Over the last few months I have been working with an outstanding team on Crafty Explorers, an innovative project to improve the health of children aged 5 and below. A response to the Knee High Project design challenge that is run by the Design Council and funded by Guy’s & St Thomas’ Charity, Crafty Explorers is a friendly and affordable place for families to make clay creatures.
Other than boogly googly eyes all of the materials we use are natural and could be found for free with a bit of foraging. Acorn tops and pebbles make great eyes too though, so some are 100% natural. After making their crafty creatures we challenge children to complete missions with them in local parks. Challenges include going outside into green spaces to fly, climb, make a nest, find a worm, hide from pigeons and many more.
The pop-up shop that we opened to trial our ideas in Nunhead (Southwark, south London) was a massive success. Parents reported that we were having a positive influence on the physical and mental health of their children, as well as helping them to connect with nature and learn new skills. Many families came back several times over the six weeks that we were open and a few visited us daily for periods. This is high street, popular and engaging “learning outside the classroom” and “fieldwork” that we have linked to local schools, but is independent of them.
The building was provided by Southwark Council who are doing some great work to lift Nunhead’s village high street. With many central shopping areas in the middle of identity crises, we can see a role for Crafty Explorers not just in helping to improve the health of children, but in being an alternative centre for communities.
Helen, Carolina, Lesley, Tom, Alan, Pete and Mark are just a few of the excellent people from Explorer HQ, The Geography Collective and City Farmers who have come together to work on Crafty Explorers. A blend of great design, simple ideas, deep thinking and positive energy made the shop the success that it was.
The pilot shop is now closed, but the project lives on. This week we present our research, ideas and plans to the Knee High Project panels. With a blend of skill, hard work and luck we may just get through to the next stage of the design challenge. This will give us some added support to help bring Crafty Explorers to the next level.
Over the last few months I have visited all fifteen of the UK’s National Parks. Together they include mountains, meadows, moorlands, woods and wetlands, but as someone who lives and works in London I think there is a crucial habitat missing… an urban habitat.
What if London was the world’s first Urban National Park?
Britain’s built-up area physically covers around 7% of land and is home to a diverse range of (wild)life. The London Biodiversity Partnership has identified 15 different habitats in Greater London and more than 1,300 sites have been identified as being of value to wildlife (though I am sure there are many more). Casting a spot-light on amphibians and reptiles alone, nine of the thirteen species (common frogs, common toads, smooth newts, palmate newts, great crested newts, slow-worms, common lizards, grass snakes and adders) can be found within the M25. The Central London RSPB group has a list of 132 species of bird that you can find in London and if you know where to look you can find brown hares, otters and dormice too. Of course there is also an eclectic range of humans who together speak over 300 different languages along with their domestic pets and those less popular creatures including foxes, rats and pigeons.
London itself is very much a land of parks. At least 3,000 public parks, woodlands and gardens cover 140sqkm of London, but when you include private gardens and other green areas London’s total green space covers 628 sqkm or 40% of the city. In comparison to current UK National Parks at 1,572 sqkm London would be the 5th largest after the Lake District (2,292 sqkm), Snowdonia Parc Cenedlaethol Eryri (2,142 sqkm), the Yorkshire Dales (1,769 sqkm) and the South Downs (1,641 sqkm). Compared to its 628 sqkm of green space London would still be the 11th biggest.
National Parks in the UK are administered by their own National Park authorities. These are independent bodies that are funded by central government to:
- conserve and enhance the natural beauty, wildlife and cultural heritage; and
- promote opportunities for the understanding and enjoyment of the special qualities of National Parks by the public.
There are a number of pan-London organisations working to improve the natural beauty, wildlife and cultural heritage of the city and there are also organisations working hard to promote opportunities for the understanding and enjoyment of the special qualities of London, but I do not think they achieve what a National Parks status would. By rethinking, reframing and replanning itself as a National Park I can imagine a wide range of possible benefits for London. These could include improvements to biodiversity, architecture, green-ways, outdoor education, accessibility, how the city markets itself to the outside world and crucially, how the city sees itself.
By reframing itself as a National Park there could be a major shift in how London and Londoners think of themselves and how those outside London imagine the city. These include London as being a:
- large archipelago of green spaces
- wild destination to be proud of… right on (y)our doorstep
- space where you have the right to roam, explore, play and learn
- place where humans are recognised as animals and part of the world’s ecosystem
- place where buildings and systems are seen as an urban habitat that is shared with other life
- city that embraces domestic and feral animals as part of a city’s innate and historic ecology
- city where large number of inhabitants recognise and enjoy their own great outdoors
In the city such an effort could change the way that the next generation thinks of and values their urban park and what can be discovered inside it. Who knows what seeing (y)our entire city as a National Park could do for its and our development, psyche and outlook.
