DESIGNER OF NEW UKRAINE

 

Designer of New Ukraine

Architect Marco Casagrande got involved with the crisis areas of East Europe already at high school. Now he operates in a significant role in Ukraine, with focus on the reconstruction of the cities.

Hanna Freyborg HS
27.7.2025

ARCHITECT Marco Casagrande comes to Karjaa train station dressed in black. Walking, since he lives next to the station with his family.

Casagrande, 54, has designed a house to his family, which sits in the pastoral summer landscape as it would have always been part of it. The house is made of wood: birch and pine.

” I would prefer that everything in Finland would be constructed out of wood. This house I drew on snow, literally walking the floorplan on snow. I don’t even know, how many square meters does it have”, Casagrande laughs.

INTERNATIONALLY awarded and respected Casagrande is specialized in sustainable urban design and has now operated a year and a half as Professor of Architecture in a Kharkiv university (O.M. Beketov National University of Urban Economy) in East Ukraine and King Danylo University in West Ukraine.

When the university in Kharkiv first time contacted Casagrande, he was asked to start lecturing remotely on biourbanism online.

“I said it would not work. I needed to be present physically.”

TIME to get straight into business. We must talk about the war in Ukraine, especially about Kharkiv, a city with more than a million inhabitants, a city close to Casagrande’s heart.  

“War has given Ukraine a certain gift, it has united the East and West Ukraine together”, Casagrande begins.

That is his only positive comment of the full scale Russin attack.  

Before the war the border city Kharkiv was close to Russia also mentally. After the Russian attack the city is severely damaged, but it has also changed, it is now breathing Ukrainian patriotism.

The distance from the city to the front line is around 40 kilometres. Some of the regional cities and villages are practically on the frontline.

“When a missile hits an apartment building, the site gets cleaned up immediately and everything that can be fixed, will be fixed. The Ukrainians have zero tolerance for war debris on their streets”, Casagrande says.

Casagrande visits Kharkiv every three or four months. He stays a couple of weeks per tour, transportation takes time. Casagrande flies to Warsaw and usually takes a train to Ukraine from there.

In Kharkiv the university has provided him everything needed: local fixers and assistants, accommodation. Depending on the situation he can rely on a safe house in the middle of a forest, a location hidden from the Russians.

“I get all the intelligence and support from the university that I can think of. Nevertheless, I operate in Ukraine independently. Main thing is to keep safe distance regarding the artillery”, Casagrande says.

KHARKIV was before the war one of Ukraine’s most important industrial cities. There is no going back to the Stalinist architecture though, and the Ukrainians do not want that either.

Casagrande’s vision is to develop Kharkiv into ecologically sustainable so called Third Generation City, the very contrast to the Soviet time concrete brutalism.

“As an architect and am Animist, I believe in nature. Architecture is the art of reality, and for me nothing else than nature is real. The ideal is that the city learns to become part of nature.”

Essential part of Casagrande’s work is to redesign vital social infrastructure buildings destroyed in bombings, such as hospitals, underground schools, and rehabilitation centres.

He is using Finnish timber as much as possible and recycling destroyed buildings as much as possible.

REHABILITATION is needed for the wounded and war invalids, but also for the returnee children from Russian captivity.

There are up to 105 000 disabled orphan children in Ukraine.

” They have possibly never received any empathy, and therefore the buildings must be able radiate empathy.”

Casagrande calls this phenomena Skin-to-Skin Architecture, where the buildings have a skin.

” A successful building is like a warm hug” he says.

Before the war, the orphans were kept out of sight in Ukraine. The war has changed the attitude.

” It is sad that we needed a war to give visibility for the orphans in society,” Casagrande says.

Universal design is also incredibly important regarding the tens of thousands of disabled persons because of the war.

The war can still last a long time, which also must be taken into consideration. To minimize material losses the buildings are design to be mobile so that an apartment building or a factory can be relocated, Casagrande tells.

He wishes Finland to focus especially on the rapid development of the underground schools. Finland has the expertise.

” But the construction must start immediately. The need is excessively big.”

CASAGRANDE got interested in the East European crisis areas during his high school in Karjaa.

