Mostrar mensagens com a etiqueta Reino Unido. Mostrar todas as mensagens
Mostrar mensagens com a etiqueta Reino Unido. Mostrar todas as mensagens

sábado, 1 de outubro de 2016

Jardim Botânico de Kew, Londres: «Prioridades Estratégicas»

KEW GARDENS, LONDON:

Strategic Priority 1

To document and conduct research into global plant and fungal diversity and its uses for humanity.

Strategic Priority 2

To curate and provide data-rich evidence from Kew’s unrivalled collections as a global asset for scientific research.

Strategic Priority 3

To disseminate our scientific knowledge of plants and fungi, maximising its impact in science, education, conservation policy and management

https://www.youtube.com/watch?v=g4-EkRL-J2M

quinta-feira, 30 de outubro de 2014

Fachada do BRITISH MUSEUM em 2012



Fachada principal do British Museum de Londres, em Dezembro de 2012, com 2 paineis publicitando exposições. Um exemplo de boa integração numa fachada de um edifício classificado e muito emblemático da cidade de Londres.

segunda-feira, 30 de setembro de 2013

CHELSEA PHYSIC GARDEN: Loja e Cafetaria

 Cartaz na entrada do edifício do "Serviço Pedagógico"
 Venda de plantas, projecto em regime de voluntariado dos "Amigos do Jardim"
 Loja/Livraria
Esplanada da Cafetaria/Restaurante

CHELSEA PHYSIC GARDEN: Sobreiro!



Quem imaginaria um belo sobreiro em pleno centro de Londres! É uma das "estrelas" deste histórico Jardim Botânico de Londres.

domingo, 29 de setembro de 2013

CHELSEA PHYSIC GARDEN: Exposição "Super Foods" (quinoa, cenoura, couve...)



 
 

Uma interessante, e muito bem montada, exposição dobre as plantas consideradas "Super Foods", como por exemplo a batata doce, a cenoura, a beterraba, a quinoa ou a simples mas super nutritiva couve! Esta exposição é um óptimo exemplo do que deve ser a missão de um Jardim Botânico na sociedade actual: contribuir para o aumento da literacia botânica do cidadão através de projectos informais, simples, directos e portanto, eficazes.  

CHELSEA PHYSIC GARDEN: Jovens Jardineiros!




Por todo o jardim se vêm jovens e energéticos jardineiros a trabalharem - por isso é que o jardim está num "invejável" e belo estado de conservação . Não podemos deixar de mostrar grande preocupação pela crónica falta de jardineiros de que padece o nosso Jardim Botânico há várias décadas - o último jardineiro que restava nos quadros, estará reformado num final de 2013. É possível ter um jardim sem jardineiros?

sábado, 28 de setembro de 2013

CHELSEA PHYSIC GARDEN: Estufa do Mediterrâneo

 

Estufa nº 3 dedicada às plantas da região do Mediterrâneo.

CHELSEA PHYSIC GARDEN: Estufa das Ilhas Atlânticas (Madeira, Açores, Canárias)

 As bancadas originais em, ferro fundido do séc. XIX, foram rigorosamente restauradas.
 Exemplar de Dragoeiro em vaso
 As plantas estão em vasos de barro - não há objectos dissonantes em plástico
Estufa de Exibição nº 2, de estrutura em madeira, dedicada à exposição de plantas das Ilhas Atlânticas (Madeira, Açores, Canárias e Santa Helena).

sexta-feira, 27 de setembro de 2013

CHELSEA PHYSIC GARDEN: Cool Fern House






The Thomas Moore Fernery - Outra Estufa de Exibição, edifício histórico bem restaurado e com boa interpretação e sinalética a pensar no visitante.

quinta-feira, 26 de setembro de 2013

CHELSEA PHYSIC GARDEN: Estufa de Plantas Carnívoras e Cactos




Uma pequena Estufa de Exibição, em madeira, com duas exposições: de um lado plantas carnívoras e do outro cactos e suculentas. A LAJB tem vindo a defender a construção de "Estufas de Exibição" no nosso jardim como forma de enriquecer as colecções vivas, mas também como instrumento vital para a sustentabilidade financeira do Jardim. De facto, as estufas de exibição, se forem bem geridas, e com um bom programa de exposições ao longo do ano, conseguem atrair mais públicos e dessa forma ajudam a cumprir melhor a missão de um Jardim Botânico mas também contribuem para o aumento das receitas de bilheteira. Infelizmente, e até ao momento, não se tem dado a devida atenção a este importante tema como ficou provado com o Plano de Pormenor aprovado recentemente.

