A NÁLISIS Y RESULTADOS

“I planned it all out. I put in the poly-tunnel instead of a shed. I’ve all my bits n bobs in it. It’s my living room [laughs]. It feels really snug. I put a lot of thought and careful planning into it [plot]. I decided to have a structure, it’s the architect in me, measurements and all that.... I decided to put the flags up there, I thought they’d be very decorative... I just thought it would improve the aesthetic” Georgina. Gucci Gardener: 2013 For Socio-Organic, Gucci, and Non-Gardening Gardeners other factors are given priority.

Their approach to the plot is very strategic and largely guided by shared motivations, principles and needs. The majority of these practitioners construct their plots with creative, innovative and holistic ideas in mind, and they share similarities in terms of their motivations for investing in UA. However, their approaches to construction are determind by varying degrees of knowledge, diverse principles, practices and ideologies which fulfill their individual motivations and needs, which by extension, impact on their experiences of UA.

For Socio-Organic gardeners, the desire to (re)connect with others, forge friendships, networks and (re)generate a sense of belonging to community and produce organically grown food underpins plot layout, construction evidenced in the way they take into account specific practices (promoted by others), that centre on employing specific (organic) cultivation techniques (for a detailed examination of organic cultivation practices, see chapter 7). A considerable amount of time is spent on planning the layout, aesthetic and overall plot design, but whilst they aim to cultivate their plots ‘organically’

paradoxically, all elements of the plot layout are considered and configured before construction even begins. The majority of these practitioners’ prefigure a three-dimensional effect to create a particular appeal, but their lack of experience and knowledge of organic cultivation and principles of practice means the majority tend to draw on others knowledge and the landscape to obtain ideas which they are keen to/tend to integrate.

157 They take into account the dimensions of the plot and consider how the plot will be used, and pay considerable attention to social areas, sheds, cultivation areas and resources required to achieve the desired effect (Figs. 70, .77a, b, c, 79, 90, 81). In many cases, the location of sheds and social areas are often the first aspect considered in design, the majority of which are strategically placed to provide the best vantage point from which to interact with neighbouring plot-holders, and those even passing by (Figs. 77-78). In fact, a tendency to locate sheds in close proximity to pathways is a characteristic shared by almost all (Fig. 78) and whilst they comprise a range of sizes, styles and designs, the majority are painted brightly and adorned with cultural artefacts, symbols and eclectic signs to aestheticize the plot to lure others to stop, consume the landscape and interact for a while (Figs. 77 a,b,c). Their gates tend to be creatively and ornately constructed and decorated using colour and innovative designs, giving plots a somewhat feminized and/or

‘private’ feel (Figs. 79 a,b,c). Like others investing in UA, their plots reflect their individual identities, principles and motivations for investing in UA:

“I would be a very spiritual person, a very sociable person and would do a lot of arts and crafts ... and just thought the sheds’d be better there beside the gate …[and] we put in a little patio as well. They were the first things we did. ...and we painted them with old paint we had left over at home .... That one even has a ceramic floor in it, from tiles we had left over... and we turned it into a little tearoom.. see the sign there ‘D’Caf’ ? I put little gingham curtains up just to add a little touch. It’s like a little house ... As women we put all the finishing touches to our plot. We added the signs and things like that to make it a bit of fun you know?... People have great curiousness though ... This lovely lady came and she was saying “when I pass here I always stop and read your signs” so I said “come on in and have a look”, so she went and had a little wonder around … we also have a visitor’s book which everyone visiting signs after having a cup of tea ....”

Grainne. Socio-Organic Gardener. 2012 Many gardeners possess knowledge and intergenerational connections to the land, but the majority rely on others knowledge, experience, and on the landscape itself to obtain and develop ideas which they integrate to fulfil their motivations, interests and needs (Fig.80

& 81). Sharing knowledge is viewed by all as central to construction, practice and design, and the absence of walls facilitates the dissemination of knowledge and the

158 (re)construction of a landscape that is produced as well as exchanged (for a detailed analysis, see chapter 8). Fred, a Socio-Organic gardener explicates:

“I knew nothing about gardening ... I didn’t rotavate or anything like that. I didn’t have a clue, so I walked around and got ideas from everybody else and I just put it all together myself like that. It’s a very structured look alright ...”

