G e n e r A l A r t i c l e

toward Interspecies Art and Design

Prosthetic Habitat-Structures in

Human-Owl Cultures

D A N p A r K e r , S t A N I S l Av r o u D Av S K I , B r o N W y N I S A A C ,

A n d N I C K B r A D S W o r t h

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Urbanization severely reduces opportunities for nonhuman habitation and
undermines nonhuman subjectivities, aesthetic experiences, behaviors,
traditions, and cultures. En respuesta, humans need to reimagine cities
as places for interspecies cohabitation. In this article, a team of
architects and ecologists demonstrates that such reimagination depends
on the cultural behaviors of multiple species. The authors illustrate the
implications of this dependence by designing and discussing nesting
structures for the powerful owl (Ninox strenua). The project shows that
prosthetic habitats can serve as useful provocation for thinking about
interspecies cultures. The authors use this work to propose productive
avenues for further research.

the INterSpeCIeS Art hypotheSIS

interspecies cohabitation

Disturbances caused by people, buildings, and traffic make
cities inhospitable to many nonhuman species. Yet even
the densest megalopolises provide habitats for nonhuman
organisms as well as for humans [1]. Such urban cohabi-
tation can cause conflict between human and nonhuman
dwellers. Por ejemplo, human activities can disrupt nonhu-
man animals’ behavior, breeding, and foraging. En cambio,
nonhuman animals can damage property, attack humans,
spread disease, and increase dirtiness or noise [2]. A pesar de
such challenges, it is important to enhance cultural diver-
sities in urbanized environments. This diversification is
important because nonhuman lifeforms can benefit from
acculturation to human-modified habitats, just as humans
can benefit from accommodating behaviors and traditions
of other organisms.

Dan Parker (designer/researcher), The University of Melbourne, Australia.
Correo electrónico: daniel.parker@unimelb.edu.au. ORCID: 0000-0001-5325-4176.

Stanislav Roudavski (designer/researcher), The University of Melbourne, Australia.
Correo electrónico: srou@unimelb.edu.au. ORCID: 0000-0003-0124-4907.

Bronwyn Isaac (ecologist/researcher), Monash University, Melbourne, Australia.
Correo electrónico: bronwyn.isaac@monash.edu. ORCID: 0000-0001-9668-5806.

Nick Bradsworth (ecologist/researcher), Deakin University, Melbourne, Australia.
Correo electrónico: nbradsworth@deakin.edu.au. ORCID: 0000-0003-3602-2845.

Ver https://direct.mit.edu/leon/issue/55/4 for supplemental files associated with
this issue.

interspecies culture

In this article, we propose the notion of interspecies culture.
Interspecies cultures emerge when cultures of more than
one species become codependent. This notion presumes a
definition of “culture” that includes nonhumans. Tradicional
humanist positions (cf. Charles Ellwood, Edward Tylor,
Franz Boas, Clark Wissler, Robert Lowie, or Alfred Kroe-
ber) understand culture as a uniquely human achievement.
Sin embargo, recent research demonstrates that nonhuman
lifeforms also engage in forms of culture that are important
for their well-being and survival [3]. Such cultures obtain,
Por ejemplo, in foraging tactics, predator avoidance, vocal
comunicación, habitat use, breeding-site choices, and play
[4]. Nonhuman cultures emerge through socially transmit-
ted information that includes behaviors, traditions, creencias,
knowledges, habilidades, y practicas [5]. We suggest that curated
interactions between such cultures can foster solidarity and
understanding among all urban dwellers [6].

interspecies art and Design

How can cities support interspecies cultures and shape them
to encourage mutually beneficial cohabitation? Cultures
can have multiple expressions via shared behaviors, rituals,
customs, ethics, objects, Y arte. This article focuses on the
aesthetic dimensions of culture. We introduce the idea of
interspecies art to describe one type of activity that promotes
interspecies cultures. Production of such art depends on an
understanding of aesthetics that acknowledges nonhumans’
ability to make aesthetic judgments. Female bowerbirds or
peahens make such judgments, Por ejemplo, when selecting
compañeros [7]. This expansion of aesthetics includes judgments
made by nonhuman species, inviting humans to rethink fa-
miliar concepts, practicas, and sites in ways that highlight
the presence and roles of nonhumans. We frame such re-
conceptualizations as art. In its attention to evidence, participar-
pation, and orientation toward practical outcomes, such art
is similar to approaches that include “public art,” “social art,"
and “useful art” as well as “speculative design,” “transition