sexta-feira, 31 de agosto de 2012

Cortiça na SERPENTINE GALLERY em Londres


O novo pavilhão da serpentine Gallery em Londres onde se faz grande uso da cortiça. Porque não usamos mais cortiça nos nossos espaços verdes? 
Para mais detalhes consultar: http://www.serpentinegallery.org/
Fotos: revista Wallpaper

sexta-feira, 10 de fevereiro de 2012

«Um novo papel para os jardins botânicos»


Cinco jardins botânicos espalhados pelo Reino Unido integram a segunda fase de “Growing the Social Role of Botanic Gardens”, um projeto que tem como objetivo redefinir a missão social destes jardins. A iniciativa da Botanic Gardens Conservation International (BGCI), apoiada pela delegação londrina da Fundação Gulbenkian, foi desenvolvida pela primeira vez entre o outono de 2010 e o verão de 2011, período em que esteve associada a três jardins. A sua origem remonta ao relatório da BGCI Towards a New Social Purpose: Redefining the Role of Botanic Gardens, também apoiado pela Fundação, que recomendava aos jardins botânicos que cumprissem o seu papel social dentro de um quadro moderno de valores, missão e visão, de modo a manterem a sua relevância.

Os cinco jardins selecionados para integrar a segunda fase do projeto são os Bristol Zoo Gardens, o Royal Botanic Garden Edinburgh, os Royal Botanic Gardens, Kew, o University of Leicester Botanic Garden e Westonbirt, the National Arboretum, e a sua diversidade em termos de localização, escala e projetos é considerada importante para o desenvolvimento da iniciativa. Durante os próximos seis meses, através de workshops e apoio personalizado, o BGCI irá monitorizar a implantação de projetos-piloto que reformem a relação dos jardins com as comunidades locais e reforcem o seu compromisso para com a sociedade. Numa lógica de aperfeiçoamento de um modelo aplicável globalmente, o BGCI desenvolverá um handbook que documente o projeto e possa ser consultado por outros jardins que desejem rever o seu papel social.

Os três jardins abrangidos na primeira fase do programa foram a Winterbourne House and Gardens, o National Botanic Garden of Wales, e o Ness Botanic Garden. O caso da Winterbourne House and Gardens é o de um jardim convidado a associar-se a este projeto com a condição de trabalhar com a comunidade islâmica local, um setor pouco envolvido com as questões ambientais. O que se pretendia era fomentar não só a educação ambiental dos participantes, mas também a integração destes na sociedade britânica. O National Botanic Garden of Wales, um esforço do governo galês para a investigação e para a conservação, tem revelado dificuldades em passar a mensagem à comunidade rural e envelhecida em que está inserido. A sua proposta de integração social, baseada num projeto artístico, foi entendida pelo BGCI como desfasada do programa e, depois de algumas iniciativas, o NBGW abandonou o projeto. Já no programa Engaging Secondary Schools, alunos de algumas das zonas mais pobres de Liverpool integraram atividades relacionadas com a agricultura, a ecologia e a conservação no Ness Botanic Garden. Esta experiência foi considerada pelos participantes como motivadora, atribuindo-lhes responsabilidades e contribuindo para a sua negligenciada educação ambiental.

Este projeto desempenha um importante papel na educação das comunidades para as práticas agrícolas sustentáveis, promovendo uma relação mais saudável e consciente da sociedade com o ambiente.

Leonor Vaz
Serviço de Comunicação

Fundação Calouste Gulbenkian

in Newsletter da Fundação Calouste Gulbenkian, nº 130, Fevereiro 2012

Foto: Planting out seedlings and seed sowing. Winterbourne Gardens, Reino Unido

segunda-feira, 10 de outubro de 2011

Tranquil flashpoint: Salvar um Jardim

Threatened with closure following a crisis at the National Trust for Scotland, Arduaine garden has become synonymous with the power of protest groups

In front of me sparkled seven islands of west Scotland in a sunlit sea and behind me shone white-flowered rhododendrons too tender to be grown in the rest of Britain. Beyond these islands with names like Luing, the next coastline is distant Labrador. The wind rustled in an undergrowth of rare Far Eastern flora, and I marvelled that two years ago the guardians of this heavenly garden, the National Trust for Scotland, had intended to give up on it, lock the gate and walk away.