Fred. Socio-Organic Gardener. 2013 Similarly, Alex, explains:

“... I knew nothing before I rented my plot ...so I’d go for a walk around ... getting ideas, trying to pick up ideas and that you know? I’d talk to them [plot-holders] and I’d say, ‘Oh that’s a brilliant idea’, and he’d say ‘I got that in such and such a place’ or ‘this is a better way” and that kind of thing you know?’, and then I’d ask them how they made things and

that, like the raised boxes, and then I’d come back and do exactly the same thing myself”

Alex. Socio-Organic Gardener. 2012 Many gardeners new to allotment gardening rely on others knowledge to facilitate construction and plot design. They tend to integrate specific methods designed by advocacy groups which aim to promote particular principles of practice and transform urban dwellers practices, actions and worldviews, which are explicitly designed to promote organic principles and ease maintenance for those constrained by time (see chapter 7). They integrate raised beds and construct their plots symmetrically to enhance the aesthetic, which give a sense of uniformity, homogeneity and a somewhat domesticated effect. Moreover, this approach to construction facilitates gardeners’

motivations for investing in UA by transforming the work on the plot to leisure which frees up time to interact (Figs 80 & 81) As Eithne explains:

“Well the ideas of boxes, raised beds that idea was to save time. You don’t have to do everything. You can just do it bit by bit. My X [husband] wanted drills for the potatoes, he’s from a farming background but then x [organic gardener] … said “I wouldn’t be bothered with all that. Just do the raised beds and boxes, put in raised beds so you can work on one bed at a time”. So that’s how that idea came about. You don’t have to be doing everything. ...It’s neat and easier to maintain ... You’re not coming up and looking at a pile of weeds and saying to yourself,’ Oh God look at all the work I’ve to do’ ... the raised beds give you more time ... some days I’d come up here and do a bit and I’d spend half the day chatting” Eithne. Socio-Organic Gardener, 2012

159 Figure 77 (a,b,c). Innovative and creatively designed sheds

Figure 78. Sheds in close proximity to pathways to facilitate interaction

Figure 79 (a,b,c). Ornate/creatively designed gates

The majority of gardeners see ‘organic’ practices as integral to practice and plot design, but their lack of knowledge means they rely on the landscape and on interactions with others to (re)construct and perform an ‘organic identity’ and learn the ‘rules of the game’

(Bourdieu, 1977). Like the majority of gardeners investing in UA today, they use a range of recycled materials and old items found at home, which enables them to (re)construct,

160 manage, (re)negotiate and perform their new ‘organic’ identity, which becomes infused in the landscape through their plot aesthetics and layouts (Figs, 81,a,b & c).

“Well it’s what I call ‘upcycling’ really. It encourages you to think of that, especially if you’re focused on being organic ... which is about protecting the environment and using things to make other things.... upcycling, that’s what I call it, .. I encourage people to use old things you know, bits and bobs they might have at home for example. That’s the beauty of the allotment … . you can do it cheaply, recycle things, and that’s good for the environment. You can see everyone does that. People use all sorts of stuff on their plots, they find a different use for them. Like that counter in my shed was a piece of a kitchen counter-top I had at home”. Fred. Socio-organic gardener. 2013 Similarly, David, a provider demonstrates during a walk around his allotment site:

“See those wavin pipes there? … He’s re-using them for growing carrots because they’re high enough off the ground so the carrot-fly can’t get them.… then you have others like Jim … [he] uses those old posters [local candidate election posters] as windbreakers to protect his veg. There’s lots of things like that, … another person might come up with another innovative idea and people get ideas from others that way … it’s an organic way of doing things. … you just have to look across the plots and you can see all the things people are doing. It’s a great way for people to learn about all those things, the environment, protecting and preserving [it] … taking care of it, growing organically.

