Landscape Surgery: Curating the Oslo Architecture Triennale

I originally wrote and published this post on the Landscape Surgery blog of the Social, Cultural and Historical Geography Research Group in the Department of Geography at Royal Holloway, University of London. Landscape Surgery is a fortnightly seminar series that the SCHG hosts during term-time. Sessions are typically organised around a theme for which speakers (including external invitees) talk about their research, followed by questions/general discussion on the topic; though it can also include workshops and research training sessions. I attend the sessions as part of my PhD activities, and am one of four editors of the Landscape Surgery blog.

The session discussed in this post was organised around the theme of 'Curating the Oslo Architecture Triennale', with a joint presentation by two of the curators of this event's upcoming iteration in 2019. Thanks to Alice Reynolds and Megan Harvey for editing this post.

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For our final Landscape Surgery session of this term we welcomed Cecilie Sachs Olsen, a British Academy post-doctoral research fellow at Royal Holloway’s Centre for the GeoHumanities, alongside Matthew Dalziel, an associate of the transdisciplinary architecture and engineering practice Interrobang, as two of the four-person curatorial team for next year’s Oslo Architecture Triennale.

Taking place from 26^th September to 24^th November 2019, this event is the Nordic region’s biggest festival of architecture, and an internationally-important arena for discussion around the challenges of architecture and urban space. Cecilie and Matthew’s joint presentation focused on the process of curating the Triennale around their chosen theme of ‘degrowth’, the role that art and performance will play within their practice, and the challenges they’ve encountered since starting work on the Triennale programme.

Degrowth and architecture

Matthew, speaking as a practising architect himself, began the presentation by outlining how individual architects often have very little agency in the construction industry to which they contribute. Despite typically being motivated by social, cultural and artistic values, 60% of architects at any given time are working on private housing, with much of it marketed towards the wealthiest 1% of the population.

However, cultural events such as the Triennale are one outlet that architects have for more critical interventions, giving these individuals opportunities to experiment with ideas outside of a ‘project’ ecosystem, and into an arena that could potentially inspire a global conversation.

The curatorial team chose their conversation for the Oslo Architecture Triennale to be about ‘degrowth’.

Degrowth has been understood to stand for “a downscaling of production and consumption that increases human well-being and enhances ecological conditions and equity on the planet. It calls for a future where societies live within their ecological means, with open, localized economies and resources more equally distributed through new forms of democratic institutions” (Research & Degrowth, 2018). Central to this definition is the reasoning that the drive for continued economic growth in our societies is unsustainable for a world that supports life.

Many will recall that this argument has been made for decades by organisations such as The Club of Rome, whose famous report The Limits to Growth (Meadows et al., 1972) is widely recognised as one of the first significant studies that illuminated how the unprecedented economic growth occurring throughout the 20^th century was causing, and would continue to cause, widespread ecological destruction.

Cecilie illustrating the arguments in The Limits to Growth with a cartoon showing a hamster gradually consuming the earth, based on the idea that a hamster doubles in size every day until it reaches puberty (author’s own)

Nonetheless, according to the presenters, reports such as The Limits to Growth failed to capture the impetus of the public and policymakers due to the tone of doomsaying that accompanied the stark environmental impacts indicated by their studies. Indeed, a continual problem confronting the degrowth movement has been the negative connotations associated with the notion of reducing economic growth, as it might seem to imply a logic of austerity.

In order to avoid this risk of scaremongering by simply offloading information to the public, the curatorial team instead wanted to use the theme of degrowth to change how people think about urban environments in a way that is relevant to their lives. And in particular, to challenge the assumption that the function of the spaces we use in everyday life is already predetermined, which is one reason why people can feel alienated from the spaces they inhabit.

According to Cecilie, this is why art and performance are so important, as they have the ability to free people from their everyday roles in society and experiment with other ways of being in the world. In theatre, for example, if a person acting as a queen sits on a normal chair, the chair becomes a throne. The pre-given conception of an object can be transformed simply by putting it in a context where re-imagination is welcomed, and the enchantment accompanying such experiences can help us to rethink the agency we have within our own surroundings.

Curating transformational spaces

This is exactly what the curatorial team is aiming to achieve in their programme for the Oslo Architecture Triennale, for which they will be creating three ‘transformations’ in three different sites in Oslo to turn them into spaces of sharing, play and connecting.

The first location is Oslo’s National Museum of Art, Architecture and Design. An institution whose buildings are made to house conventional exhibitions of art, crafts and design work, the space the team were given for the Triennale was a typically bland, concrete room.

The challenge facing the curators was to convert it into a catalytic space, and the idea they came up with was to create a library within it. Cecilie reflected that not only are libraries environments of sharing and making, but the most celebrated libraries also often have a uniquely awe-inspiring atmosphere to them. How could they construct such an effect in what was a small, rather uninspiring room?