In December 1989 he was 18-year-old and working in the local newspaper Etelä-Uusimaa, when the revolution broke out in Romania. He was asked if he would like to report on the situation. The task was to follow if the humanitarian aid convoys reached their destinations in Romania.

Casagrande went to the journey, contrary to his parents wishes. In Romania he witnessed with his own eyes the chaos the country had gone into. The main feeling was not fear though, but curiosity. Senses sharpened up. He felt alive.

Marco Casagrande esittelee alasammutun ukrainalaisen hävittäjälentäjän äidin kirjailemaa paitaa, eli vyshyvankaa. Kuva: Outi Pyhäranta / HS

YEAR 1993 Casagrande had finished the high school, the compulsory army (Finnish Defence Forces), and begun his architecture studies, when Bosnia started calling. He had a girlfriend in Croatia and Yugoslavia was breaking up in war.

Casagrande volunteered to Bosnian Croat army (HVO Croatian Defence Council) the same year. He returned to Finland only to get back to war.

He wrote a war memoir Mostarin tien liftarit / Hitchhikers on the Mostar Road (WSOY; 1997) with pen name Luca Moconesi. Helsingin Sanomat reported in 2001 that the war crimes described in the book led to two police investigations, which were both cancelled due to no evidence of crime.

Was the controversial book an auto fictive novel?

” Something like that. It was not a documentary, but not everything that I wrote of could be created only by imagination either.”

According to Casagrande writing worked as therapy.

“War is always traumatizing. Soldier is like a high tuned machine, which after the war becomes a moped. Something is not right with a person if the war does not leave a mark.”

 

 

 

 

 

 

 

open form : now open

We were playing the Warsaw Game, a strategic ‘Open Form’ game based on the improvisation and adaptation to changing conditions, led by Professor Svein Hatløy (1940–2015), the founder of the Bergen School of Architecture, and Chi Ti-Nan, the author of the Micro-Urbanism concept* and the initiator of the Urban Flashes workshops. At the Urban Flashes in London (2002), Svein made us collect recycled building materials into a shopping cart and use them in a way that they would ‘dominate’ and ‘communicate’. Chi was very impressed by the deep philosophy behind this – it was the first time that his Taoist mind encountered Open Form. After London, Chi begun to teach in Bergen, and Svein – to spend time in China.

Third Generation City, M. Casagrande 

Originally formulated in 1959 by visionary architect, theorist and artist Oskar Hansen and developed further by Svein Hatløy, the concept of Open Form is based on unauthored individual and collective actions that have a potential to generate further reactions. Within this approach, the role of the architect shifts towards directing constructive communication. Open Form is a monument to no one, and the processes it goes by are rather biological. 

Svein got me a teaching appointment at the Bergen School of Architecture, where I sought for a deeper understanding of Open Form. Step by step, this led me towards the concept of Urban Acupuncture, which owes as much to Svein as to Chi’s Micro-Urbanism. Today, looking back to the architectural installations we made in different cities with Sami Rintala, I can see that Urban Acupuncture was already present there. Those installations acted as the acupuncture needles that tapped into the collective conscience of the local communities and tried to communicate with the site-specific knowledge. Our architectural expression was Open Form in the sense that it did not rely on any specific discipline – not even architecture – but glided freely between various fields of art and science. 

“First one has to have something to say, and then find the ways how to say it,” said Mauno Koivisto, the President of Finland in 1982–94. “To be present is key to all art,” said Reijo Kela, the legendary dancer and choreographer who had burned our Land(e)scape back in 1999. “Real Reality is something that is total; something that cannot be speculated,” said Jaakko Hämeen-Anttila, the Professor of the Arabic Language and Islamic Studies at the Universities of Edinburg and Helsinki. He continued: “The valueless void of today’s society will be filled with ethics; the corners are windy.” We craved to feel this wind and to break in more corners. Usually design represents a closed form; it relies on the control methodologies that stifle the Local Knowledge. Design should not replace reality. Reality is normal. We chose to believe in the supernormal, and in the works that laughed at their ‘designers’. 

