectural andbiological forms. It was a valuablelearning experience for everyone,including the botanic garden staff. I amthe first to admit that this project foreverchanged how I look at flowers!

For the education class, ourconservatory became a living laboratoryfor a semester-long investigation ofleaves. Students in Foundations andIssues of Early Childhood Education

were paired with kindergarten childrenfrom the Smith College Campus School.Our staff worked closely with theeducation professor and thekindergarten teachers to develop a leafstudy curriculum. The goal was that,while the education students wereengaged in guiding botanicalexplorations, they would gain first-handexperience of inquiry-based teachingand learning contexts for young children.Together the college students andchildren looked closely at leaves in thegreenhouses and in the classroom andlearned to use hand lenses andmicroscopes. They described the leavesusing scientific language, but alsoemployed art as a study tool. Theysketched the leaves, traced them,painted them, made rubbings of them,and photographed them. Additionally,they read poetry and books about leavesand kept journals and field notebooks.

The leaf study laid the groundwork for thestudents’ exploration of our Spring BulbShow. Using the visual arts as a tool forrecording information in their scientificstudies, the children became immersed ina painting exercise. The Campus Schoolart curriculum focuses on developingstudents’ individual expression andstudents had already been exposed to avariety of materials and techniques. Theywere given specific instructions for lookingat the flowers. They used a “thinking pen”(a marker with the cap still on) to plan their

BGCI • 2014 • Roots • Vol 11 (2)16

Children investigating leaves as part of theFoundations and Issues of Early ChildhoodEducation project (Susan Etheredge)

drawings before actually taking the cap offand recording their observations. As theyformulated how to record what they saw,any mistakes could be corrected beforemarking the paper. After the pen drawing,they added watercolors. Everyone was sotaken with the paintings and as a result,although not originally planned, wecreated an exhibition that has been onshow several times and can still be foundonline. Every time the paintings areexhibited, the public response is verypositive. People are astonished that thework is created by such young childrenand want to know more about the project.They also frequently ask to buy cards orprints. It is very rewarding to see how thechildren’s paintings strike such a cord withthe visiting public. This project seemedespecially fruitful because we managed toengage several types of audiences: theteachers, the college students, thekindergarten children and the generalpublic.

Developing good relationships withprofessors (we hired a consultant to helpus) and allowing faculty members thefreedom to create projects that wecould/would not do without theirexpertise has been crucial. Sometimesthis can be scary, as it is uncharteredterritory. While some projects have beenless effective, successful ones havebeen repeated. These forays intoatypical projects have shown how artcan function as much more than simplya lure. It can transform our audiences’experiences with our plant collection.When we spark our visitors’ curiosity, it triggers their desire to know more. The trick is continually finding new waysto do this.

RÉSUMÉ

Connecter les gens avec les plantes estinhérent à la mission du Jardin botaniquedu Smith College, mais souvent noustouchons seulement ceux qui ont déjàun attrait pour la botanique. L’art offreune nouvelle voie pour attirer un publicplus large que notre public habituel enfournissant une porte d’entrée attrayanteet accessible. Deux projets, qui ontconnu du succès et qui impliquaient desétudiants d’âges différents, étaient axéssur l’observation. Des étudiants enarchitecture ont photographié une fleuret ont analysé ses caractéristiquesspatiales, puis ils ont utilisé ces

informations pour construire desmaquettes et concevoir un pavillon. Nosserres ont servi de laboratoire vivant lorsd’une animation pédagogique destinée àde jeunes enfants. Des collégiens ontétudié comment des enfants dematernelle apprenaient lorsqu’ils étaientengagés dans des activités basées surl’investigation en étudiant des feuilles.Chaque projet a débouché sur uneexposition publique qui a permis detoucher un plus large public. Nous avonsexposé les maquettes que les étudiantsen architecture ont utilisées pouranalyser les fleurs et les pavillons qu’ilsont conçus. L’exposition des maternellesreprésentait des dessins.

RESUMEN

La conexión planta y gente es intrínsecaen la misión del Jardín Botánico delcolegio Smith, aunque frecuentementealcanza únicamente a aquéllas personasque ya tienen una inclinación botánica.El arte por su parte ofrece una maneranueva de atraer a un público mayor odiferente unido a quienes ya tienen uninterés en las plantas, esta manera esmás atractiva y accesible. Estudiantesde diferentes edades fueron losparticipantes de dos proyectos exitososenfocados a la observación. Los dearquitectura fotografiaron una flor yanalizaron su carácter espacial, lainformación generada fue usada para

elaborar modelos y diseñar un pabellón.Por otro lado los de educación infantil, elinvernadero fue el laboratorio vivientedonde los futuros arquitectosobservaron como los pequeños de unjardín preescolar aprenden mientrasobservaban hojas y responden apreguntas especificas. Las exposicionespublicas de ambos proyectos seproyectaron aun mas mostrándose alpúblico visitante. Tanto los modelosarquitectónicos producidos del análisisde las flores y los pabellones diseñadospor estudiantes, como las acuarelasoriginales que los niños crearon usandosu motivación y ‘la pluma que piensa’.Ambas exposiciones proporcionaronevidencia de la inspiración y aprendizajeen la interacción gente/planta.

For information about Foundations andIssues of Early Childhood Education visit:http://www.smith.edu/garden/exhibits/edc231/ or to view the botanicalarchitecture exhibition visit:http://www.smith.edu/future/NewsEvents11/ArtExhibit11

Madelaine Zadik (Manager ofEducation and Outreach)Botanic Garden of Smith CollegeLyman Plant House, 16 College LaneNorthampton, MA 01063 USA Email: mzadik@smith.edu Website: www.smith.edu/garden/

BGCI • 2014 • Roots • Vol 11 (2) 17

Tracing leaves as part of the Foundations and Issues of Early Childhood Education project (Susan Etheredge)

BGCI • 2014 • Roots • Vol 11 (2) • 18-2018

Ihad and still have a very close andspecial bond with botanic gardens;looking back now I had such a unique

and privileged childhood growing up,living and playing inside the boundaries ofa garden; my father was the curator of theLowveld Botanical Gardens in Nelspruit,South Africa, and my grandfather was thecurator of the Harold Porter BotanicalGardens in Betty's Bay, South Africa. Iwas basically born into a life of plants andso growing up, weekends would not bespent in a mall, but rather on outings withthe orchid society or the local rare plantsociety looking for strange and wonderfulplants in the mountains of eastern Africa. On these expeditions there would bepeople from all walks of life with onecommon link, the love for plants and theimmense knowledge on flora and faunathey had gathered over the years andshared eagerly and freely with me.Learning so much about nature from ayoung age made me understand its valueto humans, and the importance ofconserving it.

Looking at the society in South Africatoday I cannot help but wonder: “how arewe going to cultivate more appreciationand love for our local natural heritage ifthe upcoming younger generations aren’texposed to nature in some way or formlike I was from a young age? How canyou love and appreciate something if youhaven’t spent time with it?”

The Living Beehive: innovative garden design to engagechildren with conservation

La Ruche Vivante : un jardin innovant conçu pour sensibiliser les enfants à la conservationLa Colmena Viviente: diseño original de jardín para involucrar a los pequeños en aspectos de conservación

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.

water from the tap anymore, or the factthat rain, rivers and springs never evencame up as a possible answer?

We have a lot of catching up to do, if wewant that mindset to change. But wecannot blame the kids for not knowingwhere clean water, strawberries or evensugar come from. They need to see, smell

Whilst giving a gardening talk to a groupof school kids, it shocked me that when Iput a simple question to them: “wheredoes water come from?” I got theanswer: “the shops”.

I don’t know what about that answershould have been more worrisome tome: the fact that they cannot just drink

Leon Kluge and David Davidson, who was part of the dome construction, in front of the Living Beehive (Leon Kluge)

and touch the strawberry on the plant orbreak open the sugar cane themselves;that’s how the seed of wanting to knowmore about nature gets planted in a child.

This is where landscape artists such asme can help, by working closely withbotanic gardens to educate the futuregenerations and generate a biggerappreciation of nature in all its forms.

The South African Biodiversity Instituteinvited me to create the Living Beehive.This project became a garden installationthat would explain the importance ofkeeping all our different and extremelythreatened ecosystems alive and healthyand the important role the differentecosystems have in working as onemassive filter to provide rural farmers andcity dwellers of KwaZulu-Natal their cleandrinking water. Living Beehive is based onSouth Africa’s impressive biodiversity andits importance to providing clean water.

The shape and name of the dome derivesfrom the early Zulu grass huts that were inand around the Durban area a long timeago; these were called beehive huts. Justas the early huts were made out of localgrass, the outside of the dome of theLiving Beehive is planted with a carefullychosen plant pallet consisting of mainlyliving grasses, some bulbous plants andother interesting plant species that addvariety and color. For example, a widerange of Kniphofias and Dieramas havebeen chosen, which are part of the flora ofthe highlands of KwaZulu-Natal. Thismountainous area is called theDrakensberg and its endless grasslands

and vistas are one of the true naturalwonders of the world. This is where mostof southern Africa’s rainfall occurs. This isthe starting point for the journey from

raindrops to drinking water supplyingalmost all of South Africa’s main urbancentres and the millions of people living inthem. The grasslands are importantbecause they provide clean water as wellas providing grazing for livestock,medicinal plants and preventing soilerosion.

Underneath the grassed outer space ofthe Living Beehive, a walkway meandersthrough the inside of the dome,surrounded by vertical walls planted withspecies found only on the natural cliff-sides on the escarpments of theDrakensberg. These are the plants thatvery few people get to see, plants thathave no fear of heights and thrive on themist of the tumbling white waterfalls,plants such as Streptocarpus, Begonias,Impatients and many more.

The ceiling, on the inside of the dome, isplanted with local creepers found in thedense forests surrounding the city of

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Interpretation panel explaining the construction of the Living Beehive (Leon Kluge)

The walkway meanders through the inside of the Living Beehive, where the planting symbolizes dense forestand wetlands (Leon Kluge)

Durban; they hang from the ceilingcreating a chandelier of foliage, giving thedome the atmosphere of a fairy-tale.

The water’s journey does not end there;from the massive waterfalls the watertravels through forest to the coastalwetlands, and so in the dome the waterflows from the vertical greened walls intothe wetland on the ground below,showcasing the plants that would occur inthis environment and explaining each andeveryone’s role in the journey. All excesswater in the dome gets caught up in aHolding tank underground to be recycledand used again.

We also provided a floor space inside thedome with grassed mounds that act asseating areas for people wanderingthrough the Living Beehive. This littleamphitheater acts as the perfect outdoorclassroom.

The Living Beehive brings togetherpeople, engineering and biodiversity toshow the type of innovative design andthinking that will reconnect people tonature. By investing in our naturalresources we can create thousands ofjobs. Greater investment in biodiversitycan provide society with a wealth ofservices that can support service deliveryand job creation in a low carbon economy.

Traditional botanic gardens are beautifuland amazing to have a picnic in, but theyneed to keep up with the times, to attracta younger crowd. That means exploitingpartnerships between experts, such asartists, landscapers, land artists,architects, engineers and many more tocreate innovative gardens like the LivingBeehive. If the budget is available,projects like the Gardens by the Bay inSingapore, also prove over and over againthrough the number of eager feet enteringthe gates every day, that gardens, art andtechnology can work in harmony to makethe younger generations come out frombehind the TV screens and experiencesunshine and learn about mother nature.

RÉSUMÉ

Pour une vie saine, il est essentiel d’avoirdes écosystèmes intacts et salubres quifournissent une eau potable aux villesd’Afrique. Cependant, l’eau est uneressource qui devient de plus en plusrare à cause de la destruction des

prairies et des zones humides d’altitude.Pour communiquer auprès des enfantssur l’importance de maintenir cesécosystèmes, j’ai conçu une structurebasée sur une hutte zoulouetraditionnelle en forme de ruche. Le toitvert représente nos escarpementsherbeux riches et diversifiés et qui sontles zones de captage pour la plupart denotre eau potable. A l’intérieur, c’est unespace pédagogique entouré d’uneparoi et surmonté d’un plafond jardinéavec des plantes endémiques desfalaises, rares et sensationnelles,plantées pour décrire le chemin suivi parl’eau à travers les différentsécosystèmes avant d’arriver jusqu’à nosrobinets. Pour former de futuresgénérations plus vertes, il faut permettreaux enfants d’avoir à un contact procheavec la nature. Impliquer les artistespour qu’ils jouent avec les plantes etl’ingénierie humaine est un moyenextrêmement efficace pour sensibiliserles enfants sur l’importance deconserver une planète saine. Fusionnerles deux permet de créer des outilséducatifs excitants pour les jardinsbotaniques.