Things like that you know? … if they don’t know, they’ll learn from others. Everyone gives tips and shares what they know” David: Provider. 2013

Despite their varying levels of knowledge and in many cases, lack of experience and/or skills, the majority of practitioners’ perceive their practices as a means to restore particular values and principles they believe, material culture has replaced. Margo and Dan, two Socio-Organic gardeners explain:

“… money has destroyed old values that’s what I think. Over the past twenty-odd years or more, … when people got money, they … got caught up with their own little worlds

… Money has destroyed people. They were more interested in material things … portraying a particular lifestyle. Some haven’t let that go … Those who come in with that mind-set soon learn it’s not that way in there … but a lot of the people here are beginning to recycle more now. They see others here doing it. I am very focused on that side. It’s an organic way of doing things, you’re conscious of the environment and doing things a particular way. You recycle things and re-use things on the plot. Some people spend an absolute fortune on their plots, but that’s not the done thing here, … . Some are beginning to recycle too which is great. … I suppose it makes people more conscious, more aware of that, and they think of that when they’re doing their plots”

Margo. Socio-Organic Gardener. 2013

“we decided to use the wine bottles to edge the patio area. It’s an environmentally friendly way of doing it I suppose. I got the idea at Bloom [garden show] ... That inspired me really to do this organically, and become more recycling and organically minded....This

161 area here is organic and that’s what a lot of others do too, so I thought it was important to consider that element … besides, it looks good too”

Dan. Socio-Organic Gardener. 2013

Figure 80 (a,b,c). Contemporary principles and designs

Figure 81 (a,b,c). Feminizing the plot and creating a sense of home

Figure 82 (a,b). Sense of Home Figure 83. Making bread in the shed

These methods provide a degree of flexibility which many practitioners new to UA embrace, and many are keen to reconstruct and alter their plots aesthetic to reflect their new ‘organic identity’ which recycling and low levels of material investment facilitates.

Although the majority of Socio-Organic gardeners visualize, explore, and construct alternative styles, layouts and designs, and are keen to employ a structured approach to

162 the plot (Figs. 80 a, b & c), cultivation and cultural artefacts are considered integral to achieve the desired effect. Vast awnings of foliage, clouds of colour, structural supports and imagined displays of horticultural stock are considered, envisioned and integrated through formal plans, layouts and designs, which has transformed the ‘traditional’

allotment aesthetic and generated a ‘contemporary’ allotment design (Figs. 94).

“I’d these little barrotti-beans or something like that I bought before we even started. They were a white bean with all red speckles on them. They looked absolutely fantastic on the packet and I wasn’t sure if they’d grow ... They were very colourful, very striking, so we decided to put the beans in there and the climbing frame for them to climb up, and it looked great, and I decided that strawberries and roses would look lovely there at the gate too... they looked beautiful when they grew”

Eithne. Socio-Organic Gardener. 2013

“I decided that I’d put sunflowers there [at the gate]. The hope is that when people walk in they just see these amazing sun flowers ... sort of hanging sunflowers for people to walk under as they walk into the plots ... I put them there before we even had a vegetable in the ground”

Karen. Socio-Organic Gardener. 2012 They are keen to construct a convivial landscape and personalise their plots by adding a range of memorabilia and integrating symbols and signs (Figs. 90-93). That is, they tend to display what the plot means to them by using items which give meanings to their lives, and are keen to display their (new) organic identities, their knowledge and the skills they have acquired (to both practitioners and non-practitioners passing by). They integrate specific artefacts and place names which act as significant markers of place attachment, identity and in some cases their inter-generational connections to the land, which transforms the landscape into something that is socially experienced (Duffy, 2007) and helps bridge the rural-urban divide (Fig. 93a). For some practitioners, these practices engender a sense of belonging and help generate a sense of place and ‘home-from-home’

(Figs 85, 86, 90-92). Grainne explains:

“All the signs and all that have meanings, and the other stuff, the veggie signs and funny bits n bobs really make it I think, and the shoes, there’s a story behind them ... I’ll never be let forget the shoes. ... it just tells the story of a part of our lives at home. I love it here though. ...this is like home to me, in some ways I suppose it is home, even though my house, my home is in [locality], this really makes me feel good. I just feel really happy here” Grainne. Socio-Organic Gardener, 2012

163

“I put that turf in there as a border around the beds because it reminds me of home. It’s a piece of home right here with me in Dublin. The whole thing is bordered in turf ... it’s suppose to be aesthetic. I’m originally from the country and when I look at that it brings me back home ... so that’s why I put it there”

Catherine. Socio-Organic Gardener, 2012 Alexy explains how he constructs a sense of belonging to place:

“I put that ‘kuchenka’ [cooker] in here because in this is what we have on ‘Dzialka’

[allotments] in Poland. ...It’s what you call ‘‘powolne kuchenka’, it is slowly cooking.