Trinity College Library, Dublin (Skitterphoto, public domain)

In their design of the ‘library’, they were particularly inspired by Olafur Eliasson, whose work has used light, mirrors and liquids to evoke seemingly limitless spaces within physically restricted sites. At present, the curatorial team are planning to craft four mirrored rooms separated by walls of varied thicknesses, with participants moving between them to gradually transition into the imagined space of the library from the ‘real’ space of the museum building. Immersion is central to the curators’ vision of the library experience, and they are keen to employ techniques used by interactive theatre companies such as Punchdrunk, which give participants the opportunity to explore and engage with fictional environments in meaningful and believable ways, guided solely by their own interests and inclinations.

Olafur Eliasson's The Weather Project (Tate Photography, source: https://olafureliasson.net/archive/exhibition/EXH101069/the-weather-project)

This journey into the imaginary will begin from the moment visitors reach the building, where they will be given library cards to enter the space rather than museum tickets. Upon leaving the ‘library’ and re-entering Oslo city centre, participants will then be invited to extend the experience by taking part in an immersive audiowalk that zURBS, the ‘social-artistic urban laboratory’ that Cecilie co-founded in 2011, will be running.

The second transformation will take place in the urban public space of Oslo through the creation of a ‘playground’. Here, the curators will be drawing on the capacity of play to de-emphasize the urban environment’s economic value and functions and instead render them as arenas for “pleasure, surprise and critical possibility” (Dickens, 2008: 20).

Previously, play has been considered an activity that takes place in alternate realities separate from our everyday lives (sports pitches, games tables, virtual realities, etc.) where different rules apply, in what Huizinga (1955 [1950]) calls the ‘magic circle’ of play. By using public playful art to expand the magic circle spatially (beyond designated environments), temporally (beyond specific time limits) and socially (beyond designated players) (Montola, 2005), the stages of everyday life can be re-enchanted as realms of the possible (Klausen, 2014).

Through play centred around the concept of degrowth, the curatorial team wants participants to imagine opportunities for an improved way of living, rather than a reduction in individual agency that might be inferred from the term. Central to this viewpoint is the idea that non-essential activity should be understood as an enjoyable state of being, rather than something defined through the lens of economic growth as ‘unproductive’. Games don’t necessarily lead to the most efficient ways of completing a task – golf is a rather complicated way of putting a ball in a hole, for example – but negotiating the affordances games present to players in creative and skilful ways can ultimately lead to enrichment that wouldn’t occur otherwise.

The final transformation will take place in DogA, the Norwegian Centre for Design and Architecture, which will become the site of a makeshift theatre.

Here, the curators are enlisting the skills of METIS, a Cambridge-based performing arts organisation, and more specifically their interactive piece We Know Not What We May Be. Originally performed at the Barbican in September, this participatory performance asks the audience to imagine a more sustainable future, featuring talks from experts about what the future could be, and giving the audience the option to decide which one they want. These participants can then see their decisions become a reality, as the actors perform scenarios based on what has been chosen, followed by further discussion about these possibilities amongst the actors and audience.

One of the difficulties faced by the team when arranging this performance is the institutional context in which it will be set. DogA is funded by the municipal government’s budget for the economy, creating tensions between the theme of ‘degrowth’ and the continued demand for growth in Oslo’s economy today. In order to reconcile this apparent contradiction, the curators have emphasised that the performance will be focused on facilitating discussion between a wide range of people – including elites – rather than silencing points of view to further a particular political agenda.

Alongside the three transformations, as highlighted previously, Cecilie’s artist collective zURBS will be using audiowalks as a way to engage citizens and planners to think about alternative futures. These will be framed in an imaginative way. For example, in one walk participants will imagine they are researchers from the future, and will choose individually between different options of what Oslo might look like in the decades to come. Collectively, participants will then traverse the present-day environment and attempt to identify how these brave new worlds began, without knowing what futures the other walkers chose to seek.

Cecilie explained that the idea behind the audiowalks was to de-centre accepted understandings of how the city operates. By encouraging citizens to identify the transformative potential of the present city, such ‘defaults’ don’t have to exist. As soon as we’re afforded the agency to redefine what a space is for, the alternative futures we dream in our heads could become possible.

Challenges

Nonetheless, in talking about the challenges the team have faced so far throughout the curatorial process, Cecilie and Matthew accepted that there are often limits to what people are able to imagine as they think about better ways of inhabiting urban space. If the street is seen inherently as an instrument of consumption, this epistemology will mean that even seemingly beneficial changes, such as pedestrianisation, will be become tools to reproduce the dominant paradigm of consumption through processes such as gentrification.

Language is another force that imposes epistemological limitations on how the curatorial theme can be explored. Most problematically for the curators, the term ‘degrowth’ doesn’t even exist in Norwegian, meaning that they have had to think about alternative prefixes to use other than ‘de-’, while attempting to remain faithful to the understanding of degrowth that is implied when used in English. Yet even without language barriers, reaction to degrowth as a concept has frequently been ambivalent, as was highlighted in the discussion after Cecilie and Matthew’s presentation when its usefulness for societies in the Global South was questioned.

The last challenge the curators discussed was one that many academics will be familiar with: the need to be rigorous in their engagement with the material they are discussing, while also making their work accessible enough for members of the public to engage with it. This necessity was brought sharply into focus when the curators of the last Oslo Architecture Triennale were criticised for making works that ‘normal people’ couldn’t understand.