RESUMEN

El abastecimiento de agua potable paraciudades africanas asegura ecosistemassanos que son esenciales para el buenvivir. Sin embargo, debido a ladestrucción de mantos acuáticos y

sabanas, día con día este recurso estásiendo más escaso. Una manera decomunicar a pequeños la importancia demantener los ecosistemas ha sido eldiseño de una estructura basada en lainstalación de un colmenar tradicional delos Zulú. El techo verde representa lariqueza y diversidad de la sabana ypastos, que es el área de captura deagua en la mayoría de ecosistemas.Dentro se localiza el área de educación,rodeada por jardines verticales y techos,todos con plantas raras o extraordinariasque se encuentran en los peñascos, enellos se muestran los diferentesecosistemas en los que el agua escapturada y los caminos que esta siguepara llegar a nuestros grifos. Parainculcar una educación verde a futurasgeneraciones, los pequeños necesitanestar en contacto con la naturaleza; estaes una manera efectiva de entender yentrelazarse con un planeta sano. Lainstalación involucro artistas que juegancon plantas e ingeniería humana,combinando ambos se creó unatremenda herramienta educativa para losjardines botánicos.

Leon KlugeGarden designer and land artist 45 Marloth Street, 1200 Nelspruit, Mpumalanga, South AfricaEmail: leonkluge@yahoo.comWebsite:www.leonklugegardendesign.co.za

BGCI • 2014 • Roots • Vol 11 (2) 20

Volunteers, with their skills and expertise, were invaluable to the development of Living Beehive. (Leon Kluge)

In memory of Alexandra Escudeiro

Alexandra Escudeiro (1949-2013),biologist, worked for LisbonBotanic Garden since the 1980s.

She was appointed to study the flora,taxonomically, but rapidly she moved to philosophy of science and plantethnography, areas that she embracedwhile working at herbarium. She was thepillar of environmental education at Lisbon Botanic Garden as well as of many outreach activities here described.

The Lisbon Botanic Garden

The Lisbon Botanic Garden is part of theNational Museum of Natural History andScience of Lisbon University. The gardenwas established in the 19th century for theteaching of botany, however, in the recentyears it is greatly valued as an idyllic spotwithin the city as well as an institution ofcultural and scientific significance. Overfour hectares, the garden has a diverseliving collection of around 1500 species,which represents Portugal’s cultural andenvironmental heritage.

Due to decreased funding, over the last 10 years, different approaches tofundraising have been developed,combining the need to attract visitors and the mission of the garden towardsbiodiversity conservation. Through various projects the total number of visitors has increased from 22,000 in 2002 to approximately 80,000 in 2013.

BGCI • 2014 • Roots • Vol 11 (2) • 21-23 21

The subtle art of attractingpeople to Lisbon Botanic Garden

L’art subtil d’attirer les gens au jardin botanique de LisbonneEl delicado arte de atraer gente al Jardín Botánico de Lisboa

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.

Living mushroom exhibition. Short-term exhibition offered during wintertime to show species of fungiassociated with different habitats (LBG)

Art and Communication

Crafted from nature, gardens are neitherall nature nor all art and design: but asynergy of the two. Botanic gardens, inparticular, are an interaction betweennature and scientific construction. Inthese gardens art, design and natureinteract to produce the perfect place toinspire people about plants.

Lisbon Botanic Garden is a scientificinstitution, conducting research andrunning education programs on plantconservation, but it is also able to createaesthetically pleasing refuges frommodern life. And this is what touristsappreciate the most when visiting LisbonBotanic Garden. In 2003 foreign touristsmade up 80% of the gardens visitors.Therefore we decided to develop newactivities to attract local people.

BGCI • 2014 • Roots • Vol 11 (2)22

An open air violin concert performed by local children (LBG)

Our first attempt in 2004 involvedproducing good quality and attractiveleaflets with the garden map, noting thelocation of plant species and groups ofspecial interest. Other engagementactivities included: (i) selecting a plantspecies each month and disseminatingits taxonomic and geographicalinformation, as well as fascinating facts,on our website and Facebook page; (ii) developing 22 interpretation panelsabout key plant species (e.g. Dracaenadraco) or groups (e.g. Cycads) toincrease the scientific informationprovided to visitors; (iii) launching newexhibition areas displaying scientificillustrations as both a form of art andscience communication; (iv) offeringtemporary exhibitions, such as the livingmushroom exhibition, that have beenattracting large and diverse audiences.

These examples illustrate that to engagevisitors it is important botanic gardens tomaintain attractive plant displays andvisitor facilities but also to use creativescience communication methods aboutplants and their habitats. More than ever,as well as offering a refuge it is importantfor botanic gardens to raise publicawareness for plant diversity andconservation by developing well focusedcommunication strategies that includeboth science and art.

Art and public engagementactivities

The way in which we appreciate agarden is constructed through ourprevious experiences and knowledge.Therefore, the way a botanist and non-scientist interpret a garden will bedifferent. Botanic gardens’ displays are aform of exhibition; the messages they

convey are communicated through whatis displayed and the way the plants areput together. Therefore, what matters isthe significance people project onto theobjects on display and what they maycommunicate to each individual.

During 2003, as part of the celebrationsfor the garden’s 125th anniversary wedeveloped special guided tours, entitled“The garden through the eyes of…”.Individuals from diverse backgrounds –well known in politics, business,academia, economics, architecture,among others – were invited to offertours throughout the garden. The guideswere asked to describe the botanicgarden from their own point of view. Theevents took place monthly for a year andattracted many new visitors.

Further recreational activities broughtmore visitors to the garden duringweekends: children’s music concerts,group performances, young theatrecompanies, poetry reading and familygames. Also, dramatized guided tours,featuring characters like Linnaeus andDarwin were very popular, informing thepublic about the garden and the need toconserve plant biodiversity.

Art exhibitions have always been a partof Lisbon Botanic Garden, although heldsporadically. Since 2003, newpartnerships, with the Faculty of FineArts (Lisbon University) and freelancesculptors were established. Now new

artists use the garden to display theirwork every year. These exhibitions haveinvited new audiences and increased thegarden’s revenue.

The strategies

All the described activities have beendeveloped through different projects andpartnerships. For example, as part of theEuropean Youth Volunteer project,running from 2004 to 2008, youngstudents from different backgroundscame to the garden, to offer theirexpertise in art and architecture. Thiswas an opportunity to highlight the linkbetween science communication and artand develop ideas and projects that arestill being used. The aim was to use theviews and creativity of individuals fromdifferent backgrounds, to diversify,enhance and improve visitor experience.

Partnerships with art schools havefocused on the exchange of expertise.We teach about plants and biodiversityand develop a better understanding ofart expression. Another partnership wasestablished with a film producer whodrew parallels between the plantconservation efforts of botanic gardensand the actions of Cinematica aninstitution which preserves anddisseminates film heritage. The parallelwas drawn by using the idea of a race against time as depicted in Alice’s Adventures in Wonderland, by Lewis Carroll.

A youth theatre company perform in the garden(LBG)

Lisbonne, en particulier avec l’école d’art.Cet article aborde les interactions entreces projets artistiques et le jardinbotanique ainsi que leurs impacts sur lenombre de visiteurs et la transmission desmessages du jardin au sujet de laconservation.

RESUMEN

El jardín botánico de Lisboa ha atraídosiempre una amplia audienciainternacional de turistas y visitanteslocales. En la última décadaespecialmente para atraer al públicoportugués el jardín ha presentado unvariedad cultural de actividades. Los dospropósitos principales de estas son elpromover actitudes en pro delmedioambiente y fomentar el apoyo delpúblico para el jardín. El jardín tiene comometa lograr ambos por medio de juegosfamiliares, talleres de arte, eventosmusicales, días abiertos antes delcrepúsculo, y exposiciones de arte entodo el espacio del jardín durante lasépocas de primavera/verano. Así se handesarrollado estrategias de programaseuropeos de voluntarios, y tambiénasociaciones con otras organizaciones,conjunto con trabajo interdepartamentaldentro de la Universidad de Lisboa, enparticular con la escuela de artes. Estacontribución describe la interacción y elimpacto que hay entre los proyectos dearte y el jardín, haciendo referencia a losnúmeros de visitantes y la transmisión delos mensajes del jardín en lo que aconservación refiere.

Maria Amélia Martins-Loução,Professor, Centro de BiologiaAmbiental Universidade de Lisboa,Gisela Gaio-Oliveira, Project teammember Pavilion of Knowledge -Ciência Viva, Teresa Antunes,Responsible for the living plantcollections, Jardim Botânico & Ireneia Melo, Principal Researcher,Jardim BotânicoCentro de Biologia Ambiental &Jardim Botânico, Museu Nacional deHistória Natural e da CiênciaUniversidade de LisboaRua da Escola Politécnica 541250-102 Lisbon, PortugalEmail: maloucao@fc.ul.pt,goliveira@cienciaviva.pt,mtantunes@museus.ul.ptmimelo@fc.ul.pt Website: www.jb.ul.pt

BGCI • 2014 • Roots • Vol 11 (2) 23

“Linnaeus” guiding a tour through the garden (LBG)

Art per se (e.g. art exhibitions andconcerts) is an effective tool in attractingvisitors to increase revenue. However,there is often debate over whether theseactivities deviate from the organizationalmission related to plant conservation andengaging the public with plants.

It is important to run activities in a botanicgarden that promote creativity but alsoensure that these are fully funded. Welearnt that diversity in public engagementactivities increases the number anddiversity of visitors. We also learnt thatpartnerships with different institutions,

such as the Faculty of Fine Arts, are trulyrewarding. Through them we have beenable to communicate environmentalissues and the beauty of plants. LisbonBotanic Garden acknowledges theimportance of running art activities whilstalso fulfils its scientific mission. Thus, itwill continue to promote the awarenessfor plant diversity and conservationthrough different and creative approaches,binding science and art to benefit itsvisitors.

RÉSUMÉ

Le Jardin botanique de Lisbonne atoujours attiré un large public de touristesinternationaux, plus que de visiteurslocaux. Durant la dernière décennie, leJardin a proposé un panel d’activitésculturelles pour attirer le public portugais.Les deux principaux objectifs de cesactivités ont été d’encourager desattitudes pro environnementales et desusciter le soutien du public vis-à-vis duJardin. Pour atteindre ces objectifs, leJardin a réalisé des jeux à faire en famille,des performances artistiques, desévénements musicaux lors des soirées deprintemps et d’été, ainsi que desexpositions d’art dans le jardin.Différentes stratégies ont été développées: utiliser des programmes de volontaireseuropéens, monter des partenariats avecd’autres organisations et développer letravail interdépartemental à l’Université de

Art exhibit by sculptor António Vasconcelos Lapa(LBG)

The problem

Our society’s estrangement fromnature has resulted in asignificant decline in human and

ecological well-being and has led tocatastrophic problems such as climatechange and loss of biodiversity. Botanic

gardens are in a prime position to helpreverse this disconnection from nature.Humankind is inspired by beauty,therefore, by extending the splendor ofthe garden to the built environmentthrough biophilic design and art, we canhelp bridge this divide.

Traditionally, botanic gardens haveaddressed issues like loss of habitat andbiodiversity through both ex situ and insitu conservation efforts. In many casesthese efforts have been successful in theshort term. Less recognized, however, isthe opportunity to address the problemsby focusing on the longer term. Rather

BGCI • 2014 • Roots • Vol 11 (2) • 24-26 24

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

Using biophilia and art totransform the botanic gardenvisitor experience

Utiliser la biophilie et l’art pour transformer l’expérience des visiteurs dans les jardins botaniquesUsando el amor a la vida (biofilia) y arte transformando la experiencia de visitar un Jardín Botánico

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.

than merely treating the symptoms ofour disconnection from nature, we canwork to change the root causes of thissituation, altering behaviour in a way thatwill result in better human and ecologicalhealth.

