Ledwiki - User contributions [en]

LED Online Seminar 2016 - Working Group G

2017-07-13T20:55:23Z

Bahmann: /* Presentation slides 'Your Democractic Change Process' */

'''--> Back to [[LED_Online_Seminar_Working_Groups_2016|working group overview]]'''

''Dear working group members. This is your group page and you will be completing the template gradually as we move through the seminar. Good luck and enjoy your collaboration!''

== Assignment 1 - Reading and Synthesizing Core Terminology ==
*You can read more details about this assignment [[Assignment_1:_Reading_and_Synthesizing_Core_Terminology|here]]
*Readings are accessible via the [[Resources_and_Literature_Landscape_and_Democracy|resources page]]

=== Step 1 - Define your readings ===
*Please add your readings selection for the terminology exercise before '''25th of April''' on the [[LED Online Seminar 2016 Groups Readings Selection Page|readings selection page]].

=== Step 2 - Concept mapping of core terms ===
* [https://cmapscloud.ihmc.us:443/rid=1Q4HTVXW4-TD1WNS-167TQ2 Group G Concept Map]

=== Step 3 - Reporting ===
Conceptual mapping is a strong tool to synthesize concepts and create an ordered structure of thinking. We started selecting keywords in our readings and showing the link between them. This operation is very useful in order to understand the meaning and make it clear for us firstly. We noticed that creating a concept map is a good way to improve knowledge and fix concepts, so it is a learning method.
Furthermore, this tool has allowed us to explain the readings to the other members of the group quickly and effective. The links in the maps show very well the reasoning, so you are able to understand the mental connections that underlie the argument of a reading.
Then we overlaid the maps looking for possible connections and we found common concepts that were common to all maps, so, starting from these, we built a new structure that underline where the keywords came from. This operation is a kind of stratification of knowledge, it gives you general idea of the argument and let you come back to other maps. As in the game of chinese boxes you can go deeply and deeply, understanding that there are no boundaries in the knowledge and that it is an endless process.
Finally you have a vision of your learning path and it will be very useful to have a trace about what you have done in order to come back, one day, and quickly reconnect yourself with that reasoning.

== Assignment 2 - Your Landscape Symbols ==
*You can read more details about this assignment [[Assignment_2:_Your_Landscape_Symbols|here]]
*There is an own page for this assignment, please click to find further details
*'''go to --> [[LED Seminar 2016 - Landscape Symbols Reflection Group G |Landscape Symbols Reflection Group G]]'''

=== Presentation slides 'Your Landscape Symbols' ===
''After the presentation on '''April 21''' please save your PPT slides to jpgs, upload them and add them to this gallery:''

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:Group G S1.PNG|slide 1
Image:Group G S2.PNG|slide 2
Image:Group G S3.PNG|slide 3
Image:Group G S4.PNG|slide 4
Image:Group G S5.PNG|slide 5
Image:Group G S6.PNG|slide 6
Image:Group G S7.PNG|slide 7
Image:Group G S8.PNG|slide 8
</gallery>

== Assignment 3 - Role Play on Landscape Democracy "movers and shakers" ==
*You can read more details about this assignment [[Assignment_3:_Role_Play_on_Landscape_Democracy_"movers_and_shakers"|here]]

== Assignment 4 - Your Landscape Democracy Challenge ==
*You can read more details about this assignment [[Assignment_4:_Your_Landscape_Democracy_Challenge|here]]
*Each group member will specify a landscape democracy challenge in his/her environment

=== Your Landscape Democracy Challenges ===
* '''[[LED 2016 Group G Landscape Democracy Challenge 1|Planning Oslo - The Blue, the Green and the City in between]]'''
* '''[[LED 2016 Group G Landscape Democracy Challenge 2|Ata’yi Boulevard, the uncompleted project, Iran]]'''
* '''[[LED 2016 Group G Landscape Democracy Challenge 3|Regeneration of Villa Ghigi in Bologna, Italy]]'''
* '''[[LED 2016 Group G Landscape Democracy Challenge 4|Landscape Democracy Challenge 4]]'''
* '''[[LED 2016 Group G Landscape Democracy Challenge 5|Landscape Democracy Challenge 5]]'''

=== Presentation slides 'Your Landscape Democracy Challenges' ===
''After the presentation on '''May 19''' please save your PPT slides to jpgs, upload them and add them to this gallery:''

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:A4 G1.jpg|Assignment 4.
Image:A4 G2.jpg|Villa Ghigi.
Image:A4 G3.jpg|Villa Ghigi.
Image:A4 G4.jpg|Barcode.
Image:A4 G5.jpg|Barcode.
Image:A4 G6.jpg|Ata'yi Boulevard.
Image:A4 G7.jpg|Ata'yi Boulevard.
Image:A4 G8.jpg|Differences and similarities.
</gallery>

== Assignment 5 - Your Democratic Change Process ==
*You can read more details about this assignment [[Assignment_5:_Your_Democratic_Change_Process|here]]
*After documenting and reflecting on your challenges you will continue jointly with one of these challenges and design a democratic change process

=== Your Democratic Change Model ===
* '''[[LED 2016 Group G Democratic Change Process|Your democractic change process]]'''

=== Presentation slides 'Your Democractic Change Process' ===
''After the presentation on '''June 16''' please save your PPT slides to jpgs, upload them and add them to this gallery:''

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:G A5 1.jpg|Assignment 5.
Image:G A5 2.jpg|The Villa Ghigi.
Image:G A5 3.jpg|The Villa Ghigi.
Image:G A5 4.jpg|Stakeholders and powermap.
Image:G A5 5.jpg|Stakeholder interests and needs.
Image:G A5 6.jpg|Strategy.
Image:Final concept map group.png|Main findings from assignment 1.
Image:G A5 8.jpg|Reflection.

</gallery>

File:Final concept map group.png

2017-07-13T20:53:53Z

Bahmann:

LED 2016 Group G Landscape Democracy Challenge 2

2017-07-13T20:51:36Z

Bahmann: /* Representation of your observations */

'''--> [[LED_Online_Seminar_2016_-_Working_Group_G|back to your group page]]'''

'''''Ata’yi Boulevard, the uncompleted project, Iran'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place name''' ||style="background:Lavender"| '' Atayi boulvard''
|-
| '''Location''' || style="background:Lavender"|''Urmia''
|-
| '''Country''' || style="background:Lavender"|''Iran''
|-
| '''Author(s)''' || style="background:Lavender"|''Bahman Nahri''
|-
| colspan="3" align="center" style="background:silver"| [[file:Atayi.JPG|250px]]
|-
| ||style="background:Lavender"|
|-
| colspan="3" align="center" style="background:silver"|
|}

== Rationale: Why have you chosen this case for the landscape and democracy seminar? ==
Ata’yi is one of the main streets in Urmia, and it is located in the city center, so it is playing an important connection role in the middle of the city, but the government have decided to extend this street to connect the city center directly to the Ring roads, so the program was proposed 60 years ago but only the first step was accomplished, and the extension was supposed to be 52m and now it is established with 32m width, and it is left uncompleted with many socio-environmental problems. Some of the municipality workers bought houses before the second phase of project was supposed to take place, so the width changed from 52 to 32 meter, but this is not the only problem, the main problem arose when the people noticed this and began to protest this policy, the city left the project uncompleted with many unanswered questions. And now we have a street with a dead end, and in the other side there is an uncompleted street.

== Representation of your observations ==
* ''you are basically free to use one or a mix of different presentation techniques''
* ''possibilities are: analytical drawings, graphical representations, collages, video clips, comic/graphic novel, written essay/visual essay''
* ''please add any visual material to the gallery, videos can be placed below, you may add text as you like''

<gallery caption=" " widths="200px" heights="150px" perrow="4">
Image:A4_G6.jpg|Establishment of new project
Image:A4_G7.jpg|advantages of new project
Image:Final concept map bahman.png|Concept map
Image:yourfilename4.jpg|case representation
</gallery>

== Reflection ==
=== What are the major challenges for changing the situation? ===
There are two important aspects that we have to take them into consideration, the first and the most important one is that, should we let the width of the street 32m and begin to open it for transportation, or make it 52 meter as it was supposed to be like the main one, the second challenge is opening the third part of the street that it is already uncompleted and needs more attention, and every time we see a large amount of dust wind because of this part in region.

=== What could be a starting point for democractically-based change? ===
The project should be re organized, but not with the former designers and planners, but with totally new crews, so that there would be no more self-benefit for any one, and the new survey is of course essential. It needs to take the new needs for traffic into consideration, because the program was planned for 60 years before and now we have much more traffic and much more population comparing to past. Although the people are totally pessimistic about this process, but we have to take their opinions into consideration, because the locals are playing important role in design…..

== References ==
*...
*....
*...

* ''Please make sure that you give proper references of all external resources used.''
* ''Do '''not''' use any images of which you do '''not''' hold the copyright.''
* ''Please add internet links to other resources if necessary.''

----
[[Category:Landscape Democracy Challenge 2016]]

About categories: You can add more categories with this tag: "[[Category:Category Name]]", add your categories

File:Final concept map bahman.png

2017-07-13T20:48:51Z

Bahmann:

LED 2016 Group G Landscape Democracy Challenge 2

2016-06-22T18:01:08Z

Bahmann: /* Representation of your observations */

'''--> [[LED_Online_Seminar_2016_-_Working_Group_G|back to your group page]]'''

'''''Ata’yi Boulevard, the uncompleted project, Iran'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place name''' ||style="background:Lavender"| '' Atayi boulvard''
|-
| '''Location''' || style="background:Lavender"|''Urmia''
|-
| '''Country''' || style="background:Lavender"|''Iran''
|-
| '''Author(s)''' || style="background:Lavender"|''Bahman Nahri''
|-
| colspan="3" align="center" style="background:silver"| [[file:Atayi.JPG|250px]]
|-
| ||style="background:Lavender"|
|-
| colspan="3" align="center" style="background:silver"|
|}

== Rationale: Why have you chosen this case for the landscape and democracy seminar? ==
Ata’yi is one of the main streets in Urmia, and it is located in the city center, so it is playing an important connection role in the middle of the city, but the government have decided to extend this street to connect the city center directly to the Ring roads, so the program was proposed 60 years ago but only the first step was accomplished, and the extension was supposed to be 52m and now it is established with 32m width, and it is left uncompleted with many socio-environmental problems. Some of the municipality workers bought houses before the second phase of project was supposed to take place, so the width changed from 52 to 32 meter, but this is not the only problem, the main problem arose when the people noticed this and began to protest this policy, the city left the project uncompleted with many unanswered questions. And now we have a street with a dead end, and in the other side there is an uncompleted street.

== Representation of your observations ==
* ''you are basically free to use one or a mix of different presentation techniques''
* ''possibilities are: analytical drawings, graphical representations, collages, video clips, comic/graphic novel, written essay/visual essay''
* ''please add any visual material to the gallery, videos can be placed below, you may add text as you like''

<gallery caption=" " widths="200px" heights="150px" perrow="4">
Image:A4_G6.jpg|Establishment of new project
Image:A4_G7.jpg|advantages of new project
Image:yourfilename3.jpg|case representation
Image:yourfilename4.jpg|case representation
</gallery>

== Reflection ==
=== What are the major challenges for changing the situation? ===
There are two important aspects that we have to take them into consideration, the first and the most important one is that, should we let the width of the street 32m and begin to open it for transportation, or make it 52 meter as it was supposed to be like the main one, the second challenge is opening the third part of the street that it is already uncompleted and needs more attention, and every time we see a large amount of dust wind because of this part in region.

=== What could be a starting point for democractically-based change? ===
The project should be re organized, but not with the former designers and planners, but with totally new crews, so that there would be no more self-benefit for any one, and the new survey is of course essential. It needs to take the new needs for traffic into consideration, because the program was planned for 60 years before and now we have much more traffic and much more population comparing to past. Although the people are totally pessimistic about this process, but we have to take their opinions into consideration, because the locals are playing important role in design…..

== References ==
*...
*....
*...

* ''Please make sure that you give proper references of all external resources used.''
* ''Do '''not''' use any images of which you do '''not''' hold the copyright.''
* ''Please add internet links to other resources if necessary.''

----
[[Category:Landscape Democracy Challenge 2016]]

About categories: You can add more categories with this tag: "[[Category:Category Name]]", add your categories

LED 2016 Group G Landscape Democracy Challenge 2

2016-06-22T17:56:53Z

Bahmann:

'''--> [[LED_Online_Seminar_2016_-_Working_Group_G|back to your group page]]'''

'''''Ata’yi Boulevard, the uncompleted project, Iran'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place name''' ||style="background:Lavender"| '' Atayi boulvard''
|-
| '''Location''' || style="background:Lavender"|''Urmia''
|-
| '''Country''' || style="background:Lavender"|''Iran''
|-
| '''Author(s)''' || style="background:Lavender"|''Bahman Nahri''
|-
| colspan="3" align="center" style="background:silver"| [[file:Atayi.JPG|250px]]
|-
| ||style="background:Lavender"|
|-
| colspan="3" align="center" style="background:silver"|
|}

== Rationale: Why have you chosen this case for the landscape and democracy seminar? ==
Ata’yi is one of the main streets in Urmia, and it is located in the city center, so it is playing an important connection role in the middle of the city, but the government have decided to extend this street to connect the city center directly to the Ring roads, so the program was proposed 60 years ago but only the first step was accomplished, and the extension was supposed to be 52m and now it is established with 32m width, and it is left uncompleted with many socio-environmental problems. Some of the municipality workers bought houses before the second phase of project was supposed to take place, so the width changed from 52 to 32 meter, but this is not the only problem, the main problem arose when the people noticed this and began to protest this policy, the city left the project uncompleted with many unanswered questions. And now we have a street with a dead end, and in the other side there is an uncompleted street.

== Representation of your observations ==
* ''you are basically free to use one or a mix of different presentation techniques''
* ''possibilities are: analytical drawings, graphical representations, collages, video clips, comic/graphic novel, written essay/visual essay''
* ''please add any visual material to the gallery, videos can be placed below, you may add text as you like''

<gallery caption=" " widths="200px" heights="150px" perrow="4">
Image:yourfilename1.jpg|case representation
Image:yourfilename2.jpg|case representation
Image:yourfilename3.jpg|case representation
Image:yourfilename4.jpg|case representation
</gallery>

== Reflection ==
=== What are the major challenges for changing the situation? ===
There are two important aspects that we have to take them into consideration, the first and the most important one is that, should we let the width of the street 32m and begin to open it for transportation, or make it 52 meter as it was supposed to be like the main one, the second challenge is opening the third part of the street that it is already uncompleted and needs more attention, and every time we see a large amount of dust wind because of this part in region.

=== What could be a starting point for democractically-based change? ===
The project should be re organized, but not with the former designers and planners, but with totally new crews, so that there would be no more self-benefit for any one, and the new survey is of course essential. It needs to take the new needs for traffic into consideration, because the program was planned for 60 years before and now we have much more traffic and much more population comparing to past. Although the people are totally pessimistic about this process, but we have to take their opinions into consideration, because the locals are playing important role in design…..

== References ==
*...
*....
*...

* ''Please make sure that you give proper references of all external resources used.''
* ''Do '''not''' use any images of which you do '''not''' hold the copyright.''
* ''Please add internet links to other resources if necessary.''

----
[[Category:Landscape Democracy Challenge 2016]]

About categories: You can add more categories with this tag: "[[Category:Category Name]]", add your categories

File:Atayi.JPG

2016-06-22T17:56:08Z

Bahmann:

LED 2016 Group G Landscape Democracy Challenge 2

2016-06-22T17:50:05Z

Bahmann:

'''--> [[LED_Online_Seminar_2016_-_Working_Group_G|back to your group page]]'''

'''''Ata’yi Boulevard, the uncompleted project, Iran'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place name''' ||style="background:Lavender"| '' Atayi boulvard''
|-
| '''Location''' || style="background:Lavender"|''Urmia''
|-
| '''Country''' || style="background:Lavender"|''Iran''
|-
| '''Author(s)''' || style="background:Lavender"|''Bahman Nahri''
|-
| colspan="3" align="center" style="background:silver"| [[A4 G6.jpg|250px]]
|-
| ||style="background:Lavender"|
|-
| colspan="3" align="center" style="background:silver"|
|}

== Rationale: Why have you chosen this case for the landscape and democracy seminar? ==
Ata’yi is one of the main streets in Urmia, and it is located in the city center, so it is playing an important connection role in the middle of the city, but the government have decided to extend this street to connect the city center directly to the Ring roads, so the program was proposed 60 years ago but only the first step was accomplished, and the extension was supposed to be 52m and now it is established with 32m width, and it is left uncompleted with many socio-environmental problems. Some of the municipality workers bought houses before the second phase of project was supposed to take place, so the width changed from 52 to 32 meter, but this is not the only problem, the main problem arose when the people noticed this and began to protest this policy, the city left the project uncompleted with many unanswered questions. And now we have a street with a dead end, and in the other side there is an uncompleted street.

== Representation of your observations ==
* ''you are basically free to use one or a mix of different presentation techniques''
* ''possibilities are: analytical drawings, graphical representations, collages, video clips, comic/graphic novel, written essay/visual essay''
* ''please add any visual material to the gallery, videos can be placed below, you may add text as you like''

<gallery caption=" " widths="200px" heights="150px" perrow="4">
Image:yourfilename1.jpg|case representation
Image:yourfilename2.jpg|case representation
Image:yourfilename3.jpg|case representation
Image:yourfilename4.jpg|case representation
</gallery>

== Reflection ==
=== What are the major challenges for changing the situation? ===
There are two important aspects that we have to take them into consideration, the first and the most important one is that, should we let the width of the street 32m and begin to open it for transportation, or make it 52 meter as it was supposed to be like the main one, the second challenge is opening the third part of the street that it is already uncompleted and needs more attention, and every time we see a large amount of dust wind because of this part in region.

=== What could be a starting point for democractically-based change? ===
The project should be re organized, but not with the former designers and planners, but with totally new crews, so that there would be no more self-benefit for any one, and the new survey is of course essential. It needs to take the new needs for traffic into consideration, because the program was planned for 60 years before and now we have much more traffic and much more population comparing to past. Although the people are totally pessimistic about this process, but we have to take their opinions into consideration, because the locals are playing important role in design…..

== References ==
*...
*....
*...

* ''Please make sure that you give proper references of all external resources used.''
* ''Do '''not''' use any images of which you do '''not''' hold the copyright.''
* ''Please add internet links to other resources if necessary.''

----
[[Category:Landscape Democracy Challenge 2016]]

About categories: You can add more categories with this tag: "[[Category:Category Name]]", add your categories

LED Online Seminar 2016 Groups Readings Selection Page

2016-05-22T12:18:16Z

Bahmann: /* Reading Selection Group G */

'''--> Back to [[LED_Online_Seminar_Working_Groups_2016|working group overview]]'''

'''--> Back to [[Resources_and_Literature_Landscape_and_Democracy|literature overview]]'''

*''Please add your reading selections per group per topic, minimum: one selection per topic for the [[Assignment_1:_Reading_and_Synthesizing_Core_Terminology|terminology exercise]]''

== Reading Selection Group A ==
'''A: Landscape and Democracy - Mapping the Terrain'''
* Policy frameworks, laws and resolutions:

* Landscape Concepts:
* [HD] "Reading the landscape. An appreciation of W.G. Hoskins and J-B. Jackson
* HG: Burckhardt, Lucius (1979): Why is landscape beautiful? in: Fezer/Schmitz (Eds.) Rethinking Man-made Environments (2012)
* PF: Kucan, Ana (2007). Constructing Landscape Conceptions. In: ECLAS (ed.). JoLA spring 2007, 30-41. Munich: Callwey
* AK: Antrop, Marc; Kühne, Olaf (2015) Concepts of Landscape, in: Landscape Culture - Culturing Landscapes. The Differentiated Construction of Landscapes (Bruns, Kühne, Schönwald, Theile ed.).