In contrast, the curatorial team’s efforts to avoid a similar fate are reflected in the participatory qualities of the installations, performances and other artworks they are curating, which give ‘normal people’ the greatest power to define and interpret what is meaningful within the installations and experiences on offer.

We’d like to offer enormous thanks to Cecilie and Matthew for taking time out of their busy schedules to talk to us about their work, and we wish them every success over the coming months as they prepare for the Oslo Architecture Triennale, which starts on 26^th September 2019.

Matthew Dalziel and Cecilie Sachs Olsen (author's own)

Bibliography

Dickens, L. (2008) “‘Finders keepers’: performing the street, the gallery and the spaces in-between” Liminalities: A Journal of Performance Studies 4: 1-30.

Huizinga, J. (1955 [1950]) Homo Ludens: A Study of the Play-Element in Culture. Boston, MA: Beacon Press.

Klausen, M. (2014) “Re-enchanting the city: Hybrid space, affect and playful performance in geocaching, a location-based mobile game” Journal of Urban Cultural Studies 1(2): 193-213.

Meadows, D.H., Meadows, D.L., Randers, J., Behrens III, W.W. (1972) The Limits to Growth: A Report for the Club of Rome’s Project on the Predicament of Mankind. New York: Universe Books.

Montola, M. (2005) “Exploring the Edge of the Magic Circle: Defining Pervasive Games” Proceeedings of the Digital Arts and Culture Conference, Copenhagen, Denmark [online] Available at: http://citeseerx.ist.psu.edu/viewdoc/download;jsessionid=AB62B5B3CD2B349DE8846879B58B4AC8?doi=10.1.1.125.8421&rep=rep1&type=pdf

Research and Degrowth (2018) “Definition” Research and Degrowth [online] Available at: https://degrowth.org/definition-2/

Written by Jack Lowe, edited by Megan Harvey and Alice Reynolds

Landscape Surgery: Literary Geographies

I originally wrote and published this post on the Landscape Surgery blog of the Social, Cultural and Historical Geography Research Group in the Department of Geography at Royal Holloway, University of London. Landscape Surgery is a fortnightly seminar series that the SCHG hosts during term-time. Sessions are typically organised around a theme for which speakers (including external invitees) talk about their research, followed by questions/general discussion on the topic; though it can also include workshops and research training sessions. I attend the sessions as part of my PhD activities, and am one of four editors of the Landscape Surgery blog.

The session discussed in this post was organised around the theme of 'Literary Geographies'. Thanks to Alice Reynolds and Megan Harvey for editing this post.

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Our third Landscape Surgery of the autumn term discussed the topic of Literary Geographies, with presentations from three of the department’s visiting scholars: Nattie Golubov (Universidad Nacional Autónoma de México), Lucrezia Lopez (Universidade de Santiago de Compostela) and Giada Peterle (University of Padua). Each presenter discussed the ways in which their research has engaged with different forms of literature, and what their individual methodologies can contribute to geographical study. This was followed by a panel discussion that grappled more broadly with what encounters between literature and geographical inquiry can achieve.

Our presenters in discussion during the session

Our first speaker on the day, Nattie Golubov, has been a professor at the Faculty of Philosophy and Literature at UNAM since 1995, having taught widely on English literature, literary and cultural theory. Her research engages in the critical study of a variety of types of American texts, to understand how relationships between diverse groups of people in the US are expressed culturally.

Nattie began by highlighting how academic literature on migration has tended to view the process from perspectives of postcolonialism, diaspora and exile, while focusing disproportionately on the point of departure and the point of arrival. Using Teju Cole’s (2017) book Blind Spot as a point of reference, she explained how literary approaches to the topic of migration can be fruitful for scholarship on this subject, with stories in the form of novels and other texts being able to evoke thetranslocal (relationships between specific locations within countries, not just between countries); complicate the binaries of nomadic/sedentary and centre/periphery which have characterised existing migration scholarship; and foster critical reflection on the geographies of where texts on migration are written, published, read and translated.

In her current research, Nattie has been examining contemporary US romance literature that tells stories about American soldiers in Afghanistan. What she finds interesting about these texts, she explained, is how the subject matter of the stories is at once heavily geopolitical, yet grounded in the ‘normal’ and everyday. While the locations portrayed by the novels can lead to an awareness of the planetary, this is typically foregrounded by familiar tropes of small-town America and the space of the house/home.

With romance being a very popular genre that is widely read in the US – especially by women – this can render the representations used in the novels problematic, notably through the sometimes shocking language that describes places in the Global South. Nattie gave the example of one location being referred to as the ‘armpit of the world’; while simultaneously the novels perpetuate a fantasy of whiteness and enclosure in these territories.

Nattie’s work is seeking to ask what it is about the ‘normal’ that is so attractive and tenacious in literature. And in turn, what kinds of (geographical) relationships do these novels forge with the reader? Can they produce a new type of sociality around the topic of migration?