The opportunity

We spend 80 per cent of our lives insidebuildings that are designed to isolate andprotect us from nature. If we cantransform the human experience thattakes place at the intersection of the builtand natural world we may be able todevelop behaviours that bring a greaterrespect for and appreciation of nature.For centuries, people have come to ourgardens for inspiration and learning. Anopportunity exists to createtransformative visitor experiences in ourbuildings by capitalizing on biophilia: ourinherent need to connect with other lifeforms. We can bring the inspiration of ourgardens into the built environments andencourage others to do so too through

programs like the BETA Project (BiophiliaEnhanced Through Art) at PhippsConservatory and Botanical Gardens.

The process

The concept of biophilia, as coined byErich Fromm and popularized bybiologist E. O. Wilson, has long been apart of green building tootlkit and a set ofdependable strategies has emerged toinspire connections to nature. In ournewest building, the Center forSustainable Landscapes (CSL), whichwas designed to meet the highest greenbuilding standards in the world, we tookadvantage of many of the traditionalbiophilic design strategies: amplewindows provide natural light andventilation; views of the outdoorsconnect staff and visitors to the naturalenvironment; the strategic placement ofplants, in this case clean air plants,makes interiors more attractive whilepurifying the air.

Most people incorporate biophilic designinto their buildings because of the well-known and documented benefits tohuman health and productivity. Yet, quiteoften, even if we apply these traditionalforms of biophilic design our buildingscan still feel uninspiring. If we wantpeople to reconnect with nature then wemust make our buildings beautiful andinspirational spaces in which people canlive, work and play. It is with this idea inmind that we developed the BETAProject: a new art exhibition stagedthroughout the building and surroundinglandscape at Phipps’ CSL. The BETA

Project brings a new dimension ofsensory engagement to the CSL, creatingdozens of opportunities for visitors toexperience nature’s beauty through thelens of the artist. To reinforce the CSL’swestern Pennsylvanian location theexhibitions features mainly local artists,however, because the principles ofbiophilic design are universal, there isalso a dynamic mix of international artistssuch as Dale Chihuly and Hans GodoFräbel.

Not just pretty pictures

Using art to enhance biophilia is notsimply a case of hanging pretty picturesaround the building. It requires aconcerted effort to understand whatconcepts resonate with staff and it mustreinforce one or more of 10 BETA themes– scale, intrinsic connection, subtlety,sensory richness, beauty, mindfulness,rethinking possible, cycles and seasons,symbolic geometry and interactivity –which were defined at the outset of theproject to ensure unity and consistency ofpurpose.

Early on at Phipps, staff members wereengaged in interactive creative visioning,culture and branding sessions. Thegatherings began with mindful meditation,allowing for centring, grounding, andfostering group focus and unity. Thisshared time together helped to inform andinspire the selection of artists, artwork andcontent as well as ensuring the exhibitionwas curated in a manner that wasmeaningful and appropriate to the project.During the discussions, staff gravitatedtowards a few key visual elements: circularforms, which help to instill a sense ofwholeness; full spectrum color, whichconveys feelings of inspiration and joy;and images of sky and birds, arepresentation of uplifting, broad andwhimsical vision. The resultant variety ofmedia and materials showcased in theBETA Project give the exhibition depth anddimension. Paintings, photographs,drawings, sculptures, plants, fossils, andeven a sound art installation are brought tolife by a palette of elements such assalvaged wood, steel, bronze, blown andtorch-worked glass, mineral pigments, treeresin, gold leaf, rain water and vellum. Theproject includes gallery space to displaythe nature-related artwork from localschoolchildren and of regional artists on arotating seasonal basis, to actively engageour community throughout the year.

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The interior of the CSL aims to connect the indoorswith the outdoors by using natural forms and plants(Denmarsh Photography, Inc)

The BETA Project is an exhibition of art which evokes nature staged throughout the CSL (DenmarshPhotography, Inc)

The result is a space that feels alive andconnected to the surroundingenvironment. Everywhere you look there isa reminder that we are part of nature andthat it is important that we integrate ourlives into the systems by which it works.

The Positive effects

Enhancing the spaces where we spendmost of our lives by means of biophilicdesign and biophilia inspired art canhave a profound impact on occupantsand visitors. Substantial evidence existsto demonstrate the positive effect suchconnections can have on human healthand well-being and that makingconnections to nature, particularly whenpeople are young, can profoundly affecthow we experience and treat the naturalenvironment throughout our lives (seeKellert et al., 2008).

Climate change and anthropogenic lossof biodiversity are symptoms of ourdisconnection from nature. In the shortterm, we need to continue our traditionalefforts to combat these problems. In thelonger term, we should focus our effortsnot on the symptoms but rather on theroot of the problem. The connections wemake between nature and peoplethrough our gardens can be fostered bybringing natural elements into our builtenvironments through art, in a way thatour visitors can relate to and which canbe replicated in their lives. Through thiswe can play an important role in leadingpeople to have a greater respect for thenatural world of which we are all a part.

For more information about Phipps, the Center for Sustainable Landscapesand the BETA Project, visitphipps.conservatory.org and read theBETA Project exhibit guide.

Reference

,Kellert, S.R., Heerwagen, J.H., andMador, M.L. (2008) (Eds.) BiophilicDesign: The Theory, Science andPractice of Bringing Buildings to Life.Hoboken, NJ: John Wiley & Sons

RÉSUMÉ

L’éloignement de notre société vis-à-visde la nature a causé un grand déclindans le bien-être humain etenvironnemental, et a contribué à desproblèmes catastrophiques comme lechangement climatique et la perte debiodiversité. Les jardins botaniques sonten première position pour aider les gensà se reconnecter avec la nature.L’humanité est inspirée par la beauté et,en développant la splendeur du jardindans un environnement urbain par lebiais du design biophilique, il estpossible combler ce fossé. Le designbiophilique par l’intermédiaire de l’artrequière un processus dedéveloppement bien pensé, qui mène àla création d’espaces qui donnent del’inspiration et connectent le public defaçon cohérente avec la nature à traverstous les sens, permettant d’influencer lescomportements et les expériences desgens. Les bénéfices du designbiophilique sont bien documentés.

Bien plus que traiter simplement lessymptômes de notre déconnexion avecla nature, nous pouvons changer lesbases mêmes, en modifiant enprofondeur nos comportements; il enrésultera une meilleure santé humaine et environnementale.

RESUMEN

Hoy en día nuestra sociedad se encuentraseparada de la naturaleza y esto hainducido una decaída en el bienestar delmedioambiente, al mismo tiempocontribuyendo a problemas catastróficoscomo son el cambio climático y perdidade la biodiversidad. Los jardinesbotánicos están en una posiciónprimordial en ayudar a reconectar la gentecon la naturaleza. La humanidad seinspira en la belleza y, extiende suesplendor en un jardín a partir de unmedio urbano usando un diseño biofilicoy el arte, creando así un puente de uniónen esta separación de la belleza natural.El amor a la vida [biofilia] es la conexiónentre los sentidos y da la oportunidadpara influenciar el comportamiento yexperiencia de las gentes. Un diseñobiofilico artístico requiere de un procesode pensamiento planeado y profundo,que inspira la creación de espacios queconectan a la naturaleza y la gente contodos sus sentidos, influenciando nuevasexperiencias y actitudes humanas. Losbeneficios de un diseño biofilico han sidobien estudiados y documentados. Nosolamente para tratar los síntomas deseparación con la naturaleza, la biofiliatambién puede ser usada para cambiarde raíz lo causa ese

Richard V. Piacentini Executive directorPhipps Conservatory and BotanicalGardens1 Schenley Dr, Pittsburgh, PA 15213, United StatesEmail:RPiacentini@phipps.conservatory.orgWebsite:http://phipps.conservatory.org/

Sonja BochartSmithGroup JJR500 Griswold St #1700, Detroit, MI 48226, United StatesEmail:sonja.bochart@smithgroupjjr.comWebsite: www.smithgroupjjr.com/

BGCI • 2014 • Roots • Vol 11 (2) 26

The design of CLS and the BETA Project exhibition results in a space that feels alive and connected to thesurrounding environment (Denmarsh Photography, Inc)

At the National Botanic Garden,Vácrátót in Hungary we aim toattract attention to the beauty of

the world of plants, biodiversity, and tothe indispensable role of plants in our lifeand culture. One of the ways we do this isby running programmes related to artsand plants on an annual basis.

Highlighting our reliance on plants isessential as people’s increasingdisconnect from nature contributes to theperpetuation of many global issues. If wemanage to create attachment to natureby children learning about it and loving it,then that may contribute to thembecoming environmentally conscious

adults. Hungary’s National Curriculumstates (NCC, 2012) that: “generationsgrowing up must know and value the richvariability of life forms in nature andculture... They must learn to use resourcesconsciously, less intensively andresponsibly in regard to their renewability.”This requires that young people receiveeffective environmental education.“Environmental education involves trainingon culture, worldviews, and lifestyle. Itconveys information, motivation, andvalues, but first of all it strengthens thesense of contributing to the efficient useof natural resources, and takingresponsibility in protecting theenvironment.” (Kiss and Zsiros, 2006, p.4).

The garden’s public engagementactivities satisfy the NationalEnvironmental Education Strategy ofHungary (see Vásárhelyi, 2010). This was

BGCI • 2014 • Roots • Vol 11 (2) • 27-029 27

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

Art projects at the National BotanicGarden, Vácrátót, Hungary

Projets artistiques au Jardin botanique national, Vácrátót, HongrieProyectos de arte en el Jardín Botánico Nacional, Vácrátót, Hungría

The National Botanic Garden, Vácrátót, Hungary has a

regular programme of activities that link art and science.

In this article Éva Halász-Szakács, Gergely Lunk and

Tünde Thalmeiner describe a children’s competition,

story book and trail that engage young people with plants

through imagery in literature.

formulated by the Hungarian NationalEnvironmental Education Committeewhich is based on the 1992 RioDeclaration and states thatextracurricular activities are effectiveeducational experiences because of theirfreedom, relaxed time frame and the factthat they allow for experiential learning.Furthermore, they can enhance formaleducation by adding unique and excitingexperiences that promote emotionalattachment.

The National Curriculum of Hungary hasalso integrated key competenciesrecommended by the EuropeanCommission to be adopted by nationaleducation systems across Europe. At EUlevel eight key competencies have beenidentified as necessary for personaldevelopment, active citizenship, socialinclusion and employment. Thesecomprise: communication in native andforeign languages, competence inmathematics, science and technology,digital competence, learning to learn,social and civic competences, sense ofinitiative and entrepreneurship, andcultural awareness and expression (EC,2006). The competency-basededucation can also be linked to HowardGardener’s (1983) theory of multipleintelligences that urged teachers to helpstudents to use their combination ofintelligences (abilities) for their personaland academic development.

The National Botanic Garden, Vácrátót isusing art in its education programmes inline with the key competencies educationpolicy and the national environmental

education strategy. For three years wehave run a nationwide art competition forelementary school children, based ontopics related to the garden, called:‘Investigate plants in literature’. Weencourage participating students to readliterature, search for reference to plants inthem, make pieces of artwork inspired bythem and research the chosen plant inscientific publications. This competitionis of great educational value as it linksliterature to botany and results infulfilment from creative enterprize. Thecurricula of more subjects are interwovenfacilitating competency-based learning.Additionally, the competition showschildren that many pieces of literaturecontain plants and plant imagery whichindicate the close relationship of humanswith nature in the past. We frequentlycome across plants in literature whichwork as metaphors and this furtherstrengthens the people-plantrelationship, enhances students’imaginations and widens theirperspectives. The competitionencourages participants to makepersonal observations and research, thusengaging students with nature, botanyand the botanic garden.

‘Investigate plants in literature’encourages young people to do researchin specialist botanical literature to learnabout plant characteristics and getinspiration from the botanical illustrationswhich also have their own artistic value.Each student participating in thecompetition has to create an A3 page tointroduce the plant and use drawings,paintings and other plant illustrations

found in scientific literature tocomplement the description. Besides thescientific focus of the activity, thechildren develop their creativity and self-expression. The botanic gardendetermines only the size of the artwork(A3); the technique and media aredecided by the children. Until now, wehave received works in colour pencil,pastel, watercolour and tempera,including many in mixed media. Thanksto inspiring teachers supporting thechildren, we have received some veryinnovative and unique entries. Manychildren created interactive pieces e.g.folded booklets or included interactiveelements such as movable flaps,windows and wheel charts. The creationof the artwork is expected not only tospark children’s imagination but to alsodevelop their emotional attachment totheir own work and the plant itself.