I ended up in Taiwan by accident, although Svein declared: “We sent Marco to Asia.” What really happened were two seemingly independent events at the Venice Biennale of Architecture in 2000: Chi visiting our ‘60 Minute Man’ boat and me picking up from the ground his flyer that advertised the Taiwanese pavilion. Then we got in touch with each other, and Chi invited me to my first Urban Flashes in Taipei. Prior to Taipei, Sami and I had worked on a few projects in Japan, but in Taiwan the Open Form really got me. The final hit was my work in, with and for the Treasure Hill, where everything Svein had been teaching became a reality, because the Treasure Hill was the Open Form fighting against the official city. Without Open Form, I would have never been able to deal with it. Without Open Form, there would have been no Urban Acupuncture for me, and no teaching at the Tamkang University, where the students started playing the Warsaw Game soon after I became their ‘professor of accident’. In a sense, Svein was right: he did send me to Taiwan.

Urban Acupuncture, Hiroki Oya / Casagrande Laboratory

In Tamkang, I was given full support in taking further the Urban Acupuncture thinking to study the essense of ruins and eventually arrive at the Third Generation City. Later on, the Sustainable Global Technologies research centre (SGT) in the Aalto University gave me a free hand in practicing multi-disciplinary design, which, again, was close to Open Form. More disciplines were stepping in: river engineering, futures studies, cultural studies, landscape architecture, civil engineering, sociology, horticulture, and anthropology. In 2010, we were able to set up our own independent research center, the Ruin Academy in Taipei. Totally multi-disciplinary and based on Open Form, this platform for academic squatting involved the Aalto SGT, the Tamkang University, and the National Taiwan University, especially its sociology department. In the meantime, in Artena, Italy, a cross-disciplinary network of university professors founded the International Society of Biourbanism that has also established a strong connection with the Ruin Academy. Through this link, Open Form started to gain some more scientific roots. The biourbanists are as much mathematicians as they are biologists. 

Open Form knows no designer. The architect is not an author, but rather a communicator, or a human intelligence officer. Most of the existing architecture is ‘closed form’, a structural manifestation of human control and authority, while nature is Open Form, and therefore the task of architecture should be mediating between the human nature and the big voice of Nature. Urban Acupuncture strives to penetrate through thin industrial layers of asphalt and concrete in order to connect with the original soil. The resulting cracks in the city fabric provide the breeding ground for the Local Knowledge and Open Form (which are essentially one and the same thing). The Third Generation City is the city of cracks.

Phimenes Sp., M.Casagrande & F. Chen / Casagrande Laboratory

Architecture is an environmental art. It belongs not to architects, but to nature; it belongs to our senses, and not to our control. What is not sensitive, is not alive – it’s death’s companion. 

When I was a student at the Helsinki University of Technology (now the Aalto University), Professor Juhani Pallasmaa, Head of the Architecture Department in 1992–97, made us watch Andrei Tarkovsky’s films. Stalker – directed by Tarkovsky and based on the ‘Roadside Picnic’ novel by Arkady and Boris Strugatsky – is about the Open Form as it is about life: you either survive your way through the Zone, or you don’t. It’s always the same forest, but the way is never the same. The way is the domain of the accident, yet Open Form is not a mystery. It is about constructing and deconstructing the elements that can maximise the opportunities for life to thrive. These life-providing elements – be it a house, a place, a community, or a city – are parts of nature, and, as such, they follow biological principles.

Existense Maximum, M. Casagrande

Existense Maximum is the given rule of nature. To enable maximum life in site- specific conditions, human control should be loosened up in order for nature to step in. Nature, life and human are one and the same, but human control is something different; it is the source of pollution and prostitution. Architects are not obliged to be design prostitutes, and architecture should not necessarily be a manifestation of human control. And if not, then the house must be ruined. 

Ring the bells that still can ring 

Forget your perfect offering 

There is a crack in everything 

That’s how the light gets in. 

- Leonard Cohen, Anthem 

A ruin is when the man-made becomes part of nature. Open Form seeks to produce ruins – houses, communities and cities that are broken open by human error to turn into platforms of cracks. These cracks are not slums; they are not the smelly parts of the city – they are the apertures through which light comes in. The modern man is an anti-life form in the universe of cracks. A house is not a box, and the man should not stay inside. The architecture provides necessary shelter, an Open Form for the man to have a rest and contemplate. It gives us comfort. But this is not all there is. The house is where the light comes in. The city is the biology itself. It is a biourban galaxy of lights, a star system of cracks. 

