A study of urban nature that draws together different strands of urban ecology as well as insights derived from feminist, posthuman, and postcolonial thought. Postindustrial transitions and changing cultures of nature have produced an unprecedented degree of fascination with urban biodiversity. The “other nature” that flourishes in marginal urban spaces, at one remove from the controlled contours of metropolitan nature, is not the poor relation of rural flora and fauna. Indeed, these islands of biodiversity underline the porosity of the distinction between urban and rural. In Natura Urbana, Matthew Gandy explores urban nature as a multilayered material and symbolic entity, through the lens of urban ecology and the parallel study of diverse cultures of nature at a global scale. Gandy examines the articulation of alternative, and in some cases, counterhegemonic, sources of knowledge about urban nature produced by artists, writers, scientists, as well as curious citizens, including voices seldom heard in environmental discourse. The book is driven by Gandy’s fascination with spontaneous forms of urban nature ranging from postindustrial wastelands brimming with life to the return of such predators as wolves and leopards on the urban fringe. Gandy develops a critical synthesis between different strands of urban ecology and considers whether "urban political ecology," broadly defined, might be imaginatively extended to take fuller account of both the historiography of the ecological sciences,and recent insights derived from feminist, posthuman, and postcolonial thought.

In the last decade a new wave of urban research has emerged, putting comparative perspectives back on the urban studies agenda. However, this research is frequently based on similar case studies on a few selected cities in America and Europe and all too often focus on the abstract city level with marginal attention given to particular local contexts. Moving away from loosely defined urban theories and contexts, this book argues it is time to start learning from and compare across different ‘contested cities’. It questions the long-standing Euro-centric academic knowledge production that is prevalent in urban studies and planning research. This book brings together a diverse range of international case studies from Latin America, South and South East Asia, Eastern Europe, Africa and the Middle East to offer an in-depth understanding of the worldwide contested nature of cities in a wide range of local contexts. It suggests an urban ontology that moves beyond the urban ‘West’ and ‘North’ as well as adding a comparative-relational understanding of the contested nature that ‘Southern’ cities are developing. This timely contribution is essential reading for those working in the fields of human geography, urban studies, planning, politics, area studies and sociology.

"Beginning in 1993 with Artaud: Blows and Bombs, Stephen Barber has quietly, independently forged one of the most singular and enriching bodies of work in contemporary writing." -David Peace Over the three decades since 1990, Stephen Barber has written many essays and experimental writings around film and digital arts. For the first time, this collection in two parts assembles all of those writings, many otherwise unavailable, over seventy in all. Many of those writings explore unknown elements of vital bodies of work that remain inspirational for contemporary art, writing and film. Others interrogate the transmutations of cities - especially those of Europe and of Japan - across those three decades, anatomizing their urban futures. These writings are often residues from, or accompaniments to, Stephen Barber’s thirty books, short writings which possess their own distinctive and accumulating presence, and can display the interrogative resilience to explore preoccupations with greater intensity and pointedness than an entire book. THE RESIDUES, PART TWO collects 30 writings on subjects including JG Ballard, Pier Paolo Pasolini, Donald Richie, and much more.

In Ruderal City Bettina Stoetzer traces relationships among people, plants, and animals in contemporary Berlin as they make their lives in the ruins of European nationalism and capitalism. She develops the notion of the ruderal—originally an ecological designation for the unruly life that inhabits inhospitable environments such as rubble, roadsides, train tracks, and sidewalk cracks—to theorize Berlin as a “ruderal city.” Stoetzer explores sites in and around Berlin that have figured in German national imaginaries—gardens, forests, parks, and rubble fields—to show how racial, class, and gender inequalities shape contestations over today’s uses and knowledges of urban nature. Drawing on fieldwork with gardeners, botanists, migrant workers, refugees, public officials, and nature enthusiasts while charting human and more-than-human worlds, Stoetzer offers a wide-ranging ethnographic portrait of Berlin’s postwar ecologies that reveals emergent futures in the margins of European cities. Brimming with stories that break down divides between environmental perspectives and the study of migration and racial politics, Berlin’s ruderal worlds help us rethink the space of nature and culture and the categories through which we make sense of urban life in inhospitable times.

This is an open access title available under the terms of a CC BY-NC-ND 4.0 License. It is free to read, download and share on Elgaronline.com. Shedding light on the future of urban spaces, this path-breaking book is a significant contribution to contemporary climate change scholarship. It synthesizes interdisciplinary research with practical policy, putting an emphasis on positive environmental and socially just outcomes and urban regeneration.

This fascinating book examines how microsites of spontaneous nature can reframe our understanding of the relationship between urban development and green space. Metropolitan cities are facing stark inequalities of green space distribution, hindering goals of sustainable development. But outside of human control, spontaneous nature grows in spaces that are neglected or are unaccounted for. Drawing on existing literature and primary research in a range of towns and cities, including Quito in Ecuador, Bengaluru and Kolkata in India, and Whitby in the United Kingdom, the book delves into the morphology, meanings, and values of those small-scale assemblages of wild growth which are typically overlooked. Discussing instead how such settings can be integrated into everyday urban life, the book offers a fresh perspective on issues around green infrastructure, heritage conservation, and environmental education, enabling cities worldwide to become more nature-positive. A unique examination of an under-researched topic, this book will appeal to students, researchers, and professionals across landscape architecture, urban planning, urban ecology, and all related fields.

The publication Robert Zhao Renhui: Seeing Forest, Volume 1 of 2 accompanies Robert Zhao Renhui’s eponymous exhibition at the Singapore Pavilion at the 60th International Art Exhibition – La Biennale di Venezia, 20 April to 24 November 2024, curated by Haeju Kim and organized by Singapore Art Museum. In addition to conceptual sequences of Zhao Renhui’s images and curator Haeju Kim’s essay, this companion book gathers an assemblage of texts from various times, authors, contexts, and sources. Organized in the “Reader” section at the center of the volume, these archival pieces range from publications going as far back as 1883 to being as recent as 2020. Juxtaposing scientific and philosophical analyses with artistic interventions, storytelling, and critical reflection, the selection echoes and reverberates an interest in different ways of knowing mobilized by . Two newly commissioned essays, by environmental historian Marcus Yee and writer Jeffrey Kastner, offer in-depth meditations specifically on the artist’s practice and current intervention. As a special treat, in the concluding piece, Zhao interviews his friend and long-standing collaborator Yong Ding Li about their respective and shared experiences of working across art and ecology in Singapore.