©2022 ISAST
Published under a Creative Commons International (CC POR 4.0) licencia.

https://doi.org/10.1162/leon_a_02224

LEONARDO, volumen. 55, No. 4, páginas. 351–356, 2022 351

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diseño,” and “design as activism.” To provide a working defi-
nition: Interspecies art consists of aesthetic practices that are
(1) produced and also (2) used by more than one species. Un
explicit recognition that nonhuman lifeforms can make and
experience art distinguishes our understanding from exist-
ing artistic practices that take inspiration from, describe, o
use nonhumans for human aesthetic purposes. Such existing
practices commonly presume that outcomes of art will make
sense only in human cultures and do not consider engage-
ments with art by nonhuman beings [8].

This article extends current approaches by exploring and
highlighting cultural implications of art for more than one
species. It hypothesizes that interspecies approaches to cul-
tura, arte, and design can usefully inform practices of urban
cohabitation. We aim to illustrate the feasibility of such ap-
proaches by providing examples of interspecies participation
and listing directions for further research.

One way to produce interspecies art is via design experi-
mentos. Such experiments can combine scientific knowledge
with iterative approaches toward creative production. We il-
lustrate this approach through a consideration of prosthetic
habitat-structures. The term “prosthetic habitat-structures”
refers to artifacts that aim to reinstate absent habitat oppor-
tunities by grafting remedial elements onto existing struc-
turas. The process of specifying proposals for such habitats
can benefit from the enrollment of all stakeholders, humano
and nonhuman. We call this practice interspecies design. El
development of effective methods for such design is an open
challenge. Por ejemplo, design collaboration with nonhu-
man lifeforms is nontrivial because they cannot describe
their needs in human languages.

Our methods contribute to the construction of theory and
the advancement of practice by exploring the issues high-
lighted by a design provocation. This approach depends on
the selection of an appropriate case. Aquí, we choose to focus
on the challenge of providing compensatory surrogates in
areas where humans have severely diminished the availabil-
ity of naturally occurring habitat structures. Lives of many
species in all biomes depend on such structures, making our
case representative of widespread phenomena.

Our case study provides technical recipes for the construc-
tion of prosthetic habitat-structures and a comparative as-
sessment of habitat designs [9]. Sin embargo, these aspects of the
project are beyond the scope of this article. En cambio, we focus
on overlapping cultural concerns to (1) outline owls’ culture
in relationship to humans; (2) outline human cultures in rela-
tion to owls; y (3) illustrate relevant human-owl cultural
issues in application to interspecies design.

the CASe oF poWerFul oWlS

To explore how prosthetic habitat-structures can encourage
interspecies cultures, we focus on one species, the powerful
owl (Ninox strenua) [10]. Powerful owls live in eastern and
southeastern Australia. They are threatened in the southern
parts of their range [11], where humans have significantly re-
duced the number of large old trees that owls use for nesting.
En respuesta, our project analyzes owl biology, ecology, y
behavior to propose innovative interventions that can con-

Higo. 1. A prosthetic-nest prototype installed in a living tree.
(© Dan Parker and Stanislav Roudavski)

vert existing urban structures into owl homes. Hasta la fecha, este
ongoing long-term project has involved the installation and
monitoring of several prosthetic nests (Higo. 1). We continue
to assess ecological outcomes, but these aspects are beyond
the scope of this article, which focuses on culture and design.