* In his Micro-Urbanism theory, Taiwanese architect Chi Ti-Nan proposes an alternative to conventional ‘macro-urban’ design and planning practices with their “efforts to invent or resurrect dominant forms, to demonstrate heroic rectifications, to reinforce the regulations, [or] to freeze the historical areas.” Instead, he encourages the architects to investigate the way things interact and coordinate in the city’s everyday life; to explore the seemingly insignificant sides of contemporary cities; the unique microcosms that develop in response to “both natural environment and existing urban conditions,” and to take cues from the “immediate solutions and consequential behaviours mobilised by people in order to manage limited resources and adapt to the man-made environment.” Referring to the principles of Eastern medicine like ayurveda or acupuncture, Chi speaks about “a meridian system of interrelated energy zones within the preconceived macro-structure of the city” and emphasises the importance of identifying and working with the city’s organic, innate processes that are being “blocked, concealed or simply ignored.”

Chapter of book: Marco Casagrande: Who Cares, Wins the Third Generation City. Edit. Anna Yudina. ISBN 978-986-85001-9-8. JUT Foundation for Arts & Architecture, Taiwan

THIRD GENERATION CITY - From Urban Acupuncture to Biourbanism

Author: Marco Casagrande

Ruin Academy, Casagrande Laboratory, Bergen School of Architecture, and International Society of Bio-urbanism, Finland

REUSE ARCHITECTURE CONFERENCE, Zagreb 2021

Republic of Croatia

Ministry of Physical Planning, Construction and State Assets 

Abstract

The crisis of urbanism is analyzed as a vital phenomenon that prepares the Third Generation City— its connection with nature and its flesh. The industrial city is, on the contrary, fictitious. The example of the settlement of Treasure Hill, near Taipei, is given. As an organic ruin of the industrial city, Treasure Hill is a bio-urban site of resistance and an acupuncture point of Taipei, with its own design methodology based on Local Knowledge. This ruin is the matter from which parasite urbanism composts the modern city. Urban acupuncture, the Third Generation City, and the conceptual model of Paracity speak to the community that rests in the hands of its own people.

Keywords: urban acupuncture; bio-urbanism; Third Generation City; ruins; parasite urbanism; Paracity; Local Knowledge

1.      Treasure Hill

In 2003, the Taipei City Government decided to destroy the unofficial settlement of Treasure Hill (Kang, 2006). By that time, the community consisted of some 200 households of, mainly elderly Kuomintang veterans and illegal migrant workers. The bulldozers had knocked down the first two layers of the houses of the terraced settlement on the hillside. After that, the houses were standing too high for the bulldozers to reach, and there were no drivable roads leading into the organically built settlement. Then the official city destroyed the farms and community gardens of Treasure Hill down by the Xindian River flood banks. Then they cut the circulation between the individual houses— small bridges, steps, stairs, and pathways. After that, Treasure Hill was left to rot, to die slowly, cut away from its life sources.

Treasure Hill (Photograph by Stephen Wilde)

 I start touring at local universities giving speeches about the situation and try to recruit students for construction work. In the end, we have 200 students. A team of girl students manage to make a deal with the neighbouring bridge construction site workers, and they start offloading some of the construction material cargo to us from the trucks passing us by. Mainly we receive timber and bamboo; they use mahogany for the concrete molds.

With the manpower and simple construction material, we start reconstructing the connections between the houses of the settlement, but most importantly, we also restart the farms. Rumors start spreading in Taipei: things are cooking in Treasure Hill. More people volunteer for the work, and after enough urban rumors, suddenly the media arrives. After the media, the politicians follow. The City Government officially agrees that this is exactly why they had invited me from Finland to work on the issue of Treasure Hill.

‘One can design whole cities simply with rumors’

 

Working in Treasure Hill had pressed an acupuncture point of the industrial Taipei City. Our humble construction work was the needle that had penetrated through the thin layer of official control and touched the original ground of Taipei—collective topsoil where Local Knowledge is rooting. Treasure Hill is an urban compost, which was considered a smelly corner of the city, but after some turning is now providing the most fertile topsoil for future development.