Arduaine has become even more famous since the Trust published its summary decision. Cantankerous southern gardeners have learned how to pronounce its name, Are-doo-nee, the Gaelic word for a green promontory. It has become synonymous with the power of protest groups. Very senior heads have rolled at the National Trust for Scotland after their closure plans in a crisis enraged the 312,000 members and prompted a pugnacious look at the structure and financial woolliness of their institution. Arduaine became the flashpoint for incredulous discontent. Valiant donors maintained the garden’s costs for 12 months while the Trust reconsidered its plans. Activists formed a rival, In Trust For Scotland, and the need began to be specified for an endowment of up to £2m to take the garden out of danger.

Plans for closure had been precipitated by the stock market collapse of 2008-2009, but there are few better “buy” signals than a panic among charity trustees. Since March 2009, more has gone Arduaine’s way. The underlying endowment has gone up with the market by more than 40 per cent. Private donors have already given and pledged £650,000 for Arduaine’s future. The Trust has slimmed down its structure and brought in a new team, headed by the steady hand of Sir Kenneth Calman, previously chief medical officer in Scotland, England and Wales. This weekend the new-look Trust launches its Save The Secret Garden Appeal for Arduaine, with a target of £100,000.

The crucial point behind all the previous fuss is that the Trust is not funded by any public money. It depends on donations, investment income and gate-money and is separate from England’s mighty National Trust. Even before 2009 it had become overstretched by accepting too much in the past with little or no endowment. The new five-year plan makes overdue financial sense. The aim for each vulnerable property is to raise and invest a capital endowment whose income will then meet half of each year’s running costs and the whole of the cost of one year’s new projects. The other revenue will come from entrance money, but the endowment will cushion the risks of bad visiting-weather and economic storms. Arduaine’s visitors have already surged by 11 per cent since the rumpus, reaching 16,000 last year. The garden deserves to get every penny of the remaining balance even before the rhododendrons’ petals have fallen. For only £30, the first 300 donors can have their names carved as an Arduaine Guardian on a special garden gate.

There ought to be a rush of inscriptions. Wherever garden soils are acid in Britain, azaleas and rhododendrons are the country’s greatest living link with the Far East. Wild varieties from China began to enter Britain with the brave plant-hunters of the generation from 1840 to 1880, many of whom had Scottish connections. The link between mild Gulf-Stream Scotland and the forest shrubs of Burma and Sichuan turned out to be the happiest link between landscapes since the great painters of the Italian Renaissance transformed the image of the Holy Land into a dreamy corner of Tuscany.

Arduaine was not early on the scene, but it has some spectacular rarities, including our national collection of Maddenia rhododendrons. They are varieties which are too intolerant of frost for other gardens and yet are mostly white-flowered and exquisitely scented.

I asked the head gardener, Maurice Wilkins, to direct me to the defining quality of Arduaine. “Tranquillity,” he replied, and although the wind was sweeping boisterously off the nearby sea, I understood what he meant. Below the canopy of tall trees, the natural paths wind unobtrusively and there is that calm which is only gained by taking the long view. Arduaine’s boundary is within yards of the beach, but in 1897 its new owner, James Campbell, reckoned that with a shelter belt he could gain from the mild Gulf Stream and make the planting the equal of the big ducal woodlands in Scotland which were developing Oriental “gorges” and Himalayan trails. Soon he was in close contact with Osgood Mackenzie, owner of the most famous Scottish island garden, Inverewe. The woodland garden at Arduaine is now even better than Inverewe’s own.

Campbell’s money came from tea-planting in Sri Lanka. One of his rarest plants for a British collection is a wild Sri Lankan rhododendron of striking outline. It is a menace nowadays on Sri Lankan golf courses, but it only grows outdoors in Britain in west Scotland, 100 yards from the sea. Campbell and his family continued to plant boldly until the 1950s and the oldest of west Scottish garden-owners have recalled for me that Arduaine was at its absolute summit in the late 1940s. It then slumbered until 1970, in danger of the throttling embrace of mother Nature.

In 1971 the site was bought for less than £10,000 by two brothers, Harry and Edmund Wright, with roots in faraway Essex and experience as nurserymen. Their devotion saved the garden, extended the seasonal interest and gave the lower part a more “gardened” feel. It was they who gave the garden to the Trust in 1992 but soon added a blast of controversy. They lived on, as Edmund still does, within 50 yards of the garden’s boundary, and after a series of perceived slights, they put up signs to publicise their view of the Trust’s rudeness and incompetence. They are still visible.