It’s part of Poland on here.... This is what we do at home”

Alexy. Socio-Organic Gardener. 2012

Figure 84 (a & b). Aestheticization & The lure. Figure 85. Displaying knowledge

Figure 86 (a & b). Constructing Cooking (Kuchenka’) and Social Spaces Figure 87. Re-using urban waste

Figure 88 (a,b,c).Re-using items found at home/urban waste

164 Figure 89 (a,b,c).Transforming the ‘Traditional’ Allotment Aesthetic

Figure 90 (a & b). The Pedagogic spaces Figure 91.Place-naming

Figure 92 (a,b,c). Naming place - (re)constructing a sense of place

Figure 93 (a,b,c).Displaying and attributing meaning and creating convivial spaces

165 Figure 94 (a,b,c). Integrating cultural artefacts - creating a sense of home from home

Like Socio-Organic gardeners, Gucci Gardeners’ and Non-Gardening Gardeners’ desire to reconnect with others and generate a sense of belonging to community underpins their approach to plot construction, layout and design. However, both sets of gardeners design and construct their plots with diverse principles and ideologies in mind. However, there is an inherent contradiction between Gucci Gardeners practices and their motivations for investing in UA, since their designs are clearly influenced by contemporary design principles and ideologies generated by the financialisation of everyday life. In fact, their social class, status and conspicuous consumption patterns (Veblen, 1899; Bagwell &

Bernstein, 1996) are largely displayed and embedded in the landscape, evidenced in the materials they use integrate and use (Figs. 80, a, b & c.) As Bernard, an allotment provider explicates:

“...The vast majority of them [Gucci Gardeners] would be apartment owners, yeah.

They’d be in their 30s, professional young people I suppose … . It’s a class kind of thing ...you can see the way their plots are designed ... very retro, very defined … a lot of money has been poured into them” Bernard. Allotment Provider. 2012 However, like Socio-Organic Gardeners, their focus is on the aesthetic and the social dimensions of the plot, but they tend to create ‘gardens’ rather than allotments (Figs 95 &

96) which reflects their desire to access a ‘private’ ‘green’ space. Like Socio-Organic gardeners, they consider social areas, sheds and specific resources integral to plot construction and design, and take into account the dimensions of the plot, its structure, and future use. However, unlike others, the ‘idealised lawn aesthetic’ (Byrne, 2005), asymmetry and uniformity are deployed to generate a particular effect. They display

166 similarities with others in terms of their desire to create a particular aesthetic which they and others can consume, and their designs reflect the restrictions they experience from the growing monopolisation and privatization of urban space. As Kate, a young professional woman residing in a nearby apartment comments illustrate:

“Well I don’t have a garden. I live in an apartment so for me, this was about making a little place that I can use, that I can enjoy ... I wanted a little lawn, so I put a little lawn in, and I thought the stones and slabs would be nice. It’s neat and easy to maintain ... . [I]

put in the shed there ... I spent a lot of money on but it [plot] but it was worth every penny.

I decided on this layout because I like clean lines, structure, no clutter ... and I can come down cut my little patch of grass, potter around and enjoy it, chat to people and that ... it is like a little garden … it’s my little garden”

Kate. Gucci Gardener. 2013 Similarly, Sarah reiterates:

“... you see some of them here like my neighbour here, literally making gardens because they’ve no gardens, some of them only have a balcony. There’s only a couple of that type of plot but it’s obvious by the way their plots are designed that you know where they live”

Sarah: Socio-Organic Gardener. 2012 They also spend a considerable amount of time on planning, construction and design and display high levels of material investment which for many others, demonstrates that the hegemony of consumer culture prevails (Figs. 95 & 97). Whilst many plot-holders admire their plots for their innovative and creative designs, there is a certain tension inherent in their approach to their plots evidenced in the way construct ‘gardens’ rather than a

‘productive’ space. In fact, Practical gardeners’ explicitly express their aversion toward their plot layouts, aesthetics and use which display the inherent tensions in allotments, even though they are not overtly expressed on site. As Margaret explains:

‘productive’ space. In fact, Practical gardeners’ explicitly express their aversion toward their plot layouts, aesthetics and use which display the inherent tensions in allotments, even though they are not overtly expressed on site. As Margaret explains: