a feminist design toolbox: (for keeping and understanding backyard birds)

This tiny print serves no purpose, but to make this book seem like an actual book. In printed books, one usually sees a large block of tiny print on

the first or second page followed by terms like © 2013. All Rights Reserved. So and so. Printed somewhere. The publisher may also include prose

to deter would-be pirates, or ninjas. No part of this book may be used or reproduced in any manner whatsoever without written permission. That

is typically followed by a line or two about the publisher, followed by a sequence of numbers.

For more information, please contact Jordan Lane at jordanlane@gmail.com

To read more on the subject and dig deeper into feminist design tools see the Arch.andPhil blog at http://archandphil.wordpress.com/

12 13 14 15 16 LP/Na Na Na Na Na Na Na Na Batman!

But seriously, all you need to know is that this work is shared under a Creative Commons BY-NC license, which means that you can freely share

and adapt it for non-commercial use with attribution.

“Regard it as just as desirable to build a chicken house as to build a cathedral.”

- Frank Lloyd Wright

introduction

flocking . feminist . fowls . is a feminist design

toolbox for keeping and understanding backyard

birds.

While this may seem a strange place to begin a

feminist exploration, it proves an interesting and

worthy point of departure.

Each reading presents a different perspective on the

subject. Some relationships are quite explicit while

others are more abstract and philosophical. All offer

guidance (where it will take you is up to you) on

keeping birds, plus wider philosophical questions.

I have included an extra list of feminist design

power tools at the end of the readings which can

be applied to almost any topic and read more like

a manifesto.There is not a linear book. Although

the pages are numbered you can read them in any

order, in fact I encourage you to jump as often and

as far as your thoughts do.

enjoy your fowl feminist flockings.

four hundred and twenty-five elephants flying in the sky 2how to start with chickens: universality, details & premature gratification

there’s always something deeper underground 4keeping your chickens: think like a rhizome

fowl bodies of architecture 6whatever happened to the backyard chicken?

which came first? 8the eternal question

hum[an.imal] urb[an.imal] 10a beautiful life, and one bad day

change. hope. a way out. 12when it all seems like too much...

conclusion 14

addendum 15

a collection of feminist design power tools 16

bibliography 18

four hundred and twenty-five elephants flying in the sky how to start with chickens: universality, details & premature gratification

I promise this will make sense in the end…

The very first architecture textbook handed to me

was Analysing Architecture by Simon Unwin. With

its matte black cover and gorgeous illustrations, it

smelt as new knowledge should. At the beginning of

each chapter was a meticulous graphite illustration

paired with a quote from someone far more worldly

and knowing than myself. One of these quotes was

by Gabriel Garcia Marquez. The detail in which he

constructed the environment was so universal yet so

specific that I could not help but believe it.

Fast forward 7 years (I am aware that architecture

degrees generally take a shorter time frame…but

hey I get distracted, I wander and drift) to “a muf

manual”, in which Katherine Shonfield describes

the transition from the particular to the general and

back to the particular.

“…so the equation detail/strategy = DETAIL forces

a paradoxical recognition of the universality of the

detail, the up close and personal.” (Shonfield. p.20)

This got me thinking. Is universality in the details?

Can something be “both personal and at the same

time a source of social solidarity, that yearned for

thing ‘community’.” (Shonfield. p.20)

Rewinding now…to an interview between Gabriel

Garcia Marquez and Peter H. Stone published in the

1981 Winter issue of The Paris Review, where the

author touched on the universality of details.

INTERVIEWER

There also seems to be a journalistic quality to that

technique or tone. You describe seemingly fantastic

events in such minute detail that it gives them their

own reality. Is this something you have picked up

from journalism?

GARCÍA MÁRQUEZ

That’s a journalistic trick which you can also apply

to literature. For example, if you say that there are

elephants flying in the sky, people are not going

to believe you. But if you say that there are four

hundred and twenty-five elephants flying in the sky,

how to start with chickens: universality, details & premature gratification 3

Katherine Shonfield, ‘Premature Gratification and Other Pleasures’ in This is What we do: a muf manual, London: Elipsis London, 2001.

people will probably believe you. One Hundred Years

of Solitude is full of that sort of thing. That’s exactly

the technique my grandmother used. I remember

particularly the story about the character who is

surrounded by yellow butterflies. When I was very

small there was an electrician who came to the

house. I became very curious because he carried a

belt with which he used to suspend himself from the

electrical posts. My grandmother used to say that

every time this man came around, he would leave

the house full of butterflies. But when I was writing

this, I discovered that if I didn’t say the butterflies

were yellow, people would not believe it. That’s how

I did it, to make it credible. The problem for every

writer is credibility. Anybody can write anything so

long as it’s believed.

