Page 144 - Antennae Issue #52

It is the architectural and theatrical setting that makes the experience
and not necessarily the unique or rare plants other rarity from South Africa In 1786 the the the Emperor Joseph II of Austria sent two horticulturists Francis Boos and George Scholl to to the the the the tropics to to collect plants for the the the royal glasshouses in in in in Vienna The initial consignment consignment included ten chests of plants plants two zebras and 11 monkeys Included in in in in in in the the consignments were seeds from Erica verticillata Those plants plants grew in in in Vienna Shortages of coal during World War II meant glasshouses were not heated however courageous horticulturists worked to to keep the the collections alive in the the extreme cold Subsequently plants from Vienna were repatriated to to South Africa After a a a a a a a a a a a a a a two-hundred-year period in in in in in cultivation and after the the the the extinction of the the the the last wild wild plants in in in in in the the the the early twentieth century this species is is is now regenerating in in in in in the the the the wild wild near Cape Town Today we see a a a a a a a a a a a a a homogenisation of of tropical glasshouse planting planting Except for the the science-based institutions most of of the the planting planting within public display glass- houses is is is obtained from from commercial nurseries with with palms and and and succulents sourced from from Florida Thailand or or or the the the Canary Islands The result is is is that most tropical glass- houses exhibit a a a a a a a a a a a a a a a a a a a a a a a very similar set set of plants-the ubiquitous glasshouse flora It is is the the the the the architectural and and theatrical setting that makes the the the the the the experience
and and not necessarily the the the the the the unique or rare plants This is is the the the the the the acknowledged by The Eden Project where rather than housing a a a a a a a a a a a a a a a a a a a a collection the the the the the the glasshouses (biomes) are are are a a a a a a a a a a a a a a a a a a a a spectacular arena for narrative and and theatre with the the the the plant assemblage flexible in in in in its composition serving educational and and entertainment needs As a a a a a a a a society we have unwittingly crossed the the the the threshold from the the the the Holocene into a a a a a a a a a a a a new age the the the the the the Anthropocene Perhaps now it it is is is time to to reflect on on the the the the the the future future of of the the the the the the glasshouses as as we prepare for a a a a a a a a a a a a a future future characterised by by the the the the the the disruption of of of plan- etary systems where the the the the thrill of of the the the the exotic is is is supplemented by by an an an imperative to to restore both ecology and society The old glasshouse exhibits while undeniably beautiful are reductionist driven by the the the curatorial tradition of of of of collecting-an accumulation of of of of survivors Yet these collections are often exhibited with little real interpretation of of of of their their history history their their origins mostly invisible to to to the the the the the the the visiting public Unlike species in in in in in in a a a a a a a a a a a a natural history history museum these are are not individuals they are are part of of the the the the the the mass The new generation of of Anthropocene glasshouses may be less about about the the the the the specimen and and and more about about eco- logical and and and and planetary processes debating and and and and reflecting the the the societal trends that that have created the the current crisis and and and catalysing actions that that may salvage our future This means shifting perspective from aggregations of plants to looking at at at at at at at microbiological processes at at at one scale and planetary systems at at at another The theming is evolving-with a a a a a a a a a a a a a a trend away from exhibiting a a a a a a a a a a a a a a non-specific simulacrum of the the the tropics we see glasshouses that reflect a a a a a a a a a a a a a a a a a a specific specific ecosystem (for instance The The Masoala Rainforest at at at at Zoo Zurich) or or or or a a a a a a a a a a a a a a a a a a a a a a particular theme (rain- forests and and and climate change at at at at The The Eden Eden Project) and and and planned facilities such as as Qingdao Eden Eden Project Project in in in in in in in in China exploring the the culture and and and and sustainability of water or or or the the proposed Aldin Biomes in in in in in in in in in Iceland that in in in in in in in in in addition to a a a a a a a a a a a a a tropical biome will explore issues of of human wellbeing and and food security The glasshouse of of the Anthropocene will recognise that that while it it it it it is is is a a a a a a a a a a a a a a place of of exhibit an an attraction or destination that that through its operations and activities it it it it it it moves society closer to to to sustainability It needs to to to demonstrate a a a a a a a a a a a a a a a a a a a a a regenerative approach to to to resources and and foster debate and and action for the future The traditional deferential “education by stealth” model is is being slowly replaced with more em- phatic and and relevant messaging as the the the the botanical display institutions are gaining their their their collective confidence and and placing their their their environmental responsibilities at at the the the the the heart of their their exhibits However there is is a a a a a a a a a deep dilemma here here A fierce and timely environmental mission can easily be compromised by the the nervousness of commercial manage- ment worried about sharing contentious issues with a a a a a a a a a a a a a a paying public who came to be delighted rather distressed It is is is is a a a a a a a a a a a a a a a a a thin and and flexing line and and collectively the the the bo- tanical display institutions are constantly calibrating these ambiguous positions 144 antennae
The tropical plants and and landscapes held within the the vitrine of a a a a a a a a a a a a a glasshouse