Our second presenter was Lucrezia Lopez, whose research explores practices of tourism, heritage and religious expression by investigating how they are represented and interpreted culturally. Her current research, titled in this presentation as ‘The Contemporary Spaces of the Way of St. James’, studies the travel diaries of those sharing their experiences of pilgrimage on the Camino de Santiago.

Lucrezia started by outlining how literature, cinema and the internet are contributing to a new spatial discourse of the Camino de Santiago; reinforcing the notion that there are multiple ‘Caminos’ articulated by the different artists and writers who represent it.

Travel diaries in particular are a relatively new method people are using to share their experiences of travelling on the Camino, reflecting a broader turn in the literature towards exploring the internaljourneys of pilgrims taking part. Lucrezia identified two trends within the travel diaries’ representations of walking the Camino: neo-romanticism, reflecting the aesthetic value of travel diaries in conveying emotions/feelings and representing an idyllic rural landscape; and neo-realism, reflecting the testimonial value of travel diaries in drawing attention to traffic, waste and issues of sustainability on the Camino.

As for the act of writing itself, Lucrezia has found that a concept of liminality or ‘in-between’ space is expressed through practices of documenting the pilgrimage using travel diaries. The process of writing about the landscape in this way is believed to cultivate a different sense of self; a cathartic, therapeutic and/or spiritual practice that is part of the pilgrimage. However, some of these writers have been exploring this intimacy using alternative forms of representation than just text. Lucrezia referred to the comic book On the Camino by Norwegian artist Jason (2017), and how his use of images portrays the practice of pilgrimage on the Camino using popular visual tropes of the solitary thinking walker, bridges, and rural landscapes.

Ultimately, Lucrezia located three spaces through which the travel diaries operate: the space of the reader, the subjective space of the pilgrim/author, and the physical space of the Camino itself. How the Camino is imagined is a product of the work that varying forms of representation (e.g. comic book versus text) do in these spaces, alongside the personal discourses that are performed through individual practices of writing, reading and walking.

With wider relevance for thinking about methodology within literary geographies, Lucrezia finished by speaking about some of the challenges she has faced while studying travel diaries for her research. Which sources do you choose to consult, which do you leave, and why? Which academic research should be consulted, amongst the wide range of scholarship on the Camino? And could examining this kind of literature for research be a ‘leading’ methodology, privileging the researcher’s own interpretations of the texts?

Our final speaker was Giada Peterle, a post-doctoral research fellow and lecturer whose work is creative and interdisciplinary, bringing a range of narrative forms to her academic study within geography to think about the ways we understand, shape and represent the places we inhabit. Her current project is titled ‘Urban Literary Geographies: Mapping the city through narrative interpretation and creative practice’.

Giada’s presentation started by situating her work within a wider trajectory of creative geographies. She charted how the dialogical exchange between geographical and literary theory, as well as an existing and ongoing reciprocal exchange between place and literature, has been an important influence within the recent creative (re)turn in geography (e.g. Hawkins 2013; Madge, 2014). As well as fostering interdisciplinarity, this scholarship has approached storytelling not just as a form of representation, but as a creative practice to engage with, in which the embodied experiences of academics themselves can inform research.

Giada illustrated how her work has entered the domain of creative practice through Street Geography, a collaborative project between several geographers at the University of Padua with Progetto Giovani (based in the Office of the Municipality of Padua), which aims to encourage dialogue between academic research, art practice, and Padua citizens in an effort to contribute to the conceptualisation and realisation of more meaningful and sustainable cities. Street Geographybrought together three geographers and three artists to create three site-specific exhibitions in Padua that question the ways people live in cities, as well as the significance of change, movement and relationships in shared urban spaces.

This presentation concentrated on one of these site-specific exhibitions, A station of stories: moving narrations, which was undertaken in Padua railway station. Giada recounted how the project team wanted this site-specific work to reflect the varied mobilities and stories that the station embodies, as an environment of co-presence and contradictions: between transit and encounter, consumption and dwelling, work and criminality, encounter and exclusion.

This conceptual approach led to an idea of the material space of the station itself being a narrator. Using this tactic in their writing, the team aimed to provoke empathy with the place; challenging anthropocentric understandings of the station by imagining the site telling stories of its own changing environment from a non-human perspective. In turn, the team hoped to enable readers to think about how, when and on what terms different stories of the city are told. This latter objective was especially relevant as most of the station’s spaces are normally used for advertising. How could these spaces be appropriated to encourage people to think critically about the station as a confluence of diverse stories?

The team’s answer was to use the comic book form. As a type of literature that is easy to read and accessible, but also quite mobile in how it is read, using comics took into account the different entry points and directions of movement from which the story could be approached and interpreted in the station. This depth of engagement was facilitated by the comic’s physical presence as a public art exhibition; though the physicality of the comic panels also brought practical challenges. Giada recalled finding all the exhibition panels face down on the ground only the morning after mounting them for display, and consequently having to change the way they were stuck up. The team were also concerned that members of the public writing on the panels might obscure the material shown.