In journalism just one fact that is false prejudices the

entire work. In contrast, in fiction one single fact that

is true gives legitimacy to the entire work. That’s the

only difference, and it lies in the commitment of the

writer. A novelist can do anything he wants so long

as he makes people believe in it.

So to answer muf’s on questions of “How do

you develop a city-wide strategy when you are

fascinated by the detail of things? And how can you

make something small-scale in the here and now

if you are driven by the urge to formulate strategic

proposals for the future? (Shonfield. p.14) you may

become a novelist in a journalistic guise. Record

details unencumbered by the habitual detachment

of the strategist, record minutely what is, while

remaining unworried by what should be (Shonfield.

p.15).

Perhaps details allow us premature gratification

of understanding. They give us a chance to flick

through our memory, comparing new stimulus

to past experiences, interrupting the pattern of

uncertainty and creating comfort in our thoughts.

When embarking on a feathered journey, remember

universality is in the details.

keeping your chickens: think like a rhizomethere’s always something deeper underground

Rhizomes. What does ginger, bamboo and turmeric

have to do with feminist power tools?

In botany and dendrology, a rhizome is a modified

subterranean stem of a plant that is usually found

underground, often sending out roots and shoots

from its nodes.

En.wikipedia.org (2013). Rhizome. [online] Retrieved

from: http://en.wikipedia.org/wiki/Rhizome

[Accessed: 9 Oct 2013].

I made notes on the side of the page to remind

myself of the need to dig deeper. Why was Doina

Petruscu repeatedly mentioning rhizomes? My

only expereince with rhizomes has been in my

own garden. Perennial plants like asparagus, and

ginger. Was it their multiplicity, heterogeneity or

connectedness?

Jumping abruptly to the second reading by Lori

Brown, I was specifically interested in the passage

on interdisciplinarity, and the quote she provided;

[t]he appeal of interdisciplinarity is no doubt in

part a reaction against the seemingly conservative,

even repressive implications of discipline: it is

addociated with punishment, control, oppression,

and pain, or inflexible rules, hierachies, and

methodologies. Discipline is also related to an even

more pejorative word: disciple, a person who si a

follower, a sycophant, a convert, a zealot. Advocates

of interdisciplinarity tend to believe that it is the very

nature of discipline to isolate itself and to produce

disciples. THis it is not much of a stretch to consider

that the appeal of interdisciplinarity lies in its

potential to serve as a euphemism for academic of

artistic freedom.

Mark Linder,”TRANSdisciplinarity” Hunch #9, 12

I was not quite sure of how I was going to link the

two thoughts together until I came across this

passage;

…the principal characteristics of a rhizome: unlike

trees or their roots, the rhizome connects any point

to any other point, and its traits are not necessarily

keeping your chickens: think like a rhizome 5

Doina Petrescu, ‘Altering Practices’ in Altering Practices: Feminist Politics and Poetics of Space, London: Routledge, 2007.

linked to traits of the same nature.

Deleuze, G. and Guattari, F. 1987. A thousand

plateaus. Trans. Brian Massumi. Minneapolis: U of

Minnesota P, 2 p. 21.

My power tool for this week is to be a rhizome.

“As a model for culture, the rhizome resists

the organisational structure of the root-tree

system [monodisciplinarity; architecture] which

charts causality along chronological lines and

looks for the original source of ‘things’ and

looks towards the pinnacle or conclusion of

those ‘things.’ (a building, a plan, a drawing)

A rhizome, [inter or transdisciplinarity] on the

other hand, is characterised by ‘ceaselessly

established connections between semiotic chains,

[collaborations] organisations of power, and

circumstances relative to the arts, sciences, and

social struggles.’ [community oriented design]

Rather than narrativise history and culture, the

rhizome presents history and culture as a map

or wide array of attractions and influences with

no specific origin or genesis, for a ‘rhizome has

no beginning or end; it is always in the middle,

between things, interbeing, intermezzo.’ The planar

movement of the rhizome resists chronology and

organisation, instead favouring a nomadic system of

growth and propagation.

Although what is above the surface may receive

most attention from a majority of people, I will

remind myself that there’s always something deeper

underground - like worms...if I was a chicken.

whatever happened to the backyard chicken?fowl bodies of architecture

I revisited ‘Bad Press’ by Elizabeth Diller after reading

what I thought to be a totally unrelated article by

Andrea Gaynor, entitled ’Fowls and the Contested

Productive Spaces of Australian Suburbia, 1890-

1990′.

However, when read parallel the two articles are

interchangeable in commentary, theme and critique,

albeit told through different material assemblages.

Below is an ecofeminist literary collage of the

two articles. It makes for an interesting parallel

comparison. Original text is crossed out like this

while the new text [is added like this].

At the end of the nineteenth century, the body

[chickens] began to be understood as a mechanical

component of industrial productivity, an extension

of the factory apparatus. Scientific management,

or Taylorism, sought to rationalise and standardise

the motions of this body [chickens], harnessing its

[their] dynamic energy and converting it to efficient

labor power. According to Anson Rabinbach, “the

dynamic language of energy [food] was central to

many utopian social and political ideologies of the

early twentieth century…these movements viewed

the body [chickens] both as a productive force and

as a political instrument whose energies could

be subjected to scientifically designed systems of

organisation…It was not long before the practice

of engineering bodies [chickens] for the factory

was introduced into the office, the school, and the

hospital. (Diller, 1996, p.77)

Over the course of the twentieth century, fowls

[housewives] were progressively deprived of their

economic, cultural and spatial niche in Australian

residential suburbs and the egg and poultry meat

[nutritional] requirements were instead produced

by birds housed in [factory labourers in] large-

scale peri-urban or rural commercial batteries and

barns [factories]. This reconfiguration dramatically

altered the experience of fowls as a species

[eating home meals] in Australia and impacted on

suburban ecologies. It resulted primarily from the

pursuit of class-based visions of ideal cities and

whatever happened to the backyard chicken? 7

Elizabeth Diller, ‘Bad Press’ in Francesca Hughes, ed. The Architect Reconstructing her Practice, Cambridge, MA: MIT Press, 1996, pp. 74-

95.

home environments and the embodiment of these

visions in local by-laws [modern ideologies], but

also involved shifts in the economic organisation

of households and the egg [food and packaging]

industry . (Gaynor, 2012, p.205)

…’farms’ [modern kitchens] with their neat and

orderly arrangement of sheds [appliance and

decoration] (especially when viewed from the air)

were promoted as the ‘modern’ way to produce

eggs [prepare meals]. Such operations reduced

human labour but relied more heavily on imported

and processed foodstuffs, entailed a greater need

to transport inputs and products, and provided the

fowls [family members] with environments and diets

that were almost certainly less varied that those

found in [their] backyards. (Gaynor, 2012, p.208)

The drive for efficiency, however, did not fulfil its

liberating promise. Efficiency was often takes as

an objective in itself. Ironically, it condemned the

housewife [chicken] to an increased workload as

the expectations and standards of cleanliness in

the home [factory farm] rose to compulsive levels.

(Diller, 1996, p.80)

Ideas about appropriate housing in the domestic

context were also changing; in the 1950′s, for

example, Your Garden magazine informed readers

that ‘to keep fowls [prepare meals] in the modern

way – you must have an ultra-modern fowlhouse

[kitchen and food system]. Small scale backyard

battery cages [pre-cooked meals] were promoted

as one of the two types of ‘ultra modern fowlhouse’

[time-savers for housewives], being [making] ‘not

only a machine in which to keep fowls [difference in

time and effort required in the preparation], but… a

machine [meal] which practically takes care of them

[cooks itself]‘. (Gaynor, 2012, p.209)

the eternal questionwhich came first?

The unit of survival is organism plus environment.

(Bateson, 1972, p.483)

Which came first – the chicken or the egg?

the eternal question 9

Zoe Sofia, ‘Container Technologies’ in Hypatia Vol. 15, No. 2, Spring 2000, pp. 181-200.

Which came first – the organism or the environment? I suppose we will never know. There is not much

more to say.

hum[an.imal] urb[an.imal] a beautiful life, and one bad day

In the beginning, I adored. What I adored was

human[imal]. (Cixous and Jenson, 1991, p. 1)

Tap, tap, tap; light. He was born.

Tap, tap, tap; dark. He was gone.

Gone only because he was a he. His voice, his colour,

his irrepressible urge to address the morning sun.

There were three he’s this weekend. Three brothers.

Having made the mistake of hearing the names

others called them made not the knife sharper

but the cut deeper. Knowing what is to be next is

sometimes not the advantage we hope it to be.

Twenty seven years of disconnection from my

hum[animal]. Leaning over him, I realise my own

ecological boredom. I meet you not with shame;

my ecology, but only guilt in hoping to resurrect the

forests in which we once roamed. I celebrate you

and your return to soil, as I know one day I shall

return and meet you there.

For I have wandered so far from that which is myself,

my wild imprudence.

Summer houses, old timber apple boxes and pre

washed denim. Give me the seasons and strike the

trees with twelve colours of wind as they wash away

their leaves.

Home.

Although the modern home is ideologically

constructed as independent and disconnected

from natural processes, its function is heavily

dependent upon its material connections to these

very processes which are mediated through a series

of networks and social power relations. (Kaika, 2004,

p. 275)

I shout this truth of modern human[imal]s. We

(a reluctant membership) have constructed a sly

independence and disconnected ourselves from

natural processes. We have removed ourselves

from the ecosystems that have governed evolution,

a beautiful life, and one bad day 11

Cixous, H. and Jenson, D. (1991). Coming to writing and other essays. Cambridge, Mass.: Harvard University Press.

excitement and ecology. Our function however

remains heavily dependent upon material

connections to these very processes which are

removed vby a sweeping, brushing Victorian ideal of

the modern city.

An unexpected consequence of our drive to the

pristine in city design, where it has been achieved, is

a strange creeping level of boredom, numbness, and

a pathology of disconnectedness. (Monbiot, 2013, p.

77)

Reconnect.

I stare down the feral frontiers. The stewardship,

no, celebration of productive ecosystems in

urban environments. The urban shepherd. The

beginnings of a trans-species urban theory that

would welcome human and hum[animals] onto the

same plane. I worked for a year to bring chickens

into my backyard. A childhood memory of “blacky

and ginger” an unclear number of generations of

two laying hens my of my childhood. Fresh eggs in

the morning, eyes on the garden, a step towards

nourishment, internal and external.

Everyone is nourished and augmented by the other.

(Cixous and Jenson, 1991, p. 42)

One can emerge from death. I believe, only with an

irrepressible burst of laughter. (Cixous and Jenson,

1991, p. 41)

We shared laughter and nourishment. A christmas

feeling, but more. They first meal in my twenty seven

years of never going hungry that I had a natural

relationship with.

I fed, raised, housed, held, cut, cleaned and ate.

Nourished and augmented. Changed. I do not revel

in my omnivorous feeling, nor in the knowledge of

gender marking an early exit for a hum[animal] I

worked so hard to know. However it took one foot

from the pavement and placed it more comfortably

into the forest.

If you die, live. (Cixous and Jenson, 1991, p. 8)

when it all seems like too much...change. hope. a way out.

The only struggle worth fighting for is a truly

ecological struggle.

Paul Virilio, Défense populaire et luttes écologiques

Allow me to frame (triangulate rather) my response

between three complementary competitive

thoughts – CHANGE. HOPE. A WAY OUT.

1. CHANGE - Highly sensitive to fluctuations, current

societal conditions can be viewed as threatening

but also as signs of hope. In the context of global

interdependencies, local and individual actions may

have positive effects. Change is possible – although

results may not always be foreseen. (Conley, 1993,

p. 86)

2. HOPE – The environmental movement up until

now has been necessarily reactive. We have been

clear about what we don’t like. We need to show

where hope is. Ecological restoration is a work of

hope. (Monbiot, 2013, p.152)

when it all seems like too much... 13

Verena Andermatt Conley, ‘Eco-Subjects’ in Verena Andermatt Conley, ed. Rethinking Technologies, Minneapolis: University of Minnesota

Press, 1993, pp. 77-91.

3. A WAY OUT - Are there…sorties (ways out) of

the dilemma, or are we the powerless witnesses

who can only utter cries of rage at every bit of

news: demographic explosion, threats to species,

the disappearing ozone layer, worldwide famines.

(Conley, 1993, p.80) - sorties is a theoretical term

attributed to Cixous.

You may begin your thinking at any point of the

triangle, or any place in-between. Conley reminds

us that we should “admit that human societies

are in constant change, and that every state of

“being” is but the effect of a temporary historical

configuration, we can no longer think the subject,

singular or collective, in a vacuum. (Conley, 1993,

p.78)”. Therefore I suppose it does not matter where

you start, as there is no start and no end. This

triangle does not have straight lines.

It is a dynamic, bewildering triangle, an invisible

framework of being and becoming, offering comfort

but not rest. Change provides no destination.

Moving next to hope (not in a straight line), we must

become aware that we have become reactive to

previous events, we are necessarily reactive before

we become proactive.

If we settle then to sorties – ways out (beware this

is the easiest place to become lost) it is unclear

whether we are at the end of the triangle or the start

again. Both are equally correct in their fault.

Take from this triangle a way finding device not a

map. The tool is knowing where you are and where

you can move to, both reactively and proactively.

Become, be, and become again.

1. Anthropocentrism Human-centered value system, humans have prime importance.

2. Biocentrism Value perspective that holds all life as sacrosanct.

3. Biosphere/Ecosphere The sum total of all life on Earth.

4. Ecofeminism A range of theoretical and activist positions which connect the oppression of women with the destruction of nature.

5. EcologicalRestoration The repair of degraded habitats to restore ecological functionality.

6. EnvironmentalJustice Inequitable exposure to environmental harm and/or inequitable access to environmental benefits.

7. HabitatFragmentation The breakup of habitats through land-use change.

8. PoliticalEcology Perspective that links environmental degradation with economic inequity, social marginality, and vulnerability.

9. Synergy An additional force or energy produced by working together.

10. Trans-SpeciesUrbanTheory Perspective incorporating animals and plants in dynamics of urbanization.

11. UrbanShepherd Holistic stewardship of productive ecological systems in urban environments.

12. WildlifeCorridor Pathways allowing animals to move between segregated habitat patches.

13. Zoöpolis A city of people and animals coexisting in urban life spaces to their mutual benefit.

conclusion

My greatest discoveries can be found in a deeper

appreciation for the terms below. These terms have

helped me form my thoughts and explorations

across academic and personal endeavours. I have a

greater appreciation for the role of “others” in urban

environments.

15

step 2. Reinvent the wheel

October 9, 2013

Anders Isacson

• A friend of mine is writing a thesis called

“reinventing the wheel”. She is investigating the

power of “lying” - or to put it more politely - the

power of saying things which are not yet true

- in writing policy and making positive change

in society. I suppose we just have to remember

that we are not making a better wheel. The old

wheel has gotten unstable, now there will be a

possibly rough transfer period to the new wheel.

Roll on.

Gossip as a strategy of forming subject

December 4, 2013

Döne Delibas

• I am interested in what defines some words

as “gossip” and what is required to turn this

“gossip” into identity, identity to narrative and

narrative into culture?

10 advices for a pleasant journey

October 1, 2013

Gerd Holgersson

• I believe in ignorance before empathy –

thoroughly conscious ignorance. Schrodinger

said “in an honest search for knowledge you

quite often have to abide by ignorance for an

indefinite period”. If we (human/non human,

organic/inorganic) can first recognise our

ignorance, secondly use our knowledge to make

higher quality ignorance, then we can move

onto empathy.

[no title]

November 19, 2013

Sofia Wollert Olsson

• You made me think of a song: - “A Scale, A Mirror

And Those Indifferent Clocks” – by Bright eyes.

“And language just happened. It was never planned.

And it’s inadequate to describe where I am in the

room of my house where the light’s never been

waiting for this day to end.”

Read Vs. Unread

November 20, 2013

Boya Guo

• If you write a language which cannot be

understood, does it continue to be a language?

What happens to the handwriting of the last

speaker of each language before they pass? The

artist Xu Bing reminded me of a book called

codex seraphinianus by Italian artist, architect,

and industrial designer Luigi Serafini. The book

describes a world that does not exist and is

written in a language that no one can read.

Bad Tension

October 16, 2013

Johanne Killi

• I like wrinkles, creases and folds. I often wonder

of the value of ironing...it seems an unnecessary

task for it does not make the shirt feel better on

my back (except for that fleeting moment when

it is still warm from the iron). You iron not for

yourself, but for others.

addendum

four hundred & twenty-five elephants

1. premature gratification is about both-and, not

either/or.

2. including the excluded.

3. universality is in the details.

4. record minutely what is, while remaining

unworried by what should be.

There’s always something deeper underground.

1. shift from ‘practices of the other’, to practising

‘otherhow’

2. curate and create meaning, instead of planning

and imposing

3. address space, not architecture

4. hi/stories + herstories

5. situate yourself. know where you stand.

6. if it does not exist, ‘alteritally’ invent it

hum[an.imal] urb[an.imal]

1. :what you can’t have, what you can’t touch,

smell, caress, you should at least try to see

(Cixous and Jenson, 1991, p. 4)

2. If you die, live. (Cixous and Jenson, 1991, p. 8)

3. So I’ll take all your books. But the cathedrals I’ll

leave behind. (Cixous and Jenson, 1991, p. 12)

4. fall asleep a mouse and wake up an eagle!

