How beautiful can a polluted landscape be?

“Natuurmonumenten wants to protect and develop nature, heritage, and landscapes,” says André Hassink, programme manager for Natuurmonumenten in Limburg. “But as an association we also have to remain socially relevant. We notice that we often speak in jargon – nature development, biodiversity, European regulations. That doesn’t always work. Language needs to be adapted.”

“With a farmer you talk about agricultural policy,” he explains. “But to a resident you say: this is our tree. That broadening of language – from policy document to shared story – was an important reason to collaborate. We are close to society,” André says. “But how do we shape that? Not only with paper plans behind a desk, but in the field, in conversation with people.”

The research project ‘Rivier Atelier’ (River Atelier), led by Christian Ernsten, Assistant Professor of Heritage Studies, and Claartje Rasterhoff, Assistant Professor of Cultural Policy & Management, offered exactly that space. It was not a classic commissioned study in which an external party answers a question, but a shared reflection. “What was special was that we didn’t constantly think from the perspective of what Natuurmonumenten wants,” says Claartje. “We remained independent, but in direct connection. That makes it more complicated – and more interesting.”

The choice of the Geul Valley as the research site was no coincidence. The area is partly managed by Natuurmonumenten and is considered one of the most characteristic landscapes of South Limburg. At the same time, it is a place where multiple histories intersect: agriculture, nature conservation, tourism, mining, and water management.

“As a nature manager, sometimes you don’t know what to do,” André says. “There are so many perspectives. What is a good choice? What do people find important? Governments sometimes work with outdated information. We needed a new perspective.”

The river Geul is historically polluted by zinc mining. Swimming is not allowed, and agriculture along the banks is restricted. Yet visitors still experience the area as clean and idyllic. That paradox became the heart of the research. The Rivier Atelier studied the historical watermill landscapes along the Geul, including the Volmolen as a case study. For centuries, watermills functioned as smart water management systems. During droughts they retained water; in times of abundance they regulated the flow.

“The mill is not a museum piece,” says Christian. “It’s an example of how people used to collaborate with water.” But during the research it became clear that climate change is making old pollution visible again. Floods bring toxic sediment back to the surface. What started as a heritage study grew into a broader reflection on landscape management.

For Natuurmonumenten, this also meant taking a critical look at itself. “In the past it was: I am the manager and I decide what happens here,” André says. “Now we feel much more strongly that we must determine the direction together with the surrounding community. That requires a different attitude.”

This shift reflects a larger transition – from top-down management to shared responsibility. The research created space to explore that movement without immediately presenting ready-made solutions. “When you fund research, you’re essentially asking others to look critically at you,” André says. “But here we were also looking at ourselves. That is exciting, but necessary.”

Claartje emphasizes that the project was never meant to provide a single definitive answer. “The issues are too complex. But we did open up the conversation: how do you manage a landscape where beauty and pollution coexist?”

Instead of aiming for a traditional academic article, the team – together with Natuurmonumenten – chose to produce a newspaper as the first outcome: a thousand copies, intended for workshops, students, and professionals. “Usually, you work towards a book or article,” says Claartje. “Now we had to write along the way, while the research wasn’t ‘finished’ yet. That was exciting, but intentional. Because knowledge doesn’t only sit with researchers – it also lives in the field.”

For André, the tangible nature of the newspaper proved essential. “When you talk to someone, you can make a connection. It invites a follow-up conversation.” The newspaper does not mark an endpoint but an intermediate stage. André describes it as a wave movement: a product lands, people start working with it, new questions arise. “That may be the most beautiful thing,” he says. “It doesn’t stop after the research. You build a network, a connection. People become more willing to collaborate. Together you start thinking about the next step.”

What the Rivier Atelier made clear is that the Geul Valley is not a frozen backdrop. It is a living system where industrialization, nature conservation, agriculture, and tourism coexist. The research also raised uncomfortable questions. About the zinc violet that grows on polluted soil. About visitors who experience the area as pure. About how we collectively deal with toxic legacies.

“Sometimes we choose not to see things,” says Christian. “Only when it becomes a health problem do we consider it important.” For André, that is exactly where collaboration shows its strength. “You need creativity. Artists, designers, farmers, researchers – people who want to design a new future together.” He sees opportunities in walks, joint explorations, and conversations in the field. “Decision-makers often make choices based on dossiers. How wonderful would it be if they joined a walk? Step over the threshold, experience the landscape, and then make decisions.”

Officially, the project has been completed. But no one speaks of closure. The next steps are already being thought of – new forms of collaboration, perhaps even a physical place where research and practice can continue to meet. The budget was modest. The impact was larger than expected. “With small resources you become more creative,” André says. “And perhaps also more honest.”

What remains is not a simple answer to the question of how beautiful a polluted landscape can be. But there is a shared understanding that management is about more than protection. It is about listening, connecting – and sometimes confronting.

By: Eva Durlinger
Portrait picture by: Claire Gilissen
Picture of Geul Valley by: Bob Luijks for Natuurmonumenten