In the end, the physical positioning of the panels in the station successfully engaged diverse audiences of academics, travellers and residents through a series of intentional and accidental encounters with the artwork. Creative geographical approaches such as those adopted in Street Geography, Giada contended, demonstrate how encounters between geography and art can engage wider communities with the discipline, by seeing it as a creative approach towards understanding spaces that incorporates their materialities and affects, as well as the personal experiences of researchers.

The three presentations were followed by a panel discussion, which picked up on points of crossover between Nattie, Lucrezia and Giada’s work.

In a conversation on what the spatial perspective of geography can offer literature, our presenters considered the complex relationship between ‘real’ physical spaces and how they are represented in fiction. They reflected on how geographical approaches and (creative) methodologies that investigate the spaces of readers, writers and publishers, such as Innes Keighren’s work on geographies of the book (e.g. Keighren, 2013), can attend to the ways in which literary representations of space are implicated within the wider social, political and material processes through which different literatures are produced and consumed.

It was also suggested that the themes of mobility and non-linearity within geographical thought can help with understanding how the form of a text interacts with the way its geographies are experienced by the work’s creators and readers. Our presenters concurred that such experiences of literature have become increasingly non-linear, through both the unique and interactive forms of consumption that digital technology enables, as well as postmodernist trends in literature that have sought to think beyond linear constructions of narrative.

Thank you to all three of our presenters for sharing some fascinating insights from their research, and for all they have contributed as visiting scholars to our research community in the Social, Cultural and Historical Geography Research Group during their time at Royal Holloway.

Lucrezia Lopez, Nattie Golubov and Giada Peterle

Bibliography

Cole, T. (2017) Blind Spot. London: Faber & Faber.

Hawkins, H. (2013) “Geography and art: An expanding field: Site, the body, and practice” Progress in Human Geography 37(1): 52-71.

Jason (2017) On the Camino. Seattle: Fantagraphics.

Keighren, I.M. (2013) Geographies of the book: review and prospect. Geography Compass 7(11): 745-758.

Madge, C. (2014) “On the creative (re)turn to geography: poetry, politics and passion” Area 46(2): 178-185.

Objection to the proposed development at Highland Court Farm

Photograph of orchards at Highland Court Farm by Mike Sole

This is somewhat different content to what I've been posting in recent months, detailing some of the activist work I've been doing alongside my academic and artistic projects. For the past year I've been a committee member of Barham Downs Action Group, a campaign local to where I live in Kent against the proposed development of land around Highland Court Farm, which lies within the Kent Downs Area of Outstanding Natural Beauty (AONB). The proposed development by Quinn Estates would build over existing high-quality farmland and orchards by constructing 175 luxury holiday homes, an expanded business park, a 'food and drink' hub and sports facilities for Canterbury City Football Club and Canterbury Rugby Club. The planning application for this development was finally submitted in September, which gave local people the opportunity to submit comments on the plans to the Planning Department at Canterbury City Council. The Planning team then makes a recommendation to the council as to whether the plans should be approved or rejected. Here I'm posting the objection to the proposed development that I submitted to the Planning Department.

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I wish to object absolutely to the proposed development at Highland Court, as a resident in the neighbouring parish of Adisham. My objection is founded on the proposed development’s incompatibility with the site’s status as being located in an Area of Outstanding Natural Beauty (AONB) and outside the scope of the recently-adopted Local Plan, alongside concerns about transport sustainability, impact on culture and heritage, agriculture and wildlife.

Local Plan and AONB

The Local Plan adopted by Canterbury City Council only a short time ago in July 2017, which identifies the council’s strategic areas for development – of which Highland Court is not one – aims to “provide certainty for local people, developers and others about planning decisions for the area.” Under ‘What are we trying to achieve’, the plan states it is aiming to “[p]rotect sensitive landscape and wildlife areas, and other key environmental assets such as the World Heritage Site, the Area of Outstanding Natural Beauty and Conservation Areas.” By these standards alone, this development could reasonably be rejected outright by CCC.

AONBs themselves rightly have some of the most stringent restrictions for major developments, which according to the National Planning Policy Framework should only be considered if the proposals raise issues of ‘national significance’. Considerations must include the need for the development, the cost and scope for developing elsewhere outside the designated area, and the detrimental effect on environment and landscape.

The Highland Court proposals fall short at every stage of these checks. The proposed development is not of national significance. There is little demand nationally for self-build holiday homes located in countryside several miles away from Canterbury city centre, as evidenced by the Destination Management Plan commissioned this year by Canterbury Connected Business Improvement District, which emphasised that the city centre – and in particular its UNESCO World Heritage Site – are the locations most in need of accommodation in order to add value to Canterbury’s visitor economy. As for the sports facilities, Canterbury City Football Club plays in Tier 5 of the National League (tier 9 of the English football system), and only one of their home games this season has seen an attendance above 100 people.  Canterbury City Rugby Football Club fares somewhat better in the fourth tier of English rugby (National League 2 South), however unlike the football club, they already benefit from spacious grounds in Canterbury and have 16 more years on their lease. Given this context, a development that would house these clubs cannot be deemed ‘nationally significant’.

The development is not needed in this location. Highland Court consists of agricultural land which does not form part of an existing settlement, which would contradict Policy TV8 of the Local Plan, which states: “Where tourism attractions and facilities are proposed in new buildings, the Council will ensure that the new development is related to an existing settlement and is not isolated in the open countryside so as to have an adverse impact upon its character and appearance. This should also improve the proposal in sustainability terms and reduce the need for travelling by car.” The nearest villages of Bridge, Patrixbourne, Bishopsbourne are not convenient to access from the site without a short car trip; and as has already been established, Canterbury city centre is several miles away. If the developers are claiming to serve the needs of Canterbury’s sportspeople, residents and visitor economy, this cannot be considered an appropriate location for such a development.

As for the detrimental effect on the environment and landscape of the locality, these considerations will now be discussed by focusing in turn on the specific issues of traffic and sustainability, pollution, cultural heritage, agriculture and wildlife.                                   

Sustainability of transport

The positioning of the development close to the A2, detached from any existing settlement, and without easy access to adequate public transport facilities (the nearest bus stop is located at least a 15-minute walk from the vast majority of the development site, along a road which inclines towards Highland Court) means that, realistically, the vast majority of users of the site will be accessing this development using personal motor vehicles. For households such as mine, which are based in nearby rural areas but do not own cars, the siting of this development would effectively exclude us from easily accessing the site’s proposed facilities on a regular basis.

Additionally, The Centre for Sustainable Energy (CSE)’s ‘Sustainability Scorecard’ associated with this planning application, which indicates the development’s conformity to the NPPF’s definition of sustainable development, marks ‘Disagree’ for Statement 7: “The proposals provide the opportunity for users/occupiers to walk to essential facilities either within or outside of the site.” This is a worrying independent assessment, considering the Local Plan’s emphasis in Policy T1 on “[p]roviding alternative modes of transport to the car by extending provision for pedestrians, cyclists and the use of public transport.” The argument in the Environmental Non-Technical Summary associated with this application that the proposed development ‘doesn’t worsen existing public rights of way’ and will have a ‘neutral’ effect on non-vehicular access is therefore unacceptable, as currently the vast majority of users of the site access it by car.

The developers themselves acknowledge the necessity of car travel to the site in their emphasis on the claim that the nearby junction off the A2 is ‘underused’, and hence could apparently cope with a higher volume of motor vehicles; and also through the number of car parking spaces they propose to have on the site – 1430 (compared to 157 cycle spaces). Yet this ‘underused junction’ argument is itself dubious, considering that Highways England, in their comment on this application, have suggested the junction will be “operating above operating capacity and very close to theoretical capacity,” and could therefore impact on queueing traffic on the A2 mainline.

One element of the traffic argument that has not often been remarked upon is the quantity of vehicles that will be required to maintain the site’s essential functions, not just those used to transport users of the site. This would include large lorries and vans for deliveries every day, as well as those needed to remove waste from the site. It cannot be considered safe or appropriate for these vehicles to share the narrow roads surrounding the site with cyclists, walkers crossing the roads between footpaths (or braving the journey along the road to the nearest bus stop), horse riders and the other motor vehicles travelling to and from the site.

Safety would also be compromised by the volume of vehicular traffic. It has been projected by Quinn Estates’ consultants that, on a Saturday morning, a vehicle would arrive or leave the Highland Court site every 3 seconds. In the Development Summary submitted as part of this application, it is stated in paragraph 4.6 that “[t]he primary route for vehicular, pedestrian and cycle access into the site for both the detailed and outline components of the application will be via Coldharbour Lane.” This means that, on a Saturday morning, a cyclist cycling for three minutes down Coldharbour Lane could expect to encounter 60 vehicles, or a pedestrian walking for 15 minutes (e.g. from the nearest bus stop) would encounter 300 vehicles on the road. Given that improving road safety is one of the five key aims of the Canterbury District Transport Action Plan, and Policies EMP14 and TV8 of the Local Plan highlight that new development can only be permitted if “the use does not significantly increase traffic to the detriment of the [rural] area or highway safety”, this development’s impact on the use of the local transport infrastructure could not be deemed acceptable.

Pollution

At a meeting at Adisham Village Hall on 1^st October 2018, Mark Quinn of Quinn Estates acknowledged that there would be an overall increase in the light that would be emitted from the Highland Court site, if the proposed development were to go ahead.

Given the existing, well-documented problems with unnecessarily bright lights shining across the downs from the current farm/business park buildings, the addition of floodlights extending 15 metres into the air from the sports pitches will add another source of visible artificial light that would be seen for miles around, disturbing both the nearby human and animal populations (migration, foraging, feeding and breeding patterns). Furthermore, for astronomers in the vicinity (stargazing is a factor people frequently consider when deciding to live in a rural locale such as ours) this light pollution would significantly hinder opportunities to take part in their practice. No amount of buffering from trees can prevent artificial light from radiating upwards, minimising the dark sky conditions necessary to view many stars. Entran’s Non-Technical Environmental Summary for this application acknowledges this as an adverse impact of the development: “The major residual visual effects of the presence of new lighting is the increase in night time sky glow when viewed beyond the Site boundary and the sport pitch lighting when in operation.” All this would occur in a site that lies within an E1 ‘Intrinsically dark area’ under the Institute of Lighting Engineers’ ‘Guidance Notes for the Reduction of Light Pollution, 2000’.

Noise pollution is an issue that residents local to Highland Court and recreational users of the site are already acutely aware of. There have recently been numerous complaints made to Canterbury City Council by nearby residents about the noise emanating from The Night Yard business on the site, past the hours dictated in their licence conditions. With the vast expansion in the activities taking place and people using the Highland Court site, this pollution would be compounded by sounds created by the increase in car and HGV traffic that would accompany the running of the site, the vehicles and machinery used while it is under construction, the activities of the businesses opening in the food and drink hub and extended business park, and the already ever-present background noise of the nearby A2 motorway. Undoubtedly this cacophony would be fundamentally detrimental to the tranquil character of this segment of the AONB.

Culture and heritage

The NPPF outlines the importance of planning decisions considering the impact of development on the significance of heritage assets. Paragraph 132 states “[w]hen considering the impact of a proposed development on the significance of a designated heritage asset, great weight should be given to the asset’s conservation. The more important the asset, the greater the weight should be. Significance can be harmed or lost through alteration or destruction of the heritage asset or development within its setting. As heritage assets are irreplaceable, any harm or loss should require clear and convincing justification. Substantial harm to or loss of a grade II listed building, park or garden should be exceptional” (my emphases).

Even a cursory glance at the Heritage Maps for the Highland Court area on the KCC website with all the layers turned on indicates the rich historic importance of the site, and this is remarked upon in the archaeology report produced by Canterbury Archaeological Trust, appended to this planning application. Within the designated conservation area of ‘Highland Court’, the orchards that the developers would seek to replace have a historic landscape characterisation of type 3.1, and the open fields with straight boundaries (parliamentary-type enclosure), which would also be altered beyond recognition, have a historic landscape characterisation of type 1.10. Additionally, the site is home to a 2* listed building, marked on the Heritage Maps as ‘Highland Court Hospital’, but formerly (and locally) known as Higham House. The proposed development would markedly impact on the building’s tranquil rural setting, as not only would it be lit up when it is dark by the 15-metre floodlights, but it would also be surrounded by noise from vehicle traffic, sports training and matches, and other activities on-site. Under paragraph 123 of the NPPF, planning decisions should aim to “identify and protect areas of tranquillity which have remained relatively undisturbed by noise and are prized for their recreational and amenity value for this reason.” Higham House, and public rights of way within the Highland Court conservation area, are locations to which this applies.

The area within the boundaries of the proposed development site is rich with archaeological features of protected status: ring ditches parallel to the original Roman road; a Bronze Age barrow; Iron Age pits and ditches; and a prehistoric settlement, suggested to date back to the Iron Age but containing evidence of worked flints from the late Neolithic and early Bronze Ages. The potential significance of this site to heritage is underlined by the fact that, in 2011, Canterbury Archaeological Trust carried out a watching brief over it. In addition, there are significant archaeological interests that remain uninvestigated on the site (through desk-based or field-based research) such as potential remains of the medieval settlement of Higham. As the archaeological report produced by CAT for this planning application concludes, “archaeological remains of at least regional and perhaps national significance may be extant within the proposed development area.” Paragraph 9.35 of the Local Plan makes clear that archaeological sites as well as listed buildings and landscape features “often contribute to the special character of conservation areas.” With Higham House, the regionally/nationally significant archaeological remains and historic landscape characterisations, the detrimental, irrevocable impacts this development would have on Highland Court’s physical heritage are an important reason why this planning application should be rejected.

Paragraph 137 of the NPPF explains that proposals which “preserve those elements of the setting that make a positive contribution to or better reveal the significance of the asset should be treated favourably,” yet the developers have not outlined how they will achieve this for the Grade II listed Higham House, nor the archaeological remains present in the land. Yet clearly the proposed development will at least harm these assets through the alteration of their setting, and even lead to complete loss in the case of the archaeological remains. Indeed, Entran’s Non-Technical Environmental Statement considers the residual effect on archaeological heritage assets to be adverse even after mitigation, which would purely consist of “preservation by record and appropriate publication of the results” – wholly inadequate for remains of regional and potentially national significance.

The North Downs Way that crosses the development site is an ancient pilgrimage route, which forms part of the Via Francigena linking with Rome and a wider network of historic pilgrimage routes across Europe (used by Archbishop Segeric as far back as 990 AD). If travelling from the Dover direction, the development site is very close to the first point at which users of the path enter the Kent Downs AONB. So the first impression we would be giving visitors from the UK and abroad is that our concept of maintaining ‘natural beauty’ is to irrevocably alter the character and appearance of a protected landscape that is designated as a conservation area and ‘nationally significant’.

One tactic used by the developers in an attempt to mitigate the concerns of those who use the local public rights of way is to plant lines of ‘tree buffers’ around the business park, innovation centre, and sports grounds. Aside from the fact that these trees would take decades to grow fully and obscure the buildings, this practice would ultimately entail a drastic change in the appearance of the AONB land when the trees are fully grown. Users of the North Downs Way, as well as the public rights of way that cross over the proposed development sites, enjoy the appearance of this land because its character is rooted in the natural beauty of rolling chalk downs. It would be unacceptable for this character to be spoilt by obstacles placed artificially, whether they’re buildings or neatly-planted trees.

Entran’s Non-Technical Environmental Summary also acknowledges that there will be “some significant adverse landscape and visual effects during construction and on completion”, and names the public bridleway within and adjacent to the development site – widely used by myself and other local residents for recreational walking and horse-riding – as one location where the development will result in these adverse impacts on landscape and visual amenity.

Consideration should also be made of the fact that Highland Court and its surroundings are a site of literary heritage. Writing shortly after World War 2, Jocelyn Brooke from neighbouring Bishopsbourne wrote a series of highly-acclaimed semi-autobiographical novels which describe his childhood spent exploring Barham Downs and the Elham Valley. Of particular significance in his works are stories of his walks from Bishopsbourne to what he calls ‘Coldharbour Farm’ until he reached the ‘watertower’ in Adisham woods. Walking along the footpaths Brooke used today, there is very little visible change to the character of the land since the time Brooke was writing about in his work (around WW1), apart from the expansion of the existing farming activities. The continuing popularity and cultural relevance of Brooke’s novels was emphasised recently by their re-publication by Bello in October 2017. The arrival of 175 incongruously large holiday homes, an expanded business park, food and drink hub and sports facilities would severely threaten the character of the very landscape that provides such an enchanting bucolic backdrop to this literary heritage.

Perhaps the most significant indictment of this development’s approach to culture and heritage lies with the CSE’s independent ‘Sustainability Scorecard’ for the development, which marks ‘Strongly Disagree’ for Statement 17: “The proposals conserve the landscape and scenic beauty of nationally designated landscapes”; Statement 20: “The proposals will sustain and enhance the significance of the identified heritage assets”; and Statement 37: “The proposals protect existing rights of way across or adjacent to the site, and enhance these, either through improvements or by the provision of additional links to the networks.” This development therefore cannot be deemed sustainable on culture and heritage grounds.

Agriculture and wildlife

Under paragraph 112 of the NPPF, local planning authorities “should take into account the economic and other benefits of the best and most versatile agricultural land. Where significant development of agricultural land is demonstrated to be necessary, local planning authorities should seek to use areas of poorer quality land in preference to that of higher quality.” Given that 70% of the agricultural land in this proposed development site is classified as excellent, very good or good, this land should not be deemed appropriate for development, particularly for a scheme that, as already evidenced, is not needed in this location.

Within the development site are the habitats of numerous protected species. In their comments on this application, Kent Wildlife Trust, despite being listed as a ‘partner’ of Quinn Estates, do not consider that there has been enough specific consideration of the breeding habitats for priority species on the site. Policy LB9 of the Local Plan states the following: “All development should avoid a net loss of biodiversity/nature conservation value and actively pursue opportunities to achieve a new gain, particularly where there are wildlife habitats/species identified as Species or Habitats of Principal Importance.” The Outline Ecological and Landscape Management Plan produced for this development has identified several bird species of principle importance, including the internationally vulnerable turtle dove, as well as the Spotted Flycatcher, Yellowhammer, Skylark and Linnet. Yet despite their importance, the measures outlined for mitigation, compensation and enhancement of their habitats do not consider the specific needs of each of these species, frequently referring to ‘birds’ in general, as well as the behaviours of foraging, feeding and breeding in vague terms; which – as Kent Wildlife Trust suggests – hinders attempts to pursue the level of biodiversity gain that the Local Plan demands.

Despite claims within the application that the development will result overall gains in biodiversity and existing ecological interest, under CSE’s independent ‘Sustainability Scorecard’, they have marked ‘Disagree’ for Statement 42: “The proposals create or significantly enhance locally-identified priority habitats / species and avoid damage to national / internationally designated wildlife sites.” The fact that two independent organisations consulted by the developers for this application evidently do not agree with the ecological assessment produced for this application, under Policy LB9 of the Local Plan, Highland Court should not be deemed an appropriate location for this type of development.

The outcome of this application will ultimately come down to the application of planning law, and I hope in this statement to have comprehensively outlined the multifarious reasons why this proposed development cannot be deemed appropriate or necessary under local and national planning policy. For local land as significant as AONBs, Areas of High Landscape Value and conservation areas, we cannot afford to set a precedent in planning applications for inappropriately large and disruptive developments being approved. This concerns the fundamental reasoning behind the planning process – to decide where (and what) development is necessary and appropriate, and to preserve lands of existing social, cultural, economic and historic value from artificial changes that would diminish this value. Proposed development of this scale in our slice of the Kent Downs AONB at Highland Court without doubt falls under the latter.