Great woodland gardens depend on a fine balance between an upper canopy of trees and the flowering shrubs beneath. This may prove to be Arduaine’s next big challenge. Campbell planted many Japanese larch trees as a shelter above his rhododendrons and by now they are up to 100ft high, a thousand of them, in Wilkins’s wary opinion. Like other shrub gardens in public ownership, Arduaine is now vetted by scientists for the dreaded Phytophthora ramorum, a sickness which has already required the burning of 90 fine Arduaine specimens in the hope of containing it. Not only has the mature larch canopy begun to block out light from the shrubs beneath it. Larch trees activate the lethal Phytophthora and near Arduaine whole hillsides of larch trees have had to be felled.

On the far side of the garden I looked at a lovely white Rhododendron williamsianum, one of my favourites in a smaller garden, and marvelled at the Rhododendron decorum behind it, one of the first brought to Scotland by the great collectors Euan Cox and Reginald Farrer nearly a century ago. Beside it a tender cream-flowered Michelia was in bud. The garden needs a phased replanting, more magnolias, camellias and more labelling from its database. It also needs £100,000 to assure it a public future. It then will symbolise the power of a bad decision if overturned by independent protest and replaced by thoughtful new brooms. in Financial Times, 13 Maio de 2011 http://www.nts.org.uk/Home/

sábado, 28 de maio de 2011

ESTUFAS: Amazing Glass

Years ago when coal and servants came cheap and greenhouse gases were more likely to be the noxious fumes used to kill pests, magnificent greenhouses would stretch around the perimeter of walled gardens. Elsewhere, in the ornamental areas of the gardens, grand conservatories and orangeries livened up the scene.


Today many of the structures have dual use – as places to grow and to socialise. The architecture of the best greenhouses reflects this and many are beautiful as well as functional. Better still, new materials and double-glazing have made them more efficient than the attractive but fuel-hungry greenhouses the Victorians enjoyed. Like the Victorians, today’s glasshouses are used to grow food as well as to raise seeds, bring on tender plants and keep exotics that would not otherwise survive in the northern hemisphere. Here are the best on the market.


Dome
It is the geodesic shape of these greenhouses that makes them strong enough to withstand winds and storm. Solardome has been operating for 40 years fine-tuning its aluminum and glass construction. Their shape allows air to circulate freely without cold or hot spots and maximum light. Their largest dome is 10m in diameter and 5m high, tall enough for bananas and palms.
http://www.solardome.co.uk/


Aluminium
Alitex’s aluminium frame offers strength and longevity. The National Trust first approached Alitex to create greenhouses in 2004, and they have since developed a full installation service. Fittings and accessories include climate control, options on venting, hot water heating control and humidity regulators. Alitex’s greenhouses have been installed at Loch Lomond Golf Club.
Hartley Botanic is another aluminium greenhouse. Hartley’s range includes the smallest domestic greenhouse to magnificent commercial glasshouses seen in the Glasgow and Oxford Botanic Gardens. Every Hartley greenhouse is hand made and can be shipped and assembled throughout the world.




Timber

Marston & Langinger’s timber greenhouses are wider than average. The frames can be finished in more than 70 colours. M&L greenhouses include clever details such as scallop-edged panes to drain rain away from the glazing bars, the option to add extra shelving, automated electric ventilation and heating controls. It is my greenhouse of choice.
http://www.marston-and-langinger.com/


Hybrid materials
Gabriel Ash is the only greenhouse company endorsed by the Royal Horticultural Society. The RHS approached it to design and install their teaching greenhouse at Harlow Carr in northern England. The requirement was to be wide and long enough to house plants and tools, with space to teach large groups. Installed in 2010, the result is superb. All greenhouses are built in Cedar with aluminum reinforcement forming a hybrid that incorporates the strength of both materials. It is possible to create hot and cool spaces, for various growing zones.
http://www.gabrielash.com/


Technology
Solar Innovations are world leaders in contemporary greenhouse engineering. Aluminium is used for the frame, which means no rusting, rotting, or annual maintenance, and greenhouses can be glazed in glass, acrylic or polycarbonate. Interior and exterior is planned in detail to include insulation, ventilation, heating, cooling, humidifying, and shading. Price depends on design, location and accessories chosen.
www.solarinnovations.com