Human cultures

Human-owl cultures have a long and varied history. Hu-
mans fear and admire owls, associating them with wisdom,
fuerza, clairvoyance, bien (or bad) omens, mystery, death,
and medical cures [12]. Humans use owls as subjects of art,
architecture, literature, films, toys, banknotes, and institu-
tional logos. A typical human learns some owl-related facts
through such cultural objects but knows little about specific
owls in specific places. Humans might sometimes experience
urban owls as exciting curiosities but otherwise have few oc-
casions to consider their lives. This detachment is problem-
atic, as urbanization continues to force more owls into cities,
increasing potential for interspecies conflict. Por ejemplo,
owls do not clean their nests and they leave dismembered
animal carcasses under nest sites (Higo. 2, izquierda). In dense cities,
humans might find the resulting smells and sights repulsive.
Human ignorance about owls’ needs can lead to harmful
practicas. Por ejemplo, urban managers routinely remove
understory vegetation. Owl chicks that fledge in the areas
without such vegetation to protect them from hard landings
can suffer injuries and perish. Further harm results from
noise and other disturbances. Powerful owls are charismatic
and reported sightings can attract many observers (Higo. 2,
bien). Human presence can force owls to abandon their nests
and exhibit other abnormal behaviors, possibly including in-
fanticide [13]. Such examples demonstrate that owls will not
succeed in urban areas without a shift in human cultures.
Better familiarity with owls’ life histories is likely to result in
greater empathy, solidarity, and practical support.

owl cultures

Owls also must adapt their behaviors to prosper in urban
condiciones. Their ability to engage with new objects and de-
velop new habits indicates that this is feasible. Ambiental
cambiar, including introduction of human-made structures,
can lead to the emergence of new cultures in many species,
including cetaceans, birds, and primates [14].

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Higo. 2. Potential conflicts between humans
and owls. (izquierda) A powerful owl roosting
with dismembered prey. (© Dan Parker and
Stanislav Roudavski. Photo: Nick Bradsworth.)
(bien) Crowds gather to watch a powerful
owl in an inner-urban context (Carlton,
Melbourne). (© Dan Parker and Stanislav
Roudavski. Photo: Lian Hingee.)

trees for nesting. Their roosting choices can include tennis-
court fences and power lines. They exhibit atypical behaviors
such as catching fish [18] and practice hunting techniques
on clothing, cooler bags, and towels (Higo. 4). This plasticity
can be dangerous, and owls in human-altered places suffer
from car-strikes, enfermedad, electrocution, entanglement, y
fluctuating prey populations [19]. By contrast, their flex-
ibility suggests the potential for cultural adaptation to novel
ecosystems.

INterSpeCIeS-DeSIGN experIMeNt

Following this glimpse into human-owl interactions, nosotros
continue with the introduction to our design provocation
and the discussion of its cultural implications. Existing pro-
visions for owls include nest boxes, hollows from felled trees,
and even repurposed waste bins (Higo. 5). Hasta la fecha, hay
only one observation of a successful powerful-owl breeding
in a nest box—and only one of the two chicks survived [20].
The rectilinear forms of plywood nest boxes do not match
the material and geometric complexity of the natural struc-
tures they aim to replicate. Current techniques could benefit
from functional and cultural improvements. For humans,

Higo. 3. Atypical nesting sites. (izquierda) A powerful owl chick nesting in a
termite nest. (© Dan Parker and Stanislav Roudavski. Photo: Ofer Levy.)
(bien) An arboreal termite mound. (© Dan Parker and Stanislav Roudavski.
Photo: Blantyre.)

With owls, evidence suggests that juveniles learn from
adults through mimicking. Examples of young owls copying
their parents’ hunting strategies include snatching at branches
to capture insects, ferrying bark strips, chasing aerial fauna,
and swooping upon animals on the ground [15]. Birds adher-
ing to distinct musical trends in different regions provide an
example of cultural variation within
one species [16]. Urban owls show
similar capabilities when they learn
to be more tolerant of humans com-
pared to their bush-dwelling con-
specifics [17].

Owls can also be inventive as in-
dividuals. They use arboreal termite
mounds (Higo. 3) and non-native

Higo. 4. Powerful owls exhibiting novel
behavior with human-made items.
(izquierda) A powerful owl with a cooler bag.
(bien) A powerful owl pair with a tea towel.
(© Dan Parker and Stanislav Roudavski.
Photos: Choosypix.)