2.      Urban acupuncture

After this initial discovery in Treasure Hill, the research of Urban Acupuncture continued at the Tamkang University Department of Architecture, In 2009, the Finnish Aalto University’s Sustainable Global Technologies research center with Professor Olli Varis (Casagrande, 2009) joined in to further develop the multidisciplinary working methods of Urban Acupuncture in Taipei, with focus on urban ecological restoration through punctual interventions (Casagrande 2011a). In 2010, the Ruin Academy was launched in Taipei with the help of the JUT Foundation for Arts & Architecture (Harrison, 2012). The Academy operated as an independent multidisciplinary research center moving freely in between the different disciplines of art and science within the general framework of built human environment. The focus was on Urban Acupuncture and the theory of the Third Generation City.

Urban Acupuncture is a bio-urban theory (Casagrande, 2013), which combines sociology and urban design with the traditional Chinese medical theory of acupuncture. As a design methodology, it is focused on tactical, small-scale interventions on the urban fabric, aiming in ripple effects and transformation on the larger urban organism (Kaye, 2011). Through the acupuncture points, Urban Acupuncture seeks to be in contact with the site-specific Local Knowledge. By its nature, Urban Acupuncture is pliant, organic, and relieves stress and industrial tension in the urban environment, thus directing the city towards the organic—urban nature as part of nature. Urban Acupuncture produces small-scale, but ecologically and socially catalytic development on the built human environment (Kim, 2010).

Urban Acupuncture is not an academic innovation. It refers to common collective Local Knowledge practices that already exist in Taipei and other cities, self-organizing practices that are tuning the industrial city towards the organic machine—the Third Generation City.

Urban Acupuncture is a form of bio-urban healing and a development process connecting modern man with nature.

3.      Third generation city

The first-generation city is the one where the human settlements are in straight connection with nature and dependent on nature. The fertile and rich Taipei Basin provided a fruitful environment for such a settlement (Casagrande, 2011b). The rivers were full of fish and good for transportation, with the mountains protecting the farmed plains from the straightest hits of the frequent typhoons.

The second-generation city is the industrial city. Industrialism granted the citizens independence from nature—a mechanical environment could provide everything humans need. Nature was seen as something unnecessary or as something hostile—it was walled away from the mechanical reality (Casagrande, 2011b).

The Third Generation City is the organic ruin of the industrial city, an open form, an organic machine tied with Local Knowledge and self-organized community actions.

It is a city of cracks (Casagrande, 2016). The thin mechanical surface of the industrial city is shattered, and from these cracks the new bio-urban growth emerges, which will ruin the second generation city. Human-industrial control is opened up in order for nature to step in. A ruin is when the manmade has become part of nature. In the Third Generation City, we aim at designing ruins (Mik, 2018). The Third Generation City is true when the city recognizes its local knowledge and allows itself to be part of nature.

 

“To find a form that accommodates the mess, that is the task of the artist now”

(Samuel Beckett)

4.      Paracity

Paracity is a bio-urban organism that is growing on the principles of Open Form (Casagrande, 2015b): individual design-built actions generating spontaneous communicative reactions on the surrounding built human environment. This organic constructivist dialogue leads to self-organized community structures, sustainable development, and knowledge building. Open Form is close to the original Taiwanese ways of developing the self-organized and often “illegal” communities. These micro-urban settlements contain a high volume of Local Knowledge, which we believe will start composting in Paracity, once the development of the community is in the hands of the citizens.

The agritectural organism of the Paracity is based on a primary wooden three-dimensional structure, an organic grid with spatial modules of 6 x 6 x 6 meters, constructed out of CLT (cross-laminated timber) beams, and columns.

This simple structure can be modified and developed by the community members. The primary structure can grow even in neglected urban areas such as flood plains, hillsides, abandoned industrial areas, storm water channels, and slums. Paracity is perfectly suited for flooding and tsunami risk areas and the CLT primary structure is highly fire-resistant and capable of withstanding earthquakes (HolzBuild, 2009).