Arch
Made in the US and shipped worldwide, this gracefully curved Gothic Arch design is tough enough to withstand winter blizzards. Available in various sizes in a range of freestanding and lean-to models, the frame is built in Cypress, a naturally insulating timber.
http://www.gothicarchgreenhouses.com/



Orangery
Amdega orangeries evoke the Victorian era when citrus trees were over-wintered in a unique building that allowed them to catch the sun. Amdega commissions are tailored to the garden and client. Every design allows for strong proportions and individual details; no two orangeries are the same. http://www.amdega.co.uk/


in Financial Times, 19-20 de Março de 2011


Foto: Estufa do séc. XIX em Loch Lomond, Escócia, restaurada pela empresa Alitex. Infelizmente a bela estufa do séc. XIX do nosso Jardim Botânico foi demolida nos anos 60 do séc. XX para se construir outra estufa em betão armado - actualmente em muito mau estado de conservação, sem valor patrimonial e com pé-direito insuficiente para exposições de plantas de escala maior. Será possível reconstruir a estufa histórica? Ou devemos criar uma nova estufa de exibição de design contemporâneo? Este debate, esta reflexão, ainda está por fazer. Mas como se constata por este artigo, só no Reino Unido há várias empresas competentes na área de projecto, restauro e execução de estufas. O mais importante é planear a construção de uma estufa para que o nosso Jardim possa cumprir com um dos grandes objectivos dos jardins botânicos que é divulgar e promover cultura botânica junto de todos os cidadãos.

quarta-feira, 9 de março de 2011

As Árvores e os Livros: Dorothy Gurney

The kiss of the sun for pardon,
The song of the birds for mirth,
One is nearer God's heart in a garden
Than anywhere else on earth.

Do poema God's Garden (1913), da autora inglesa Dorothy Francis Gurney (1858-1932)

Foto: Domingo no Kew Botanical Gardens de Londres

domingo, 13 de fevereiro de 2011

«LIVE AND LET LIVE»

For those who live in homes where mice nibble through wires, where pigeons make a mess of eaves, where insects reduce woodwork to dust or, at the most extreme, where foxes enter bedrooms and maul babies or drunken baboons ransack the kitchen (instances reported this year in London and Cape Town), the idea of encouraging wildlife to share our living space seems, well, harebrained.

But the idea is being championed by conservationists, who warn that biological diversity is in peril. The United Nations has launched its decade of biodiversity and, in March, the second Integrated Habitats Design Competition will be launched at the Ecobuild exhibition in London.

In Britain, some bat species have declined by 95 per cent and birds such as swifts have fared similarly. The biggest threat to biodiversity worldwide is habitat loss, often as a result of building development. When, for instance, a tumbledown barn is converted into a home it could mean that bats, barn owls, swallows and swifts all lose theirs. Edward Mayer of Swift Conservation says that recent “progress” in Europe has harmed the birds. “Grants for the renovation of the EU countries’ historic towns have led to wholesale removal of swift (and bat) breeding sites as an unforeseen consequence,” he says.

Old buildings can provide homes for all sorts of wildlife, which could be your worst nightmare or an added bonus. In his book Wildwood, the late writer and environmentalist Roger Deakin described how he “welcomed the sparrows and starlings fidgeting in the thatch” of his “ruin” of a home, and how he was torn between wanting to repair the walls and “foster the passepartout menagerie” with which he lived.

However, it is today’s new buildings that offer the latest challenge. In temperate climates, houses are being built to be airtight to prevent heat loss (good for the environment) but this means they lack the nooks and crannies of older buildings, so there are fewer habitats for wildlife (bad for the environment).

That architects are designing houses where birds, bats and insects are made to feel at home with Homo sapiens may give some the shivers. However, instead of throwing brickbats, we should welcome this new thinking and install bat bricks, enthusiasts say.

It’s now cheap and easy to provide homes for bats, birds and more without impairing the longevity or beauty of the house. The German company Schwegler Natur manufactures hollow bricks designed as bat roosts and bird-nesting sites. They also make homes for solitary-nesting bees to be built into walls. Interiors are designed for the animals’ comfort – think textured walls and open-plan living areas with hanging space to suit all sizes. The prefab roosts can be built into walls or roofs to encourage bats (there are approximately 1,000 species worldwide of which 17 are in the UK). There is also a range of bird nesting boxes. The company has sold over 5m units in Europe.

