There are many ways to promote biodiversity in the city with species-rich perennial plantings. Elisabeth Rathjen spoke to Magnus J.K. Wessel, Head of Nature Conservation Policy at BUND e.V., about the role model function of the public sector and garden shows and what contribution you can make with your own garden. Elisabeth Rathjen: Mr. Wessel, what function […]

There are many ways to promote biodiversity in the city with species-rich perennial plantings. Elisabeth Rathjen spoke to Magnus J.K. Wessel, Head of Nature Conservation Policy at BUND e.V., about the exemplary role of the public sector and garden shows and what contribution you can make with your own garden.

Elisabeth Rathjen: Mr. Wessel, in your opinion, what role do cities play in promoting biodiversity?

Magnus J.K. Wessel: Cities offer very different habitats and, together with the species that humans have introduced, this leads to a rich diversity of species. They are therefore often an ark for specialists, home to particularly flexible cultural successors and an experimental laboratory for the coexistence of animals, plants and humans. In terms of a green infrastructure, cities must maintain and practically promote this function: by not using pesticides, maintaining and caring for green spaces in a way that protects nature, as well as concrete species protection on buildings. What cities cannot do is compensate for the damage to biodiversity caused by cleared landscapes outside them.

However, cities have other important functions with regard to biodiversity. They shape our aesthetic perception and also our idea of what is worth protecting. This is where “city dwellers” first come into contact with local nature: on the balcony or in the garden.

And what about private gardens and their owners?

People are best able to make a contribution in their own gardens. After all, climate protection or species loss usually remains abstract. Gardening is also fun and an important part of environmental education and health care. Private gardens can be part of the biotope network and an ark for endangered native species if they are properly networked and maintained.

Is there such a thing today as an ethical obligation to garden close to nature?

Close-to-nature gardening is of course the optimum. But garden culture has a long tradition and is diverse. There are worlds between a wildflower meadow, a classic cottage garden and a Japanese Zen garden. Worlds that can be combined and complemented even in a small area. I find the use of pesticides and the trend of burying gardens under gravel and concrete unacceptable.

Should we change our tastes towards a more species-rich garden style?

I would always recommend private garden owners to garden as close to nature as possible and, above all, to steer clear of pesticides and seemingly low-maintenance uniform grass and gravel areas. This also includes having the courage to embrace supposed disorder: even in the smallest garden there is room for woodpiles and wild plants.

In recent decades, the public sector has unfortunately cultivated bad examples in large squares and parks and has increasingly focused on low maintenance. This also applies to the open spaces of residential complexes. And people see that – it leaves its mark. The public sector in particular has a responsibility to show that things can be done differently. In order to create real oases of native biodiversity in the city, money must be made available. The Urban Nature Master Plan, which has been adopted by the federal government and is therefore valid for all departments, can become an important basis for more nature in villages and cities.

“I don’t see the need for a radical conversion of the landscape to Mediterranean species.”

Do you advocate planting concepts that offer a high level of diversity and give preference to native species?

Yes, but for me it’s not about getting rid of every pampas grass and every thuja hedge. I think it’s the mix that counts. We need to stop invasive species and not encourage new risks. Because once an invasive species has reached the landscape, nobody can drive it back. Only precaution can help here. It would be exciting to promote the planting of endangered species in private gardens and, together with public green spaces, turn them into lifelines for nature in the city.

Many organizations vehemently advocate the use of native species. However, it is now becoming apparent that perennials from arid regions are coping particularly well with climate change, while native species are failing. Is there also a rethink in nature conservation?

I believe that the potential of native plants is far from exhausted. I think it’s totally fine if someone plants individual foreign species in their garden for aesthetic reasons. But I don’t see the need for a radical conversion of the landscape to Mediterranean species. Of course, we also discuss in protected areas how to deal with sites that suffer from extreme drought. But I don’t think it’s necessary for two opposing camps to form in this discussion. It is a question of moderation. At the end of the day, the native fauna is in a very complex web to the native species.

“Local authorities need to take tougher decisions.”

Do you see an opportunity to promote protected species through targeted gardening? Or is it more important to focus on structural diversity and the abundance of insect flowers in the garden?

Private gardens are no substitute for the fact that we need a radically different agricultural policy and better management of protected areas to protect species. Every gardener can contribute to a future worth living. There are good examples of how small oases can be created for the preservation of varieties and species. For certain useful plants, gardens were the last places to be found. You can create conservation and oasis gardens by showing people what is available in the landscape.

From classic bog beds to steppe grasslands – many things can be transferred to gardens. This is a great field for experimentation. There are now also innovative concepts for three-zone gardens, with which you can create fantastic oases for insects if you have larger areas available. There are classic species lists on our website that are easy to work with. This is a huge challenge for some gardeners because they are rarely offered in perennial nurseries. Switching to new native plant species requires a lot of curiosity on the part of suppliers and in some cases completely different expertise, but it also presents breeding challenges.

You mentioned the gravel garden trend…

Everything you find on the internet under “gardens of horror” is a horticultural nightmare. For reasons of urban climate and biodiversity, this should not be allowed. Nevertheless, there are suburban housing estates in Franconia, for example, that are designed exclusively in this way. Local authorities have to take tougher decisions here.

“In addition to the public sector, garden shows naturally also have a role model function.”

Do you also see garden shows as having a responsibility?

Yes, in addition to the public sector, garden shows naturally also have a role model function. At the IGA in Berlin, we discussed a lot about how aesthetic and artistic demands can be combined with sustainability. And how to arouse curiosity. After all, people don’t do something in their private garden because they are told to or because they get money for it. In the end, what matters is what my heart is set on and where I find exciting examples that I would also like to have in my own garden.

Interview partner: Magnus J.K. Wessel studied geography, geobotany and administrative law in Trier. He has been head of nature conservation policy at BUND Bundesverband for six years and previously worked for the UN, WWF and NABU. Privately, he is a garden owner and photographer with a soft spot for insects and human portraits.

Author: Elisabeth Rathjen studied landscape architectureat the FH Weihenstephan and worked at the Chair of Landscape Architecture and Public Space at TU Munich from 2016 to 2018. She currently works as a freelance landscape architect and author.

This article is published as part of the “Biodiversity” issue of G+L 08/2018. You can purchase this issue here.

In the Old Masters Picture Gallery of the Dresden State Art Collections (SKD), the painting “The Madonna of St. Sebastian” (around 1524) by Antonio Allegri, called Correggio (around 1489-1534), is being publicly restored – Schaurestaurierung in Dresden

The painting “The Madonna of St. Sebastian” (c. 1524) by Antonio Allegri, called Correggio (c. 1489-1534), is being publicly restored in the Old Masters Picture Gallery of the Dresden State Art Collections (SKD) – Schaurestaurierung in Dresden

Correggio’s “Madonna of St. Sebastian” is too fragile to leave the Old Masters Picture Gallery of the Dresden State Art Collections. That is why the restorers will be coming to the altarpiece every day over the next few months to restore it on site. In a studio directly in the gallery, which offers visitors a view of the work tables through large windows at all times, the badly damaged altarpiece, which was painted around 1524 for the Brotherhood of St. Sebastian in Modena, will be examined and the paint layer and support will be extensively conserved and restored

Correggio’s “Holy Night” – a Christmas painting famous throughout Europe

With four paintings, Dresden owns the world’s largest collection of altarpieces by the painter from Correggio, whose real name was Antonio Allegri, who was born around 1489 and died in 1534. They include the “Madonna of St. Francis” from 1514/15, the “Holy Night” from (1528/30) and the “Madonna of St. George”, which was painted around 1529/30. Dresden bought them from the Estensian Gallery in Modena in the 18th century. At that time, the “Holy Night” in particular was considered a famous Christmas painting throughout Europe.

Aim of the current in situ restoration: restoration of the “Madonna of St. Sebastian” by Correggio

The aim of the current in situ restoration is to make the richness of color and detail of Correggio’s painting “more immediately tangible”, according to the Dresden announcement. The first damage to the paint layer occurred 60 years after completion. Today, it is severely damaged and threatened with loss. What’s more, the original splendid colors can only be guessed at. In the past, the boards on which Correggio painted curved considerably, causing the paint layer to loosen at the joints and, as a result, the paint layer to be lost. The constant need for consolidation and retouching contributed to the surface appearing blotchy, heavily yellowed and deformed today. Visitors can see how Renaissance paintings look after restoration around the Dresden restoration studio: examples of Italian masterpieces that have already been restored are on display there – for example Giulio Romano’s “Madonna with the Washing Bowl”, which was painted just one year after Correggio’s altarpiece of the “Madonna of St. Sebastian”, and Cima de Conegliano’s “Blessing Christ” from 1505/06.

“Correggio’s rinascita”

The current project is entitled “Correggio’s rebirth”, because until the 19th century Correggio was just as well known as his fellow Renaissance artists Michelangelo, Leonardo and Raphael. This is different today, but the Dresden project, which is funded by the Ernst von Siemens Art Foundation and the Schoof Foundation, aims to change this.

Correggio’s “The Holy Night” is also in the Old Masters Picture Gallery in Dresden. Find out more about this painting in the video.