Linked to the competition children couldalso participate in a literary treasure huntduring our spring programmes. They hadto find 20 stations with plant quotationsaround the garden, each located close toa living example of the species inquestion giving hints and inspiration forchildren to create their own pieces forthe competition.

Although we accept individual entries,we decided to reach children mainly withthe help of schools. This year wereceived 152 applications from 48locations. The works received for the

BGCI • 2014 • Roots • Vol 11 (2)28

A special prize awarded competition entry by Zalán István Ruff (aged 11), depicting almond (Prunus dulcis) (National Botanic Garden, Vácrátót)

‘Wonderful plants, Plant wonders’ by ErzsébetFráter; a book about plant-related myths and leg-ends. (National Botanic Garden, Vácrátót)

competition are exhibited for a month inautumn, during which thousands ofvisitors can enjoy them as both a meansof botanical learning and works of art.The competition will be held in comingsprings as a tradition and aims to attractentries from diverse groups of children.

This year, the prize for the winners of thecompetition was a signed copy of thebook ‘Wonderful plants, plant wonders’.The book is by Erzsébet Fráter, thegarden’s collections curator, andpresents plant-related legends andmyths. This book is another example ofthe garden’s activities that communicatethe importance of plants through art andhas also been used to develop anexhibition in the garden aboutbiodiversity and humans’ connections toplants. The book’s beautiful illustrationsalone are pieces of art, and the legendsand myths about plants have greateducational value. This exhibition is partof the garden’s interpretation that aimsto reach the thousands of people thatvisit the garden every year andcontribute to the shaping of pro-environmental attitudes and behaviours.

In the future we are planning to start apainting course for older children, andalready students from a secondary artschool are coming to our garden to paintlandscapes. By utilising different publicengagement methods including art, weaim to ensure that visitors do not onlytake pleasure in the beauty of plants butthey also learn about the research andconservation work of botanic gardens,environmental issues and the need toconserve biodiversity.

References

,NCC (2012). National Core Curriculum(A Kormány 110/2012. [VI. 4.] Korm.Rendelete a Nemzeti alaptantervkiadásáról, bevezetésér � l ésalkalmazásáról. Magyar Közlöny,2012/66, 10635-10847, in Hungarian)

, EC (2006) Recommendation of theEuropean Parliament and of theCouncil of 18 December 2006 on keycompetences for lifelong learning(2006/962/EC), Official Journal of theEuropean Union, L 394/10

,Gardner, H. (1983). Multipleintelligences: The theory in practice, areader. New York: Basic Books

,Kiss, F. Zsiros, A. (2006) A környezetinevelést�l a globális nevelésig (inHungarian) in: Kuknyó, J. (ed) Akörnyezeti nevelés MPKKI,Nyíregyháza, Hungary

, Vásárhelyi, J. (ed) (2010) NemzetiKörnyezeti Nevelési Stratégia.Alapvetés 2010. (in Hungarian) MagyarKörnyezeti Nevelési Egyesület,Budapest, Hungary

RÉSUMÉ

e Jardin botanique national de Hongrieorganise un panel de programmes quicombinent l’art et les plantes. L’objectifest de montrer la beauté du monde desplantes et de la biodiversité, et leurimportance dans nos vies et notre culture.

Au cours des trois dernières années leJardin a organisé un concours « Explorerles plantes dans la littérature » : lesenfants produisent un travail artistiqueinspiré par des plantes qu’ils ont trouvédans des livres. Les gagnants sontrécompensés par un livre intitulé «Plantes merveilleuses et merveilles deplantes », par Erzsébet Fràter, leconservateur des collections du jardin. Le livre explique comment le jardin utilisel’art pour sensibiliser le public et présenteles mythes et les histoires traditionnellesliées aux plantes et à la culture.

Pendant les programmes de printemps,les enfants sont invités à participer à unechasse au trésor littéraire pour trouverdes citations dans le jardin.Enfin, les étudiants de l’école d’art Fótviennent souvent en visite pours’entraîner à peindre des paysages.Cette année, leurs œuvres feront l’objetd’une exposition. Actuellement le Jardinet l’école d’art envisagent de proposerun cours de peinture de paysages pourle public.

RESUMEN

l jardín nacional de Hungría organiza unagama de programas que combinan elarte y las plantas. La meta es unpaquete de belleza de el mundo devegetal, su biodiversidad y laimportancia que este tienen en nuestrasvidas y culturas.

Durante los 3 últimos años el jardín allevado a cabo una competenciallamada: explore las plantas en laliteratura; los pequeños producentrabajos buscando referencias de plantasen libros. Los ganadores obtienen unacopia de ‘Plantas maravillosas, maravillasde las plantas’, escrito por ErzsébetFráter, curador de las colecciones deljardín. Este libro es un ejemplo de cómoel jardín usa el arte para llevar a cabo sucompromiso con el público y así semuestran los mitos de historiastradicionales que unen a las plantas y lacultura. Durante el programa de laprimavera, se invita a niños a participaren una búsqueda de un tesoro literario,localizando alusiones en el jardín.

Finalmente los estudiantes de la escuelaFót Art que visitan frecuentemente eljardín, pintan el paisajismo; este añohabrá una exposición de sus trabajos. Almomento el jardín y la escuela de arteestán negociando la propuesta para uncurso publico de paisajismo y pintura

Éva Halász-Szakács (Biologist &Biology teacher), Gergely Lunk(Horticultural engineer) & TündeThalmeiner (Communicationsofficer)Nemzeti Botanikus Kert2163 Vácrátót, Alkotmány út 2., Hungary Email: thalmeiner.tunde@okologia.mta.huWebsite: www.botanikuskert.hu

BGCI • 2014 • Roots • Vol 11 (2) 29

A winning entry for the ‘Investigate plants inliterature’ competition by Réka Miszori (aged 9).The dial shows the life-cycle of an apple. (NationalBotanic Garden, Vácrátót)

A shared space

Have you ever examined a plant andasked yourself “Why does it look likethat?” Students and teachers inPhoenix, Arizona have been givenopportunity to do just this when theyvisit the Desert Botanical Garden for aguided, school field trip. Repeatedly theyare confronted by the Carnegia gigantea,the saguaro cactus, and wonder “whythis symbol of the West has spinesinstead of leaves? Why does it resemblethe shape of an accordion? How does itstand so tall without toppling over?”

During the guided tour, students,teachers, and chaperones spend twohours with trained garden staff exploringthe desert-adapted landscape. The plantsoften appear as though they are from adifferent world. However, their uniqueforms are adaptations that help the plantthrive in the dry and hot Sonoran Desertclimate. What is noteworthy is that eachobservable form is connected to aspecific biological function. For instance,the accordion shape of the saguaro allowsthe plant to expand and hold more waterduring summer monsoon rains. Oncesomeone sees and understands aconnection such as this, they begin tolook for forms and functions in otherorganisms. Consequently, this newrealization can lead to a greaterappreciation for plant life.

In addition to the diverse collection ofover 50,000 living plants, the DesertBotanical Garden is often home to artexhibitions that complement the missionand values of the institution. Visitors maybe welcomed by man-made sculpturesset within natural plant displays creatinga one-of-a-kind experience. Mostrecently, Carolina Escobar, Philip Haas,and Dale Chihuly displayed their worksof art amongst the mystifying plants ofthe desert landscape.

The contrast of structural art and diverseplant forms was a fortunate match for theeducation staff at the garden. The visuallyinteresting duo was an opportunity tointroduce a fascinating design and biologyconcept known as biomimicry to theformal K-8 (schooling for children aged 5to 8) learning community. At the garden,plant life brings elements of function andbiology to the forefront, while thesculptures highlight the creative yetchallenging process of design.

Creating a connection

Biomimicry is best recognized as the“emulation of nature’s genius” as statedby Janine Benyus (1997, p.2), author ofBiomimicry: Innovation Inspired byNature. A more in depth definition fromBiomimicry Education Network (2013,p.1) helps to paint the picture: “learningfrom and then adapting Nature’s best

ideas to solving human technologicalchallenges, in order to create a healthier,more sustainable planet”. At the DesertBotanical Garden, biomimicry offers achance to teach a new generation toview and value the natural world in adifferent way. Instead of passing by anorganism and thinking reflectively that it

BGCI • 2014 • Roots • Vol 11 (2) • 30-3230

Inspiration from nature: usingbiomimicry to engage childrenwith plants, science and art

Une connexion biomimétique dans le désert de Sanoran science et à l’artConexión de la biomimética en el desierto de Sonora

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.

The Succulent Gallery at the Desert Botanic Gardenshowcases some of the region’s native flora(Adam Rodriguez)

looks interesting, people are challengedto actively observe and question why itmight look the way it does.

Biomimicry thinking goes a step furtherand asks: “How can humans mimic thefunctions of living organisms tosustainably and efficiently solvechallenges?” For instance, when activelyobserving the spines on a saguarocactus one might wonder if they functionto provide protection. When biomimicrythinking is applied, the questionbecomes: “is it possible for humans touse a similar form, process, or systemfor protection in our lives?” The ideasare endless, but the inspiration beginsby closely observing nature’s solutions.

Real-world examples of nature-inspireddesign add a layer of relevancy to thediscussions, observations, and activitiesof the garden’s program. Willis (2011,p.262) suggests that ‘when studentsknow the information they are beingasked to learn will be used to createproducts or solutions to problems thatinterest them, the new learning and itspractice are valued because they want toknow what they have to learn’; this isalso something that many teachersalready know from experience. One ofthe most common and relevantbiomimicry examples is Velcro. Seedpods known as burrs from the burdockplant efficiently attach to clothing andanimal fur with tiny hooks. Carefulobservation of this seed dispersaltechnique in nature inspired the inventionof the quick fastening mechanism thatmany of us use on daily basis. It is through the lens of biomimicry that

students and teachers begin to connectthe living plant collection to the artisticsculptures at the garden. They observeform, function, patterns, and systems innature which are the foundations ofunderstanding biomimicry. The artisticpieces enhance meaningful dialogueabout what inspiration means and howthe design process works. Studentsbegin to see value in the natural world. Hands-on experiments and biomimicrycase studies complete the field tripexperience and prepare students for adesign challenge back at school. In theclassrooms, students are equipped withrecycled materials and their newappreciation of desert plants. In smallgroups they carry out the design processintroduced during the tour by buildingmodels of innovative, nature-inspireddesigns. Their structure should representthe ability to efficiently collect, contain,or conserve water or provide protectionfrom the sun. The teachers have endlessopportunities to enhance learning withpresentations, journals, drawings, andother interdisciplinary activities.

Standards and teacher support

As schools in the United States adjust tochanging academic standards in theclassroom, it is crucial that cultural,nature, and science institutions such asbotanic gardens evolve their programs tosupport the skills essential for studentsuccess. Botanic garden educators havethe opportunity to model interdisciplinaryand inquiry-based learning for teachersin addition to introducing them to newcontent within the environmental and lifesciences.

The shifting standards challengeteachers to map out long-range unitsthat pose questions, gather and interpretdata, develop and evaluate solutions,and build supporting evidence. Thesegoals can be achieved through lessonsthat are relevant, meaningful, and piquethe interest of a wide range of learners(Larmer and Mergendoller, 2010).Project-based learning can help teachersmake these connections, and a topic likebiomimicry is certain to grab anyone’sattention. Biomimicry might appeal tothose who are passionate about animals,plants, and the environment but it mightalso appeal to those who are interestedin design, engineering, and innovativetechnologies.

The Desert Botanical Garden challengesteachers to think of the “text”,referenced in standards, as more thanwords on a paper. Text should beconsidered more inclusive andexpansive to encompass danceperformances, paintings, landscapes,plants, etc. Images and pieces of art tella story and convey feelings, while plantshave unique appearances that translateto biological functions. As educators inan informal setting, we can help enrichthese interdisciplinary connections and

BGCI • 2014 • Roots • Vol 11 (2) 31

Students examine outdoor installation at Desert Botanical Garden (Jesse Tallman)

A sculpture by Carolina Escobar displayed along thetrails at Desert Botanical Garden (Adam Rodriguez)

provide professional development forteachers who have the opportunity tobring the environment into theirclassroom lessons. Training, curriculum,and modeling inquiry techniques will setteachers well on their way to achievingrigorous academic standards.

Finding that spark!

Botanic gardens have countlesseducational opportunities on theirdoorstep that can make long-lastingimpressions on teachers and students.Plants are not of immediate interest toeveryone, but other organisms, patterns,systems, design, architecture, ecologicalrelationships, or works of art mighttrigger an unexpected spark in a child.Biomimicry is by no means a newconcept, but it is a tool for educators toencourage children’s excitement aboutthe natural world while simultaneouslysupporting challenging academic goalsthat prepare students for future success.Thoughtful curriculum has the ability tohighlight the intersection between artand nature through topics such asbiomimicry.

References

,Benyus, J. (1997) Biomimicry:Innovation Inspired by Nature, NewYork: HarperCollins Publishing.

,Biomimicry Education Network (2013)Learning from nature: Velcro race game.[Online pdf] Biomimicry 3.8. Availablefrom: http://www.ben.biomimicry.net[Accessed 28 August 2014].

, Larmer, J. and Mergendoller J. (2010) 8Essentials for Project-based Learning.[Online pdf] Bunk Institute forEducation. Available from:http://bie.org/object/document/8_essentials_for_project_based_learning[Accessed 14 August 2014].

,Willis, J. (2011) Nurturing students’brains for the future, LEARNingLandscapes, vol. 5, no. 1, Autumn, pp. 259-265.

RÉSUMÉ

A l’automne 2013, le Jardin botanique dudésert à Phoenix, en Arizona, aofficiellement lancé un programmescolaire qui associait art, science, natureet design dans une expérienceexceptionnelle et interdisciplinaire. Diversateliers basés sur l’émerveillement,l’observation et l’analyse critique ontpermis de confronter des étudiants au biomimétisme. Le bio mimétisme nous inviteà être innovants et à utiliser les formes,les processus et les systèmes desorganismes naturels comme source

d’inspiration pour développer desutilisations pratiques et durables. LeJardin botanique du désert est unenvironnement idéal pour cela car il abritesouvent de superbes expositionsartistiques intégrées aux plantes et auxanimaux adaptés aux déserts. Desdiscussions sur ce paysage naturel etartistique ont incité les étudiants àréfléchir sur la forme et la fonction desobjets. Les enseignants ont reçu les outilsnécessaires pour prolonger cetapprentissage au retour en classe, avecpour défi de création inspirée par cesorganismes vivants. Cela a pour résultatde former une génération nouvelle qui voitet apprécie le monde naturel d’une façondifférente.

RESUMEN

Durante el otoño del 2013 el JardínBotánico de Phoenix comenzóoficialmente un paseo escolar con unaexperiencia interdisciplinaria única, en ellase mezcla arte, ciencia, naturaleza ydiseño. Dentro de una gama deactividades manuales que promueven laobservación, sorpresas y pensamientocrítico, se presenta a los participantes elmundo del biomimetismo. Este motiva alos individuos a ser creativos tomandocomo base las formas, procesos ysistemas de los organismos vivos de unamanera práctica y con uso sustentable. Elárea del desierto en donde se encuentra elJardín Botánico es ideal porque allí selocalizan esplendidas exposiciones de arteintegrando las adaptaciones al hábitattanto de animales como de plantas.Intercambio de opiniones referentes a lospaisajes naturales y artísticos motiva a losestudiantes a pensar en la forma y funciónde los objetos. Una vez que ellos seencuentran de regreso en el salón declases, su reto es el diseñar lo que losorganismos les inspiraron, y es cuando losprofesores facilitan las herramientasnecesarias para extender este aprendizaje.El resultado es una nueva generación quevisualiza y valora de manera diferente almundo natural.

Nina AvilaChildren’s Education ManagerDesert Botanical Garden1201 N. Galvin ParkwayPhoenix, AZ 85008Email: navila@dbg.orgWebsite: www.dbg.org

BGCI • 2014 • Roots • Vol 11 (2)32

Students investigate a sculpture by Philip Haas at the Desert Botanical Garden (Jesse Tallman)

My Country, “our wide brownland”

Australia is renowned for itsexpansive arid interior, uniquebiodiversity and spectacular

natural beauty. Yet 200 years of intensehuman colonisation has taken its toll onthe fragile ecosystems and now morethan ever they need our protection andconservation.

Literature, music and the visual arts arecreative expressions of humanspirituality, values and emotions.Collectively referred to as the arts, theyare influenced by culture.

The appeal of Australia’s naturalenvironment, and the emotional tug ithas on those born here is captured inthe quintessential bush poetry of theAustralian poet, Dorothea Mackellar(1885-1968). Even the youngestAustralians can recite the second verseof her poem, My Country, from memory.

I love a sunburnt country, A land of sweeping plains, Of ragged mountain ranges, Of droughts and flooding rains.I love her far horizons, I love her jewel-sea,Her beauty and her terror -The wide brown land for me!

Written in 1908, Mackellar’s feelingswere not yet represented in Australianhorticulture or botanic gardens. At that

time, the focus was on adapting exoticsto this inhospitable, unfamiliar landscape.Landscape design is another humanconstruction and is an art form in itself.

A brief history of Australianlandscape design

Early colonial settlers brought theirdomestic and agricultural practices withthem to Australia, clearing andcultivating the land in familiar ways.Mimicking what was popular overseas,residential areas, botanic gardens andpublic parks were developed in theGardenesque style.

Exotic plants were arrangingpicturesquely, symmetrically or ingeometrical beds and all surroundingnative vegetation was removed. Evenfragile plants survived transportation toAustralia in Wardian cases and, oncehere, were propagated in glasshouses.Botanic gardens played an importantrole in their acclimatisation.

This traditional style remained popularuntil about fifty years ago and is stillevident all around Australia. Fineexamples can be found in maturesections of botanic gardens in Australia’sfirst capital cities.

The deliberate use of Australian plants indesign only came into existence with thefoundation of our national capital,Canberra, a mere one hundred yearsago. The landscape architect WalterBurley Griffin incorporated the naturallandform and native plants into hisdesign for the city. Yet, he received andaccommodated plenty of advice to useexotics – which still dominate Canberra’solder suburbs.

The late 1960s and ‘70s saw thedevelopment of the Australian landscapearchitectural profession and thewidespread use of native plants in urbandesign. This had an enormous impact onhow residential suburbs were created, aswell as botanic gardens.

BGCI • 2014 • Roots • Vol 11 (2) • 33-35 33

Wide Brown Land sculpture at The National Arboretum, Canberra, in the early days of planting (Todd Milton)

Communicating through landscapesin Australian botanic gardens

Communiquer par le biais du paysage dans les jardins botanique australiensComunicando a través de paisajes en los jardines botánicos australianos

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.

Officially opened in 1970, the AustralianNational Botanic Garden in Canberrawas the first to study and promoteAustralia's flora. Other native botanicgardens soon followed. Despite theirpresence, growing Australian plantassemblages remained challengingbecause of the overall lack of knowledgeof their horticultural requirements. Theyalso suffered from a common perceptionthat, being native, you could just throwthem in and they would thrive. This wasnot the case.

The ‘ecological’ botanic garden evolvedin the 1980s and ‘90s, as whole naturalecosystems were added to botanicestates. Alice Springs Desert Park is afine example of an in-situ environmentaleducation facility which interprets thepredominant desert habitat. The displayswork with the natural landscaperecreating what could be there if theimpact of colonisation was minimised.

Contemporary botanic garden design inAustralia embraces principles ofsustainability with modern buildings andgardens responsive to environmentalconditions, site and context.

The botanic garden as a livingmuseum

Sweeping societal changes broughtabout by digital computing andcommunication technology mark thebeginning of the Information Age. Thishas had a significant impact on the roleof cultural institutions. They are no

longer merely collecting institutions withdisplays open to the public. Nowlearning and social action have takencentre stage. With population growthand our increasingly urbanisedexistence, issues related to Australia’snatural environment are becoming all themore important.

Given these trends, botanic gardens arebecoming more aligned with museumsand art galleries than with national parks.In new botanic garden developments,planners are adding the wow factor andcreative installations which can beinterpreted as “Art in the Landscape”.

One of the best examples of this isfound at the Australian Garden at TheRoyal Botanic Gardens Cranbourne. Itspopularity and ability to communicateAustralia’s Red Centre has resulted inother botanic gardens creating museum-like exhibitions about Australia’sdominant desert ecosystems.

Aesthetic landscape design andbotanical displays are also becoming acreative feature of art galleries andmuseums. An outstanding example isthe Sculpture Garden at the NationalGallery of Canberra (http://www.nga.gov.au/sculpturegarden/) where evocativesculptural installations and a mist spraycreate emotional connections with the“quintessential Aussie bushland”.

The most extreme expression of thisstyle, to date, is seen at the Garden ofAustralian Dreams at the National

Museum of Australia in Canberra. Thelandscaped concrete courtyard makesstrong statements about Australian self-consciousness and landscape design.Visitors either love it or hate it – but aredefinitely affected by it. As with anygood exhibit, it provokes thought.

By combining the arts with horticulture,botanic gardens can manifest complexenvironmental concepts and issues andstimulate meaningful connections withplants and nature.

The National Arboretum in Canberra,opened in 2013, is a fine example ofcontemporary thinking in Australianbotanic gardens. By reaching out tovisitors through something that is familiarto them, it is becoming very popular withAustralians. Nostalgia wells up as localsrelate to the sculpture on the hill: “widebrown land", spelling out the descriptionof Australia by McKellar, and based onher handwriting. The landscape andarchitectural design create ‘works of art’and the planting of seedlings and youngtrees has a great ‘future focus’ andrespects the time required to establishecosystems. The mass plantings ofsingle species, arranged into 100 forestsand 100 gardens, enable strongerconnections to be made with threatened,rare, and symbolic trees from around theworld, for example, the historicplantations of Cork Oak (Quercus suber)forests.

Finally, art comes into its own when weattempt to communicate basic scientificconcepts. By combining visual elementswith performance and the written word,the gap between the lay visitor and theexpert botanist/horticulturist is bridged.Language, as a particular example, is apowerful human construct and over theyears, as an educator, I have found thecreative use of words and symbols asartistic installations within thematicdisplays greatly facilitates publiclearning.

At the Royal Botanic Gardens in Sydney,SEX+DEATH, spelt out in Nandinadomestica plants, introduced thetemporary exhibition, of the same name,at the Tropical Centre in 2005. Theexhibition discussed the concept that,just like humans, plants (in this caseorchids and carnivorous plants) arecapable of seduction, cooperation,death and deception.

BGCI • 2014 • Roots • Vol 11 (2)34

Installations at the Sculpture Garden at the National Gallery of Canberra. Robert Stackhouse’s On the beachagain (1984) in the foreground and Fujiko Nakaya’s Fog sculpture (1976) in the background. (National Galleryof Australia, Canberra)

In 2012, Darwin’s birthday anniversarywas interpreted in one of theevolutionary beds with a sculpturalinstallation comprising six mirroredletters, each two metres high, spellingout Darwin’s name. Key words(Evolution, Extinction, Variation,Inheritance, Adaptability, Selection andDivergence) and quotations by Darwinand other great minds appeared to ‘justhang there’ – like moments of inspirationor clarity of thought – offering insightsand provoking thought.

Linking landscape design toeducation

Cultural institutions need to distinguishthemselves from each other andcompeting recreational attractions whilstfocussing on fulfilling their respectivemissions. For botanic gardens, thismeans inspiring the appreciation andconservation of plants and the naturalenvironment, each within its localcontext and cultural sense of place.

But how effectively are botanic gardenscommunicating their mission and valuesto the general public? Are garden displaysthematically planned and achieving theirintended impact? Visitor feedbackinvariably includes appreciation of thepeace and tranquillity and satisfactionwith services, but botanic gardens needto provide visitors with more than prettyflowers and green wallpaper.

Most visitors are novices and theirconceptual framework is different fromthat of botanists and horticulturists. Theylack specialised knowledge, languageand ways of thinking and looking which

experts/local knowledge holders acquirethrough learning and practice. It is therole of educators to help bridge this gapbetween novice and expert and art inlandscapes can be an effectivecommunication tool. It combines thefamiliar with unfamiliar and facilitatesthinking and learning.

RÉSUMÉ

De même que les sociétés et leursbesoins changent, nos institutionsculturelles évoluent également. Commeleurs missions se focalisent davantagesur la participation du public auxquestions sociales et environnementales,les jardins botaniques s’alignent plus surles idéaux des musées et des galeriesd’art que ceux des parcs nationaux etdes aires naturelles.

En associant la littérature, l’art visuel etl’horticulture, les paysages des jardinsbotaniques peuvent être dessinés pourêtre de puissants outils decommunication. Cet article retracel’évolution du paysagisme en Australie etmontre comment les nouveauxaménagements des jardins botaniquesajoutent un facteur d’émerveillementgrâce à des installations créatives et dudesign, et qu’ils peuvent être interprétéscomme « de l‘art dans le paysage ».

RESUMEN

Así como las sociedades necesitancambiar, lo mismo sucede con nuestrasinstituciones culturales. Una parte de lamisión de ellas es el enfocarse más e

involucrar al público en los aspectossociales y del medio ambiente; por sisolos, los jardines botánicos van a la parmas con los ideales de museos ygalerías de arte más que con los deparques nacionales y áreas naturales.Combinando literatura, artes visuales,horticultura y paisajismo en jardinesbotánicos se puede desarrollarherramientas poderosas decomunicación. Esta contribucióndescribe el diseño del paisajismo enAustralia y muestra como, nuevosjardines botánicos desarrollaroninstalaciones creativas y diseños quepueden ser interpretados como ‘Arte enel paisajismo’, dando esto un factor‘¡guau! [¡sorprendente!]’

Janelle HatherlyEducation & InterpretationSpecialistManaging Editor BGANZ’s TheBotanic Garden(er) magazine10 Waiwera Street, McMahons Point,NSW 2060, Australia,Email: janelle.hatherly@bigpond.com

BGCI • 2014 • Roots • Vol 11 (2) 35

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

Sex & Death exhibition, 2005, at the Royal BotanicGardens in Sydney (David Fisher)

BGCI • 2014 • Roots • Vol 11 (2) • 36-4236

Resources

DisponiblesRecursos

RESOURCES

Books

1.The art of Tinkering,Exploratorium

For several years TheTinkering Studio at theExploratorium in SanFrancisco has beendeveloping activities,workshops andexperiments toencourage people toproduce art works mixedwith science andtechnology. For The

Tinkering Studio, it is not the productitself that is of greatest importance, morethe process. Tinkering, for them, involvesa non-linear development process,people are encouraged to explore andinquire, to break things down andchange direction until their end resultbecomes clear to them. In the book TheArt of Tinkering they describe their ideasand philosophies, give artist profiles ofindividuals who have used this creativetechnique and outline activities so youcan tinker too.

Karen Wilkinson and Mike Petrich, 2014,Weldon Owen, San Francisco USAISBN-10: 1616286091ISBN-13: 978-1616286095

2. Visual Thinking Strategies:Using Art to Deepen LearningAcross School Disciplines

The Visual Thinking strategies (VTS)teaching methodology involves askingquestions about objects, images andartefacts, rooted in inquiry-basededucation methods, to unlock students’

RESSOURCES

Livres

1. L’art de bricoler, Exploratorium

Depuis plusieurs années, Le studio dubricolage de l’Exploratorium de SanFrancisco a développé des activités, desateliers et des expériences pourencourager le public à réaliser destravaux artistiques mêlés aux scienceset technologies. Pour Le studio dubricolage, ce n’est pas le produit qui estle plus important, mais la méthode.Bricoler, pour eux, suppose unprocessus de développement nonlinéaire, les personnes sont encouragéesà se renseigner et à faire del’investigation, de démonter des objetset de changer de direction jusqu’à ceque leur résultat final soit clair. L’art debricoler décrit leurs idées etphilosophies, donnent des profilsartistiques de personnes qui ont utilisécette technique et décrivent des activitéspour que vous puissiez bricoler aussi.

Karen Wilkinson and Mike Petrich, 2014,Weldon Owen, San Francisco USAISBN-10: 1616286091ISBN-13: 978-1616286095

2. Stratégies de pensées visuelles:utiliser l’art pour accroîtrel’apprentissage dans toutes lesdisciplines scolaires

La méthodologie de l’enseignement desStratégies de Pensées Visuelles (SPV),profondément ancrée dans lesméthodes d’éducation fondées sur ladémarche d’investigation, suppose dese poser des questions sur les choses,les images et les objets, afin dedéverrouiller la compréhension des

RECURSOS

Libros

1. El Arte de Arreglar,Exploratorium

Durante varios años, The Tinkering Studioen el Exploratorium, de San Francisco, hadesarrollado actividades, talleres yexperimentos para animar a la gente aproducir obras de arte mezcladas conciencia y tecnología. Para The TinkeringStudio, la mayor importancia no la tiene elproducto pen sí mismo, sino el proceso.Arreglar, para ellos, implica un proceso dedesarrollo no lineal. Se alienta a laspersonas a explorar y preguntar, a romperlas cosas y a cambiar de dirección hastaque su resultado final sea claro. En el libroEl Arte de Arreglar, los autores describensus ideas y filosofía, dan perfil de artista aindividuos que utilizan esta técnicacreativa y proponen actividades para queusted pueda también arreglar.

Karen Wilkinson and Mike Petrich, 2014,Weldon Owen, San Francisco USAISBN-10: 1616286091ISBN-13: 978-1616286095

2. Estrategias de PensamientoVisual: Utilizando el Arte paraProfundizar el Aprendizaje entodas las Disciplinas Escolares

Las metodología de enseñanzadenominada Estrategias de PensamientoVisual (EPV) implica hacer preguntasacerca de objetos, imágenes y artefactos,que están arraigadas en métodoseducativos indagatorios, con el fin dedesbloquear la comprensión de losestudiantes, mientras fortalecen sushabilidades para el pensamiento crítico, sulenguaje y su alfabetización. En su libro, el

BGCI • 2014 • Roots • Vol 11 (2) 37

understanding whilstincreasing their criticalthinking, language andliteracy skills. In hisbook, co-creator of theVTS curriculum, PhilipYenawine, discusseshow he developed thismethodology as well ashow teachers can, andare, using it to enhancechildren’s learningacross a range of subjects and topics.The book provides an introduction andoutline of VTS which can be also appliedby botanic garden educators who wouldlike to encourage young people toconduct close observations of plants.

Phillip Yenawine, 2013, HarvardEducational Publishing Group,Cambridge USAISBN-10: 1612506097 ISBN-13: 978-1612506098

3. Design, make, play: Growingthe next generation of STEMinnovators

Active learning and learning by doing isincreasingly being shown as the mosteffective education method. This book isa compilation of case studies whichexplore innovative ways to inspire andengage children with STEM subjects,with a focus on interdisciplinarity. Thebook is aligned with the NationalResearch Council’s Framework forScience Education and showcases theways in which education professionals ina range of sectors, from schools tomuseums, are using creative newmethodologies to ignite children’snatural curiosity and get them thinkingabout science, technology andengineering.

Margaret Honey and David Kanter, 2013,Routledge, Oxon UKISBN-10: 041553920XISBN-13: 978-0415539203

4. A Collaboration With Nature

Scottish artist Andy Goldsworthy usesonly natural materials, from leaves tosnow, to produce sculpture on a range ofscales. Goldsworthy’s pieces aim tocompliment their surroundings leavingthem undisturbed once they havereturned to their natural states, forexample large structures made of icewhich melt and trickle away as the

étudiants tout en développantleur analyse critique et leurscompétences langagières. Dansce livre, Philip Yenawine, co-créateur du programme SPV,explique comment il a développécette méthodologie et commentles enseignants peuvent s’eninspirer pour améliorerl’apprentissage des enfants àtravers divers thèmes et sujets.Le livre offre une introduction et

les grandes lignes des SPV qui peuventaussi être appliquées par les éducateursde jardins botaniques qui souhaiteraientinciter les jeunes à des observationsapprofondies des plantes.

Phillip Yenawine, 2013, HarvardEducational Publishing Group,Cambridge USAISBN-10: 1612506097 ISBN-13: 978-1612506098

3. Concevoir, faire, jouer:développer la nouvelle générationd’innovateurs « STEM*»

L’apprentissage actif et par la pratiqueest de plus en plus présenté comme laméthode d’éducation la plus efficace. Celivre est une compilation d’études de casqui explorent des méthodes novatricespour insuffler et éveiller les enfants auxsujets liés aux STEM, en mettantl’accent sur l’interdisciplinarité. Ce livreest sur cohérent avec le Cadre pourl’éducation scientifique du Conseilnational de recherche, et met en valeurla façon dont les professionnels del’éducation, dans de nombreux secteurs,des écoles aux musées, utilisent denouvelles méthodes créatives pourattiser la curiosité naturelle des enfants,et les amener à réfléchir sur lessciences, la technologie et l’ingénierie.*STEM : sigle de Science, technology,engineering and mathematics: sciences,technologies, ingénierie etmathématiques

Margaret Honey and David Kanter, 2013,Routledge, Oxon UKISBN-10: 041553920XISBN-13: 978-0415539203

4. Une collaboration avec laNature

L’artiste écossais Andy Goldsworthyutilise uniquement des matériauxnaturels, qui peuvent être aussi bien desfeuilles ou de la neige, pour réaliser des

co-creador del contenido de las EPV,Philip Yenawine, discute cómo desarrollóesta metodología, así como la manera enque los profesores pueden, y están,utilizándola para mejorar el aprendizaje delos niños en una serie de temas y tópicos.El libro ofrece una introducción y resumende EPV que también pueden seraplicadas por los educadores de jardinesbotánicos a quienes le gustaría animar alos jóvenes a llevar a cabo observacionescercanas de las plantas.

Phillip Yenawine, 2013, HarvardEducational Publishing Group,Cambridge USAISBN-10: 1612506097 ISBN-13: 978-1612506098

3. Diseñar, crear, jugar: Creciendocon la próxima generación deinnovadores STEM

El aprendizaje activo y elaprendizaje práctico cadavez más se muestrancomo los métodos deenseñanza más eficaces.Este libro es unarecopilación de estudiosde caso que exploranformas innovadoras parainspirar e involucrar a losniños con los temas deSTEM, con un enfoquebasado en la interdisciplinariedad. Ellibro está alineado con el Marco delConsejo Nacional de Investigación parala Educación de las Ciencias, y muestralas maneras en que los profesionales dela educación, en una variedad desectores, desde las escuelas a losmuseos, están utilizando nuevasmetodologías creativas para hacerdespegar la curiosidad natural de losniños y hacerlos pensar en la ciencia, latecnología y la ingeniería.

Margaret Honey and David Kanter, 2013,Routledge, Oxon UKISBN-10: 041553920XISBN-13: 978-0415539203

4. Una colaboración con laNaturaleza

El artista escocés Andy Goldsworthyutiliza sólo materiales naturales, desdede hojas hasta nieve, para produciresculturas en un rango de escalas. Las obras de Goldsworthy pretendenintegrarse a su entorno, dejándolo sunperturbaciones una vez que regresan a

BGCI • 2014 • Roots • Vol 11 (2)38

temperature rises. This book is a classiccollection of 120 colour photographswhich showcase the artist’s work and canprovide inspiration to garden educatorsabout the ephemeral art that visitors cancreate using plant material.

Andy Goldsworthy, 1990, Harry N.Abrams, New York USAISBN-10: 0810933519 ISBN-13: 978-0810933514

5. How are you peeling? Foodswith Moods

This whimsicalbook contains acollection of fruitand veg whichhave been broughtto life. With theaddition of somepeas for eyes eventhe mostuninspiring littlevegetable can be

transformed into a funny-faced friend.This book provides educators withsimple and cheap ideas for children’sactivities which look at plants in anexciting way. Informal education worksbest when it is fun and the ideas in thisbook are sure to get kids engaged withfruit and veg and encourage them tolearn about plants and where their foodcomes from.

Saxton Freymann and Joost Elffers,2004, Scholastic, London UKISBN-10: 0439598419 ISBN-13: 978-0439598415

6. Digital story telling: Capturinglives, creating community

The Centre forDigital Storytelling(CDS), over theyears, hastransformed the wayin which members ofthe scientific, art andeducationcommunity think andact when it comes tostory, media, cultureand the power ofpersonal stories in

creating change. This book providesideas about how educators can engagepeople with expressing their ownpersonal stories about plants. Co-

sculptures de toutformat. Les œuvres deGoldsworthy visent àexalter leurenvironnement tout enle laissant intactlorsqu’elles retournent àleur état naturel, commepar exemple de grandesstructures de glace quifondent et coulentgoutte à goutte au fur et à mesure que latempérature augmente. Ce livre est unecollection classique de 120 photographiesen couleur qui mettent en valeur le travailde l’artiste et peut donner l’inspiration auxéducateurs de jardins botaniques sur l’artéphémère que les visiteurs peuvent créerà partir de matériel végétal.

Andy Goldsworthy, 1990, Harry N.Abrams, New York USAISBN-10: 0810933519 ISBN-13: 978-0810933514

5. Comment pelez-vous? Alimentsde toutes les humeurs

Ce livre fantaisiste contient unecollection de fruits et de légumes qui ontété portés à la vie. Avec l’ajout dequelques pois pour les yeux, même leplus insipide petit légume peut êtretransformé en un drôle d’ami. Ce livre,qui permet de voir les plantes demanière passionnante, offre auxéducateurs des idées simples et peucoûteuses d’activités pour les enfants.L’éducation informelle est pluspertinente lorsqu’elle est amusante et lesidées de ce livre permettront à coup sûrde réconcilier les enfants avec les fruitset légumes et de les encourager àapprendre plus sur les plantes et d’oùvient leur nourriture.

Saxton Freymann and Joost Elffers,2004, Scholastic, London UKISBN-10: 0439598419 ISBN-13: 978-0439598415

6. Histoires numériquesrévélatrices : récolter des vies,créer des communautés

Le Centre des contes numériques(CCN)a, au fil des années, transformé la façondont les membres des communautésscientifiques, artistiques et del’éducation pensent et agissent en ce quiconcerne les contes, les médias, laculture et l’importance des histoires

su estado natural. Porejemplo, grandes estructurashechas de hielo que se fundeny gotean a medida que subela temperatura. Este libro esuna colección clásica de 120fotografías en color queexhiben la obra del artista ypuede servir de inspiración alos educadores de los jardinesbotánicos acerca del arte

efímero que los visitants pueden crearutilizando material vegetal.

Andy Goldsworthy, 1990, Harry N.Abrams, New York USAISBN-10: 0810933519 ISBN-13: 978-0810933514

5. ¿Cómo descascaras? Alimentoscon humor

Este libro contiene una caprichosacolección de frutas y verduras que hancobrado vida. Con la adición de algunosguisantes o chícharos como ojos, inclusola verdura más aburrida puede sertransformada en un amigo de rostrogracioso. El libro proporciona ideassimples y baratas a los educadores paradesarrollar actividades para niños en lasque las plantas son vistas de un modoemocionante. La educación informal esmás eficaz cuando es divertida y lasideas que proporciona este libroaseguran que los niños se vinculen confrutas y verduras, y los anima a aprendermás sobre las plantas y de dóndeprovienen sus alimentos.

Saxton Freymann and Joost Elffers,2004, Scholastic, London UKISBN-10: 0439598419 ISBN-13: 978-0439598415

6. Cuentacuentos digital: Capturavidas, creando comunidad

A través de los años, el Centro para laNarración Digital (CDS por sus siglas eninglés), ha transformado la forma en quelos miembros de las comunidadescientífica, artística y educative piensan yactúan cuando se trata de crear historias,sobre los medios de comunicación, lacultura y el poder que las historiaspersonales tienen para crear un cambio.Este libro ofrece ideas a los educadorespara vincular a las personas con laexpresión de sus propias historiaspersonales relacionadas con las plantas.El co-fundador del Centro, Joe Lambert,

BGCI • 2014 • Roots • Vol 11 (2) 39

founder of the CDS, Joe Lambert,describes the history and methods of hisdigital storytelling practices, outlining the‘7-steps’ approach to identifying,assembling and sharing stories, as wellas discussing the applications ofstorytelling and providing resources forbudding storytellers.

Joe Lambert, 2013, Routledge, Oxon UKISBN-10: 0415627036ISBN-13: 978-0415627030

7.The power of the arts: creativestrategies for teachingexceptional learners

This book is designed with practitionersin mind, for those looking for analternative method for teachingacademic subjects to students withdisabilities. With case studies illustratingthe potential of this approach, the bookcontains step by step instructionsenabling readers to deliver activities anduse art to access learning. Many of theactivities have been designed by theartist-teachers of the LabSchool, founded by SallySmith, in Washington,which is a school widelyknown for its innovativecurriculum and its successin enabling learning forthose who learn differentlyfrom.

Sally L. Smith, 2001,Brookes PublishingCompany, Baltimore USAISBN-10: 1557664846ISBN-13: 978-1557664846

Web links/Websites

1. Cornell Garden-Based Learning- resources for gardeners andeducators http://gardening.cce.cornell.edu/for-educators/lessons/

This website, managed by theDepartment of Horticulture andCooperative Extension at CornellUniversity, offers educators withinspiring, research-based gardeningresources to support engaging,empowering, and relevant learningexperiences for children, youth, adults,and communities. One of the featuredprojects is Dig Art! Cultivating Creativity

personnelles pour créer le changement.Ce livre propose des idées sur la façondont les éducateurs peuvent inciter lespublics à exprimer leurs propreshistoires personnelles sur les plantes.Co-fondateur du CCN, Joe Lambertdécrit l’histoire et les méthodes de cettepratique d’histoires numériquesrévélatrices, expose l’approche en septétapes permettant d’identifier,d’assembler et de partager des histoires,discute des applications de la narrationet fournit des ressources pour les jeunesconteurs.

Joe Lambert, 2013, Routledge, Oxon UKISBN-10: 0415627036ISBN-13: 978-0415627030

7. Le pouvoir des arts : desstratégies créatives pourenseigner à des apprenantsexceptionnels

Ce livre a été conçu une méthodealternative pour l’enseignement desmatières scolaires à des étudiants

handicapés. Avec desétudes de cas illustrant lepotentiel de cette approche,le livre contient desinstructions étape par étapepermettant aux lecteurs deréaliser des activités etd’utiliser l’art pour accéder àla connaissance. Beaucoupde ces activités ont étéconçues par les artistes-enseignants de l’Ecole labo,fondée par Sally Smith, à

Washington, école connue pour sonprogramme novateur et son succès dansla formation des personnes quiapprennent différemment des autres.

Sally L. Smith, 2001, Brookes PublishingCompany, Baltimore USAISBN-10: 1557664846ISBN-13: 978-1557664846

Liens internet/ Sites

1. L’apprentissage par les jardinsà Cornell – des ressources pourles jardiniers et les éducateurshttp://gardening.cce.cornell.edu/for-educators/lessons/

Ce site, géré par le Départementd’horticulture et de développementcoopératif de l’Université de Cornell,

describe la historia y los métodos de susprácticas de narración digitales,destacando el enfoque de los “7 pasos”para identificar, reunir y compartirhistorias,y a la vez discutir lasaplicaciones de la narración y laprovisión de recursos paracuentacuentos en formación.

Joe Lambert, 2013, Routledge, Oxon UKISBN-10: 0415627036ISBN-13: 978-0415627030

7. El poder de las artes:estrategias creativas paraenseñar a estudiantesexcepcionales.

Este libro está diseñado porprofesionales de la enseñanza, y estádedicado a todos aquellos que buscanun método alternativo para la enseñarmaterias académicas a estudiantes concapacidades diferentes. Con estudios decaso que ilustran el potencial de esteenfoque, el libro contiene instruccionespaso a paso para permitir a los lectoresllevar a cabo actividades y utilizar el artecomo medio de aprendizaje. Muchas delas actividades han sido diseñadas porlos artistas-docentes de la Lab School,fundada por Sally Smith, en Washington,misma que es una escuela muyconocida por su innovador plan deestudios y por ser exitosa en poner elaprendizaje al alcance de aquellaspersonas que aprenden de maneradiferente de los demás.

Sally L. Smith, 2001, Brookes PublishingCompany, Baltimore USAISBN-10: 1557664846ISBN-13: 978-1557664846

Sitios Web / Enlaces Web

1. Cornell Garden-Based Learning– recursos para jardineros yeducadores.http://gardening.cce.cornell.edu/for-educators/lessons/

Este sitio web, administrado por elDepartamento de Horticultura y ExtensiónCooperativa de la Universidad de Cornell,de Estados Unidos, brinda inspiración alos educadores, recursos para la jardineríabasadas en la investigación para apoyarla participación, el empoderamiento y lasexperiencias de aprendizaje relevantespara niños, jóvenes, adultos y

in the Garden. Dig Art! Integratesgardening with the arts and the artsbased activities, available online, willhelp to teach ecological literacy andinspire new enthusiasm for garden-based learning.

2. The International gardenfestival at the Reford Gardens,Quebec, Canadahttp://www.refordgardens.com/english/festival/edition.php

The International Garden Festival is oneof the leading garden festivals in theworld. It has been running since 2000and it is a unique forum for innovationand experimentation. As an artistic andtourism event it also gives theopportunity to the public to discoverinspiring spaces bringing together thevisual arts, architecture, design,landscape and the environment. Visit theReford Gardens website to explore theFestival’s gardens, created since 2000,and get ideas about how to createlandscapes that integrate art and plantsand invite visitors to think of therelationship between humans and naturefrom a different perspective, at your site.

3. The Campaign for Drawinghttp://www.campaignfordrawing.org/

‘Drawing is a means of obtaining andcommunicating knowledge’ according toJohn Ruskin, a great Victorian philosopherand artist, who inspired the founding of

propose aux éducateurs des ressourcesstimulantes sur le jardinage pour fairevivre des expériences d’apprentissagepassionnantes, valorisantes etpertinentes à des enfants, des jeunes,des adultes et des communautés. L’unde projets présentés est Creusez l’art !Cultivez la créativité au jardin. Creusezl’art ! associe le jardinage avec les arts.Les activités artistiques disponibles enligne permettent d’enseigner l’écologieet amènent un nouvel enthousiasmepour l’apprentissage lié aux jardins.

2. Le Festival international dujardin aux Jardins de Redford,Quebec, Canadahttp://www.refordgardens.com/english/festival/edition.php

Le Festival international du jardin est l’undes plus importants festivals de jardindans le monde. Organisé depuis l’an2000, c’est un forum unique pourl’innovation et l’expérimentation. En tantqu’évènement artistique et touristique, ilpermet également au public de découvrirdes lieux d’inspiration qui associent à lafois les arts visuels, l’architecture, ledesign, le paysage et l’environnement.Visitez le site pour explorer les jardins dufestival crées depuis l’an 2000 et trouverdes idées pour créer, sur votre site, despaysages qui intègrent l’art et les planteset invitent les visiteurs à réfléchir auxrelations entre les humains et les plantesavec un autre point de vue.

3. La campagne pour le dessinhttp://www.campaignfordrawing.org/

« Le dessin est une façon d’acquérir etde communiquer des connaissances »,selon John Ruskin, grand philosophe etpeintre de l’époque victorienne. Visitez lesite de l’organisation pour trouver desressources sur comment utiliser ledessin pour l’apprentissage, la réflexion,la créativité et l’implication sociale etculturelle de tous dans un jardinbotanique et toute autre institutionculturelle. Si vousêtes inspirés, vouspourriez égalementenvisager d’accueillirun évènement du «Big Draw » - le Granddessin- sur votre site.Le Grand dessin estun festival annuelorganisé au cours dumois d’octobre par

comunidades. Uno de los proyectosdestacados es Dig Art! Cultivar lacreatividad en el Jardín. Dig Art! integralas actividades propias de la jardinería conlas artes y actividades basadas en artes.Está disponible en línea y contribuirá a laalfabetización ecológica e inspirar unnuevo entusiasmo hacia el aprendizajebasado en jardines.

2. Festival Internacional deJardines en Redford Gardens,Quebec, Canadáhttp://www.refordgardens.com/english/festival/edition.php

El Festival Internacional de Jardines esuna de los principales fiestas sobrejardines en el mundo. Tiene lugar desdeel año 2000 y es un foro único para lainnovación y la experimentación. Comoevento artístico y turístico también da laoportunidad al público de descubrir losespacios inspiradores que reúnen a lasartes visuales, la arquitectura, el diseño,el paisaje y el medio ambiente. Visita elsitio web de Redford Gardens paraexplorar los jardines del Festival creadosdesde el año 2000, y encontrar ideassobre cómo crear paisajes que integrenel arte y las plantas, e inviten a losvisitantes a pensar en la relación que seestablece entre los humanos y lanaturaleza, desde una perspectivadiferente, en tu propio sitio.

3. La Campaña para Dibujarhttp://www.campaignfordrawing.org/

“El dibujo es un medio de obtener ycomunicar el conocimiento”, según JohnRuskin, un gran artista y filósofovictoriano, que inspiró la fundación“Campaña para Dibujar” en el ReinoUnido. Visite el sitio web de estaorganización para encontrar recursossobre cómo se puede utilizar el dibujopara fomenter el aprendizaje, elpensamiento, la creatividad y elcompromiso social y cultural para todosen un jardín botánico u otras

institucionesculturales. Si teinspiras, considera laposibilidad de incluiren tu sitio web uno delos eventos Big Draw(Gran Dibujo). Éste esun festival anual quetiene lugar durantetodo octubre en másde 100

40 BGCI • 2014 • Roots • Vol 11 (2)

the Campaign for Drawing charity in theUK. Visit the charity’s website to findresources on how you can use drawingfor learning, thought, creativity and socialand cultural engagement for all at abotanic garden and other culturalinstitutions. If you get inspired you mayalso consider hosting at your site a BigDraw event. Big Draw is an annual festivalrunning throughout October in over 100organisations, including botanic gardens,across the UK and twenty other countriesoffering events for all ages and abilities.

4. Communicating ecologythrough art: what Scientists thinkhttp://www.ecologyandsociety.org/vol17/iss2/art3/

Acknowledging the difficulty ofgenerating public engagement inecological issues, researchers DavidCurtis, Nick Reid and Guy Ballardintegrate performances and exhibitionsinto the National Ecological Conference.The researchers then surveyedconference attendees and receivedmany positive results suggesting that thecommunicative possibilities of the artsare increasingly being recognised withinthe scientific community.

5. United Nations EnvironmentProgramme. Music andEnvironment Initiativehttp://www.unep.org/music_env/about.asp

A collaboration between the UnitedNations Environment Programme (UNEP)and the United Nations EducationalScientific and Cultural Organization(UNESCO), this initiative brings togethermusic industry professionals, events andgroups, from musicians and recordinglabels to venue and festivals. Thewebsite provides examples of musicfestivals and artists who not only worksustainably but also aim to raiseenvironmental awareness amongst theirattendees. There are also resources forthose planning events to support them inreducing their carbon footprint.

plus de 100 organisations, y compris desjardins botaniques, au Royaume-Uni etdans vingt autres pays, proposant desévènements pour tous les âges et toutesles compétences.

4. Communiquer l’écologie àtravers l’art : ce que pensent lesscientifiqueshttp://www.ecologyandsociety.org/vol17/iss2/art3/

Prenant en compte la difficulté àimpliquer le public sur des questionsenvironnementales, les chercheurs DavidCurtis, Nick Reid et Guy Ballard intègrentdes performances et des expositionsdans la Conférence nationale surl’écologie. Les chercheurs ont ensuitequestionné les participants à laconférence et reçu de nombreusesréponses positives qui suggèrent que lepotentiel de communication des arts estde plus en plus reconnu par lacommunauté scientifique.

5. Initiative pour la musique etl’environnement du Programmedes Nations Unies pourl’environnement http://www.unep.org/music_env/about.asp

Une collaboration entre le PNUE(Programme des Nations Unies pourl’environnement) et l’UNESCO(Organisation des Nations Unies pourl’éducation, les sciences et la culture),cette initiative rassemble desprofessionnels de l’industrie de lamusique, des évènements et desgroupes, depuis des musiciens et desmaisons de disques jusqu’aux lieux despectacles et festivals. Le site fournitdes exemples de festivals de musique etd’activités qui, non seulement travaillentde manière soutenable, mais visentégalement à sensibiliser leurs publics àl’environnement. Il y a également desressources pour ceux qui programmentdes évènements afin de les aider àréduire leur empreinte carbone.

6. Projets d’art environnementaldans l’enseignement agricole etruralwww.tes.co.uk/Download.aspx?storycode=6069679&type=X&id=6466821

Le livret de ressources contient uncertain nombre d’activités qui peuventêtre menées en extérieur. Les activités

organizaciones, incluyendo los jardinesbotánicos, tanto en el Reino Unido comoen otros veinte países que ofreceneventos para todas las edades yhabilidades.

4. Comunicando la ecología através del arte: lo que loscientìficos piensanhttp://www.ecologyandsociety.org/vol17/iss2/art3/

Reconociendo la dificultad de generar laparticipación del público en los temasecológicos, los investigadores DavidCurtis, Nick Reid y Guy Ballardintegraron espectáculos y exposicionesen la Conferencia Nacional de Ecología.Más tarde, los investigadoresencuestaron a varios asistentes a laconferencia y recibieron muchosresultados positivos que sugieren quelas posibilidades comunicativas de lasartes son cada vez más reconocidosdentro de la comunidad científica.

5. Programa de las NacionesUnidas para el Medio Ambiente.Iniciativa Música y MedioAmbiente.http://www.unep.org/music_env/about.asp

Una colaboración entre el Programa delas Naciones Unidas para el MedioAmbiente (PNUMA) y la Organización delas Naciones Unidas para la Educación,la Ciencia y la Cultura (UNESCO). Estainiciativa reune a profesionales de laindustria de la música, eventos y grupos,desde músicos y sellos discográficos,hasta lugares y festivales. El sitio webproporciona ejemplos de festivales demúsica y de artistas que no sólotrabajan de forma sostenible sino quetambién tienen como objetivo aumentarla conciencia ambiental entre susasistentes. También hay recursos paraaquellos que planean eventos paraapoyarlos en la reducción de su huellade carbono.

6.Proyectos de arte ambiental:educación rural y agricultura(FACE)www.tes.co.uk/Download.aspx?storycode=6069679&type=X&id=6466821,http://www.face-online.org.uk/

El sitio de FACE (por sus siglas en inglés)contiene una serie de actividades que sepueden llevar a cabo en entornos al aire

41BGCI • 2014 • Roots • Vol 11 (2)

6. Environmental art projects:Farming and CountrysideEducation (FACE) EnvironmentalArtswww.tes.co.uk/Download.aspx?storycode=6069679&type=X&id=6466821,http://www.face-online.org.uk/

FACE’s teaching resource bookletcontains a number of activities that canbe used in outdoor settings. Theactivities develop skills of observationand description – in one, for example,students are asked to draw ‘soundmaps’ in an outdoor space, whichencourages them to focus on what’saround them and develop their listeningskills. There are also links to artworks byenvironmental artists which can be withstudents in class. Once a (free) log inaccount has been created on the TESconnect website, FACE’s resourcebooklet can be accessed anddownloaded for free.

7. Science on stagehttp://www.britishcouncil.org/talkingscience-centres-science-on-stage.htm

The British Council’s Science on Stage isa collection of divergent projects whichuse stage mediums to explore scienceor the ethical questions raised byscience. Birch Tree, for example, performpieces for 7 to 11 year olds whichcombine storytelling with songs andmusic, about science and natural history,mixing facts, humour and folklore. For anolder audience, Y Touring TheatreCompany mix live performances withfacilitated debate and digital votingtechnology to stimulate reflection andconversation about science and society,taking their shows on tour round the UK.There’s also a ‘science open-mic night’to stimulate new science communicationpartnerships.

développent des compétencesd’observation et de description – parexemple, les élèves sont invités àdessiner une carte sonore d’un espaceextérieur, ce qui les encourage à seconcentrer sur ce qui est autour d’eux età développer la qualité de leur écoute. Ily a également des liens vers des œuvresd’art d’artistes « environnementaux » quipeuvent être utilisées en classe. Aprèsun enregistrement (gratuit) en ligneeffectué sur le site, le livret deressources peut être consulté ettéléchargé gratuitement.

7. Sciences en scènehttp://www.britishcouncil.org/talkingscience-centres-science-on-stage.htm

« Sciences en scène » du Conseilbritannique est une collection de projetsdivergents qui utilisent la scène pourexplorer les sciences ou les questionséthiques autour des sciences. LeBouleau, par exemple, propose despièces pour les 7 à 11 ans qui associentcontes, chants et musique sur lessciences et l’histoire naturelle, mêlantfaits, humour et folklore. Pour un publicplus âgé, la compagnie de théâtre YTouring associe le spectacle vivant avecdes débats animés et des techniques devote électronique pour stimuler laréflexion et les échanges sur lessciences et la société. Ils partent entournée avec leurs spectacles à traversle Royaume-Uni. Une soirée « scèneouverte sur les sciences », pour stimulerde nouveaux partenariats encommunication scientifique, estégalement présentée.

libre. Las actividades buscan desarrollarlas habilidades de observación ydescripción - por ejemplo, se les pide alos estudiantes que dibujen “mapas desonido” en un espacio al aire libre, loque les anima a concentrarse en lo queestá a su alrededor y a desarrollar sushabilidades para escuchar. También hayenlaces con obras de arte hechas porartistas ambientales, quienes ademáspueden estar con los alumnos en clase.Se require crear una cuenta de acceso(gratuita) en el sitio web de TES; una vezregistrado en la página de TES, esposible obtener acceso al folleto derecursos de FACE y descargarlo deforma gratuita.

7.Ciencia en el Escenariohttp://www.britishcouncil.org/talkingscience-centres-science-on-stage.htm

“Ciencia en el Escenario”, del ConsejoBritánico, es una colección que incluyeproyectos divergentes que utilizanmedios escénicos para explorer laciencia o las cuestiones éticasplanteadas por la ciencia. “Abedul”, porejemplo, es una obra que presentapiezas para niños de 7 a 11 años,combinando la narración con cancionesy música acerca de la ciencia y lahistoria natural, la mezcla de hechos,humor y folklore. Para un público de másedad, “Y Touring Theatre Company”mezcla presentaciones en vivo,incluyendo debates facilitados ytecnología de votación digital paraestimular la reflexión y la conversaciónacerca de la ciencia y la sociedad,llevando sus espectáculos en giras portodo el Reino Unido. También hay una“noche científica de micrófono abierto”para estimular nuevas alianzasa para lacomunicación de la ciencia.

42 BGCI • 2014 • Roots • Vol 11 (2)

bgen membership offers the chance toshare and improve skills, knowledge andresources, through training workshops, anannual conference and other networkingevents, and an email newsgroup for rapidresponses to queries.

• Planet Botanics: making the case for ‘green’ activities• How to achieve knowledge and behaviour change

with emotional engagement• Understand your visitors - why the psychology of

their values matter to your work• Food for thought: bucket loads of food growing ideas

for activities• 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

Botanic gardens have a responsibility to cater for a wideaudience from all walks of life. Simply developingappropriate resources, services and activities is notenough. They must use creative and effectivetechniques to reach and inform the public about whatthey have to offer. From promotion to engagement, thenext issue of Roots will discuss marketing in botanicgardens.

We will showcase some examples of innovativemarketing methods and strategies and discuss howand why they should be adapted and targeted to suitspecific audiences. We will highlight effectivecollaborations between marketing and educationdepartments as well as considering how marketing canbe integrated into public engagement activities.

Botanic Gardens Education Network

For more information and to join

contact info@bgen.org.ukor visit www.bgen.org.uk

Does your work involve inspiring people aboutplants and are you keen to share your ideas and learn more? Then join Botanic GardensEducation Network (bgen) and attend the bgen2014 Conference

Learning for Sustainable Development;what have we learnt and where are we going?5-7 November, 2014 at Paignton Zoo Environmental UK

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...

This issue will include ideas from a widerange of perspectives, from marketingdepartments and companies, to educators,education departments and gardendirectors. To achieve this we need yourhelp! Please pass on the call to all thosecreative marketing bright sparks you know.

To be featured in Roots please contact:

liliana.derewnicka@bgci.org

Botanic Gardens Conservation International

Descanso House, 199 Kew Road,Richmond, Surrey, TW9 3BW, U.K.

Tel: +44 (0)20 8332 5953 Internet: www.bgci.orgE-mail: info@bgci.orghttps://twitter.com/bgci

ISSN 0965-2574