“The idea is that from inside your house, you wouldn’t know that you share your home with other animals,” says Dr Carol Williams, author of Biodiversity for Low and Zero Carbon Buildings (Riba Publishing). The book contains detailed architectural plans showing how birds and bats of many species can be accommodated in our homes without impinging on human residents. “These species have evolved to live with humans,” says Williams. “Now, because of the real need to lower the carbon footprint of buildings, we risk endangering biodiversity by concentrating on reducing emissions,” she says. “If we do everything for nature except make a home for wildlife, we’re not helping.”

Encouraging biodiversity in your home can also aid mental health, says Williams. “It’s very enjoyable to sit outside with a glass of wine and watch bats flying out at night or hear swifts screaming in summer,” she says. “And being in the middle of a healthy ecosystem increases a property’s value.” Others may worry about droppings, tales of vampires or the possibility of a bat getting caught in the curtains but such concerns are “folklore”, she says. Well, she would. Her passion for wildlife may seem, ahem, batty. She even asked her builders to make holes in the new fascia and soffits she had fitted to her Cornwall home, in the hope that bats would roost there. They did.

Britain’s most common bat, the pipistrelle, only requires a 15mm by 20mm space through which to enter and roost in a cavity. Once roosting, they, like all British bat species, are protected legally. Professor Brian Edwards, of the Royal Institute of British Architects’ Sustainable Futures Group, says that in Britain the legislation has “considerable teeth”. “The regulations introduce new offences which could inadvertently be committed by architects engaged in restoration projects,” he says. Edwards advises anyone thinking of restoring to seek advice from groups such as the Bat Conservation Trust (http://www.bats.org.uk/).

Protecting our wildlife by maintaining or building structures that encourage animals to live with us is something we have done for centuries. In 15th-century Italy, many households built towers for swifts to nest in. Admittedly, the reason was to provide a harvest of young birds for the dining table. In the UK, many homes had dovecotes that provided the larder with meat and eggs, and “bee boles” in the walls – recesses where woven beehives were protected from the elements. The early 20th-century architect Edwin Lutyens built homes with owl boxes in them and wrote whimsically of “the dear big white fluffy thing” he’d seen nesting.

Owls control rodents while peregrine falcons feed on feral pigeons. Bats, house martins and swifts, meanwhile, all eat thousands of insects a day, many of them pests such as aphids and midges.

Few can deny that “nature” enhances urban spaces. In the 1970s, Malaysian architect Ken Yeang was one of the first to involve greenery in urban building designs, with his “bioclimatic skyscrapers”. Today, walls and roofs composed of living plants that provide habitats for insects – the base of the ecological pyramid – are increasingly popular. The living walls of the Musée du Quai Branly in Paris, designed by Patrick Blanc, and the living roof of native plants on the California Academy of Sciences, by Renzo Piano, are two recent examples.

Blanc’s lush living walls – which adorn buildings worldwide, including London’s Athenaeum Hotel – “bring a smile” to all who see them, says landscape gardener Daniel Bell, responsible for maintaining them. It’s not just our species they please. “The walls are absolutely alive with animals,” he says. “There are countless spiders and insects – stink bugs, flies and bees, snails. Birds feed on them; there are even blackbirds nesting in the walls.”

Living roofs and walls can also insulate buildings and reduce noise. In an era of climate change and fast urban lifestyles, we need more of them, says horticulturalist and broadcaster Professor Chris Baines. “Every extra living green surface will help to moderate the urban heat island effect, slow down the rate of rainwater runoff and help to lift the spirits,” he says.

“It’s unusual for architects, ecologists and engineers to work together to create a built environment that takes biodiversity and ecosystem services into account,” says Blanche Cameron, joint organiser of a new annual competition for such projects. The first Integrated Habitats Design Competition, supported by the government body Natural England, attracted 40 entries from architectural practices, ecologists and engineers in six countries. The winner, with a plan for converting a disused railway depot into student accommodation, including bat roosts, bird nesting, living roofs, solar panels and more, was a first-year architecture student from Liverpool University.

One architect who is building green properties with greater ecological benefits is Justin Bere. His London home has roofs of hawthorn and hazel and a wildflower meadow. There is a beehive and bat roosting and bird nesting built into walls as well as all the low-carbon features that owners of a green home would expect, such as solar panels for hot water and electricity.