Paracity provides the skeleton, but the citizens create the flesh. Paracitizens will attach their individual, self-made architectural solutions, gardens, and farms on the primary structure, which will offer a three-dimensional building grid for Do-It- Yourself (DIY) architecture. The primary structure also provides the main arteries of water and human circulation, but the finer Local Knowledge nervous networks are weaved in by the inhabitants. Large parts of Paracity is occupied by wild and cultivated nature following the example of Treasure Hill and other unofficial communities in Taipei.

Paracity model (Photograph by the Author).

Paracity’s self-sustainable bio-urban growth is backed up by off-the-grid modular environmental technological solutions, providing methods for water purification, energy production, organic waste treatment, waste water purification, and sludge recycling. These modular plug-in components can be adjusted according to the growth of the Paracity, and moreover, the whole Paracity is designed not only to treat and circulate its own material streams, but to start leeching waste from its host city and thus becoming a positive urban parasite following the similar kinds of symbiosis as in-between slums and the surrounding city. In a sense, Paracity is a high-tech slum, which can start tuning the industrial city towards an ecologically more sustainable direction. Paracity is a Third Generation City, an organic machine urban compost, which assists the industrial city to transform itself into being part of nature.

The pilot project of the Paracity grows on an urban farming island of Danshui River, Taipei City.

The island is located between the Zhongxing and Zhonxiao bridges and is around 1,000 meters long and 300 meters wide. Paracity Taipei celebrates the original first-generation Taipei urbanism with a high level of “illegal” architecture, self-organized communities, urban farms, community gardens, urban nomads, and constructive anarchy.

After the Paracity has reached critical mass, the life-providing system of the CLT-structure will start escalating. It will cross the river and start taking root on the flood plains. It will then cross the 12- meters high Taipei flood wall and gradually grow into the city. Paracity is a mediator between the modern city and nature.

Paracity has a lot of holes, gaps, and nature between houses. The different temperatures of the roofs, gardens, bodies of water and shaded platforms will generate small winds between them, and the hot roofs will start sucking in breeze from the cooler river. The individual houses should also follow the traditional principles of bioclimatic architecture and not rely on mechanical air-conditioning.

Third-generation Taipei (Drawing by Niilo Tenkanen / Casagrande Laboratory)

 The bio-urbanism of the Paracity is as much landscape as it is architecture (Fredrickson, 2014).Paracity Taipei will construct itself through impacts of collective consciousness, and it is estimated to have 15,000–25,000 inhabitants.

Paracity CLT-module, 6 x 6 x 6m (Photograph by Jan Feichtinger / Casagrande Laboratory).

 The wooden primary structure and the environmental technology solutions will remain mostly the same, no matter in which culture the Paracity starts to grow, but the real human layer of self-made architecture and farming will follow the Local Knowledge of the respective culture and site. Paracity is always site-specific and it is always local.

5.      Conclusion

The way towards the Third Generation City is a process of becoming a collective learning and healing organism and of reconnecting the urbanized collective consciousness with nature. This requires a total transformation from the city infrastructure and from the centralized power control. Otherwise, the real development will be unofficial. Citizens on their behalf are ready and are already breaking the industrial city apart by themselves. Local knowledge is operating independently from the official city and is providing punctual third generation surroundings within the industrial city: urban acupuncture for the stiff official mechanism.

The weak signals of the unofficial collective consciousness should be recognized as the futures’ emerging issues; futures that are already present in Taipei. The official city should learn how to enjoy acupuncture, how to give up industrial control in order to let nature step in.

The Local Knowledge-based transformation layer of Taipei is happening from inside the city, and it is happening through self-organized punctual interventions. These interventions are driven by small- scale businesses and alternative economies benefiting from the fertile land of the Taipei Basin, and of leeching the material and energy streams of the official city. This acupuncture makes the city weaker, softer, and readier for a larger change.

The city is a manifest of human-centered systems—economical, industrial, philosophical, political, and religious power structures. Bio-urbanism is an animist system regulated by nature. Human nature as part of nature, also within the urban conditions. The era of pollution is the era of industrial urbanism – the second generation city. The next era has always been surviving within the industrial city, like a positive cancer. The first-generation city never died, it went underground, but the bio- urban processes are still surviving. The seeds of the Third Generation City are present. Architecture is not an art of human control; it is an art of reality. There is no other reality than nature.

 

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