I have just returned from an 18-day trip with my 10 year old son in which we completed nearly 30 adventures. From Cumbria to the Shetland Islands, we have climbed mountains, jumped down gorges, slept on wild beaches and rescued a stranded sheep by sea kayak – all part of our Route 125 project with National Geographic and Toyota. Despite the wild nature of our explorations technology played a significant role in shaping our experiences – for both good and bad.
As a parent and educator (I make the distinction, but all parents are educators) I always struggled with finding the right balance between my son’s screen time vs other activities. While some children are deprived of ‘wild time’ connected to nature, so too are some children deprived of important ‘screen time’ to technology. Wild and screen time are often pitched against each other in a simplistic and dichotomised way, but the reality is far more complex.
Nature and technology can conflict, complement, supplement and/or converge in a multitude of different ways. During our micro-expedition, Minecraft on our iPad definitely distracted Seb to his detriment on a number of occasions. He had to be asked not to play while on ferries between Scottish islands in order to be forced to notice castles and wildlife, something he enjoyed but needed help to experience. While I am a great supporter of Minecraft and can see a wide range of creative possibilities for its use in the wild, my experience was that it often conflicted with the many alternative opportunities around us.
We also took a laptop with us that included a range of software. Seb used it to write stories, many of which were influenced by the people we met and places we visited. When we climbed Slieve Donnard (the highest mountain in Northern Ireland) we loaded up GarageBand, a piece of software for composing music. Inspired by the cold winds, menacing clouds and deep quarries we collaboratively created a piece of dark dance music. Both storytelling and musical composition have helped Seb to tune into places in a deeper way, helping him to think through, sense and make sense of the places we have explored. Without a doubt, these complimentary uses of technology have been highly rewarding.
We have also used technology to supplement our time in the wild. WhatsApp is an application for sending messages, holding group conversations, sharing locations, photos and videos. Being able to communicate with friends and family may not be essential to have a ‘wild time’ but being connected helped us to feel secure and grounded in place, helping us take comfort from knowing we could reach out to those close to us. Enjoying nature does not have to mean feeling emotionally remote, even if we are physically remote. SMS and phone calls fit into this category too.
Finally, we have used technologies that converge with the wild, dovetailing into what I call a kind ‘wildware’ that has inspired or supported our enjoyment of nature and wild places. GeoCaching, Mission:Explore and Wild Time are just three examples of applications, services and games that not only inspire ways to engage with nature, but also link us to a wider network of users that can offer a sense of community even when we are remote from or do not even know each other. In some cases these technologies can even record data such as wildlife sightings that can help conservation programmes and so nature itself.
Exploring is often boring and gruelling. Waiting for ferries or even climbing a mountain for hours can become dull especially for an active and youthful mind. When Seb and I climbed Ben Nevis we were taking breaks every 20 minutes until we started playing word ‘association’ and ‘listing’ games. Once these games started we walked for 90 minutes uphill without a break. The game may not have been ‘screen time’ but it was definitely a distraction from our surroundings and a myriad of learning opportunities. Playing Minecraft while waiting for a ferry may also have had a distracting effect, but Seb’s overall experience was improved because his boredom had been dealt with.
Some of the moments I struggled with most were when camping. Some nights we played cards (traditional use of time when sheltering from rain and wind) and some of the time we played JetPack (a game on the iPhone that involves JetPacking through a maze of mean things that want to hurt you). While the traditionalist in me wanted us to play more cards, feeling that the JetPack screen time was somehow ‘wrong’, we were still engaged in collaborative and shared game-play even if the interface and skills were different.
As a geographer all of these issues fascinate me. How we use technology not only changes how we make sense of and record places but also how we create them, experience them and construct them in our minds. When we pick the technologies to research, navigate and share places this inevitably shapes and filters how we sense and process the places we are discovering. Just like people, places have much to offer us. By thinking about what we want from our relationships with places before we visit them and considering the technologies best suited to facilitate these, we are far more likely to have positive experiences that meet our expectations.