“If we put a building over nature we have an obligation to put nature back on top,” says Bere. “It doesn’t cost a lot but we can’t live without nature and we don’t have any right to try and do so.” He has created a space where house sparrows flock to eat aphids on the flowers of common vetch in his rooftop meadow. “I love watching everything – the change of seasons and the wildlife.” It must all be a welcome sensory feast for his human neighbours too. Previously the site, encircled by tall terraced houses, was home to a sausage factory. London’s (unwelcome) feral foxes probably miss that. in Financial Times, 21 de janeiro de 2011


Foto: pata residente no Jardim Botânico

sábado, 16 de outubro de 2010

Estufas de Exibição em Kew: Alpine House

The Davies Alpine House is the latest addition to Kew’s glasshouses. It opened in 2006, the first new glasshouse to be commissioned for two decades. It is located at the north end of the Rock Garden.

Historical information

There has been an Alpine House at Kew since 1887. The first house was built to a traditional design with brick foundations, wooden sides and a low-pitched glass roof. Potted plants stood on wooden platforms either side of a central path. This house was demolished and rebuilt to a longer wider design in 1939. A third Alpine House replaced it in 1981. With glass sides and roof, this was constructed using the state-of-the-art technology of the time. Its built-in systems were designed to control temperature, ventilation and moisture levels, while its pyramid shape reflected the mountain landscapes from which its inhabitants came.

Meeting the needs of alpine plants

In the wild, alpines spend the winter dormant. They remain dry and protected from extreme temperatures and the desiccating effect of cold winds by a blanket of snow. Spring arrives rapidly, with melting snow providing moisture for growth and exposing the plants to intense light. The short growing season means plants have to flower and set seed quickly. The Davies Alpine House was designed to create the cool, dry and windy conditions that alpine plants favour, without using energy-intensive air-conditioning and wind pumps. Its architects employed traditional practices and the latest technology to achieve this.

Although the glasshouse is only 16 metres long, its roof reaches ten metres high. This creates a stack effect that draws in cool air through permanent openings on either side and releases warm air through vents in the roof. Meanwhile, a fan blows air through a concrete labyrinth beneath the ground. The air cools on its convoluted journey and is released into the glasshouse through steel pipes. The panes of glass are 12mm thick and have a low iron content which allows over 90 per cent of light through. Meanwhile, fan-like shades on the east and west sides of the glasshouse protect plants from the most intense heat of the summer sun.

Behind the scenes

Kew’s Alpine House team has built up a large collection of plants over time. Ranging from cushion plants from high-mountain environments to colourful bulbs from the Mediterranean, these are nurtured in the Alpine Nursery by four permanent staff and a trainee. Only when plants come into bloom and are looking their best do they go on display in the Alpine House. All the plants are grown in pots, enabling staff to provide the soil and watering regime that best suits each species.

During hot summers in the old Alpine House the temperatures often exceeded 40°C. However, in the new glasshouse the temperatures generally remain below 32°C. According to Alpine House Keeper Richard Wilford, the plants used to look straggly from the reduced light after a two-week stint on display in the old Alpine House. Now, they thrive in the more favourable conditions and return to the Alpine Nursery looking as healthy as when they left.

Things to look out for

Throughout the year, the Davies Alpine House displays a wide range of campanulas, dianthus, small ferns, helichrysum, small lavenders, primulas, saxifrage, thymes, tulips and verbascums along with lesser-known species. One of the glasshouse’s rarest occupants is the Chilean Blue Crocus, Tecophilaea cyanocrocus. It has scented cobalt blue flowers with a white centre. Described in 1862, it was only known to grow in the range of hills surrounding Santiago, at about 3,000m. The plant was regarded as extinct in the wild from the 1950s onwards – due to unsustainable collecting by bulb dealers, overgrazing by cattle and localised habitat change – but was rediscovered in 2001 on private land south of Santiago.

Nota: inaugurada em 2006, esta belíssima estrutura é a última estufa de exibição construída em Kew. São estruturas desta qualidade e utilidade que a LAJB imagina no futuro para o nosso Jardim Botânico. Não aceitamos que se vá destruir a actual estufa do Jardim Botânico (obsoleta e degradada) para no lugar dela nascer uma "Galeria comercial". Afinal qual é a missão de um Jardim Botânico no séc. XXI?