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Parker et al., Toward Interspecies Art and Design 353

for future research into human–powerful owl cultures in the
context of such design. Last, we raise important questions for
future cohabitation that emerge whenever prosthetic habitat-
structures attract new tenants.

prosthetic Habitat-Structures as interspecies art and Design

We propose to recognize designs of prosthetic nests as artistic
expressions that can be meaningful to the cultural needs of
owls. Owls must recognize and approve the resulting arti-
facts before they attempt to use them and must find them
agreeable in practice. Successful design will have to consider
pragmatics and aesthetics of both human and owl cultures.
Más, prosthetic habitat-structures will need to refer to the
subjective preferences of owls and not only to generic bodily
requirements or species-wide considerations. Sucesivamente, owls
might learn to recognize, accept, and use locations and forms
that are increasingly different from ancestral templates, ex-
tending their capacity to inhabit novel ecosystems.

Future work should make improvements to prosthetic
nests’ geometry, material, and construction in ways that ex-
tend engagement with the subjective preferences of humans
and owls. Por ejemplo, owls may benefit from the intelligent
distribution of material properties such as soft, porous and
self-repairing surfaces. Such features are common in natural
hollows with decomposing floors that are safe for the eggs
and regrowing edges that resist scratching. Simultáneamente,
humans may want to participate in the design and making
of prosthetic nests that benefit local ecologies while adhering
to human cultural values.

prosthetic Habitat-Structures in interspecies cultures

Such improvements to design and management will rely on
further research into human attitudes toward owls and owl
culturas. Better knowledge of existing and possible interspe-
cies cultures can help to address the challenges of cohabita-
ción. Por ejemplo, should prosthetic habitat-structures for
owls be visible to humans or placed in secretive locations?
Por un lado, future management can aim to capitalize on
owls’ cryptic lifestyles and keep their behaviors hidden from

Higo. 5. Existing nest designs for the powerful owl. (izquierda) A repurposed wheelie-
bin nest. (© Dan Parker and Stanislav Roudavski. Photo: Gio Fitzpatrick.)
(bien) A nest box. (© Dan Parker and Stanislav Roudavski. Photo: Ed McNabb.)

log hollows can be heavy and difficult to install (Higo. 6). Para
owls, nest boxes can be functionally inadequate or appear
too unfamiliar for consideration during nest-site selection.
Our project uses algorithmic modeling to generate forms
informed by arboreal termite mounds. Such mounds can
self-organize to fit existing living, muerto, or human-made
estructuras. The project also generates forms that can fit these
locations (Higo. 7, izquierda). These forms aim to support owls’ nest-
ing habits. Por ejemplo, designs provide rounded edges that
suit the owls’ large talons during landing. Inside, hay
platforms for feeding the chicks and roughened interior sur-
faces for scratching and climbing (Higo. 7, bien). For further
details on the generative techniques, refer to the supplemen-
tal materials associated with this article and to Roudavski
and Parker [21].

DISCuSSIoN AND Future WorK

How can such interspecies approaches to culture, arte, and de-
sign inform urban cohabitation? We respond to this question
by highlighting cultural implications of prosthetic habitats.
Primero, we position prosthetic habitat-structures as art and
identify future practical work. Segundo, we introduce issues

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Higo. 6. Installation of log hollows.
(izquierda) An arborist installing the log into
place at a tree crotch. (bien) Arborists
hoist a heavy log up the host-tree.
(© Dan Parker and Stanislav Roudavski)

humans and nonhumans produces novel cultural attitudes.
Such attitudes are a subject of ongoing contestation because
they depend on moral and political preferences as well as on
bodily or cognitive capabilities. Management of such ten-
sions will determine whether human-made habitat struc-
tures will be built, last, or prove successful.

Should owls become like pigeons and sparrows or even
like pets? Por un lado, urban adaptation of species such
as pigeons can cause over-habituation, overabundance, y
frequent human-wildlife encounters. A significant repercus-
sion of such encounters is popular disdain toward common
species and consequent efforts to remove them from cities
[23]. En cambio, keeping owls as pets will prevent them from
expressing such capabilities as choosing partners or deciding
on roosting sites. Por ejemplo, after the release of the Harry
Potter films in Indonesia, owls became popular as pets. Este
coincided with the proliferation of illicit capturing, trading,
and subsequent abandonment [24]. Large-scale human help
can also lead to problems. Por ejemplo, globally, birds al-
ready rely on human-made structures [25]. This is potentially
problematic because humans can favor some species, leading
to the demise of others, or create dependence on human-
made structures without guarantees of continuing support.
Future decision-making on human-owl relationships may
benefit from design that tests possible future states at vari-
ous temporal and physical scales.

CoNCluSIoN

This article demonstrates that design of prosthetic habitat-
structures can highlight issues of interspecies cultures and
indicate directions for further research. To inhabit human
cities, owls need to become more tolerant of disturbance and
human-made objects. Al mismo tiempo, humans must learn
more about the habits of owls and in some cases adjust their
attitudes. Such mutual shifts are necessary in many other
situations and for many other species. As in other intercul-
tural engagements, best practices are likely to emerge when
stakeholders influence decisions as active agents and not only
as passive recipients of care.

Higo. 7. Computational design of prosthetic nests for the powerful owl.
(izquierda) A model wrapped around the unique form of a dead tree.
(bien) Functional features, including a rounded entrance for landing,
an entrance pad for feeding, and a roughened interior for scratching.
(© Dan Parker and Stanislav Roudavski)

humanos. Sin embargo, if owls remain hidden, the “extinction of
experience” [22], where humans have no contact with non-
human lifeforms, will only increase. This type of extinction
is unhealthy for humans and can lead to the loss of support
for nonhuman lives. Complete isolation of the nests, as de-
sired by some activists, will likely be unfeasible for many
species that cannot escape or that choose to live in cities. A
compromise approach might be one that makes owls visible
but prevents them being disturbed—acculturated to urban
life but not tamed.

Any future management should take cultural implications
of such options into account. Further investigations on forag-
ing patterns, home-range areas, and dispersal of young adults
can inform these choices. Such research ought to engage with
multiple knowledge bases, including community experiences
and anecdotal observations, scientific evidence, indigenous
expertise, and fictional narratives.

prosthetic Habitat-Structures and interspecies cohabitation

Regarding future cohabitation, our case study shows that de-
sign provocations can generate useful challenges for further
exploration of interspecies relationships. Cohabitation of

acknowledgments

This project is supported by the Australian Research Council Discovery
Project DP170104010.

references and notes

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2 Carl D. Soulsbury and Piran C.L. Blanco, “Human-Wildlife Interac-
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3 Philippa Brakes et al., “A Deepening Understanding of Animal Cul-
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6 Stanislav Roudavski, “Multispecies Cohabitation and Future De-
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7 Richard O. Prum, “Coevolutionary Aesthetics in Human and Biotic

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8 For an overview and examples of current practices, see Jessica
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in the Twenty-First Century,” Boletín de arte, No. 40, 69–83 (2019).

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Parker et al., Toward Interspecies Art and Design 355

9 See Supplemental Materials for an overview of the case-study project

and details on the design of prosthetic nests.

10 See Supplemental Materials for additional background on the pow-

erful owl (Ninox strenua).

11 Department of Environment, Land, Water and Planning, Flora
and Fauna Guarantee Act 1988: Threatened List (Melbourne: Estado
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12 Desmond Morris, Owl (Londres: Reaktion Books, 2013).

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21 Stanislav Roudavski and Dan Parker, “Modelling Workflows for
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Owl (Ninox strenua),” in Impact—Design with All Senses: Actas
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23 Colin Jerolmack, “How Pigeons Became Rats: The Cultural-Spatial
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25 Mark C. Mainwaring, “The Use of Man-Made Structures as Nesting
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Manuscrito recibido 23 Abril 2021.

Dan parKer is a designer, researcher, and tutor at the Uni-
versity of Melbourne. He is currently pursuing his PhD at the
Melbourne School of Design.

sTanislav rouDavsKi is a Senior Lecturer in Digital
Archi tectural Design at the University of Melbourne. He com-
pleted his PhD at the University of Cambridge.

nicK braDsworTH is an ecologist and researcher at Dea-
kin University. He is currently pursuing his PhD at the School
of Life & Environmental Sciences.

bronwyn isaac is an Assistant Lecturer at Monash Uni-
versity. She completed her PhD at Deakin University.

356 Parker et al., Toward Interspecies Art and Design

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