While nature and technology often compete for attention, the reality is that they can complement, supplement and converge in extremely positive ways. Like sweets though, its the responsibility of adults to moderate how much of different kinds of screen time that children get (until they have learnt do this for themselves). We give Seb 30 minutes screen time a day (if he has done his ‘homework’) unless he earns more (by doing good things) or is doing something creative. In my mind the answer in the wild time vs. screen time debate is clear; it’s all about picking appropriate technologies and using them in moderation. What is appropriate and moderate will be different for every person, place and situation, something I need to continue to remember as we keep exploring as a family.
I was delighted to be asked to speak at TEDxEHL last month at Ecole Hôtelière de Lausanne. I used my 15 minutes to argue that we are currently going through an Exploration Revolution, but that we’re not making the most of it… especially in schools. The talk takes place during the 125th anniversary of National Geographic, a year in which many people have been asking the society “what’s left to explore?“. This short video answers that question and more.
The latest edition of Ecological Urbanism is terrible doorstop. The first edition is 655 pages, smells good, weighs 2kg and keeps most of my other books in their place. Despite its strengths, it can’t do video… something the latest version on the book can do. The original hardback book by Mohsen Mostafavi and Gareth Doherty features hundreds of photos that I took while walking across Mexico City, Mumbai and London for Urban Earth, a project in urban exploration that I started in 2008. Out today, the new version splits the book into digestible chapters and includes over 15,000 photographs within the 3 Urban Earth films that I made by taking pictures every 8 steps while crossing these massive cities. You’ll find the films in volume 2, Anticipate, and are accompanied by a short piece of text that Kye Askins and I wrote. I’m delighted to see the films come to life in the book. I hope you enjoy it.
The Ecological Urbanism project has a Facebook page that you can follow here.
A good friend, Brendon McConnell, shared The Rapha Continental films with me this morning. We’d been chatting about a small adventure I went on this weekend with Seb (my son) to go hill rolling beside the Uffington White Horse. 110 metres long and around 3000 years old, it’s a great place to roll down ancient hills and to top it off, the landscape itself is called ‘rolling downland’. It was actually a confused conversation because Brendon was thinking about the Westbury White Horse in Wiltshire (a baby in comparison at just over 200 years old) that features in this film by Rapha, who make clothing for cyclists.
There is a whole series of poetic and beautifully made videos that manage to record and represent different senses of places. This film of the Icknield Way, including the Westbury White Horse, contrasts country with urban life so strongly that I actually felt a physical reaction when I watched it. These videos are such great examples of the importance of place(s) in our lives, and how exploration can deepen our understanding and enjoyment of them.
Last year I was lucky enough to be invited into National Geographic in Washington DC to give a Nat Geo Live! presentation. Part of National Geographic’s Geography Awareness Week this is my 50 minute presentation compressed into 20. I hope you like it.
A couple of days ago I asked a few people on Urban Earth and Twitter if they would be interested in taking part in #Urban100, a project that I’m calling an open expedition because it’s going to last a year and anyone can join in. The idea is simple, to collaboratively explore urban places by taking 100 photographs over a 500 metre walk. Using the same stop-motion approach that I used in the Urban Earth films we’ll be able to create films that zoom through the urban landscapes, creating a unique representation of our urban habitats.
We’ve asked that all photos submitted #Urban100 are under a creative commons license so that anyone can edit their own versons of the films.
So far collaborators have said that they’ll be doing #Urban100 explorations in Bristol, Bangkok, London, Glasgow, Falmouth, Toulouse, Porto and Edinburgh with more being added and suggested all the time.
I recently watched Step Up Revolution and was struck by what an awesome case study this film would make in geography classrooms. Some people may be fooled into thinking this is just a film about dance, but Step Up Revolution is a classic geographical (if fictional) study of people, place, power, planning and protest in cities. When a strip in Miami is threatened with topocide and gentrification “The Mob” fight back to protect their home. Guerrilla Geography is rife in this blockbuster, as the dancers move from ‘performance art’ to ‘ protest art’, intentionally occupying spaces to make their point and exert their power. It’s full of beautifully geography-based quotes too, as the characters debate identify, culture and more.
The love interest plot in the film revolves around Sean and Emily, two dancers who have fallen for each other but who are separated by their differences in wealth. To top that it’s Emily’s dad who is trying to redevelop the area and Sean is one of the leaders of the “Mob” that is uprising. Near the end of the film they dance together to the song “To Build a Home” by The Cinematic Orchestra, a beautiful song that with its use in this film draw parallels between finding a sense of home in both place and people… in this case, with each other through dance.
The film ends with Emily’s dad (the property developer) saying “Maybe there is a way to build-up this neighbourhood without tearing it down”. What a classic problem for any classroom of students try and tackle.
I love this short film by the Light Surgeons.