(Cixous and Jenson, 1991, p. 11)

5. Let yourself go! Let go of everything! Lose

everything! Take to the air. Take to the open sea.

Take to letters. Listen: nothing is found. Nothing

is lost. Everything remains to be sought. Go,

fly, swim, bound, descend, cross, love the

unknown, love the uncertain, love what has

not yet been seen, love no one, whom you are,

whom you will ever be, leave yourself, shrug

off the old lies, dare what you don’t dare, it is

there that you will take pleasure, never make

your here anywhere but there, and rejoice in

the terror, follow it where you’re afraid to go,

go ahead, take the plunge, you’re on the right

trail! Listen: you owe nothing to the past, you

owe nothing to the law. Gain your freedom: get

rid of everything, vomit up everything, do you

hear me? All of it! Give up your goods. Done?

Don’t keep anything; whatever you value, give

it up. Are you with me? Seach yourself, seek out

the shattered, the multiple I, that you will be

still further on, and emerge from one self, shed

the old body, shake off the Law. Let if fall with

all its weight, and you, take off, don’t turn back:

it is not worth it, there’s nothing behind you,

everything is yet to come. (Cixous and Jenson,

1991, p. 40)

6. Live! Risk: those who risk nothing gain nothing,

risk and you no longer risk anything. (Cixous

and Jenson, 1991, p. 41)

7. everyone is nourished and augmented by the

other. (Cixous and Jenson, 1991, p. 42)

Change. Hope. A way out.

1. human subjects, always in movement and

transformation, have to think themselves in a

world of becoming. (Conley, 1993, p. 78)

2. do(es) not advocate power reversals, but

devise(s) ways of letting both others (humans)

and other “things” (organic and inorganic)

merely be. (Conley, 1993, p. 79)

3. be in tune with the world, (to) hear the language

of things. (Conley, 1993, p. 79)

a collection of feminist design power tools

17

1. DO NOT – obey uncritically a repressive system

of signs that makes up a symbolic order – you

(we) lose our effective contact with the world.

(Conley, 1993, p. 79)

2. The first step toward an ecological rapport is

“the necessary move of letting the world be or

of approaching them with tact. (Conley, 1993,

p. 79)

3. Highly sensitive to fluctuations, current societal

conditions can be viewed as threatening but

also as signs of hope. In the context of global

interdependencies, local and individual actions

may have positive effects. Change is possible –

although results may not always be foreseen.

But societies are changing in a physical world

that has been rehistoricized. In other words,

at any social level – whether in Manhattan,

the suburbs of Paris, or in the rain forests of

Surinam – “nature” has reappeared and is also

in becoming. (Conley, 1993, p. 86)

4. Storytelling – “through voice, storytelling brings

the body, or one’s own story, into History. And

insofar as it reopens onto space in time, away

from technological reductions onto grids,

it does preserve linguistic diversity. It also

questions the pseudo-objectivity of any truth.

(Conley, 1993, p. 88)

5. the disappearance of the world’s diversity, its

capacity to become, and its sensuous opacity

– of legends and narratives – go hand in hand

with the wanton cutting of bushes and trees.

(Conley, 1993, p. 89)

6. the environmental movement up until now has

been necessarily reactive. We have been clear

about what we don’t like. We need to show

where hope is. Ecological restoration is a work

of hope. (Monbiot, 2013, p.152)

selected bibliography

1. Atkins, Peter. Animal cities. Farnham [u.a.]: Ashgate, 2012.

2. Berg, Peter. Discovering your life-place. San Francisco: Planet Drum Books,

1990.

3. Bonnevier, Katarina. ‘Fatale Critical Studies in Architecture’ in Nordic, Vol. 2,

2012, 90-96.

4. Brown, Lori. ‘Introduction’ Lori Brown, ed., Feminist Practices:

Interdisciplinary Approaches to Women in Architecture, London: Ashgate,

2011.

5. Byrne, J. and Wolch, J. 2013. International Encyclopedia of Human

Geography Urban habitats/nature (MS number: 1091). pp. 46-50.

6. Cixous, Hélène and Deborah Jenson. Coming to writing and other essays.

Cambridge, Mass.: Harvard University Press, 1991.

7. Conley, Verena Andermatt. Rethinking technologies. Minneapolis: University

of Minnesota Press, 1993.

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