'''B: Concepts of Participation'''
* [HD] Hester, Randolph (1999): A Refrain with a View,
* PF: Davis, Mike (1990): Fortress Los Angeles: The Militarization of Urban Space, From: City of Quartz: Excavating the Future in Los Angeles
* AK: Gaventa, John: The Powerful, the Powerless, and the Experts.

'''C: Community and Identity'''
* PF: Spirn, Anne (2005): Restoring Mill Creek
* AK: Welk Von Mossner, Alexa (2014): Cinematic Landscapes, In: Topos, No. 88, 2014.

'''D: The Design Process'''
* HG: Massachusetts Institute of Technology (2013): Places in the Making: How Placemaking Builds Places and Communities
* PF: Salgado, Mariana, et al. (2015): Designing with Immigrants
* AK: Salgado, Mariana, et al. (2015): Designing with Immigrants

'''E: Communication'''
* PF: 'Reading the Landscape' by Simon Bell, EMU Tartu
* AK: Storytelling example from the Scottish Islands

== Reading Selection Group B ==
'''A: Landscape and Democracy - Mapping the Terrain'''
* Policy frameworks, laws and resolutions: ''add your selection''
* Landscape Concepts: (reader Serena Indaco) Meinig, D. W. (1979): "The Beholding Eye: Ten Versions of the Same Scene

'''B: Concepts of Participation'''
* Day, Christopher (2002): Consensus Design, Architectural Press
* VH: Burckhardt, Lucius (1974): Who plans the planning? in: Fezer/Schmitz (Eds.) Rethinking Man-made Environments (2012)

'''C: Community and Identity'''
* ''Hester, Randolph (2006). Design of Ecological Democracy'':

'''D: The Design Process'''
* ''add your selection'':

'''E: Communication'''
* ''add your selection''

== Reading Selection Group C ==
'''A: Landscape and Democracy - Mapping the Terrain'''
* '''Policy frameworks, laws and resolutions''':
* DE: The Aarhus Convention on Access to Information, Public Participation in Decision-making and Access to Justice in Environmental Matters
* NT: The European Landscape Convention
* HO: The European Landscape Convention
* '''Landscape Concepts''':
* DE: Meinig, D. W. (1979): "The Beholding Eye: Ten Versions of the Same Scene." In: The Interpretation of Ordinary Landscapes: Geographical Essays, edited by D. W. Meinig and John Brinckerhoff Jackson, 33-48. New York: Oxford University Press.
* DE: Sieverts, Thomas (2003): Cities without cities. An interpretation of the Zwischenstadt. English language ed. London: Spon Press.
* NT: Lynch, Kevin. (1960): The Image of the City
* HO: Burckhardt, Lucius (1979): Why is landscape beautiful? in: Fezer/Schmitz (Eds.) Rethinking Man-made Environments (2012)
* HO: Lynch, Kevin. (1960): The Image of the City
'''B: Concepts of Participation''':
* DE: Hester, Randolph (1999): A Refrain with a View, UC Berkeley
* NT: Hester, Randolph (2012): Evaluating Community Design, Landscape Journal
* HO: Burckhardt, Lucius (1957): Urban Planning and Democracy in: Fezer/Schmitz (Eds.) Rethinking Man-made Environments (2012)
'''C: Community and Identity''':
* DE: Welk Von Mossner, Alexa (2014): Cinematic Landscapes, In: Topos, No. 88, 2014.
* HO: Nassauer, Joan Iverson (1995): Culture and Changing Landscape Structure, Landscape Ecology, vol. 10 no. 4.
'''D: The Design Process''':
* DE: Hester, Randolph: Life, Liberty and the Pursuit of Sustainable Happiness
* DE: Hester, Randolph: Democratic Drawing - Techniques for Participatory Design
* NT: Pritzker Prize winning architect Alejandro Aravena on sustainable design and community involvement in Chile
* HO: Hester, Randolph: Life, Liberty and the Pursuit of Sustainable Happiness
'''E: Communication''':
* DE: Storytelling example from the Scottish Islands

== Reading Selection Group D ==
'''A: Landscape and Democracy - Mapping the Terrain'''

'''* Policy frameworks, laws and resolutions:'''
* [JS] The European Landscape Convention

'''* Landscape Concepts:'''
* [TH] JB Jackson (1980): The necessity for ruins and other topics, 113-126.

'''B: Concepts of Participation'''
* [TH] Consensus Design by Christopher Day (2002)''
* [JS] Gaventa, John: The Powerful, the Powerless, and the Experts
* [EN] Landscape and sustainability, theme 2: Social learning, rights and responsibilities

'''C: Community and Identity'''
* [EF] Culture and Changing Landscape Structure

'''D: The Design Process'''
* [EN] Design for social sustainability, a framework for creating a thriving new communities

'''E: Communication'''
* [JS] Reading the Landscape' by Simon Bell, EMU Tartu

== Reading Selection Group E ==
'''A: Landscape and Democracy - Mapping the Terrain'''
* Policy frameworks, laws and resolutions:

* ''Kjersti: Presentation of the report Landscape and democracy: prospects by Yves Luginbühl for the Council of Europe''
* ''Joseph: '':
* ''Davide: 'The Aarhus Convention':
* ''Gabriela: '': Water Framework Directive
* ''Sanaz: '': Landscape Democracy Resolution(IFLA-Europe)

* Landscape Concepts:

* ''Kjersti: Lynch, Kevin. (1960): The Image of the City''
* ''Joseph: '':
* ''Davide: 'Sieverts, Thomas (2003): Cities without cities. An interpretation of the Zwischenstadt':
* ''Gabriela: '': 'Meinig, D. W. (1979): "The Beholding Eye: Ten Versions of the Same Scene'
* ''Sanaz: '': Lynch, Kevin. (1960): The Image of the City''

'''B: Concepts of Participation'''
* ''Joseph: '':
* ''Davide: 'Day, Christopher (2002): Consensus Design':
* ''Gabriela: '': Sanoff, Henry (2014): Multiple Views of Participatory Design, Focus
* ''Sanaz: '': Gaventa, John: The Powerful, the Powerless, and the Experts
* ''Kjersti: David, Harvey (2003): The Right to the City + LIFEscape Handbook on Participative Landscape Planning'':

'''C: Community and Identity'''

* ''Kjersti: SEISMIC project, An urban research and innovation project across 10 European countries'':

* ''Joseph: '':
* ''Davide: 'Nassauer, Joan Iverson (1995): Culture and Changing Landscape Structure':
* ''Gabriela: '': Francis, Mark: A Case Study Method for Landscape Architecture
* ''Sanaz: '': Hester, Randolph (2006): Design for Ecological Democracy, The MIT Press

'''D: The Design Process'''
* ''Joseph: '':
* ''Davide: 'Pritzker Prize winning architect Alejandro Aravena on sustainable design and community involvement in Chile':
* ''Gabriela: '': Hester, Randolph: Democratic Drawing - Techniques for Participatory Design
* ''Sanaz: '': Massachusetts Institute of Technology (2013): Places in the Making: How Placemaking Builds Places and Communities
* ''Kjersti: Ruggeri, Deni (2004): Crafting Westport + Hussain, Sofia, et al. (2012): Participatory Design with Marginalized People in Developing Countries: Challenges and Opportunties Experienced in a Field Study in Cambodia'':

'''E: Communication'''
* ''Joseph: '':
* ''Davide: 'Storytelling example from the Scottish Islands':
* ''Gabriela: '': 'Reading the Landscape' by Simon Bell, EMU Tartu
* ''Sanaz: '': 'Reading the Landscape' by Simon Bell, EMU Tartu

* ''Kjersti: online decisionmaking with Loomio'':

== Reading Selection Group F ==
'''A: Landscape and Democracy - Mapping the Terrain'''

'''Policy frameworks, laws and resolutions''':
* ''Mario: Strategic Environmental Assessment Directive''
'''Landscape Concepts''':
* ''Mario: Cosgrove, Denis. (1985): Prospect, Perspective and the Evolution of the Landscape Idea. In: Transactions of the Institute of British Geographers, New Series, Vol. 10, No. 1 (1985),pp. 45-62. Published by: Blackwell Publishing on behalf of The Royal Geographical Society (with the Institute of British Geographers).''
* '''(IM)'' Kucan, Ana (2007). Constructing Landscape Conceptions. In: ECLAS (ed.). JoLA spring 2007, 30-41. Munich: Callwey.''
* '''''(TG),(IM)''' Burckhardt, Lucius (1979): Why is landscape beautiful? in: Fezer/Schmitz (Eds.) Rethinking Man-made Environments (2012)''
* ''(FF)Sieverts, Thomas (2003): Cities without cities. An interpretation of the Zwischenstadt. English language ed. London: Spon Press.''

'''B: Concepts of Participation'''
* '''''(TG)''' Burckhardt, Lucius (1957): Urban Planning and Democracy in: Fezer/Schmitz (Eds.) Rethinking Man-made Environments (2012)
* ''Mario: Hester, Randolph (2012): Evaluating Community Design, Landscape Journal'':
* ''Day, Christopher (2002): Consensus Design, Architectural Press''
* ''(FF)David, Harvey (2003): The Right to the City, International Journal of Urban and Regional Research, Volume 27, Issue 4, pages 939–941''

'''C: Community and Identity'''
* '''''(TG)''' Nassauer, Joan Iverson (1995): Culture and Changing Landscape Structure, Landscape Ecology, vol. 10 no. 4.
* ''Mario: Welk Von Mossner, Alexa (2014): Cinematic Landscapes, In: Topos, No. 88, 2014'':
* ''(FF)Nassauer, Joan Iverson (1995): Culture and Changing Landscape Structure, Landscape Ecology, vol. 10 no. 4.''

'''D: The Design Process'''
* '''''(TG)''' Hester, Randolph: Life, Liberty and the Pursuit of Sustainable Happiness
* ''Massachusetts Institute of Technology (2013): Places in the Making: How Placemaking Builds Places and Communities'':
* ''(FF)Woodcraft, Saffron, et al.: Design for Social Sustainability: A Framework for Creating Thriving New Communities''
* ''(FF)Salgado, Mariana, et al. (2015): Designing with Immigrants''

'''E: Communication'''
* ''Mario:'(IM)'' Reading the Landscape by Simon Bell, EMU Tartu'':

== Reading Selection Group G ==
'''A: Landscape and Democracy - Mapping the Terrain'''

'''* Policy frameworks, laws and resolutions:'''
* ''The Aarhus Convention'' '''(Guido Maria Amorati)'''
* ''The European landscape convention''
* ''Directive on public access to environmental information'' '''(Tonje Cecilie Stordalen)'''
* ''Directive providing for public participation in respect of the drawing up of certain plans and programmes relating to the environment'' '''(Tonje Cecilie Stordalen)'''
* ''Strategic Environmental Assessment Directive'''''(Bahman Nahri)'''
* ''Water Framework Directive'''''(Bahman Nahri)
'''
'''* Landscape Concepts:'''
* ''Concepts of Landscape'' '''(Guido Maria Amorati)'''

'''B: Concepts of Participation'''
* ''Hester, Randolph (2005): Whose Politics, Landscape Architecture'' '''(Guido Maria Amorati)'''
* ''Gaventa, John: The Powerful, the Powerless, and the Experts'''''(Bahman Nahri)'''
* ''Day, Christopher (2002): Consensus Design, Architectural Press'' '''(Tonje Cecilie Stordalen)'''
* ''Furco, Andrew (1996): Service-learning: A balanced approach to experiential education'' '''(Everybody)'''

'''C: Community and Identity'''
* ''Gafford, Farrah D. (2013): It Was a Real Village: Community Identity Formation Among Black Middle-Class Residents in Pontchartrain Park, Journal of Urban History 39:36'' '''(Guido Maria Amorati)'''
* ''Welk Von Mossner, Alexa (2014): Cinematic Landscapes, In: Topos, No. 88, 2014.'' '''(Tonje Cecilie Stordalen)'''

'''D: The Design Process'''
* ''Hester, Randolph: Democratic Drawing - Techniques for Participatory Design'' '''(Tonje Cecilie Stordalen)'''
* ''Kot, Douglas and Ruggeri, Deni: Westport Case Study'''''(Bahman Nahri)'''
* ''Hester, Randolph: Life, Liberty and the Pursuit of Sustainable Happiness" '''(Guido Maria Amorati)'''

'''E: Communication'''
* ''Storytelling example from the Scottish Islands'' '''(Tonje Cecilie Stordalen)'''
* ''Online decision making with loomio'' '''(Guido Maria Amorati)'''

== Reading Selection Group H ==
'''A: Landscape and Democracy - Mapping the Terrain'''

'''Policy frameworks, laws and resolutions:'''
* ''(MG) EU"Directive providing for public participation in respect of the drawing up of certain plans and programmes relating to the environment"''
* '''(NR)''' "IFLA-Europe: Landscape Democracy Resolution"
* (ST) Council of Europe - The European Landscape Convention
* '''(RR)'''''European Union (Parliament and Council), ''Water Framework Directive''''
* "(EB) European Charter on Participatory Democracy (under consultation)"

'''Landscape Concepts:'''
* ''(MG) Antrop, Marc; Kühne, Olaf (2015) Concepts of Landscape, in: Landscape Culture - Culturing Landscapes. The Differentiated Construction of Landscapes (Bruns, Kühne, Schönwald, Theile ed.)''
* '''(RR)'''''Jackson, John Brinckerhoff (1980): "By way of conclusion. How to study the landscape" In: The necessity for ruins, and other topics, 113-126. Amherst: University of Massachusetts Press.'':
* '''(NR)''' Meinig, D. W. (1979): "The Beholding Eye: Ten Versions of the Same Scene"
* (EB) ''Olwig, Kenneth R. (1996): "Recovering the Substantive Nature of Landscape''
* ''(ST) Lynch, Kevin. (1960): The Image of the City, Cambridge, Mass.: MIT Press''

'''B: Concepts of Participation'''
*''(MG) Day, Christopher (2002): Consensus Design, Architectural Press''
* '''(NR)''' Gaventa, John: The Powerful, the Powerless, and the Experts
* '''(RR)''' Hester, Randolph (2012): Evaluating Community Design, Landscape Journal
* "(EB) David, Harvey (2003): The Right to the City"
* "(ST) Hester, Randolph (2006): Design for Ecological Democracy - Fairness, The MIT Press"

'''C: Community and Identity'''
*''(MG) Girling, Cynthia (2006): Informing Design Charrettes, The Integrated Assessment Journal
* '''(NR)''' Hester, Randolph (2006): Design for Ecological Democracy
* '''(RR)'''Welk Von Mossner, Alexa (2014): Cinematic Landscapes, In: Topos, No. 88, 2014.
*"(EB) Nassauer, Joan Iverson (1995): Culture and Changing Landscape Structure"
*"(ST) Spirn, Anne (2005): Restoring Mill Creek"

'''D: The Design Process'''
*''(MG) D’hondt, Frank (2014): Better Cities for Kosovo: Visioning as Participatory Planning Tool,UN-Habitat report
* '''(NR)''' Hester, Randolph: Democratic Drawing - Techniques for Participatory Design
* '''(RR)'''Massachusetts Institute of Technology (2013): Places in the Making: How Placemaking Builds Places and Communities
*"(EB) Hussain, Sofia, et al. (2012): Participatory Design with Marginalized People in Developing Countries: Challenges and Opportunties Experienced in a Field Study in Cambodia"
*"(ST) Massachusetts Institute of Technology (2013): Places in the Making: How Placemaking Builds Places and Communities"

'''E: Communication'''
* ''(MG) Online decision making with loomio
* '''(NR)''' Storytelling example from the Scottish Islands
*"(EB)'Reading the Landscape' by Simon Bell, EMU Tartu"

== Reading Selection Group I ==
'''A: Landscape and Democracy - Mapping the Terrain'''
* Policy frameworks, laws and resolutions: ''
**(SASA)Council of Europe - The European Landscape Convention''
* Landscape Concepts: ''add your selection''

'''B: Concepts of Participation'''
* ''add your selection'':

'''C: Community and Identity'''
* ''AJ: A case study method for Landscape architecture ''

'''D: The Design Process'''
* ''Lucas Passold: Design for Social Sustainability''
* ''AJ: Designe Charrette- a vechicle for consultation or collaboration ''
* ''SS: Massachusetts Institute of Technology: Places in the Making- How Placemaking Builds Places and Communities''

'''E: Communication'''
* ''AJ: Reading the landscape ''
* ''add your selection'':

LED 2016 Group G Landscape Democracy Challenge 2

2016-05-22T09:31:45Z

Bahmann: /* Reflection */

'''--> [[LED_Online_Seminar_2016_-_Working_Group_G|back to your group page]]'''

'''''Please add the title of your case study here and replace the dummy image with a characteristic image of your site'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place name''' ||style="background:Lavender"| '' add name''
|-
| '''Location''' || style="background:Lavender"|''add location''
|-
| '''Country''' || style="background:Lavender"|''add country''
|-
| '''Author(s)''' || style="background:Lavender"|''add author''
|-
| colspan="3" align="center" style="background:silver"| [[File:Replacethisfilewithyourvisual.jpg|250px]]
|-
| ||style="background:Lavender"|
|-
| colspan="3" align="center" style="background:silver"|
|}

== Rationale: Why have you chosen this case for the landscape and democracy seminar? ==
Ata’yi is one of the main streets in Urmia, and it is located in the city center, so it is playing an important connection role in the middle of the city, but the government have decided to extend this street to connect the city center directly to the Ring roads, so the program was proposed 60 years ago but only the first step was accomplished, and the extension was supposed to be 52m and now it is established with 32m width, and it is left uncompleted with many socio-environmental problems. Some of the municipality workers bought houses before the second phase of project was supposed to take place, so the width changed from 52 to 32 meter, but this is not the only problem, the main problem arose when the people noticed this and began to protest this policy, the city left the project uncompleted with many unanswered questions. And now we have a street with a dead end, and in the other side there is an uncompleted street.

== Representation of your observations ==
* ''you are basically free to use one or a mix of different presentation techniques''
* ''possibilities are: analytical drawings, graphical representations, collages, video clips, comic/graphic novel, written essay/visual essay''
* ''please add any visual material to the gallery, videos can be placed below, you may add text as you like''

<gallery caption=" " widths="200px" heights="150px" perrow="4">
Image:yourfilename1.jpg|case representation
Image:yourfilename2.jpg|case representation
Image:yourfilename3.jpg|case representation
Image:yourfilename4.jpg|case representation
</gallery>

== Reflection ==
=== What are the major challenges for changing the situation? ===
There are two important aspects that we have to take them into consideration, the first and the most important one is that, should we let the width of the street 32m and begin to open it for transportation, or make it 52 meter as it was supposed to be like the main one, the second challenge is opening the third part of the street that it is already uncompleted and needs more attention, and every time we see a large amount of dust wind because of this part in region.

=== What could be a starting point for democractically-based change? ===
The project should be re organized, but not with the former designers and planners, but with totally new crews, so that there would be no more self-benefit for any one, and the new survey is of course essential. It needs to take the new needs for traffic into consideration, because the program was planned for 60 years before and now we have much more traffic and much more population comparing to past. Although the people are totally pessimistic about this process, but we have to take their opinions into consideration, because the locals are playing important role in design…..

== References ==
*...
*....
*...

* ''Please make sure that you give proper references of all external resources used.''
* ''Do '''not''' use any images of which you do '''not''' hold the copyright.''
* ''Please add internet links to other resources if necessary.''

----
[[Category:Landscape Democracy Challenge 2016]]

About categories: You can add more categories with this tag: "[[Category:Category Name]]", add your categories

LED 2016 Group G Landscape Democracy Challenge 2

2016-05-22T09:30:57Z

Bahmann: /* Rationale: Why have you chosen this case for the landscape and democracy seminar? */

'''--> [[LED_Online_Seminar_2016_-_Working_Group_G|back to your group page]]'''

'''''Please add the title of your case study here and replace the dummy image with a characteristic image of your site'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place name''' ||style="background:Lavender"| '' add name''
|-
| '''Location''' || style="background:Lavender"|''add location''
|-
| '''Country''' || style="background:Lavender"|''add country''
|-
| '''Author(s)''' || style="background:Lavender"|''add author''
|-
| colspan="3" align="center" style="background:silver"| [[File:Replacethisfilewithyourvisual.jpg|250px]]
|-
| ||style="background:Lavender"|
|-
| colspan="3" align="center" style="background:silver"|
|}

== Rationale: Why have you chosen this case for the landscape and democracy seminar? ==
Ata’yi is one of the main streets in Urmia, and it is located in the city center, so it is playing an important connection role in the middle of the city, but the government have decided to extend this street to connect the city center directly to the Ring roads, so the program was proposed 60 years ago but only the first step was accomplished, and the extension was supposed to be 52m and now it is established with 32m width, and it is left uncompleted with many socio-environmental problems. Some of the municipality workers bought houses before the second phase of project was supposed to take place, so the width changed from 52 to 32 meter, but this is not the only problem, the main problem arose when the people noticed this and began to protest this policy, the city left the project uncompleted with many unanswered questions. And now we have a street with a dead end, and in the other side there is an uncompleted street.

== Representation of your observations ==
* ''you are basically free to use one or a mix of different presentation techniques''
* ''possibilities are: analytical drawings, graphical representations, collages, video clips, comic/graphic novel, written essay/visual essay''
* ''please add any visual material to the gallery, videos can be placed below, you may add text as you like''

<gallery caption=" " widths="200px" heights="150px" perrow="4">
Image:yourfilename1.jpg|case representation
Image:yourfilename2.jpg|case representation
Image:yourfilename3.jpg|case representation
Image:yourfilename4.jpg|case representation
</gallery>

== Reflection ==
=== What are the major challenges for changing the situation? ===
*''Please add approx. 150 words in essay style''

=== What could be a starting point for democractically-based change? ===
*''Please add approx. 150 words in essay style''

== References ==
*...
*....
*...

* ''Please make sure that you give proper references of all external resources used.''
* ''Do '''not''' use any images of which you do '''not''' hold the copyright.''
* ''Please add internet links to other resources if necessary.''

----
[[Category:Landscape Democracy Challenge 2016]]

About categories: You can add more categories with this tag: "[[Category:Category Name]]", add your categories

LED Online Seminar 2016 - Working Group G

2016-05-22T09:29:53Z

Bahmann: /* Assignment 4 - Your Landscape Democracy Challenge */

'''--> Back to [[LED_Online_Seminar_Working_Groups_2016|working group overview]]'''

''Dear working group members. This is your group page and you will be completing the template gradually as we move through the seminar. Good luck and enjoy your collaboration!''

== Assignment 1 - Reading and Synthesizing Core Terminology ==
*You can read more details about this assignment [[Assignment_1:_Reading_and_Synthesizing_Core_Terminology|here]]
*Readings are accessible via the [[Resources_and_Literature_Landscape_and_Democracy|resources page]]

=== Step 1 - Define your readings ===
*Please add your readings selection for the terminology exercise before '''25th of April''' on the [[LED Online Seminar 2016 Groups Readings Selection Page|readings selection page]].

=== Step 2 - Concept mapping of core terms ===
*Please add here the link to your concept map on the Cmaps cloud. You will receive an invitation to the cloud per e-mail.

=== Step 3 - Reporting ===
*Please write, as a group, a 250 words reflection on your concept mapping process
*[[Group G Reflections on Readings, LED Seminar 2016|Group reflection on the readings - add them here]]

== Assignment 2 - Your Landscape Symbols ==
*You can read more details about this assignment [[Assignment_2:_Your_Landscape_Symbols|here]]
*There is an own page for this assignment, please click to find further details
*'''go to --> [[LED Seminar 2016 - Landscape Symbols Reflection Group G |Landscape Symbols Reflection Group G]]'''

=== Presentation slides 'Your Landscape Symbols' ===
''After the presentation on '''April 21''' please save your PPT slides to jpgs, upload them and add them to this gallery:''

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:Group G S1.PNG|slide 1
Image:Group G S2.PNG|slide 2
Image:Group G S3.PNG|slide 3
Image:Group G S4.PNG|slide 4
Image:Group G S5.PNG|slide 5
Image:Group G S6.PNG|slide 6
Image:Group G S7.PNG|slide 7
Image:Group G S8.PNG|slide 8
</gallery>

== Assignment 3 - Role Play on Landscape Democracy "movers and shakers" ==
*You can read more details about this assignment [[Assignment_3:_Role_Play_on_Landscape_Democracy_"movers_and_shakers"|here]]

== Assignment 4 - Your Landscape Democracy Challenge ==
*You can read more details about this assignment [[Assignment_4:_Your_Landscape_Democracy_Challenge|here]]
*Each group member will specify a landscape democracy challenge in his/her environment

=== Your Landscape Democracy Challenges ===
* '''[[LED 2016 Group G Landscape Democracy Challenge 1|Planning Oslo - The Blue, the Green and the City in between]]'''
* '''[[LED 2016 Group G Landscape Democracy Challenge 2|Ata’yi Boulevard, the uncompleted project, Iran]]'''
* '''[[LED 2016 Group G Landscape Democracy Challenge 3|Regeneration of Villa Ghigi in Bologna, Italy]]'''
* '''[[LED 2016 Group G Landscape Democracy Challenge 4|Landscape Democracy Challenge 4]]'''
* '''[[LED 2016 Group G Landscape Democracy Challenge 5|Landscape Democracy Challenge 5]]'''

=== Presentation slides 'Your Landscape Democracy Challenges' ===
''After the presentation on '''May 19''' please save your PPT slides to jpgs, upload them and add them to this gallery:''

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:A4 G1.jpg|slide 1
Image:A4 G2.jpg|slide 2
Image:A4 G3.jpg|slide 3
Image:A4 G4.jpg|slide 4
Image:A4 G5.jpg|slide 5
Image:A4 G6.jpg|slide 6
Image:A4 G7.jpg|slide 7
Image:A4 G8.jpg|slide 8
</gallery>

== Assignment 5 - Your Democratic Change Process ==
*You can read more details about this assignment [[Your Democratic Change Process|here]]
*After documenting and reflecting on your challenges you will continue jointly with one of these challenges and design a democratic change process

=== Your Democratic Change Model ===
* '''[[LED 2016 Group G Democratic Change Process|Your democractic change process]]'''

=== Presentation slides 'Your Democractic Change Process' ===
''After the presentation on '''June 16''' please save your PPT slides to jpgs, upload them and add them to this gallery:''

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:group_slide1.JPG|slide 1
Image:group_slide2.JPG|slide 2
Image:group_slide3.JPG|slide 3
Image:group_slide4.JPG|slide 4
Image:group_slide5.JPG|slide 5
</gallery>

File:Landscape Democracy Challenges G7.jpg

2016-05-19T15:13:53Z

Bahmann:

File:Landscape Democracy Challenges G6.jpg

2016-05-19T15:13:01Z

Bahmann:

File:Landscape Democracy Challenges G5.jpg

2016-05-19T15:12:28Z

Bahmann:

File:Landscape Democracy Challenges G4.jpg

2016-05-19T15:11:56Z

Bahmann:

File:Landscape Democracy Challenges G3.jpg

2016-05-19T15:11:18Z

Bahmann:

File:Landscape Democracy Challenges G1.jpg

2016-05-19T15:10:36Z

Bahmann:

File:Landscape Democracy Challenges G2.jpg

2016-05-19T15:09:47Z

Bahmann:

'Mover and Shaker' Selection List

2016-04-28T20:52:29Z

Bahmann: /* Klaus Overmeyer (Urban Catalyst Studio) */

'''Back to ---> [[Assignment_3:_Role_Play_on_Landscape_Democracy_"movers_and_shakers"|Assignment 3]]'''

* Please add your name to the 'Mover and Shaker' you would like to role play
* In order to achieve some diversity each 'Mover and Shaker' should be selected by not more than three participants

== Randy Hester (UC Berkeley, Manteo, Big Wild, The Spoonbill project) ==
* add your name
* add your name
* add your name

== Lawrence (Larry) Halprin, (The RSVP cycle, Levi’s Plaza and Headquarters) ==
* add your name
* add your name
* add your name

== Karl Linn (UC Berkeley, Community Gardens) ==
* add your name
* add your name
* add your name

== Mark Francis (Village homes) ==
* add your name
* add your name
* add your name

== Anne Spirn (Mill Creek Project) ==
* add your name
* add your name
* add your name

== Ken Reardon (University of Memphis, the East Saint Louis Project) ==
* add your name
* add your name
* add your name

== Jan Gehl (‘Life between buildings’, how to study public life) ==
* add your name
* add your name
* add your name

== Henry Sanoff (Planning Games) ==
* Emil Buzzi
* add your name
* add your name

== Ralph Erskine (Byker Redevelopment) ==
* add your name
* add your name
* add your name

== Jeff Hou (Insurgent Urbanism, International district in Seattle) ==
* add your name
* add your name
* add your name

== Walter Hood (UC Berkeley, Lafayette Park Oakland, CA) ==
* add your name
* add your name
* add your name
== Samuel Mockbee (The Rural Studio) ==
* add your name
* add your name
* add your name

== James Rojas (place-it) ==
* add your name
* add your name
* add your name

== ReBar (Parking day/parklets) ==
* Serena Indaco
* add your name
* add your name

== Giancarlo De Carlo (Team 10, Legitimizing architecture) ==
* add your name
* add your name
* add your name

== Paula Horrigan (Cornell University; Rust to Green project) ==
* Elena Forapani
* add your name
* add your name

== Christopher Alexander (The Oregon Experiment, Pattern Language) ==
* Daniela Ellis
* add your name
* add your name

== Julian Petrin et al., Hamburg (nexthamburg, German only) ==
[http://www.nexthamburg.de/ Next Hamburg]

* Vera Hausmanns
* add your name
* add your name

== Leonie Sandercock (University of British Columbia, Collingwood Neighbourhood House) ==
* Tonje Cecilie Stordalen
* add your name
* add your name

== Klaus Overmeyer (Urban Catalyst Studio) ==
[http://www.urbancatalyst-studio.de/en/news.html Urban Catalyst]
* Bahman Nahri
* add your name
* add your name

LED Online Seminar 2016 - Working Group G

2016-04-24T09:20:41Z

Bahmann: /* Presentation slides 'Your Landscape Symbols' */

'''--> Back to [[LED_Online_Seminar_Working_Groups_2016|working group overview]]'''

''Dear working group members. This is your group page and you will be completing the template gradually as we move through the seminar. Good luck and enjoy your collaboration!''

== Assignment 1 - Reading and Synthesizing Core Terminology ==
*You can read more details about this assignment [[Assignment_1:_Reading_and_Synthesizing_Core_Terminology|here]]
*Readings are accessible via the [[Resources_and_Literature_Landscape_and_Democracy|resources page]]

=== Step 1 - Define your readings ===
*Please add your readings selection for the terminology exercise before '''25th of April''' on the [[LED Online Seminar 2016 Groups Readings Selection Page|readings selection page]].

=== Step 2 - Concept mapping of core terms ===
*Please add here the link to your concept map on the Cmaps cloud. You will receive an invitation to the cloud per e-mail.

=== Step 3 - Reporting ===
*Please write, as a group, a 250 words reflection on your concept mapping process
*[[Group G Reflections on Readings, LED Seminar 2016|Group reflection on the readings - add them here]]

== Assignment 2 - Your Landscape Symbols ==
*You can read more details about this assignment [[Assignment_2:_Your_Landscape_Symbols|here]]
*There is an own page for this assignment, please click to find further details
*'''go to --> [[LED Seminar 2016 - Landscape Symbols Reflection Group G |Landscape Symbols Reflection Group G]]'''

=== Presentation slides 'Your Landscape Symbols' ===
''After the presentation on '''April 21''' please save your PPT slides to jpgs, upload them and add them to this gallery:''

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:Group G S1.PNG|slide 1
Image:Group G S2.PNG|slide 2
Image:Group G S3.PNG|slide 3
Image:Group G S4.PNG|slide 4
Image:Group G S5.PNG|slide 5
Image:Group G S6.PNG|slide 6
Image:Group G S7.PNG|slide 7
Image:Group G S8.PNG|slide 8
</gallery>

== Assignment 3 - Role Play on Landscape Democracy "movers and shakers" ==
*You can read more details about this assignment [[Assignment_3:_Role_Play_on_Landscape_Democracy_"movers_and_shakers"|here]]

== Assignment 4 - Your Landscape Democracy Challenge ==
*You can read more details about this assignment [[Assignment_4:_Your_Landscape_Democracy_Challenge|here]]
*Each group member will specify a landscape democracy challenge in his/her environment

=== Your Landscape Democracy Challenges ===
* '''[[LED 2016 Group G Landscape Democracy Challenge 1|Landscape Democracy Challenge 1]]'''
* '''[[LED 2016 Group G Landscape Democracy Challenge 2|Landscape Democracy Challenge 2]]'''
* '''[[LED 2016 Group G Landscape Democracy Challenge 3|Landscape Democracy Challenge 3]]'''
* '''[[LED 2016 Group G Landscape Democracy Challenge 4|Landscape Democracy Challenge 4]]'''
* '''[[LED 2016 Group G Landscape Democracy Challenge 5|Landscape Democracy Challenge 5]]'''

=== Presentation slides 'Your Landscape Democracy Challenges' ===
''After the presentation on '''May 19''' please save your PPT slides to jpgs, upload them and add them to this gallery:''

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:group_slide1.JPG|slide 1
Image:group_slide2.JPG|slide 2
Image:group_slide3.JPG|slide 3
Image:group_slide4.JPG|slide 4
Image:group_slide5.JPG|slide 5
</gallery>

== Assignment 5 - Your Democratic Change Process ==
*You can read more details about this assignment [[Your Democratic Change Process|here]]
*After documenting and reflecting on your challenges you will continue jointly with one of these challenges and design a democratic change process

=== Your Democratic Change Model ===
* '''[[LED 2016 Group G Democratic Change Process|Your democractic change process]]'''

=== Presentation slides 'Your Democractic Change Process' ===
''After the presentation on '''June 16''' please save your PPT slides to jpgs, upload them and add them to this gallery:''

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:group_slide1.JPG|slide 1
Image:group_slide2.JPG|slide 2
Image:group_slide3.JPG|slide 3
Image:group_slide4.JPG|slide 4
Image:group_slide5.JPG|slide 5
</gallery>

LED Online Seminar 2016 - Working Group G

2016-04-24T09:18:41Z

Bahmann: /* Presentation slides 'Your Landscape Symbols' */

'''--> Back to [[LED_Online_Seminar_Working_Groups_2016|working group overview]]'''

''Dear working group members. This is your group page and you will be completing the template gradually as we move through the seminar. Good luck and enjoy your collaboration!''

== Assignment 1 - Reading and Synthesizing Core Terminology ==
*You can read more details about this assignment [[Assignment_1:_Reading_and_Synthesizing_Core_Terminology|here]]
*Readings are accessible via the [[Resources_and_Literature_Landscape_and_Democracy|resources page]]

=== Step 1 - Define your readings ===
*Please add your readings selection for the terminology exercise before '''25th of April''' on the [[LED Online Seminar 2016 Groups Readings Selection Page|readings selection page]].

=== Step 2 - Concept mapping of core terms ===
*Please add here the link to your concept map on the Cmaps cloud. You will receive an invitation to the cloud per e-mail.

=== Step 3 - Reporting ===
*Please write, as a group, a 250 words reflection on your concept mapping process
*[[Group G Reflections on Readings, LED Seminar 2016|Group reflection on the readings - add them here]]

== Assignment 2 - Your Landscape Symbols ==
*You can read more details about this assignment [[Assignment_2:_Your_Landscape_Symbols|here]]
*There is an own page for this assignment, please click to find further details
*'''go to --> [[LED Seminar 2016 - Landscape Symbols Reflection Group G |Landscape Symbols Reflection Group G]]'''

=== Presentation slides 'Your Landscape Symbols' ===
''After the presentation on '''April 21''' please save your PPT slides to jpgs, upload them and add them to this gallery:''

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:Group G S1.png|slide 1
Image:Group G S2.png|slide 2
Image:Group G S3.png|slide 3
Image:Group G S4.png|slide 4
Image:Group G S5.png|slide 5
</gallery>

== Assignment 3 - Role Play on Landscape Democracy "movers and shakers" ==
*You can read more details about this assignment [[Assignment_3:_Role_Play_on_Landscape_Democracy_"movers_and_shakers"|here]]

== Assignment 4 - Your Landscape Democracy Challenge ==
*You can read more details about this assignment [[Assignment_4:_Your_Landscape_Democracy_Challenge|here]]
*Each group member will specify a landscape democracy challenge in his/her environment

=== Your Landscape Democracy Challenges ===
* '''[[LED 2016 Group G Landscape Democracy Challenge 1|Landscape Democracy Challenge 1]]'''
* '''[[LED 2016 Group G Landscape Democracy Challenge 2|Landscape Democracy Challenge 2]]'''
* '''[[LED 2016 Group G Landscape Democracy Challenge 3|Landscape Democracy Challenge 3]]'''
* '''[[LED 2016 Group G Landscape Democracy Challenge 4|Landscape Democracy Challenge 4]]'''
* '''[[LED 2016 Group G Landscape Democracy Challenge 5|Landscape Democracy Challenge 5]]'''

=== Presentation slides 'Your Landscape Democracy Challenges' ===
''After the presentation on '''May 19''' please save your PPT slides to jpgs, upload them and add them to this gallery:''

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:group_slide1.JPG|slide 1
Image:group_slide2.JPG|slide 2
Image:group_slide3.JPG|slide 3
Image:group_slide4.JPG|slide 4
Image:group_slide5.JPG|slide 5
</gallery>

== Assignment 5 - Your Democratic Change Process ==
*You can read more details about this assignment [[Your Democratic Change Process|here]]
*After documenting and reflecting on your challenges you will continue jointly with one of these challenges and design a democratic change process

=== Your Democratic Change Model ===
* '''[[LED 2016 Group G Democratic Change Process|Your democractic change process]]'''

=== Presentation slides 'Your Democractic Change Process' ===
''After the presentation on '''June 16''' please save your PPT slides to jpgs, upload them and add them to this gallery:''

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:group_slide1.JPG|slide 1
Image:group_slide2.JPG|slide 2
Image:group_slide3.JPG|slide 3
Image:group_slide4.JPG|slide 4
Image:group_slide5.JPG|slide 5
</gallery>

File:Group G S8.PNG

2016-04-24T09:17:37Z

Bahmann:

File:Group G S7.PNG

2016-04-24T09:17:24Z

Bahmann:

File:Group G S6.PNG

2016-04-24T09:17:10Z

Bahmann:

File:Group G S5.PNG

2016-04-24T09:16:52Z

Bahmann:

File:Group G S4.PNG

2016-04-24T09:16:39Z

Bahmann:

File:Group G S3.PNG

2016-04-24T09:16:23Z

Bahmann:

File:Group G S2.PNG

2016-04-24T09:15:58Z

Bahmann:

File:Group G S1.PNG

2016-04-24T09:14:48Z

Bahmann:

LED Seminar 2016 - Landscape Symbols Reflection Group G

2016-04-20T22:48:16Z

Bahmann: /* Representations and analytical drawings */

'''--> [[LED_Online_Seminar_2016_-_Working_Group_G|Back to your group page]]'''

== Landscape Symbol 1- Landscape Symbols Ås, Tonje Cecilie Stordalen ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Landscape symbols of Ås.jpg|Landscape symbols of Ås
Image:Landscape symbols 1.jpg|Connection between the landscape symbols
Image:Landscape symbols 2.jpg|Percieving vs. everyday use
</gallery>

=== Reflections ===
'''Landscape symbols'''

The landscape symbols I have chosen have come to exist for different reasons. Some of them are institutionally based (i.e. the church and the university building), and some are more related to the everyday life (bikes). Whilst both the church, the university building, the railway station and the cinema was built in order to meet a specific need, the monument was built to commemorate people who died in WWII. The bikes and excavators have emerged from a need for respectively transportation and development - two aspects closely related to the society and people's everyday lives.

I would argue that the meaning of all landscape symbols have undergone some form of change due to changes in the society, but some have undergone larger changes than others.The church, for instance, has through socio-political, economic and cultural changes shifted from symbolizing power, political order and economic prosperity to merely having a historical and religious meaning today. In the 17th century most of the settlements in Ås was located close to the church, thus proving the church as a previous power structure. The church as a symbol is meaningful across cultures.

The railroad station (built in 1878-79) created an alternative connection between Ås and Oslo, making it possible for people who didn’t own their own transportation to visit the city. Establishments of various trade and service industries followed quickly shifting the village center gradually from Korsegården west of the church to the area around the station east of the church. The station building was a symbol of prosperity, economic growth and cultural changes. Today the station has a historical value and is a signature building in downtown Ås, representing the pride in Ås as a rural community. As a symbol the station may not be of substantial meaning to anyone who does not know the history of Ås.

The Ur-building was completed in 1905 and symbolizes the start of university. It represents not only the university itself, but its symbolic value is also strongly linked to Norway's history and culture. It was built from Swedish funds during the Swedish-Norwegian union and was meant to demonstrate the power Swedish had over Norwegians. Through social-political changes the building shifted from representing the battle of power between the two countries to representing knowledge and development. Most people, regardless of culture, find the building beautiful, but in order to understand the symbol one needs to know the history.
A landscape symbol where the meaning has not changed noteworthy is the WWII-monument. Intentionally it was to commemorate the ones who died during the war, a purpose it still serves today. However, economic growth and general community development has made the monument less important today. As a symbol it is understandable across cultures.

The bike as a landscape symbol is negotiable, but I would argue that it is important for Ås because they are the No.1 way of getting around. Almost all residents own a bike, and once the snow disappears, both the center and NMBU Campus is filled with parked bicycles. To me, it stands for freedom of choice - it can take me practically anywhere and it is understandable in all cultures.

== Landscape Symbol 2- Democratic Republic of the Congo, Sharla Russell ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Symbols in Mbandaka, DR Congo.jpeg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''
*How and why did the symbols you identify appear in your landscape?
*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?
*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

''add your text here''

== Landscape Symbol 3- Glasgow Tenements, Amber Roberts ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:AR Glasgow Tenements.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
'''Glasgow's Tenements'''

The class-neutral tenements of Glasgow symbolise the ideals of Scottish socialism, standing in stark contrast to the strict class delineations of England's housing typology. As a new resident in Scotland I am keen to explore this point of difference in the 'everyday landscape' of Glasgow and its permutations through the tenement street that foregoes traditional centralised urban form and hierarchical street types, instead following a rigid and decentralised grid-iron pattern. Throughout the past century the tenements have become synonymous with Glasgow while the initial ideals they represented changed repeatedly through associations with rebellion and protest. At the same time the tenements continue to form the backdrop to the daily lives of the majority of the city's residents throughout the social classes.

'''How and why the symbols appeared in the landscape'''

The tenements of Glasgow were largely built between 1850 and 1900 to house the city's growing population. They enveloped the city centre and grew outwards into the surrounding districts and hills following a strict grid formation that makes overt their origination as planned neighbourhoods. Along with the grid pattern, strict rules governed the height and proportions of the buildings in relation to the streets upon which they stood - as such no tenement building could exceed in height the width of the street, ensuring natural light was able to reach each street, while giving Glasgow a distinctive low rise yet high density aesthetic. Each block had a decoratively tiled communal 'close' (or central hallway) through which to access the residencies inside, a communal garden with a courtyard type layout walled on each side by the tenements, a clothes drying area and refuse space. These elements created a distinctive built layout and urban form while encouraging sociality and community spirit between residents and neighbours.

'''Everyone is Equal But Some Are More Equal Than Others'''
While the tenements presented a class neutral ideology, social hierarchies were formed and displayed through various means. ''(-to add photographs).'' While the working class tenements were formed of singular roomed flats, the scale of comfort and adequacy increased along social ranks. As such, the tenements ranged from single rooms up to mansion sized flats overlooking private greens and parklands. Class was also made visible from the street level through the decoration of the communal 'close', the size of front doors, the presence of front gardens and stairs leading up to the entrances, and the architectural style of the facade (the wealthiest replicating Georgian/ 18th Century English styles and materials).

'''How meanings have changed''' ''-to complete''
Slums/
Bomb Damage/
Govan Riots/
Working Class image/
Retaliation against traditional styles

'''What the tenements mean today''' ''-to complete''
Tenement House - Museum /
'Everyday Landscape'/
Home/
Human scale environment/
Trendy/

== Landscape Symbol 4-7000 Eichen Kassel, Linda Rehn ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:7000Eichen.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
The basalt stone can be found next to a tree,usually an oak. Overall the city were 7000 Oaks for each basalt stone planted. This ensemble is titled “7000 Oaks - urban forestation instead of city administration”, and is a landscape art work of the artist Joseph Beuys. 1982, at the start the documenta 7, Beuys put 7000 basalt columns as a wedge-shaped delta on the Friedrichsplatz in front of the Fridericianum in Kassel which is a major place and building.
At its peak, Beuys planted the first oak next to their associated basalt stone. The basalt plastic acts according to Beuys as an indicator of progress. The more trees have been planted in Kassel, the smaller the plastic. "Not building, not dismantling, but both at the same function". Everyone who donated $ 500, was allowed to remove a block of basalt and for planting elsewhere an oak tree, which then the respective block of stone was delivered. In 1987, the extensive project documentation was completed.
The project was an extensive artistic and ecological intervention with the aim of changing the urban environment sustainably in terms of overall urbanization. The initially controversial project has evolved into a townscape part of the public space of the city of Kassel, and witness the "expanded concept of art" developed by Joseph Beuys. The as "social sculpture" marked artwork engages sustainable in the topographical and social structure of the city, it also committed to active care and kept alive in this way. In Kassel in 1993 also the club founded "7000 Oaks", who has made the protection and care of trees to the task.
About the effects Rhea Thönges-Stringaris (Kassel) wrotes: There is hardly anyone in Kassel who met Beuys trees in Avenue rows or squares. We have become accustomed to them. They are part of our daily life and at the same time components of an unusual, because ultimately invisible sculpture. No one can ever see as a whole. A sculpture in the traditional sense, without outlines, is unthinkable. But outlines of the 7000 Oaks are not even tangible on paper or on a map.
The landscape architect John Steiner in Stuttgart gathered the fruit of the oaks, put them in flower pots and outputs the resulting growing plants (project Eichenfeldstraße - Getting younger generation).
Olaf-Axel Burow and the project group Future Moderation Kassel University initiated in 2002 under the Kassler Application for European Capital of Culture a project with the motto 7000 characters in terms of Beuys Social Sculpture. The action should raise awarness about the aesthetic deep structure of the city of Kassel . On 16 March 2012, the 30th anniversary of the 7000 Oaks was celebrated and consecrated in honor of the artist Joseph Beuys a street was named after him in Kassel. This was the reason, there to add another unit of tree and stone.
The Dia Center for the Arts planted in 1988 five trees, each with a basalt stone, in New York. In 1996 the work was extended with 18 new trees was. One oak basalt column was planted in the park of the government district of Düsseldorf.

== Landscape Symbol 6 - Engineering Tower - Guido Maria Amorati ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:EngineeringTower.jpg|slide 1
Image:Bologna turrited.jpg|slide 2
Image:Assignment 2 drawing.jpg|slide 3
</gallery>

=== Reflections ===
''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''
*How and why did the symbols you identify appear in your landscape?
*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?
*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

I chose as landscape symbol the tower of the Faculty of Engineering of the University of Bologna (Slide 1). It appears to me every day as I go to study, so the choice may seem pretty trivial, but I think that might lead to interesting reflections. The first aspect concerns the intrinsic value of the architectural work. Designed by Giuseppe Vaccaro and built in the 1937 during the fascist regime, it is a very significant example of Italian Rationalism, an architectural current, probably the most important in the modern era in Italy, connected with the Modern Movement. This building is placed on a small hill just outside of the historic center of Bologna and respects the canons of functionalism, except for the element of the tower which has a great symbolic meaning. Used as book storage, not so practical indeed, it answers to the regime will of power and authority, but at the same time, also for the use of material, is strongly related to the image of the city. Bologna in medieval times had a very large number of tower construction. Between the 12th and 13th centuries the number of towers erected in the city was very large in the maximum flowering time, there were up to 100 (Slide 2), today 24 have survived. It is believed that the richest families in the period of struggle for investitures pro-imperial, pro-papal, used them as an instrument of aggression-defense and a symbol of power. Anyway the lack of a family dominating on the others brought to a proliferation of this kind of construction. This is an example of how the political situation could affect the shape of the city: the same phenomenon could not have happened in a city with a different political order.
So I think that is very interesting to see how this building, despite of his modern style, is linked to the historical city.

== Landscape Symbol 5- '''State Square''' Bahman Nahri ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:State square.jpg|slide 1
Image:LED.jpg|slide 2
Image:groupI_slide3.JPG|slide 3
[[File:Example.jpg]]
</gallery>

=== Reflections ===

I have selected this square as a symbol, because It is one of the key stones of the city and it can be counted as the place that for one century all the important things happened there. The name of the square represents the importance of it, State square shows that it was collecting all the forces of the time together to make a re-union of all of them together.

This historical square shows an important period of urbanization in north-western part of Iran, there are three unique and well build buildings in three sides of the square that gives an eagle shape in plan to this part of the city, but unfortunately in western part stand the new built Ministry of justice, that it has any relationship with other parts of square. Municipality stands at the eastern wing, and in southern and northern wings stands respectively military organization and police headquarters, but recently the cultural heritage organization had recently moved to police headquarters building.
These buildings were built in 1930, and in 1940 it was attacked by allies in World War, and afterwards it was used as a collecting point of soldiers in revolution, and of course so many historical coincidences. And as far as I remember all the addresses all the ways and all the memories somehow end up here to this square.

It is also the connecting point between ''university'' and some ''important mosques'' and also a ''church'', so it is not only a simple square, it played so many important roles in the past and does in present.

== Group reflection ==

''Please add a summary of your group reflection here''

[[Category:Landscape Symbols Group Reflection 2016]]

File:State square.jpg

2016-04-20T22:47:45Z

Bahmann:

LED Seminar 2016 - Landscape Symbols Reflection Group G

2016-04-20T22:43:02Z

Bahmann: /* Representations and analytical drawings */

'''--> [[LED_Online_Seminar_2016_-_Working_Group_G|Back to your group page]]'''

== Landscape Symbol 1- Landscape Symbols Ås, Tonje Cecilie Stordalen ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Landscape symbols of Ås.jpg|Landscape symbols of Ås
Image:Landscape symbols 1.jpg|Connection between the landscape symbols
Image:Landscape symbols 2.jpg|Percieving vs. everyday use
</gallery>

=== Reflections ===
'''Landscape symbols'''

The landscape symbols I have chosen have come to exist for different reasons. Some of them are institutionally based (i.e. the church and the university building), and some are more related to the everyday life (bikes). Whilst both the church, the university building, the railway station and the cinema was built in order to meet a specific need, the monument was built to commemorate people who died in WWII. The bikes and excavators have emerged from a need for respectively transportation and development - two aspects closely related to the society and people's everyday lives.

I would argue that the meaning of all landscape symbols have undergone some form of change due to changes in the society, but some have undergone larger changes than others.The church, for instance, has through socio-political, economic and cultural changes shifted from symbolizing power, political order and economic prosperity to merely having a historical and religious meaning today. In the 17th century most of the settlements in Ås was located close to the church, thus proving the church as a previous power structure. The church as a symbol is meaningful across cultures.

The railroad station (built in 1878-79) created an alternative connection between Ås and Oslo, making it possible for people who didn’t own their own transportation to visit the city. Establishments of various trade and service industries followed quickly shifting the village center gradually from Korsegården west of the church to the area around the station east of the church. The station building was a symbol of prosperity, economic growth and cultural changes. Today the station has a historical value and is a signature building in downtown Ås, representing the pride in Ås as a rural community. As a symbol the station may not be of substantial meaning to anyone who does not know the history of Ås.

The Ur-building was completed in 1905 and symbolizes the start of university. It represents not only the university itself, but its symbolic value is also strongly linked to Norway's history and culture. It was built from Swedish funds during the Swedish-Norwegian union and was meant to demonstrate the power Swedish had over Norwegians. Through social-political changes the building shifted from representing the battle of power between the two countries to representing knowledge and development. Most people, regardless of culture, find the building beautiful, but in order to understand the symbol one needs to know the history.
A landscape symbol where the meaning has not changed noteworthy is the WWII-monument. Intentionally it was to commemorate the ones who died during the war, a purpose it still serves today. However, economic growth and general community development has made the monument less important today. As a symbol it is understandable across cultures.

The bike as a landscape symbol is negotiable, but I would argue that it is important for Ås because they are the No.1 way of getting around. Almost all residents own a bike, and once the snow disappears, both the center and NMBU Campus is filled with parked bicycles. To me, it stands for freedom of choice - it can take me practically anywhere and it is understandable in all cultures.

== Landscape Symbol 2- Democratic Republic of the Congo, Sharla Russell ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Symbols in Mbandaka, DR Congo.jpeg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''
*How and why did the symbols you identify appear in your landscape?
*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?
*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

''add your text here''

== Landscape Symbol 3- Glasgow Tenements, Amber Roberts ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:AR Glasgow Tenements.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
'''Glasgow's Tenements'''

The class-neutral tenements of Glasgow symbolise the ideals of Scottish socialism, standing in stark contrast to the strict class delineations of England's housing typology. As a new resident in Scotland I am keen to explore this point of difference in the 'everyday landscape' of Glasgow and its permutations through the tenement street that foregoes traditional centralised urban form and hierarchical street types, instead following a rigid and decentralised grid-iron pattern. Throughout the past century the tenements have become synonymous with Glasgow while the initial ideals they represented changed repeatedly through associations with rebellion and protest. At the same time the tenements continue to form the backdrop to the daily lives of the majority of the city's residents throughout the social classes.

'''How and why the symbols appeared in the landscape'''

The tenements of Glasgow were largely built between 1850 and 1900 to house the city's growing population. They enveloped the city centre and grew outwards into the surrounding districts and hills following a strict grid formation that makes overt their origination as planned neighbourhoods. Along with the grid pattern, strict rules governed the height and proportions of the buildings in relation to the streets upon which they stood - as such no tenement building could exceed in height the width of the street, ensuring natural light was able to reach each street, while giving Glasgow a distinctive low rise yet high density aesthetic. Each block had a decoratively tiled communal 'close' (or central hallway) through which to access the residencies inside, a communal garden with a courtyard type layout walled on each side by the tenements, a clothes drying area and refuse space. These elements created a distinctive built layout and urban form while encouraging sociality and community spirit between residents and neighbours.

'''Everyone is Equal But Some Are More Equal Than Others'''
While the tenements presented a class neutral ideology, social hierarchies were formed and displayed through various means. ''(-to add photographs).'' While the working class tenements were formed of singular roomed flats, the scale of comfort and adequacy increased along social ranks. As such, the tenements ranged from single rooms up to mansion sized flats overlooking private greens and parklands. Class was also made visible from the street level through the decoration of the communal 'close', the size of front doors, the presence of front gardens and stairs leading up to the entrances, and the architectural style of the facade (the wealthiest replicating Georgian/ 18th Century English styles and materials).

'''How meanings have changed''' ''-to complete''
Slums/
Bomb Damage/
Govan Riots/
Working Class image/
Retaliation against traditional styles

'''What the tenements mean today''' ''-to complete''
Tenement House - Museum /
'Everyday Landscape'/
Home/
Human scale environment/
Trendy/

== Landscape Symbol 4-7000 Eichen Kassel, Linda Rehn ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:7000Eichen.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
The basalt stone can be found next to a tree,usually an oak. Overall the city were 7000 Oaks for each basalt stone planted. This ensemble is titled “7000 Oaks - urban forestation instead of city administration”, and is a landscape art work of the artist Joseph Beuys. 1982, at the start the documenta 7, Beuys put 7000 basalt columns as a wedge-shaped delta on the Friedrichsplatz in front of the Fridericianum in Kassel which is a major place and building.
At its peak, Beuys planted the first oak next to their associated basalt stone. The basalt plastic acts according to Beuys as an indicator of progress. The more trees have been planted in Kassel, the smaller the plastic. "Not building, not dismantling, but both at the same function". Everyone who donated $ 500, was allowed to remove a block of basalt and for planting elsewhere an oak tree, which then the respective block of stone was delivered. In 1987, the extensive project documentation was completed.
The project was an extensive artistic and ecological intervention with the aim of changing the urban environment sustainably in terms of overall urbanization. The initially controversial project has evolved into a townscape part of the public space of the city of Kassel, and witness the "expanded concept of art" developed by Joseph Beuys. The as "social sculpture" marked artwork engages sustainable in the topographical and social structure of the city, it also committed to active care and kept alive in this way. In Kassel in 1993 also the club founded "7000 Oaks", who has made the protection and care of trees to the task.
About the effects Rhea Thönges-Stringaris (Kassel) wrotes: There is hardly anyone in Kassel who met Beuys trees in Avenue rows or squares. We have become accustomed to them. They are part of our daily life and at the same time components of an unusual, because ultimately invisible sculpture. No one can ever see as a whole. A sculpture in the traditional sense, without outlines, is unthinkable. But outlines of the 7000 Oaks are not even tangible on paper or on a map.
The landscape architect John Steiner in Stuttgart gathered the fruit of the oaks, put them in flower pots and outputs the resulting growing plants (project Eichenfeldstraße - Getting younger generation).
Olaf-Axel Burow and the project group Future Moderation Kassel University initiated in 2002 under the Kassler Application for European Capital of Culture a project with the motto 7000 characters in terms of Beuys Social Sculpture. The action should raise awarness about the aesthetic deep structure of the city of Kassel . On 16 March 2012, the 30th anniversary of the 7000 Oaks was celebrated and consecrated in honor of the artist Joseph Beuys a street was named after him in Kassel. This was the reason, there to add another unit of tree and stone.
The Dia Center for the Arts planted in 1988 five trees, each with a basalt stone, in New York. In 1996 the work was extended with 18 new trees was. One oak basalt column was planted in the park of the government district of Düsseldorf.

== Landscape Symbol 6 - Engineering Tower - Guido Maria Amorati ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:EngineeringTower.jpg|slide 1
Image:Bologna turrited.jpg|slide 2
Image:Assignment 2 drawing.jpg|slide 3
</gallery>

=== Reflections ===
''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''
*How and why did the symbols you identify appear in your landscape?
*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?
*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

I chose as landscape symbol the tower of the Faculty of Engineering of the University of Bologna (Slide 1). It appears to me every day as I go to study, so the choice may seem pretty trivial, but I think that might lead to interesting reflections. The first aspect concerns the intrinsic value of the architectural work. Designed by Giuseppe Vaccaro and built in the 1937 during the fascist regime, it is a very significant example of Italian Rationalism, an architectural current, probably the most important in the modern era in Italy, connected with the Modern Movement. This building is placed on a small hill just outside of the historic center of Bologna and respects the canons of functionalism, except for the element of the tower which has a great symbolic meaning. Used as book storage, not so practical indeed, it answers to the regime will of power and authority, but at the same time, also for the use of material, is strongly related to the image of the city. Bologna in medieval times had a very large number of tower construction. Between the 12th and 13th centuries the number of towers erected in the city was very large in the maximum flowering time, there were up to 100 (Slide 2), today 24 have survived. It is believed that the richest families in the period of struggle for investitures pro-imperial, pro-papal, used them as an instrument of aggression-defense and a symbol of power. Anyway the lack of a family dominating on the others brought to a proliferation of this kind of construction. This is an example of how the political situation could affect the shape of the city: the same phenomenon could not have happened in a city with a different political order.
So I think that is very interesting to see how this building, despite of his modern style, is linked to the historical city.

== Landscape Symbol 5- '''State Square''' Bahman Nahri ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:state square.jpg|slide 1
Image:LED.jpg|slide 2
Image:groupI_slide3.JPG|slide 3
[[File:Example.jpg]]
</gallery>

=== Reflections ===

I have selected this square as a symbol, because It is one of the key stones of the city and it can be counted as the place that for one century all the important things happened there. The name of the square represents the importance of it, State square shows that it was collecting all the forces of the time together to make a re-union of all of them together.

This historical square shows an important period of urbanization in north-western part of Iran, there are three unique and well build buildings in three sides of the square that gives an eagle shape in plan to this part of the city, but unfortunately in western part stand the new built Ministry of justice, that it has any relationship with other parts of square. Municipality stands at the eastern wing, and in southern and northern wings stands respectively military organization and police headquarters, but recently the cultural heritage organization had recently moved to police headquarters building.
These buildings were built in 1930, and in 1940 it was attacked by allies in World War, and afterwards it was used as a collecting point of soldiers in revolution, and of course so many historical coincidences. And as far as I remember all the addresses all the ways and all the memories somehow end up here to this square.

It is also the connecting point between ''university'' and some ''important mosques'' and also a ''church'', so it is not only a simple square, it played so many important roles in the past and does in present.

== Group reflection ==

''Please add a summary of your group reflection here''

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group G

2016-04-20T22:41:43Z

Bahmann: /* Representations and analytical drawings */

'''--> [[LED_Online_Seminar_2016_-_Working_Group_G|Back to your group page]]'''

== Landscape Symbol 1- Landscape Symbols Ås, Tonje Cecilie Stordalen ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Landscape symbols of Ås.jpg|Landscape symbols of Ås
Image:Landscape symbols 1.jpg|Connection between the landscape symbols
Image:Landscape symbols 2.jpg|Percieving vs. everyday use
</gallery>

=== Reflections ===
'''Landscape symbols'''

The landscape symbols I have chosen have come to exist for different reasons. Some of them are institutionally based (i.e. the church and the university building), and some are more related to the everyday life (bikes). Whilst both the church, the university building, the railway station and the cinema was built in order to meet a specific need, the monument was built to commemorate people who died in WWII. The bikes and excavators have emerged from a need for respectively transportation and development - two aspects closely related to the society and people's everyday lives.

I would argue that the meaning of all landscape symbols have undergone some form of change due to changes in the society, but some have undergone larger changes than others.The church, for instance, has through socio-political, economic and cultural changes shifted from symbolizing power, political order and economic prosperity to merely having a historical and religious meaning today. In the 17th century most of the settlements in Ås was located close to the church, thus proving the church as a previous power structure. The church as a symbol is meaningful across cultures.

The railroad station (built in 1878-79) created an alternative connection between Ås and Oslo, making it possible for people who didn’t own their own transportation to visit the city. Establishments of various trade and service industries followed quickly shifting the village center gradually from Korsegården west of the church to the area around the station east of the church. The station building was a symbol of prosperity, economic growth and cultural changes. Today the station has a historical value and is a signature building in downtown Ås, representing the pride in Ås as a rural community. As a symbol the station may not be of substantial meaning to anyone who does not know the history of Ås.

The Ur-building was completed in 1905 and symbolizes the start of university. It represents not only the university itself, but its symbolic value is also strongly linked to Norway's history and culture. It was built from Swedish funds during the Swedish-Norwegian union and was meant to demonstrate the power Swedish had over Norwegians. Through social-political changes the building shifted from representing the battle of power between the two countries to representing knowledge and development. Most people, regardless of culture, find the building beautiful, but in order to understand the symbol one needs to know the history.
A landscape symbol where the meaning has not changed noteworthy is the WWII-monument. Intentionally it was to commemorate the ones who died during the war, a purpose it still serves today. However, economic growth and general community development has made the monument less important today. As a symbol it is understandable across cultures.

The bike as a landscape symbol is negotiable, but I would argue that it is important for Ås because they are the No.1 way of getting around. Almost all residents own a bike, and once the snow disappears, both the center and NMBU Campus is filled with parked bicycles. To me, it stands for freedom of choice - it can take me practically anywhere and it is understandable in all cultures.

== Landscape Symbol 2- Democratic Republic of the Congo, Sharla Russell ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Symbols in Mbandaka, DR Congo.jpeg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''
*How and why did the symbols you identify appear in your landscape?
*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?
*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

''add your text here''

== Landscape Symbol 3- Glasgow Tenements, Amber Roberts ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:AR Glasgow Tenements.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
'''Glasgow's Tenements'''

The class-neutral tenements of Glasgow symbolise the ideals of Scottish socialism, standing in stark contrast to the strict class delineations of England's housing typology. As a new resident in Scotland I am keen to explore this point of difference in the 'everyday landscape' of Glasgow and its permutations through the tenement street that foregoes traditional centralised urban form and hierarchical street types, instead following a rigid and decentralised grid-iron pattern. Throughout the past century the tenements have become synonymous with Glasgow while the initial ideals they represented changed repeatedly through associations with rebellion and protest. At the same time the tenements continue to form the backdrop to the daily lives of the majority of the city's residents throughout the social classes.

'''How and why the symbols appeared in the landscape'''

The tenements of Glasgow were largely built between 1850 and 1900 to house the city's growing population. They enveloped the city centre and grew outwards into the surrounding districts and hills following a strict grid formation that makes overt their origination as planned neighbourhoods. Along with the grid pattern, strict rules governed the height and proportions of the buildings in relation to the streets upon which they stood - as such no tenement building could exceed in height the width of the street, ensuring natural light was able to reach each street, while giving Glasgow a distinctive low rise yet high density aesthetic. Each block had a decoratively tiled communal 'close' (or central hallway) through which to access the residencies inside, a communal garden with a courtyard type layout walled on each side by the tenements, a clothes drying area and refuse space. These elements created a distinctive built layout and urban form while encouraging sociality and community spirit between residents and neighbours.

'''Everyone is Equal But Some Are More Equal Than Others'''
While the tenements presented a class neutral ideology, social hierarchies were formed and displayed through various means. ''(-to add photographs).'' While the working class tenements were formed of singular roomed flats, the scale of comfort and adequacy increased along social ranks. As such, the tenements ranged from single rooms up to mansion sized flats overlooking private greens and parklands. Class was also made visible from the street level through the decoration of the communal 'close', the size of front doors, the presence of front gardens and stairs leading up to the entrances, and the architectural style of the facade (the wealthiest replicating Georgian/ 18th Century English styles and materials).

'''How meanings have changed''' ''-to complete''
Slums/
Bomb Damage/
Govan Riots/
Working Class image/
Retaliation against traditional styles

'''What the tenements mean today''' ''-to complete''
Tenement House - Museum /
'Everyday Landscape'/
Home/
Human scale environment/
Trendy/

== Landscape Symbol 4-7000 Eichen Kassel, Linda Rehn ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:7000Eichen.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
The basalt stone can be found next to a tree,usually an oak. Overall the city were 7000 Oaks for each basalt stone planted. This ensemble is titled “7000 Oaks - urban forestation instead of city administration”, and is a landscape art work of the artist Joseph Beuys. 1982, at the start the documenta 7, Beuys put 7000 basalt columns as a wedge-shaped delta on the Friedrichsplatz in front of the Fridericianum in Kassel which is a major place and building.
At its peak, Beuys planted the first oak next to their associated basalt stone. The basalt plastic acts according to Beuys as an indicator of progress. The more trees have been planted in Kassel, the smaller the plastic. "Not building, not dismantling, but both at the same function". Everyone who donated $ 500, was allowed to remove a block of basalt and for planting elsewhere an oak tree, which then the respective block of stone was delivered. In 1987, the extensive project documentation was completed.
The project was an extensive artistic and ecological intervention with the aim of changing the urban environment sustainably in terms of overall urbanization. The initially controversial project has evolved into a townscape part of the public space of the city of Kassel, and witness the "expanded concept of art" developed by Joseph Beuys. The as "social sculpture" marked artwork engages sustainable in the topographical and social structure of the city, it also committed to active care and kept alive in this way. In Kassel in 1993 also the club founded "7000 Oaks", who has made the protection and care of trees to the task.
About the effects Rhea Thönges-Stringaris (Kassel) wrotes: There is hardly anyone in Kassel who met Beuys trees in Avenue rows or squares. We have become accustomed to them. They are part of our daily life and at the same time components of an unusual, because ultimately invisible sculpture. No one can ever see as a whole. A sculpture in the traditional sense, without outlines, is unthinkable. But outlines of the 7000 Oaks are not even tangible on paper or on a map.
The landscape architect John Steiner in Stuttgart gathered the fruit of the oaks, put them in flower pots and outputs the resulting growing plants (project Eichenfeldstraße - Getting younger generation).
Olaf-Axel Burow and the project group Future Moderation Kassel University initiated in 2002 under the Kassler Application for European Capital of Culture a project with the motto 7000 characters in terms of Beuys Social Sculpture. The action should raise awarness about the aesthetic deep structure of the city of Kassel . On 16 March 2012, the 30th anniversary of the 7000 Oaks was celebrated and consecrated in honor of the artist Joseph Beuys a street was named after him in Kassel. This was the reason, there to add another unit of tree and stone.
The Dia Center for the Arts planted in 1988 five trees, each with a basalt stone, in New York. In 1996 the work was extended with 18 new trees was. One oak basalt column was planted in the park of the government district of Düsseldorf.

== Landscape Symbol 6 - Engineering Tower - Guido Maria Amorati ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:EngineeringTower.jpg|slide 1
Image:Bologna turrited.jpg|slide 2
Image:Assignment 2 drawing.jpg|slide 3
</gallery>

=== Reflections ===
''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''
*How and why did the symbols you identify appear in your landscape?
*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?
*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

I chose as landscape symbol the tower of the Faculty of Engineering of the University of Bologna (Slide 1). It appears to me every day as I go to study, so the choice may seem pretty trivial, but I think that might lead to interesting reflections. The first aspect concerns the intrinsic value of the architectural work. Designed by Giuseppe Vaccaro and built in the 1937 during the fascist regime, it is a very significant example of Italian Rationalism, an architectural current, probably the most important in the modern era in Italy, connected with the Modern Movement. This building is placed on a small hill just outside of the historic center of Bologna and respects the canons of functionalism, except for the element of the tower which has a great symbolic meaning. Used as book storage, not so practical indeed, it answers to the regime will of power and authority, but at the same time, also for the use of material, is strongly related to the image of the city. Bologna in medieval times had a very large number of tower construction. Between the 12th and 13th centuries the number of towers erected in the city was very large in the maximum flowering time, there were up to 100 (Slide 2), today 24 have survived. It is believed that the richest families in the period of struggle for investitures pro-imperial, pro-papal, used them as an instrument of aggression-defense and a symbol of power. Anyway the lack of a family dominating on the others brought to a proliferation of this kind of construction. This is an example of how the political situation could affect the shape of the city: the same phenomenon could not have happened in a city with a different political order.
So I think that is very interesting to see how this building, despite of his modern style, is linked to the historical city.

== Landscape Symbol 5- '''State Square''' Bahman Nahri ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:state square.jpg|slide 1
Image:LED.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
[[File:Example.jpg]]
</gallery>

=== Reflections ===

I have selected this square as a symbol, because It is one of the key stones of the city and it can be counted as the place that for one century all the important things happened there. The name of the square represents the importance of it, State square shows that it was collecting all the forces of the time together to make a re-union of all of them together.

This historical square shows an important period of urbanization in north-western part of Iran, there are three unique and well build buildings in three sides of the square that gives an eagle shape in plan to this part of the city, but unfortunately in western part stand the new built Ministry of justice, that it has any relationship with other parts of square. Municipality stands at the eastern wing, and in southern and northern wings stands respectively military organization and police headquarters, but recently the cultural heritage organization had recently moved to police headquarters building.
These buildings were built in 1930, and in 1940 it was attacked by allies in World War, and afterwards it was used as a collecting point of soldiers in revolution, and of course so many historical coincidences. And as far as I remember all the addresses all the ways and all the memories somehow end up here to this square.

It is also the connecting point between ''university'' and some ''important mosques'' and also a ''church'', so it is not only a simple square, it played so many important roles in the past and does in present.

== Group reflection ==

''Please add a summary of your group reflection here''

[[Category:Landscape Symbols Group Reflection 2016]]

File:LED.jpg

2016-04-20T22:40:17Z

Bahmann: Bahmann uploaded a new version of File:LED.jpg

File:LED.jpg

2016-04-20T22:39:14Z

Bahmann:

LED Seminar 2016 - Landscape Symbols Reflection Group G

2016-04-20T22:37:14Z

Bahmann: /* Representations and analytical drawings */

'''--> [[LED_Online_Seminar_2016_-_Working_Group_G|Back to your group page]]'''

== Landscape Symbol 1- Landscape Symbols Ås, Tonje Cecilie Stordalen ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Landscape symbols of Ås.jpg|Landscape symbols of Ås
Image:Landscape symbols 1.jpg|Connection between the landscape symbols
Image:Landscape symbols 2.jpg|Percieving vs. everyday use
</gallery>

=== Reflections ===
'''Landscape symbols'''

The landscape symbols I have chosen have come to exist for different reasons. Some of them are institutionally based (i.e. the church and the university building), and some are more related to the everyday life (bikes). Whilst both the church, the university building, the railway station and the cinema was built in order to meet a specific need, the monument was built to commemorate people who died in WWII. The bikes and excavators have emerged from a need for respectively transportation and development - two aspects closely related to the society and people's everyday lives.

I would argue that the meaning of all landscape symbols have undergone some form of change due to changes in the society, but some have undergone larger changes than others.The church, for instance, has through socio-political, economic and cultural changes shifted from symbolizing power, political order and economic prosperity to merely having a historical and religious meaning today. In the 17th century most of the settlements in Ås was located close to the church, thus proving the church as a previous power structure. The church as a symbol is meaningful across cultures.

The railroad station (built in 1878-79) created an alternative connection between Ås and Oslo, making it possible for people who didn’t own their own transportation to visit the city. Establishments of various trade and service industries followed quickly shifting the village center gradually from Korsegården west of the church to the area around the station east of the church. The station building was a symbol of prosperity, economic growth and cultural changes. Today the station has a historical value and is a signature building in downtown Ås, representing the pride in Ås as a rural community. As a symbol the station may not be of substantial meaning to anyone who does not know the history of Ås.

The Ur-building was completed in 1905 and symbolizes the start of university. It represents not only the university itself, but its symbolic value is also strongly linked to Norway's history and culture. It was built from Swedish funds during the Swedish-Norwegian union and was meant to demonstrate the power Swedish had over Norwegians. Through social-political changes the building shifted from representing the battle of power between the two countries to representing knowledge and development. Most people, regardless of culture, find the building beautiful, but in order to understand the symbol one needs to know the history.
A landscape symbol where the meaning has not changed noteworthy is the WWII-monument. Intentionally it was to commemorate the ones who died during the war, a purpose it still serves today. However, economic growth and general community development has made the monument less important today. As a symbol it is understandable across cultures.

The bike as a landscape symbol is negotiable, but I would argue that it is important for Ås because they are the No.1 way of getting around. Almost all residents own a bike, and once the snow disappears, both the center and NMBU Campus is filled with parked bicycles. To me, it stands for freedom of choice - it can take me practically anywhere and it is understandable in all cultures.

== Landscape Symbol 2- Democratic Republic of the Congo, Sharla Russell ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Symbols in Mbandaka, DR Congo.jpeg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''
*How and why did the symbols you identify appear in your landscape?
*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?
*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

''add your text here''

== Landscape Symbol 3- Glasgow Tenements, Amber Roberts ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:AR Glasgow Tenements.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
'''Glasgow's Tenements'''

The class-neutral tenements of Glasgow symbolise the ideals of Scottish socialism, standing in stark contrast to the strict class delineations of England's housing typology. As a new resident in Scotland I am keen to explore this point of difference in the 'everyday landscape' of Glasgow and its permutations through the tenement street that foregoes traditional centralised urban form and hierarchical street types, instead following a rigid and decentralised grid-iron pattern. Throughout the past century the tenements have become synonymous with Glasgow while the initial ideals they represented changed repeatedly through associations with rebellion and protest. At the same time the tenements continue to form the backdrop to the daily lives of the majority of the city's residents throughout the social classes.

'''How and why the symbols appeared in the landscape'''

The tenements of Glasgow were largely built between 1850 and 1900 to house the city's growing population. They enveloped the city centre and grew outwards into the surrounding districts and hills following a strict grid formation that makes overt their origination as planned neighbourhoods. Along with the grid pattern, strict rules governed the height and proportions of the buildings in relation to the streets upon which they stood - as such no tenement building could exceed in height the width of the street, ensuring natural light was able to reach each street, while giving Glasgow a distinctive low rise yet high density aesthetic. Each block had a decoratively tiled communal 'close' (or central hallway) through which to access the residencies inside, a communal garden with a courtyard type layout walled on each side by the tenements, a clothes drying area and refuse space. These elements created a distinctive built layout and urban form while encouraging sociality and community spirit between residents and neighbours.

'''Everyone is Equal But Some Are More Equal Than Others'''
While the tenements presented a class neutral ideology, social hierarchies were formed and displayed through various means. ''(-to add photographs).'' While the working class tenements were formed of singular roomed flats, the scale of comfort and adequacy increased along social ranks. As such, the tenements ranged from single rooms up to mansion sized flats overlooking private greens and parklands. Class was also made visible from the street level through the decoration of the communal 'close', the size of front doors, the presence of front gardens and stairs leading up to the entrances, and the architectural style of the facade (the wealthiest replicating Georgian/ 18th Century English styles and materials).

'''How meanings have changed''' ''-to complete''
Slums/
Bomb Damage/
Govan Riots/
Working Class image/
Retaliation against traditional styles

'''What the tenements mean today''' ''-to complete''
Tenement House - Museum /
'Everyday Landscape'/
Home/
Human scale environment/
Trendy/

== Landscape Symbol 4-7000 Eichen Kassel, Linda Rehn ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:7000Eichen.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
The basalt stone can be found next to a tree,usually an oak. Overall the city were 7000 Oaks for each basalt stone planted. This ensemble is titled “7000 Oaks - urban forestation instead of city administration”, and is a landscape art work of the artist Joseph Beuys. 1982, at the start the documenta 7, Beuys put 7000 basalt columns as a wedge-shaped delta on the Friedrichsplatz in front of the Fridericianum in Kassel which is a major place and building.
At its peak, Beuys planted the first oak next to their associated basalt stone. The basalt plastic acts according to Beuys as an indicator of progress. The more trees have been planted in Kassel, the smaller the plastic. "Not building, not dismantling, but both at the same function". Everyone who donated $ 500, was allowed to remove a block of basalt and for planting elsewhere an oak tree, which then the respective block of stone was delivered. In 1987, the extensive project documentation was completed.
The project was an extensive artistic and ecological intervention with the aim of changing the urban environment sustainably in terms of overall urbanization. The initially controversial project has evolved into a townscape part of the public space of the city of Kassel, and witness the "expanded concept of art" developed by Joseph Beuys. The as "social sculpture" marked artwork engages sustainable in the topographical and social structure of the city, it also committed to active care and kept alive in this way. In Kassel in 1993 also the club founded "7000 Oaks", who has made the protection and care of trees to the task.
About the effects Rhea Thönges-Stringaris (Kassel) wrotes: There is hardly anyone in Kassel who met Beuys trees in Avenue rows or squares. We have become accustomed to them. They are part of our daily life and at the same time components of an unusual, because ultimately invisible sculpture. No one can ever see as a whole. A sculpture in the traditional sense, without outlines, is unthinkable. But outlines of the 7000 Oaks are not even tangible on paper or on a map.
The landscape architect John Steiner in Stuttgart gathered the fruit of the oaks, put them in flower pots and outputs the resulting growing plants (project Eichenfeldstraße - Getting younger generation).
Olaf-Axel Burow and the project group Future Moderation Kassel University initiated in 2002 under the Kassler Application for European Capital of Culture a project with the motto 7000 characters in terms of Beuys Social Sculpture. The action should raise awarness about the aesthetic deep structure of the city of Kassel . On 16 March 2012, the 30th anniversary of the 7000 Oaks was celebrated and consecrated in honor of the artist Joseph Beuys a street was named after him in Kassel. This was the reason, there to add another unit of tree and stone.
The Dia Center for the Arts planted in 1988 five trees, each with a basalt stone, in New York. In 1996 the work was extended with 18 new trees was. One oak basalt column was planted in the park of the government district of Düsseldorf.

== Landscape Symbol 6 - Engineering Tower - Guido Maria Amorati ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:EngineeringTower.jpg|slide 1
Image:Bologna turrited.jpg|slide 2
Image:Assignment 2 drawing.jpg|slide 3
</gallery>

=== Reflections ===
''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''
*How and why did the symbols you identify appear in your landscape?
*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?
*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

I chose as landscape symbol the tower of the Faculty of Engineering of the University of Bologna (Slide 1). It appears to me every day as I go to study, so the choice may seem pretty trivial, but I think that might lead to interesting reflections. The first aspect concerns the intrinsic value of the architectural work. Designed by Giuseppe Vaccaro and built in the 1937 during the fascist regime, it is a very significant example of Italian Rationalism, an architectural current, probably the most important in the modern era in Italy, connected with the Modern Movement. This building is placed on a small hill just outside of the historic center of Bologna and respects the canons of functionalism, except for the element of the tower which has a great symbolic meaning. Used as book storage, not so practical indeed, it answers to the regime will of power and authority, but at the same time, also for the use of material, is strongly related to the image of the city. Bologna in medieval times had a very large number of tower construction. Between the 12th and 13th centuries the number of towers erected in the city was very large in the maximum flowering time, there were up to 100 (Slide 2), today 24 have survived. It is believed that the richest families in the period of struggle for investitures pro-imperial, pro-papal, used them as an instrument of aggression-defense and a symbol of power. Anyway the lack of a family dominating on the others brought to a proliferation of this kind of construction. This is an example of how the political situation could affect the shape of the city: the same phenomenon could not have happened in a city with a different political order.
So I think that is very interesting to see how this building, despite of his modern style, is linked to the historical city.

== Landscape Symbol 5- '''State Square''' Bahman Nahri ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:state square.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
[[File:Example.jpg]]
</gallery>

=== Reflections ===

I have selected this square as a symbol, because It is one of the key stones of the city and it can be counted as the place that for one century all the important things happened there. The name of the square represents the importance of it, State square shows that it was collecting all the forces of the time together to make a re-union of all of them together.

This historical square shows an important period of urbanization in north-western part of Iran, there are three unique and well build buildings in three sides of the square that gives an eagle shape in plan to this part of the city, but unfortunately in western part stand the new built Ministry of justice, that it has any relationship with other parts of square. Municipality stands at the eastern wing, and in southern and northern wings stands respectively military organization and police headquarters, but recently the cultural heritage organization had recently moved to police headquarters building.
These buildings were built in 1930, and in 1940 it was attacked by allies in World War, and afterwards it was used as a collecting point of soldiers in revolution, and of course so many historical coincidences. And as far as I remember all the addresses all the ways and all the memories somehow end up here to this square.

It is also the connecting point between ''university'' and some ''important mosques'' and also a ''church'', so it is not only a simple square, it played so many important roles in the past and does in present.

== Group reflection ==

''Please add a summary of your group reflection here''

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group G

2016-04-20T22:36:17Z

Bahmann: /* Representations and analytical drawings */

'''--> [[LED_Online_Seminar_2016_-_Working_Group_G|Back to your group page]]'''

== Landscape Symbol 1- Landscape Symbols Ås, Tonje Cecilie Stordalen ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Landscape symbols of Ås.jpg|Landscape symbols of Ås
Image:Landscape symbols 1.jpg|Connection between the landscape symbols
Image:Landscape symbols 2.jpg|Percieving vs. everyday use
</gallery>

=== Reflections ===
'''Landscape symbols'''

The landscape symbols I have chosen have come to exist for different reasons. Some of them are institutionally based (i.e. the church and the university building), and some are more related to the everyday life (bikes). Whilst both the church, the university building, the railway station and the cinema was built in order to meet a specific need, the monument was built to commemorate people who died in WWII. The bikes and excavators have emerged from a need for respectively transportation and development - two aspects closely related to the society and people's everyday lives.

I would argue that the meaning of all landscape symbols have undergone some form of change due to changes in the society, but some have undergone larger changes than others.The church, for instance, has through socio-political, economic and cultural changes shifted from symbolizing power, political order and economic prosperity to merely having a historical and religious meaning today. In the 17th century most of the settlements in Ås was located close to the church, thus proving the church as a previous power structure. The church as a symbol is meaningful across cultures.

The railroad station (built in 1878-79) created an alternative connection between Ås and Oslo, making it possible for people who didn’t own their own transportation to visit the city. Establishments of various trade and service industries followed quickly shifting the village center gradually from Korsegården west of the church to the area around the station east of the church. The station building was a symbol of prosperity, economic growth and cultural changes. Today the station has a historical value and is a signature building in downtown Ås, representing the pride in Ås as a rural community. As a symbol the station may not be of substantial meaning to anyone who does not know the history of Ås.

The Ur-building was completed in 1905 and symbolizes the start of university. It represents not only the university itself, but its symbolic value is also strongly linked to Norway's history and culture. It was built from Swedish funds during the Swedish-Norwegian union and was meant to demonstrate the power Swedish had over Norwegians. Through social-political changes the building shifted from representing the battle of power between the two countries to representing knowledge and development. Most people, regardless of culture, find the building beautiful, but in order to understand the symbol one needs to know the history.
A landscape symbol where the meaning has not changed noteworthy is the WWII-monument. Intentionally it was to commemorate the ones who died during the war, a purpose it still serves today. However, economic growth and general community development has made the monument less important today. As a symbol it is understandable across cultures.

The bike as a landscape symbol is negotiable, but I would argue that it is important for Ås because they are the No.1 way of getting around. Almost all residents own a bike, and once the snow disappears, both the center and NMBU Campus is filled with parked bicycles. To me, it stands for freedom of choice - it can take me practically anywhere and it is understandable in all cultures.

== Landscape Symbol 2- Democratic Republic of the Congo, Sharla Russell ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Symbols in Mbandaka, DR Congo.jpeg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''
*How and why did the symbols you identify appear in your landscape?
*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?
*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

''add your text here''

== Landscape Symbol 3- Glasgow Tenements, Amber Roberts ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:AR Glasgow Tenements.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
'''Glasgow's Tenements'''

The class-neutral tenements of Glasgow symbolise the ideals of Scottish socialism, standing in stark contrast to the strict class delineations of England's housing typology. As a new resident in Scotland I am keen to explore this point of difference in the 'everyday landscape' of Glasgow and its permutations through the tenement street that foregoes traditional centralised urban form and hierarchical street types, instead following a rigid and decentralised grid-iron pattern. Throughout the past century the tenements have become synonymous with Glasgow while the initial ideals they represented changed repeatedly through associations with rebellion and protest. At the same time the tenements continue to form the backdrop to the daily lives of the majority of the city's residents throughout the social classes.

'''How and why the symbols appeared in the landscape'''

The tenements of Glasgow were largely built between 1850 and 1900 to house the city's growing population. They enveloped the city centre and grew outwards into the surrounding districts and hills following a strict grid formation that makes overt their origination as planned neighbourhoods. Along with the grid pattern, strict rules governed the height and proportions of the buildings in relation to the streets upon which they stood - as such no tenement building could exceed in height the width of the street, ensuring natural light was able to reach each street, while giving Glasgow a distinctive low rise yet high density aesthetic. Each block had a decoratively tiled communal 'close' (or central hallway) through which to access the residencies inside, a communal garden with a courtyard type layout walled on each side by the tenements, a clothes drying area and refuse space. These elements created a distinctive built layout and urban form while encouraging sociality and community spirit between residents and neighbours.

'''Everyone is Equal But Some Are More Equal Than Others'''
While the tenements presented a class neutral ideology, social hierarchies were formed and displayed through various means. ''(-to add photographs).'' While the working class tenements were formed of singular roomed flats, the scale of comfort and adequacy increased along social ranks. As such, the tenements ranged from single rooms up to mansion sized flats overlooking private greens and parklands. Class was also made visible from the street level through the decoration of the communal 'close', the size of front doors, the presence of front gardens and stairs leading up to the entrances, and the architectural style of the facade (the wealthiest replicating Georgian/ 18th Century English styles and materials).

'''How meanings have changed''' ''-to complete''
Slums/
Bomb Damage/
Govan Riots/
Working Class image/
Retaliation against traditional styles

'''What the tenements mean today''' ''-to complete''
Tenement House - Museum /
'Everyday Landscape'/
Home/
Human scale environment/
Trendy/

== Landscape Symbol 4-7000 Eichen Kassel, Linda Rehn ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:7000Eichen.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
The basalt stone can be found next to a tree,usually an oak. Overall the city were 7000 Oaks for each basalt stone planted. This ensemble is titled “7000 Oaks - urban forestation instead of city administration”, and is a landscape art work of the artist Joseph Beuys. 1982, at the start the documenta 7, Beuys put 7000 basalt columns as a wedge-shaped delta on the Friedrichsplatz in front of the Fridericianum in Kassel which is a major place and building.
At its peak, Beuys planted the first oak next to their associated basalt stone. The basalt plastic acts according to Beuys as an indicator of progress. The more trees have been planted in Kassel, the smaller the plastic. "Not building, not dismantling, but both at the same function". Everyone who donated $ 500, was allowed to remove a block of basalt and for planting elsewhere an oak tree, which then the respective block of stone was delivered. In 1987, the extensive project documentation was completed.
The project was an extensive artistic and ecological intervention with the aim of changing the urban environment sustainably in terms of overall urbanization. The initially controversial project has evolved into a townscape part of the public space of the city of Kassel, and witness the "expanded concept of art" developed by Joseph Beuys. The as "social sculpture" marked artwork engages sustainable in the topographical and social structure of the city, it also committed to active care and kept alive in this way. In Kassel in 1993 also the club founded "7000 Oaks", who has made the protection and care of trees to the task.
About the effects Rhea Thönges-Stringaris (Kassel) wrotes: There is hardly anyone in Kassel who met Beuys trees in Avenue rows or squares. We have become accustomed to them. They are part of our daily life and at the same time components of an unusual, because ultimately invisible sculpture. No one can ever see as a whole. A sculpture in the traditional sense, without outlines, is unthinkable. But outlines of the 7000 Oaks are not even tangible on paper or on a map.
The landscape architect John Steiner in Stuttgart gathered the fruit of the oaks, put them in flower pots and outputs the resulting growing plants (project Eichenfeldstraße - Getting younger generation).
Olaf-Axel Burow and the project group Future Moderation Kassel University initiated in 2002 under the Kassler Application for European Capital of Culture a project with the motto 7000 characters in terms of Beuys Social Sculpture. The action should raise awarness about the aesthetic deep structure of the city of Kassel . On 16 March 2012, the 30th anniversary of the 7000 Oaks was celebrated and consecrated in honor of the artist Joseph Beuys a street was named after him in Kassel. This was the reason, there to add another unit of tree and stone.
The Dia Center for the Arts planted in 1988 five trees, each with a basalt stone, in New York. In 1996 the work was extended with 18 new trees was. One oak basalt column was planted in the park of the government district of Düsseldorf.

== Landscape Symbol 6 - Engineering Tower - Guido Maria Amorati ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:EngineeringTower.jpg|slide 1
Image:Bologna turrited.jpg|slide 2
Image:Assignment 2 drawing.jpg|slide 3
</gallery>

=== Reflections ===
''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''
*How and why did the symbols you identify appear in your landscape?
*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?
*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

I chose as landscape symbol the tower of the Faculty of Engineering of the University of Bologna (Slide 1). It appears to me every day as I go to study, so the choice may seem pretty trivial, but I think that might lead to interesting reflections. The first aspect concerns the intrinsic value of the architectural work. Designed by Giuseppe Vaccaro and built in the 1937 during the fascist regime, it is a very significant example of Italian Rationalism, an architectural current, probably the most important in the modern era in Italy, connected with the Modern Movement. This building is placed on a small hill just outside of the historic center of Bologna and respects the canons of functionalism, except for the element of the tower which has a great symbolic meaning. Used as book storage, not so practical indeed, it answers to the regime will of power and authority, but at the same time, also for the use of material, is strongly related to the image of the city. Bologna in medieval times had a very large number of tower construction. Between the 12th and 13th centuries the number of towers erected in the city was very large in the maximum flowering time, there were up to 100 (Slide 2), today 24 have survived. It is believed that the richest families in the period of struggle for investitures pro-imperial, pro-papal, used them as an instrument of aggression-defense and a symbol of power. Anyway the lack of a family dominating on the others brought to a proliferation of this kind of construction. This is an example of how the political situation could affect the shape of the city: the same phenomenon could not have happened in a city with a different political order.
So I think that is very interesting to see how this building, despite of his modern style, is linked to the historical city.

== Landscape Symbol 5- '''State Square''' Bahman Nahri ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:state square.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===

I have selected this square as a symbol, because It is one of the key stones of the city and it can be counted as the place that for one century all the important things happened there. The name of the square represents the importance of it, State square shows that it was collecting all the forces of the time together to make a re-union of all of them together.

This historical square shows an important period of urbanization in north-western part of Iran, there are three unique and well build buildings in three sides of the square that gives an eagle shape in plan to this part of the city, but unfortunately in western part stand the new built Ministry of justice, that it has any relationship with other parts of square. Municipality stands at the eastern wing, and in southern and northern wings stands respectively military organization and police headquarters, but recently the cultural heritage organization had recently moved to police headquarters building.
These buildings were built in 1930, and in 1940 it was attacked by allies in World War, and afterwards it was used as a collecting point of soldiers in revolution, and of course so many historical coincidences. And as far as I remember all the addresses all the ways and all the memories somehow end up here to this square.

It is also the connecting point between ''university'' and some ''important mosques'' and also a ''church'', so it is not only a simple square, it played so many important roles in the past and does in present.

== Group reflection ==

''Please add a summary of your group reflection here''

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group G

2016-04-20T21:22:35Z

Bahmann: /* Reflections */

'''--> [[LED_Online_Seminar_2016_-_Working_Group_G|Back to your group page]]'''

== Landscape Symbol 1- Landscape Symbols Ås, Tonje Cecilie Stordalen ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Landscape symbols of Ås.jpg|Landscape symbols of Ås
Image:Landscape symbols 1.jpg|Connection between the landscape symbols
Image:Landscape symbols 2.jpg|Percieving vs. everyday use
</gallery>

=== Reflections ===
'''Landscape symbols'''

The landscape symbols I have chosen have come to exist for different reasons. Some of them are institutionally based (i.e. the church and the university building), and some are more related to the everyday life (bikes). Whilst both the church, the university building, the railway station and the cinema was built in order to meet a specific need, the monument was built to commemorate people who died in WWII. The bikes and excavators have emerged from a need for respectively transportation and development - two aspects closely related to the society and people's everyday lives.

I would argue that the meaning of all landscape symbols have undergone some form of change due to changes in the society, but some have undergone larger changes than others.The church, for instance, has through socio-political, economic and cultural changes shifted from symbolizing power, political order and economic prosperity to merely having a historical and religious meaning today. In the 17th century most of the settlements in Ås was located close to the church, thus proving the church as a previous power structure. The church as a symbol is meaningful across cultures.

The railroad station (built in 1878-79) created an alternative connection between Ås and Oslo, making it possible for people who didn’t own their own transportation to visit the city. Establishments of various trade and service industries followed quickly shifting the village center gradually from Korsegården west of the church to the area around the station east of the church. The station building was a symbol of prosperity, economic growth and cultural changes. Today the station has a historical value and is a signature building in downtown Ås, representing the pride in Ås as a rural community. As a symbol the station may not be of substantial meaning to anyone who does not know the history of Ås.

The Ur-building was completed in 1905 and symbolizes the start of university. It represents not only the university itself, but its symbolic value is also strongly linked to Norway's history and culture. It was built from Swedish funds during the Swedish-Norwegian union and was meant to demonstrate the power Swedish had over Norwegians. Through social-political changes the building shifted from representing the battle of power between the two countries to representing knowledge and development. Most people, regardless of culture, find the building beautiful, but in order to understand the symbol one needs to know the history.
A landscape symbol where the meaning has not changed noteworthy is the WWII-monument. Intentionally it was to commemorate the ones who died during the war, a purpose it still serves today. However, economic growth and general community development has made the monument less important today. As a symbol it is understandable across cultures.

The bike as a landscape symbol is negotiable, but I would argue that it is important for Ås because they are the No.1 way of getting around. Almost all residents own a bike, and once the snow disappears, both the center and NMBU Campus is filled with parked bicycles. To me, it stands for freedom of choice - it can take me practically anywhere and it is understandable in all cultures.

== Landscape Symbol 2- Democratic Republic of the Congo, Sharla Russell ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Symbols in Mbandaka, DR Congo.jpeg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''
*How and why did the symbols you identify appear in your landscape?
*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?
*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

''add your text here''

== Landscape Symbol 3- Glasgow Tenements, Amber Roberts ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:AR Glasgow Tenements.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
'''Glasgow's Tenements'''

The class-neutral tenements of Glasgow symbolise the ideals of Scottish socialism, standing in stark contrast to the strict class delineations of England's housing typology. As a new resident in Scotland I am keen to explore this point of difference in the 'everyday landscape' of Glasgow and its permutations through the tenement street that foregoes traditional centralised urban form and hierarchical street types, instead following a rigid and decentralised grid-iron pattern. Throughout the past century the tenements have become synonymous with Glasgow while the initial ideals they represented changed repeatedly through associations with rebellion and protest. At the same time the tenements continue to form the backdrop to the daily lives of the majority of the city's residents throughout the social classes.

'''How and why the symbols appeared in the landscape'''

The tenements of Glasgow were largely built between 1850 and 1900 to house the city's growing population. They enveloped the city centre and grew outwards into the surrounding districts and hills following a strict grid formation that makes overt their origination as planned neighbourhoods. Along with the grid pattern, strict rules governed the height and proportions of the buildings in relation to the streets upon which they stood - as such no tenement building could exceed in height the width of the street, ensuring natural light was able to reach each street, while giving Glasgow a distinctive low rise yet high density aesthetic. Each block had a decoratively tiled communal 'close' (or central hallway) through which to access the residencies inside, a communal garden with a courtyard type layout walled on each side by the tenements, a clothes drying area and refuse space. These elements created a distinctive built layout and urban form while encouraging sociality and community spirit between residents and neighbours.

'''Everyone is Equal But Some Are More Equal Than Others'''
While the tenements presented a class neutral ideology, social hierarchies were formed and displayed through various means. ''(-to add photographs).'' While the working class tenements were formed of singular roomed flats, the scale of comfort and adequacy increased along social ranks. As such, the tenements ranged from single rooms up to mansion sized flats overlooking private greens and parklands. Class was also made visible from the street level through the decoration of the communal 'close', the size of front doors, the presence of front gardens and stairs leading up to the entrances, and the architectural style of the facade (the wealthiest replicating Georgian/ 18th Century English styles and materials).

'''How meanings have changed''' ''-to complete''
Slums/
Bomb Damage/
Govan Riots/
Working Class image/
Retaliation against traditional styles

'''What the tenements mean today''' ''-to complete''
Tenement House - Museum /
'Everyday Landscape'/
Home/
Human scale environment/
Trendy/

== Landscape Symbol 4-7000 Eichen Kassel, Linda Rehn ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:7000Eichen.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
The basalt stone can be found next to a tree,usually an oak. Overall the city were 7000 Oaks for each basalt stone planted. This ensemble is titled “7000 Oaks - urban forestation instead of city administration”, and is a landscape art work of the artist Joseph Beuys. 1982, at the start the documenta 7, Beuys put 7000 basalt columns as a wedge-shaped delta on the Friedrichsplatz in front of the Fridericianum in Kassel which is a major place and building.
At its peak, Beuys planted the first oak next to their associated basalt stone. The basalt plastic acts according to Beuys as an indicator of progress. The more trees have been planted in Kassel, the smaller the plastic. "Not building, not dismantling, but both at the same function". Everyone who donated $ 500, was allowed to remove a block of basalt and for planting elsewhere an oak tree, which then the respective block of stone was delivered. In 1987, the extensive project documentation was completed.
The project was an extensive artistic and ecological intervention with the aim of changing the urban environment sustainably in terms of overall urbanization. The initially controversial project has evolved into a townscape part of the public space of the city of Kassel, and witness the "expanded concept of art" developed by Joseph Beuys. The as "social sculpture" marked artwork engages sustainable in the topographical and social structure of the city, it also committed to active care and kept alive in this way. In Kassel in 1993 also the club founded "7000 Oaks", who has made the protection and care of trees to the task.
About the effects Rhea Thönges-Stringaris (Kassel) wrotes: There is hardly anyone in Kassel who met Beuys trees in Avenue rows or squares. We have become accustomed to them. They are part of our daily life and at the same time components of an unusual, because ultimately invisible sculpture. No one can ever see as a whole. A sculpture in the traditional sense, without outlines, is unthinkable. But outlines of the 7000 Oaks are not even tangible on paper or on a map.
The landscape architect John Steiner in Stuttgart gathered the fruit of the oaks, put them in flower pots and outputs the resulting growing plants (project Eichenfeldstraße - Getting younger generation).
Olaf-Axel Burow and the project group Future Moderation Kassel University initiated in 2002 under the Kassler Application for European Capital of Culture a project with the motto 7000 characters in terms of Beuys Social Sculpture. The action should raise awarness about the aesthetic deep structure of the city of Kassel . On 16 March 2012, the 30th anniversary of the 7000 Oaks was celebrated and consecrated in honor of the artist Joseph Beuys a street was named after him in Kassel. This was the reason, there to add another unit of tree and stone.
The Dia Center for the Arts planted in 1988 five trees, each with a basalt stone, in New York. In 1996 the work was extended with 18 new trees was. One oak basalt column was planted in the park of the government district of Düsseldorf.

== Landscape Symbol 6 - Engineering Tower - Guido Maria Amorati ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:EngineeringTower.jpg|slide 1
Image:Bologna turrited.jpg|slide 2
Image:Assignment 2 drawing.jpg|slide 3
</gallery>

=== Reflections ===
''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''
*How and why did the symbols you identify appear in your landscape?
*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?
*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

I chose as landscape symbol the tower of the Faculty of Engineering of the University of Bologna (Slide 1). It appears to me every day as I go to study, so the choice may seem pretty trivial, but I think that might lead to interesting reflections. The first aspect concerns the intrinsic value of the architectural work. Designed by Giuseppe Vaccaro and built in the 1937 during the fascist regime, it is a very significant example of Italian Rationalism, an architectural current, probably the most important in the modern era in Italy, connected with the Modern Movement. This building is placed on a small hill just outside of the historic center of Bologna and respects the canons of functionalism, except for the element of the tower which has a great symbolic meaning. Used as book storage, not so practical indeed, it answers to the regime will of power and authority, but at the same time, also for the use of material, is strongly related to the image of the city. Bologna in medieval times had a very large number of tower construction. Between the 12th and 13th centuries the number of towers erected in the city was very large in the maximum flowering time, there were up to 100 (Slide 2), today 24 have survived. It is believed that the richest families in the period of struggle for investitures pro-imperial, pro-papal, used them as an instrument of aggression-defense and a symbol of power. Anyway the lack of a family dominating on the others brought to a proliferation of this kind of construction. This is an example of how the political situation could affect the shape of the city: the same phenomenon could not have happened in a city with a different political order.
So I think that is very interesting to see how this building, despite of his modern style, is linked to the historical city.

== Landscape Symbol 5- '''State Square''' Bahman Nahri ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:ارومیه-6.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===

I have selected this square as a symbol, because It is one of the key stones of the city and it can be counted as the place that for one century all the important things happened there. The name of the square represents the importance of it, State square shows that it was collecting all the forces of the time together to make a re-union of all of them together.

This historical square shows an important period of urbanization in north-western part of Iran, there are three unique and well build buildings in three sides of the square that gives an eagle shape in plan to this part of the city, but unfortunately in western part stand the new built Ministry of justice, that it has any relationship with other parts of square. Municipality stands at the eastern wing, and in southern and northern wings stands respectively military organization and police headquarters, but recently the cultural heritage organization had recently moved to police headquarters building.
These buildings were built in 1930, and in 1940 it was attacked by allies in World War, and afterwards it was used as a collecting point of soldiers in revolution, and of course so many historical coincidences. And as far as I remember all the addresses all the ways and all the memories somehow end up here to this square.

It is also the connecting point between ''university'' and some ''important mosques'' and also a ''church'', so it is not only a simple square, it played so many important roles in the past and does in present.

== Group reflection ==

''Please add a summary of your group reflection here''

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group G

2016-04-20T21:20:47Z

Bahmann: /* Reflections */

'''--> [[LED_Online_Seminar_2016_-_Working_Group_G|Back to your group page]]'''

== Landscape Symbol 1- Landscape Symbols Ås, Tonje Cecilie Stordalen ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Landscape symbols of Ås.jpg|Landscape symbols of Ås
Image:Landscape symbols 1.jpg|Connection between the landscape symbols
Image:Landscape symbols 2.jpg|Percieving vs. everyday use
</gallery>

=== Reflections ===
'''Landscape symbols'''

The landscape symbols I have chosen have come to exist for different reasons. Some of them are institutionally based (i.e. the church and the university building), and some are more related to the everyday life (bikes). Whilst both the church, the university building, the railway station and the cinema was built in order to meet a specific need, the monument was built to commemorate people who died in WWII. The bikes and excavators have emerged from a need for respectively transportation and development - two aspects closely related to the society and people's everyday lives.

I would argue that the meaning of all landscape symbols have undergone some form of change due to changes in the society, but some have undergone larger changes than others.The church, for instance, has through socio-political, economic and cultural changes shifted from symbolizing power, political order and economic prosperity to merely having a historical and religious meaning today. In the 17th century most of the settlements in Ås was located close to the church, thus proving the church as a previous power structure. The church as a symbol is meaningful across cultures.

The railroad station (built in 1878-79) created an alternative connection between Ås and Oslo, making it possible for people who didn’t own their own transportation to visit the city. Establishments of various trade and service industries followed quickly shifting the village center gradually from Korsegården west of the church to the area around the station east of the church. The station building was a symbol of prosperity, economic growth and cultural changes. Today the station has a historical value and is a signature building in downtown Ås, representing the pride in Ås as a rural community. As a symbol the station may not be of substantial meaning to anyone who does not know the history of Ås.

The Ur-building was completed in 1905 and symbolizes the start of university. It represents not only the university itself, but its symbolic value is also strongly linked to Norway's history and culture. It was built from Swedish funds during the Swedish-Norwegian union and was meant to demonstrate the power Swedish had over Norwegians. Through social-political changes the building shifted from representing the battle of power between the two countries to representing knowledge and development. Most people, regardless of culture, find the building beautiful, but in order to understand the symbol one needs to know the history.
A landscape symbol where the meaning has not changed noteworthy is the WWII-monument. Intentionally it was to commemorate the ones who died during the war, a purpose it still serves today. However, economic growth and general community development has made the monument less important today. As a symbol it is understandable across cultures.

The bike as a landscape symbol is negotiable, but I would argue that it is important for Ås because they are the No.1 way of getting around. Almost all residents own a bike, and once the snow disappears, both the center and NMBU Campus is filled with parked bicycles. To me, it stands for freedom of choice - it can take me practically anywhere and it is understandable in all cultures.

== Landscape Symbol 2- Democratic Republic of the Congo, Sharla Russell ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Symbols in Mbandaka, DR Congo.jpeg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''
*How and why did the symbols you identify appear in your landscape?
*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?
*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

''add your text here''

== Landscape Symbol 3- Glasgow Tenements, Amber Roberts ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:AR Glasgow Tenements.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
'''Glasgow's Tenements'''

The class-neutral tenements of Glasgow symbolise the ideals of Scottish socialism, standing in stark contrast to the strict class delineations of England's housing typology. As a new resident in Scotland I am keen to explore this point of difference in the 'everyday landscape' of Glasgow and its permutations through the tenement street that foregoes traditional centralised urban form and hierarchical street types, instead following a rigid and decentralised grid-iron pattern. Throughout the past century the tenements have become synonymous with Glasgow while the initial ideals they represented changed repeatedly through associations with rebellion and protest. At the same time the tenements continue to form the backdrop to the daily lives of the majority of the city's residents throughout the social classes.

'''How and why the symbols appeared in the landscape'''

The tenements of Glasgow were largely built between 1850 and 1900 to house the city's growing population. They enveloped the city centre and grew outwards into the surrounding districts and hills following a strict grid formation that makes overt their origination as planned neighbourhoods. Along with the grid pattern, strict rules governed the height and proportions of the buildings in relation to the streets upon which they stood - as such no tenement building could exceed in height the width of the street, ensuring natural light was able to reach each street, while giving Glasgow a distinctive low rise yet high density aesthetic. Each block had a decoratively tiled communal 'close' (or central hallway) through which to access the residencies inside, a communal garden with a courtyard type layout walled on each side by the tenements, a clothes drying area and refuse space. These elements created a distinctive built layout and urban form while encouraging sociality and community spirit between residents and neighbours.

'''Everyone is Equal But Some Are More Equal Than Others'''
While the tenements presented a class neutral ideology, social hierarchies were formed and displayed through various means. ''(-to add photographs).'' While the working class tenements were formed of singular roomed flats, the scale of comfort and adequacy increased along social ranks. As such, the tenements ranged from single rooms up to mansion sized flats overlooking private greens and parklands. Class was also made visible from the street level through the decoration of the communal 'close', the size of front doors, the presence of front gardens and stairs leading up to the entrances, and the architectural style of the facade (the wealthiest replicating Georgian/ 18th Century English styles and materials).

'''How meanings have changed''' ''-to complete''
Slums/
Bomb Damage/
Govan Riots/
Working Class image/
Retaliation against traditional styles

'''What the tenements mean today''' ''-to complete''
Tenement House - Museum /
'Everyday Landscape'/
Home/
Human scale environment/
Trendy/

== Landscape Symbol 4-7000 Eichen Kassel, Linda Rehn ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:7000Eichen.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
The basalt stone can be found next to a tree,usually an oak. Overall the city were 7000 Oaks for each basalt stone planted. This ensemble is titled “7000 Oaks - urban forestation instead of city administration”, and is a landscape art work of the artist Joseph Beuys. 1982, at the start the documenta 7, Beuys put 7000 basalt columns as a wedge-shaped delta on the Friedrichsplatz in front of the Fridericianum in Kassel which is a major place and building.
At its peak, Beuys planted the first oak next to their associated basalt stone. The basalt plastic acts according to Beuys as an indicator of progress. The more trees have been planted in Kassel, the smaller the plastic. "Not building, not dismantling, but both at the same function". Everyone who donated $ 500, was allowed to remove a block of basalt and for planting elsewhere an oak tree, which then the respective block of stone was delivered. In 1987, the extensive project documentation was completed.
The project was an extensive artistic and ecological intervention with the aim of changing the urban environment sustainably in terms of overall urbanization. The initially controversial project has evolved into a townscape part of the public space of the city of Kassel, and witness the "expanded concept of art" developed by Joseph Beuys. The as "social sculpture" marked artwork engages sustainable in the topographical and social structure of the city, it also committed to active care and kept alive in this way. In Kassel in 1993 also the club founded "7000 Oaks", who has made the protection and care of trees to the task.
About the effects Rhea Thönges-Stringaris (Kassel) wrotes: There is hardly anyone in Kassel who met Beuys trees in Avenue rows or squares. We have become accustomed to them. They are part of our daily life and at the same time components of an unusual, because ultimately invisible sculpture. No one can ever see as a whole. A sculpture in the traditional sense, without outlines, is unthinkable. But outlines of the 7000 Oaks are not even tangible on paper or on a map.
The landscape architect John Steiner in Stuttgart gathered the fruit of the oaks, put them in flower pots and outputs the resulting growing plants (project Eichenfeldstraße - Getting younger generation).
Olaf-Axel Burow and the project group Future Moderation Kassel University initiated in 2002 under the Kassler Application for European Capital of Culture a project with the motto 7000 characters in terms of Beuys Social Sculpture. The action should raise awarness about the aesthetic deep structure of the city of Kassel . On 16 March 2012, the 30th anniversary of the 7000 Oaks was celebrated and consecrated in honor of the artist Joseph Beuys a street was named after him in Kassel. This was the reason, there to add another unit of tree and stone.
The Dia Center for the Arts planted in 1988 five trees, each with a basalt stone, in New York. In 1996 the work was extended with 18 new trees was. One oak basalt column was planted in the park of the government district of Düsseldorf.

== Landscape Symbol 6 - Engineering Tower - Guido Maria Amorati ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:EngineeringTower.jpg|slide 1
Image:Bologna turrited.jpg|slide 2
Image:Assignment 2 drawing.jpg|slide 3
</gallery>

=== Reflections ===
''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''
*How and why did the symbols you identify appear in your landscape?
*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?
*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

I chose as landscape symbol the tower of the Faculty of Engineering of the University of Bologna (Slide 1). It appears to me every day as I go to study, so the choice may seem pretty trivial, but I think that might lead to interesting reflections. The first aspect concerns the intrinsic value of the architectural work. Designed by Giuseppe Vaccaro and built in the 1937 during the fascist regime, it is a very significant example of Italian Rationalism, an architectural current, probably the most important in the modern era in Italy, connected with the Modern Movement. This building is placed on a small hill just outside of the historic center of Bologna and respects the canons of functionalism, except for the element of the tower which has a great symbolic meaning. Used as book storage, not so practical indeed, it answers to the regime will of power and authority, but at the same time, also for the use of material, is strongly related to the image of the city. Bologna in medieval times had a very large number of tower construction. Between the 12th and 13th centuries the number of towers erected in the city was very large in the maximum flowering time, there were up to 100 (Slide 2), today 24 have survived. It is believed that the richest families in the period of struggle for investitures pro-imperial, pro-papal, used them as an instrument of aggression-defense and a symbol of power. Anyway the lack of a family dominating on the others brought to a proliferation of this kind of construction. This is an example of how the political situation could affect the shape of the city: the same phenomenon could not have happened in a city with a different political order.
So I think that is very interesting to see how this building, despite of his modern style, is linked to the historical city.

== Landscape Symbol 5- '''State Square''' Bahman Nahri ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:ارومیه-6.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===

I have selected this square as a symbol, because It is one of the key stones of the city and it can be counted as the place that for one century all the important things happened there. The name of the square represents the importance of it, State square shows that it was collecting all the forces of the time together to make a re-union of all of them together.

This historical square shows an important period of urbanization in north-western part of Iran, there are three unique and well build buildings in three sides of the square that gives an eagle shape in plan to this part of the city, but unfortunately in western part stand the new built Ministry of justice, that it has any relationship with other parts of square. Municipality stands at the eastern wing, and in southern and northern wings stands respectively military organization and police headquarters, but recently the cultural heritage organization had recently moved to police headquarters building.
These buildings were built in 1930, and in 1940 it was attacked by allies, and afterwards it was used as a collecting point of soldiers in revolution, and of course so many historical coincidences. And as far as I remember all the addresses all the ways and all the memories somehow end up here to this square.

It is also the connecting point between ''university'' and some ''important mosques'' and also a ''church'', so it is not only a simple square, it played so many important roles in the past and does in present.

== Group reflection ==

''Please add a summary of your group reflection here''

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group G

2016-04-20T21:13:30Z

Bahmann: /* Representations and analytical drawings */

'''--> [[LED_Online_Seminar_2016_-_Working_Group_G|Back to your group page]]'''

== Landscape Symbol 1- Landscape Symbols Ås, Tonje Cecilie Stordalen ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Landscape symbols of Ås.jpg|Landscape symbols of Ås
Image:Landscape symbols 1.jpg|Connection between the landscape symbols
Image:Landscape symbols 2.jpg|Percieving vs. everyday use
</gallery>

=== Reflections ===
'''Landscape symbols'''

The landscape symbols I have chosen have come to exist for different reasons. Some of them are institutionally based (i.e. the church and the university building), and some are more related to the everyday life (bikes). Whilst both the church, the university building, the railway station and the cinema was built in order to meet a specific need, the monument was built to commemorate people who died in WWII. The bikes and excavators have emerged from a need for respectively transportation and development - two aspects closely related to the society and people's everyday lives.

I would argue that the meaning of all landscape symbols have undergone some form of change due to changes in the society, but some have undergone larger changes than others.The church, for instance, has through socio-political, economic and cultural changes shifted from symbolizing power, political order and economic prosperity to merely having a historical and religious meaning today. In the 17th century most of the settlements in Ås was located close to the church, thus proving the church as a previous power structure. The church as a symbol is meaningful across cultures.

The railroad station (built in 1878-79) created an alternative connection between Ås and Oslo, making it possible for people who didn’t own their own transportation to visit the city. Establishments of various trade and service industries followed quickly shifting the village center gradually from Korsegården west of the church to the area around the station east of the church. The station building was a symbol of prosperity, economic growth and cultural changes. Today the station has a historical value and is a signature building in downtown Ås, representing the pride in Ås as a rural community. As a symbol the station may not be of substantial meaning to anyone who does not know the history of Ås.

The Ur-building was completed in 1905 and symbolizes the start of university. It represents not only the university itself, but its symbolic value is also strongly linked to Norway's history and culture. It was built from Swedish funds during the Swedish-Norwegian union and was meant to demonstrate the power Swedish had over Norwegians. Through social-political changes the building shifted from representing the battle of power between the two countries to representing knowledge and development. Most people, regardless of culture, find the building beautiful, but in order to understand the symbol one needs to know the history.
A landscape symbol where the meaning has not changed noteworthy is the WWII-monument. Intentionally it was to commemorate the ones who died during the war, a purpose it still serves today. However, economic growth and general community development has made the monument less important today. As a symbol it is understandable across cultures.

The bike as a landscape symbol is negotiable, but I would argue that it is important for Ås because they are the No.1 way of getting around. Almost all residents own a bike, and once the snow disappears, both the center and NMBU Campus is filled with parked bicycles. To me, it stands for freedom of choice - it can take me practically anywhere and it is understandable in all cultures.

== Landscape Symbol 2- Democratic Republic of the Congo, Sharla Russell ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Symbols in Mbandaka, DR Congo.jpeg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''
*How and why did the symbols you identify appear in your landscape?
*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?
*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

''add your text here''

== Landscape Symbol 3- Glasgow Tenements, Amber Roberts ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:AR Glasgow Tenements.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
'''Glasgow's Tenements'''

The class-neutral tenements of Glasgow symbolise the ideals of Scottish socialism, standing in stark contrast to the strict class delineations of England's housing typology. As a new resident in Scotland I am keen to explore this point of difference in the 'everyday landscape' of Glasgow and its permutations through the tenement street that foregoes traditional centralised urban form and hierarchical street types, instead following a rigid and decentralised grid-iron pattern. Throughout the past century the tenements have become synonymous with Glasgow while the initial ideals they represented changed repeatedly through associations with rebellion and protest. At the same time the tenements continue to form the backdrop to the daily lives of the majority of the city's residents throughout the social classes.

'''How and why the symbols appeared in the landscape'''

The tenements of Glasgow were largely built between 1850 and 1900 to house the city's growing population. They enveloped the city centre and grew outwards into the surrounding districts and hills following a strict grid formation that makes overt their origination as planned neighbourhoods. Along with the grid pattern, strict rules governed the height and proportions of the buildings in relation to the streets upon which they stood - as such no tenement building could exceed in height the width of the street, ensuring natural light was able to reach each street, while giving Glasgow a distinctive low rise yet high density aesthetic. Each block had a decoratively tiled communal 'close' (or central hallway) through which to access the residencies inside, a communal garden with a courtyard type layout walled on each side by the tenements, a clothes drying area and refuse space. These elements created a distinctive built layout and urban form while encouraging sociality and community spirit between residents and neighbours.

'''Everyone is Equal But Some Are More Equal Than Others'''
While the tenements presented a class neutral ideology, social hierarchies were formed and displayed through various means. ''(-to add photographs).'' While the working class tenements were formed of singular roomed flats, the scale of comfort and adequacy increased along social ranks. As such, the tenements ranged from single rooms up to mansion sized flats overlooking private greens and parklands. Class was also made visible from the street level through the decoration of the communal 'close', the size of front doors, the presence of front gardens and stairs leading up to the entrances, and the architectural style of the facade (the wealthiest replicating Georgian/ 18th Century English styles and materials).

'''How meanings have changed''' ''-to complete''
Slums/
Bomb Damage/
Govan Riots/
Working Class image/
Retaliation against traditional styles

'''What the tenements mean today''' ''-to complete''
Tenement House - Museum /
'Everyday Landscape'/
Home/
Human scale environment/
Trendy/

== Landscape Symbol 4-7000 Eichen Kassel, Linda Rehn ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:7000Eichen.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
The basalt stone can be found next to a tree,usually an oak. Overall the city were 7000 Oaks for each basalt stone planted. This ensemble is titled “7000 Oaks - urban forestation instead of city administration”, and is a landscape art work of the artist Joseph Beuys. 1982, at the start the documenta 7, Beuys put 7000 basalt columns as a wedge-shaped delta on the Friedrichsplatz in front of the Fridericianum in Kassel which is a major place and building.
At its peak, Beuys planted the first oak next to their associated basalt stone. The basalt plastic acts according to Beuys as an indicator of progress. The more trees have been planted in Kassel, the smaller the plastic. "Not building, not dismantling, but both at the same function". Everyone who donated $ 500, was allowed to remove a block of basalt and for planting elsewhere an oak tree, which then the respective block of stone was delivered. In 1987, the extensive project documentation was completed.
The project was an extensive artistic and ecological intervention with the aim of changing the urban environment sustainably in terms of overall urbanization. The initially controversial project has evolved into a townscape part of the public space of the city of Kassel, and witness the "expanded concept of art" developed by Joseph Beuys. The as "social sculpture" marked artwork engages sustainable in the topographical and social structure of the city, it also committed to active care and kept alive in this way. In Kassel in 1993 also the club founded "7000 Oaks", who has made the protection and care of trees to the task.
About the effects Rhea Thönges-Stringaris (Kassel) wrotes: There is hardly anyone in Kassel who met Beuys trees in Avenue rows or squares. We have become accustomed to them. They are part of our daily life and at the same time components of an unusual, because ultimately invisible sculpture. No one can ever see as a whole. A sculpture in the traditional sense, without outlines, is unthinkable. But outlines of the 7000 Oaks are not even tangible on paper or on a map.
The landscape architect John Steiner in Stuttgart gathered the fruit of the oaks, put them in flower pots and outputs the resulting growing plants (project Eichenfeldstraße - Getting younger generation).
Olaf-Axel Burow and the project group Future Moderation Kassel University initiated in 2002 under the Kassler Application for European Capital of Culture a project with the motto 7000 characters in terms of Beuys Social Sculpture. The action should raise awarness about the aesthetic deep structure of the city of Kassel . On 16 March 2012, the 30th anniversary of the 7000 Oaks was celebrated and consecrated in honor of the artist Joseph Beuys a street was named after him in Kassel. This was the reason, there to add another unit of tree and stone.
The Dia Center for the Arts planted in 1988 five trees, each with a basalt stone, in New York. In 1996 the work was extended with 18 new trees was. One oak basalt column was planted in the park of the government district of Düsseldorf.

== Landscape Symbol 6 - Engineering Tower - Guido Maria Amorati ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:EngineeringTower.jpg|slide 1
Image:Bologna turrited.jpg|slide 2
Image:Assignment 2 drawing.jpg|slide 3
</gallery>

=== Reflections ===
''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''
*How and why did the symbols you identify appear in your landscape?
*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?
*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

I chose as landscape symbol the tower of the Faculty of Engineering of the University of Bologna (Slide 1). It appears to me every day as I go to study, so the choice may seem pretty trivial, but I think that might lead to interesting reflections. The first aspect concerns the intrinsic value of the architectural work. Designed by Giuseppe Vaccaro and built in the 1937 during the fascist regime, it is a very significant example of Italian Rationalism, an architectural current, probably the most important in the modern era in Italy, connected with the Modern Movement. This building is placed on a small hill just outside of the historic center of Bologna and respects the canons of functionalism, except for the element of the tower which has a great symbolic meaning. Used as book storage, not so practical indeed, it answers to the regime will of power and authority, but at the same time, also for the use of material, is strongly related to the image of the city. Bologna in medieval times had a very large number of tower construction. Between the 12th and 13th centuries the number of towers erected in the city was very large in the maximum flowering time, there were up to 100 (Slide 2), today 24 have survived. It is believed that the richest families in the period of struggle for investitures pro-imperial, pro-papal, used them as an instrument of aggression-defense and a symbol of power. Anyway the lack of a family dominating on the others brought to a proliferation of this kind of construction. This is an example of how the political situation could affect the shape of the city: the same phenomenon could not have happened in a city with a different political order.
So I think that is very interesting to see how this building, despite of his modern style, is linked to the historical city.

== Landscape Symbol 5- '''State Square''' Bahman Nahri ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:ارومیه-6.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===

I have selected this square as a symbol, because It is one of the key stones of the city and it can be counted as the place that for one century all the important things happened there. The name of the square represents the importance of it, State square shows that it was collecting all the forces of the time together to make a re-union of all of them together.

This historical square shows an important period of urbanization in north-western part of Iran, there are three unique and well build buildings in three sides of the square that gives an eagle shape in plan to this part of the city, but unfortunately in western part stand the new built Ministry of justice, that it has any relationship with other parts of square. Municipality stands at the eastern wing, and in southern and northern wings stands respectively military organization and police headquarters, but recently the cultural heritage organization had recently moved to police headquarters building.
These buildings were built in 1930, and in 1940 it was attacked by allies, and afterwards it was used as a collecting point of soldiers in revolution, and of course so many historical coincidences. And as far as I remember all the addresses all the ways and all the memories somehow end up here to this square.

== Group reflection ==

''Please add a summary of your group reflection here''

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group G

2016-04-20T20:41:07Z

Bahmann: /* Landscape Symbol 5- Square in Iran Bahman Nahri */

'''--> [[LED_Online_Seminar_2016_-_Working_Group_G|Back to your group page]]'''

== Landscape Symbol 1- Landscape Symbols Ås, Tonje Cecilie Stordalen ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Landscape symbols of Ås.jpg|Landscape symbols of Ås
Image:Landscape symbols 1.jpg|Connection between the landscape symbols
Image:Landscape symbols 2.jpg|Percieving vs. everyday use
</gallery>

=== Reflections ===
'''Landscape symbols'''

The landscape symbols I have chosen have come to exist for different reasons. Some of them are institutionally based (i.e. the church and the university building), and some are more related to the everyday life (bikes). Whilst both the church, the university building, the railway station and the cinema was built in order to meet a specific need, the monument was built to commemorate people who died in WWII. The bikes and excavators have emerged from a need for respectively transportation and development - two aspects closely related to the society and people's everyday lives.

I would argue that the meaning of all landscape symbols have undergone some form of change due to changes in the society, but some have undergone larger changes than others.The church, for instance, has through socio-political, economic and cultural changes shifted from symbolizing power, political order and economic prosperity to merely having a historical and religious meaning today. In the 17th century most of the settlements in Ås was located close to the church, thus proving the church as a previous power structure. The church as a symbol is meaningful across cultures.

The railroad station (built in 1878-79) created an alternative connection between Ås and Oslo, making it possible for people who didn’t own their own transportation to visit the city. Establishments of various trade and service industries followed quickly shifting the village center gradually from Korsegården west of the church to the area around the station east of the church. The station building was a symbol of prosperity, economic growth and cultural changes. Today the station has a historical value and is a signature building in downtown Ås, representing the pride in Ås as a rural community. As a symbol the station may not be of substantial meaning to anyone who does not know the history of Ås.

The Ur-building was completed in 1905 and symbolizes the start of university. It represents not only the university itself, but its symbolic value is also strongly linked to Norway's history and culture. It was built from Swedish funds during the Swedish-Norwegian union and was meant to demonstrate the power Swedish had over Norwegians. Through social-political changes the building shifted from representing the battle of power between the two countries to representing knowledge and development. Most people, regardless of culture, find the building beautiful, but in order to understand the symbol one needs to know the history.
A landscape symbol where the meaning has not changed noteworthy is the WWII-monument. Intentionally it was to commemorate the ones who died during the war, a purpose it still serves today. However, economic growth and general community development has made the monument less important today. As a symbol it is understandable across cultures.

The bike as a landscape symbol is negotiable, but I would argue that it is important for Ås because they are the No.1 way of getting around. Almost all residents own a bike, and once the snow disappears, both the center and NMBU Campus is filled with parked bicycles. To me, it stands for freedom of choice - it can take me practically anywhere and it is understandable in all cultures.

== Landscape Symbol 2- Democratic Republic of the Congo, Sharla Russell ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Symbols in Mbandaka, DR Congo.jpeg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''
*How and why did the symbols you identify appear in your landscape?
*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?
*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

''add your text here''

== Landscape Symbol 3- Glasgow Tenements, Amber Roberts ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:AR Glasgow Tenements.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
'''Glasgow's Tenements'''

The class-neutral tenements of Glasgow symbolise the ideals of Scottish socialism, standing in stark contrast to the strict class delineations of England's housing typology. As a new resident in Scotland I am keen to explore this point of difference in the 'everyday landscape' of Glasgow and its permutations through the tenement street that foregoes traditional centralised urban form and hierarchical street types, instead following a rigid and decentralised grid-iron pattern. Throughout the past century the tenements have become synonymous with Glasgow while the initial ideals they represented changed repeatedly through associations with rebellion and protest. At the same time the tenements continue to form the backdrop to the daily lives of the majority of the city's residents throughout the social classes.

'''How and why the symbols appeared in the landscape'''

The tenements of Glasgow were largely built between 1850 and 1900 to house the city's growing population. They enveloped the city centre and grew outwards into the surrounding districts and hills following a strict grid formation that makes overt their origination as planned neighbourhoods. Along with the grid pattern, strict rules governed the height and proportions of the buildings in relation to the streets upon which they stood - as such no tenement building could exceed in height the width of the street, ensuring natural light was able to reach each street, while giving Glasgow a distinctive low rise yet high density aesthetic. Each block had a decoratively tiled communal 'close' (or central hallway) through which to access the residencies inside, a communal garden with a courtyard type layout walled on each side by the tenements, a clothes drying area and refuse space. These elements created a distinctive built layout and urban form while encouraging sociality and community spirit between residents and neighbours.

'''Everyone is Equal But Some Are More Equal Than Others'''
While the tenements presented a class neutral ideology, social hierarchies were formed and displayed through various means. ''(-to add photographs).'' While the working class tenements were formed of singular roomed flats, the scale of comfort and adequacy increased along social ranks. As such, the tenements ranged from single rooms up to mansion sized flats overlooking private greens and parklands. Class was also made visible from the street level through the decoration of the communal 'close', the size of front doors, the presence of front gardens and stairs leading up to the entrances, and the architectural style of the facade (the wealthiest replicating Georgian/ 18th Century English styles and materials).

'''How meanings have changed''' ''-to complete''
Slums/
Bomb Damage/
Govan Riots/
Working Class image/
Retaliation against traditional styles

'''What the tenements mean today''' ''-to complete''
Tenement House - Museum /
'Everyday Landscape'/
Home/
Human scale environment/
Trendy/

== Landscape Symbol 4-7000 Eichen Kassel, Linda Rehn ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:7000Eichen.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===
The basalt stone can be found next to a tree,usually an oak. Overall the city were 7000 Oaks for each basalt stone planted. This ensemble is titled “7000 Oaks - urban forestation instead of city administration”, and is a landscape art work of the artist Joseph Beuys. 1982, at the start the documenta 7, Beuys put 7000 basalt columns as a wedge-shaped delta on the Friedrichsplatz in front of the Fridericianum in Kassel which is a major place and building.
At its peak, Beuys planted the first oak next to their associated basalt stone. The basalt plastic acts according to Beuys as an indicator of progress. The more trees have been planted in Kassel, the smaller the plastic. "Not building, not dismantling, but both at the same function". Everyone who donated $ 500, was allowed to remove a block of basalt and for planting elsewhere an oak tree, which then the respective block of stone was delivered. In 1987, the extensive project documentation was completed.
The project was an extensive artistic and ecological intervention with the aim of changing the urban environment sustainably in terms of overall urbanization. The initially controversial project has evolved into a townscape part of the public space of the city of Kassel, and witness the "expanded concept of art" developed by Joseph Beuys. The as "social sculpture" marked artwork engages sustainable in the topographical and social structure of the city, it also committed to active care and kept alive in this way. In Kassel in 1993 also the club founded "7000 Oaks", who has made the protection and care of trees to the task.
About the effects Rhea Thönges-Stringaris (Kassel) wrotes: There is hardly anyone in Kassel who met Beuys trees in Avenue rows or squares. We have become accustomed to them. They are part of our daily life and at the same time components of an unusual, because ultimately invisible sculpture. No one can ever see as a whole. A sculpture in the traditional sense, without outlines, is unthinkable. But outlines of the 7000 Oaks are not even tangible on paper or on a map.
The landscape architect John Steiner in Stuttgart gathered the fruit of the oaks, put them in flower pots and outputs the resulting growing plants (project Eichenfeldstraße - Getting younger generation).
Olaf-Axel Burow and the project group Future Moderation Kassel University initiated in 2002 under the Kassler Application for European Capital of Culture a project with the motto 7000 characters in terms of Beuys Social Sculpture. The action should raise awarness about the aesthetic deep structure of the city of Kassel . On 16 March 2012, the 30th anniversary of the 7000 Oaks was celebrated and consecrated in honor of the artist Joseph Beuys a street was named after him in Kassel. This was the reason, there to add another unit of tree and stone.
The Dia Center for the Arts planted in 1988 five trees, each with a basalt stone, in New York. In 1996 the work was extended with 18 new trees was. One oak basalt column was planted in the park of the government district of Düsseldorf.

== Landscape Symbol 6 - Engineering Tower - Guido Maria Amorati ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:EngineeringTower.jpg|slide 1
Image:Bologna turrited.jpg|slide 2
Image:Assignment 2 drawing.jpg|slide 3
</gallery>

=== Reflections ===
''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''
*How and why did the symbols you identify appear in your landscape?
*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?
*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

I chose as landscape symbol the tower of the Faculty of Engineering of the University of Bologna (Slide 1). It appears to me every day as I go to study, so the choice may seem pretty trivial, but I think that might lead to interesting reflections. The first aspect concerns the intrinsic value of the architectural work. Designed by Giuseppe Vaccaro and built in the 1937 during the fascist regime, it is a very significant example of Italian Rationalism, an architectural current, probably the most important in the modern era in Italy, connected with the Modern Movement. This building is placed on a small hill just outside of the historic center of Bologna and respects the canons of functionalism, except for the element of the tower which has a great symbolic meaning. Used as book storage, not so practical indeed, it answers to the regime will of power and authority, but at the same time, also for the use of material, is strongly related to the image of the city. Bologna in medieval times had a very large number of tower construction. Between the 12th and 13th centuries the number of towers erected in the city was very large in the maximum flowering time, there were up to 100 (Slide 2), today 24 have survived. It is believed that the richest families in the period of struggle for investitures pro-imperial, pro-papal, used them as an instrument of aggression-defense and a symbol of power. Anyway the lack of a family dominating on the others brought to a proliferation of this kind of construction. This is an example of how the political situation could affect the shape of the city: the same phenomenon could not have happened in a city with a different political order.
So I think that is very interesting to see how this building, despite of his modern style, is linked to the historical city.

== Landscape Symbol 5- '''State Square''' Bahman Nahri ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:ارومیه-6.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

== Group reflection ==

''Please add a summary of your group reflection here''

[[Category:Landscape Symbols Group Reflection 2016]]

File:ارومیه-6.jpg

2016-04-07T11:56:59Z

Bahmann: