Mien Ruys (1904-1999) was een pionier van de moderne tuinarchitectuur. Ze was politiek en sociaal bevlogen, en een voorvechtster van interdisciplinaire samenwerking; ze werkte samen met architecten en stedenbouwkundigen, en streefde ernaar dat het landschapsontwerp integraal kon bijdragen aan stedenbouwkundige plannen. Een groot deel van haar oeuvre speelt zich af in en rondom sociale woningbouw en is nog steeds te zien in Amsterdam Nieuw-West. Werkzaam in een tijd van vernieuwing en wederopbouw stond haar creatieve geest garant voor veel innovaties in het tuinontwerp, zoals de uitvinding van grindtegels, toepassing van afgedankte spoorwegbielzen - waarmee ze vooropliep in het nadenken over hergebruik - en confectieborders. [...]

Amid growing urban challenges, designers must navigate the interplay of social, ecological, and spatial systems. Spatial design pedagogy can address this need by fostering hands-on, real-world experiences that encourage collaboration, critical and creative thinking, and a deep appreciation for the existing values of a site. This contribution reflects on two teaching experiences within TU Delft’s Faculty of Architecture and the Built Environment, focusing on interstitial spaces in Rotterdam, the Netherlands. The course On Site: Landscape Architectonic Explorations engages master’s students from Landscape Architecture, Urbanism, and Architecture, emphasising interdisciplinary collaboration to develop inventive analyses through immersive experiences and a design proposal using minimal interventions. In 2023, students examined Land van Chabot, a fragmented polder landscape once immortalised by painter Henk Chabot (1894–1949), now redefined by an emerging motorway, the recreational corridor of the river Rotte, and the suburbs. In 2024, they focused on Stadspark-West, a network of programmed and leftover green spaces interwoven with dense urban infrastructure. Both experiences prioritised immersive fieldwork and direct stakeholder engagement with local associations, the municipality, and human and non-human residents, users, and passers-by. While addressing the sites’ dissonant challenges, students uncovered their tangible and intangible qualities. Ephemeral interventions exposed the audience to the existing qualities and potential futures of the site, showcasing the students’ site interpretations and design proposals, but most importantly providing a vehicle to experience the site. This approach demonstrates the transformative potential of reframing urban fringes as laboratories for experimentation, from which meaningful places can emerge.

This issue of SPOOL elaborates a designerly perspective on urban forestry. Evidence has increased rapidly in the recent years to confirm the agency of trees and urban forests to cure a number of ills besetting urban societies. An expanding range of disciplines, in varying and novel combinations, are turning to an urban version of forestry to re-configure green (and grey) infrastructures, re-write neighbourhoods, re-purpose derelict territories and re-vitalize disparate peripheries. As such, in the face of the growing number of challenges facing cities globally, we see that urban trees and forests are becoming increasingly central to spatial planning and design practise. And yet, with all this work done on the environmental, ecological, technical and recently also urbanism-related aspects of urban forestry (cf. Journal of Landscape Architecture 1/2023), its site-specific, spatial, aesthetical, and cultural dimensions have received less attention in research. For us as SPOOL editors, this is an invitation to focus on trees and forests from the vantage point of landscape architecture and the related thread of SPOOL, called ‘landscape metropolis’. This thematic thread addresses the dynamic, composite, and layered urban landscape with all its biotic and abiotic elements from a design perspective, with the intent to transcend the conventional city-countryside dichotomy, and to understand landscape as a permanent underlying subtext of the urban condition, with repercussions into the remotest corners of the globe. From a landscape metropolis perspective, cities are understood as complex territorial mosaics where the conventional categories of urban and non-urban give way to a mix of material environments in various stages of ‘naturalness’, or to put it another way: natures in various stages of becoming ‘cultured’. Building on the potentials of an alternative reading of the urban territory then, in this issue we feature a number of select authors who elaborate on this condition, expanding on a designerly frame of knowing and doing in urban forestry. Publication formats also help: besides regular papers, visual essays are featured as a lesser-known yet highly appropriate category of exploration for design research.

It happens to all of us at one point or another: you walk through a park and think ‘OK, this is really pleasant’, and then leave and kind of forget about it. And when you visit, maybe by accident, for a second time, things have grown, the light is different, you walk from a different direction, you see it from a totally different angle and you recognize a deeper meaning. There is more to it than what you assumed the first time. Second Glance. This is the title of the sixth edition of Landscape Architecture Europe. [...]

How do young generations and educators envision the future of the Wadden Sea territories? How will these landscapes be modified in the years to come? How do we embrace the past and the present and imagine the future? […]

To understand the role of the urban forest for people and society a focus on the spatial-experiential aspect (in relation to the human body and human perception) is relevant: trees frame the space in which people move, act, experience and appreciate. ‘Tree language’ refers to the spatial relationship between tree species, planting configurations and plantations and their unique location.

The notion of ‘plantation’ is explored as one of the defining aspects of such a language (next to ‘species’ and ‘configuration’). ‘Plantation’ is proposed as a term to describe the wooded characteristics of areas in the urban realm, defined by a combination of characteristics of species, tree configurations and the density and morphology of the plantation, comparable to a natural forest mosaic which is also determined by commonalities in species and vegetation community structure, as well as having alternations of densely wooded and less wooded areas.

This reveals an urban landscape composed of a variegated wooded mosaic of plantations, which invariably transcend neighbourhood boundaries as well as common understandings of the boundary between city and countryside. In successive density and arrangement, in Delft seven types of plantations can be distinguished, connected and separated by the long lines, the avenues that traditionally formed the connections between Delft and the countryside like spokes in a wheel.

In an era of globalisation, landscape architects and urban designers have learnt to think big: large-scale plans with far-reaching visions, saving the planet and solving urgent global challenges. Usually, we try to solve these problems in the same way that we created them: with advanced and generic technological methods, and with significant investments. Yet this bigness is still largely the domain of international players, and its effects do not necessarily foster the quality of urban spaces. On the other end of the spectrum is the small realm of a terrarium, intriguing because of the contradiction between their otherworldliness and the representation they offer of the world as we know it. They share this quality with gardens, described by Michel Foucault as “the smallest fragment of the world and, at the same time, represents its totality, forming right from the remotest times a sort of felicitous and universal heterotopia”1. What if we learned to think small again? What do small gestures have to offer to reveal what is valuable and meaningful and to foster a novel understanding of the relation between humans and nature? How can they sharpen our view for the particular, identifying the places in the landscape in their structural, material, dynamic, practical, atmospheric, mnemonic, and discursive identities? [...]

Het stadsbosmozaïek is verantwoordelijk voor structuur, oriëntatie, identiteit en betekenis, en zorgt uiteindelijk voor de leefbaarheid van een stad. Om de stad een leefbare plek te maken en te houden voor zijn (menselijke en niet-menselijke) stadsbewoners, ook in relatie tot vragen ten aanzien van klimaatadaptatie, economie, en ecologie, zou de boom een centraal gegeven moeten zijn bij de transformaties van de stad. Hij vormt de verbindende component tussen de verschillende dimensies en schalen van deze transformaties. Er spelen verschillende dimensies in het begrijpen van en het ontwerpen aan het stadsbos. Maar deze dimensies hebben niet allemaal dezelfde rol. Uit deze atlas komt de ruimtelijke dimensie en de historische verankering ervan naar voren als bepalende drager voor alle overige dimensies.

Background: The field of urban forestry encompasses many dimensions, of which that of visual-spatial perception, addressing the spatial relationship between city and trees, has received little attention. Analyzing the urban forest from a visual-spatial perspective is needed to understand relationships between different components as well as site-specific qualities. Methods: Tree configurations describe the relationship between form and space, determined by the relative disposition of the trees which result from an interaction between design and the development over time. Based on field observations, with the city of Delft in the Netherlands as a case study, 35 generic tree configuration types have been defined. With this “vocabulary,” specific tree configurations and their relations are researched, describing the urban forest from an eyelevel perspective as an essential level on which the spatiality of the urban forest can be understood. Results: Unraveling the urban forest components by comparing two emblematic ensembles of tree configurations allows an understanding of their heterogeneity as well as their coherence and dynamics. Conclusions: The relationship of the tree vocabulary with the specific location exposes their role as an ordering structure and a carrier of the identity of Delft, and their differentiation and site-specific qualities, revealing a composition of wooded areas each with their own characteristics, shows both urban and forested areas as equivalent components of an urban forest mosaic. This differentiation can be used as a tool for strengthening relations between the different components as well as diversity and heterogeneity in urban forests.

Designed form is not about creating a good appearance. Nor is it restricted to the small scale. The small scale, however, can be used as a valuable playground and laboratory for large scale landscape designs. Three case studies are compared in which similar compositional principles are used at different scales and complexities: the technical, agricultural, pedagogic social reform landscape of the Gartenreich Dessau-Wörlitz (Duke Leopold III of Anhalt-Dessau, 1760-1830), the theatrical urban design for London connecting the government centre with the landscape panorama (John Nash, 1810-1826) and the residential urban landscape of Borneo-Sporenburg in Amsterdam (West8, 1993-2000). In each we can recognize the formal principles of the picturesque garden. Not the style, image, or shape, but the formal (visual-spatial) principles: landscape fragments that are connected by a route as a scenographic succession of composed scenes or tableaux, using the existing topography as a base. Such timeless compositional principles, as the relation between form and space as the initiator and carrier of structure, are versatile enough to accommodate and generate varying uses and processes. These examples illustrate a landscape architectural position that is in its essence not about problem solving but about creating form as condition for different uses, intended and unintended, expected, and unexpected, for human and non-human practices and experiences.

The urban environment is perceived through multiple senses in parallel, which means that visual understanding of space is aided and complemented by auditory, basic-orienting, and haptic stimuli - although mainly unconsciously. Sensory conditions are inherent attributes of urban places, but are often overlooked in research. To include these aspects in any way in analysis of the urban landscape, they need to be understood as properties of urban space, to be translated from attributes of the perceiver to attributes of the perceived. Using the relation between a designed garden and its suburban context in Bad Oeynhausen (DE) as an example, I will explore an alternative analytical methodology that takes the first-hand perspective view of the subject moving through the city as the starting point. The human body explores space by moving through it; walking is the most direct way to access, study, and research the physical qualities of the (urban) landscape, involving not only visual experience but also sound, rhythm, kinaesthesia, balance, and so forth. A notation technique that discloses the interrelation between visual qualities and their perception over time is the technique of ‘scoring’. Scores are symbolisations of processes, which extend over time. They can objectively represent non-visual qualities of space, communicating the relation between such processes and their spatial context to others in other places and other moments. These representations of movement expose the qualities of the surroundings that change as one moves through them, thus communicating the experiential aspects of urban landscape.

Leftover spaces are urban interstices that are open to spontaneous socioecological appropriation, complementary to defined and managed urban open spaces. The design intervention of leftover spaces poses a paradox: while repurposing leftover spaces to make them accessible, usable and meaningful, design simultaneously runs a risk of closing off opportunities for appropriation. This paper examines the role of landscape architecture design in transforming leftover spaces. Four analytical lenses: the morphological, material, ecological and social lenses, were developed to examine the Dalston Curve Garden. Two essential design lessons for engaging the interstitial condition of leftover spaces were concluded: to design with multiple site qualities and to nurture local stewardship. The study further highlights the role of spatio-physical design as ‘founding’: to establish the beginning of a place-bound transformation without fixing the endpoint and to allow a profound connection between people and place to emerge.

Atopias are also often inaccessible and unwelcoming. With the Essenburgpark in Rotterdam as an example, the article explores the possibility of transforming these atopias into heterotopias, or other places: sheltered places that are contrary to their surroundings, and at the same time mirroring, reflecting them (Foucault,1997, 352). This once inaccessible, neglected fringe where the railway cuts through the centre of Rotterdam, has been claimed by the local residents, who added subtle elements such as an entrance, a narrow bridge and stepping stone, just enough to give a hint to the passers-by that they are allowed to enter and explore this wild place, transforming the atopia into a heterotopia.

Aan de hand van de daktuin van de auteur en de ontwikkeling daarvan, wordt de Nederlandse tuintraditie en de verschillende soorten van gebruik van tuinen beschreven. In de Renaissance gaven tuinen uitdrukking aan de nieuwe onafhankelijkheid. Erasmus beschreef de ideale burgermanstuin als een plek die zowel de geest verheft als de zintuigen streelt, en deze tuin was zowel een lieflijke plek om van te genieten, een rationele tuin voor productie, en een plek voor contemplatie, filosofie en samenzijn. Tuinieren, samenkomen en ervaren zijn ook nu nog de drie vormen van gebruik van tuinen. De tuin is een expressie van de relatie tussen mens en natuur, een uitdrukking van de specifieke plek, en tegelijkertijd een plek die afstand biedt tot het publieke domein.

As the elementary unit of the urban forest, trees temper thermal extremes in urban microclimates through shading and evapotranspiration, and by altering the movement of air. Metrics on shade performances of different species, however, are currently limited, which can be remedied by the development of a method to describe the range of species and cultivars via a structured overview of physical characteristics impacting radiation reflectivity, absorptivity, and transmissivity. This paper proposes a descriptive framework based on the concept of “tree architecture,” which has developed into a recognized field of plant study from the perspective of their physiognomy, morphology, and morphogenesis. The framework describes various architectural sub-traits within the overall trait categories of Crown, Wood, and Foliage. The descriptive framework can be used to develop a “Cool Tree Architecture Typology” (C-TAT), in which trees can be organized into similar types based on common physical characteristics. Further elaboration of sub-traits using observations of trees in controlled field laboratories resulted in new derivative classes for use as key in classifications for the C-TAT. The C-TAT can be used to organize the many species and cultivars occurring in, for example, Cfb Atlantic climate zone cities, to a lesser number of architectural types. This allows for more rapid evaluation and cooling performance calculations of tree inventories and can also be of value in assisting tree managers to propose more accurate thermal performance standards for trees in urban projects. The elaboration of tree architecture from an urban microclimate perspective complements existing elaborations and approaches in the field of tree architecture.

Around 1661, Johannes Vermeer painted what has become one of the most famous city views: the View of Delft. The city of Delft is depicted from across the water of the River Schie. We see the city as a collection of brick buildings with lower and higher towers, peaking into the sky, and being reflected in the water of the river. The light looks alive: despite the clouds it is bright, setting the buildings of Delft and the riverbank in the foreground in a palpable warmth. Delft, an intermediate European city in the province of South Holland, between The Hague and Rotterdam, has featured quite prominently in Dutch city narratives, partially thanks to Vermeer’s paintings, which showed fragments of both spatial and social characteristics of the city in the sev-enteenth century. In the same period, biologist Anthoni van Leeuwenhoek experimented with lenses and built a microscope, which led to the discovery of the micro-world of cells and bacteria. The city’s small streets, the canals, the church towers and the market squares still remind us of the times of Vermeer and Van Leeuwenhoek. But Delft today, as a centre of trade, knowl-edge and art, is a very vibrant city, with the University of Technology as one of its most celebrated contemporary inhabitants. The TU Delft is recog-nized around the world for educating progressive thinkers and innovators in varied engineering fields, while its Faculty of Architecture has raised, and keeps raising, inspired generations of architects and designers. As Delft is the city where this Writing Urban Place network originated, and where many members of the network have lived, studied or lectured, or are still doing all the above, we have asked our Delft-related colleagues for their views on Delft, painting for our readers, in words, their accounts of the sociospatial characteristics of this city, their relationship with the water, their favourite urban places, their personal Views of Delft.

In the format of a round-table discussion, we bring together voices from different departments, sections and roles within TU Delft to explore questions arising from the current issue of the magazine. Unlike the more familiar 'topias' like utopia and dystopia, atopia eludes clear definition and challenges conventional understandings of space in our rapidly changing environments. As we delve into this multifaceted theme, each participant has provided their unique perspective, creating a mosaic of insights and examples that shed light on the ever-shifting landscapes of non-places.

'The Garden as an Expression of Supernature' discusses the Wasserkrater Garden in Germany as an entry to define a contemporary interpretation of nature: "super-nature", which might be represented in gardens as a force of abundance, beautiful and dramatic, showing existence to its full extent in which humans are only a small part, and at the same as something close to home, part of our daily environment. The Wasserkrater Garden shows an entanglement of natural and artificial expressing the contemporary understanding of the Anthropocene: the current era after the Holocene, in which humanity intervenes as a force of nature, and nature no longer exists without human influences. Without the distinction between what is natural and what is man-made, the contemporary garden can expose wilderness not in opposition of, but as an integral part of the metropolitan realm and our daily environment, evoking an immersive encounter with nature: an embodied experience.