Ledwiki - User contributions [en]

LED Online Seminar 2017 - Working Group 4

2017-05-29T11:05:44Z

Federica.fuligni: /* Assignment 2 - Your Landscape Symbols */

'''--> Back to [[LED_Online_Seminar_Working_Groups_2017|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!''

<div id="BackToTop" class="noprint" style="background-color:#DDEFDD; position:fixed;
bottom:32px; left:2%; z-index:9999; padding:0; margin:0;"><span style="color:blue;
font-size:8pt; font-face:verdana,sans-serif; border:0.2em outset #ceebf7;
padding:0.1em; font-weight:bolder; -moz-border-radius:8px; ">
[[#top| Back to the Top ]]</span></div>

== Assignment 1 - Reading and Synthesizing Core Terminology ==

*You can read more details about this assignment [[Assignment_1:_Reading_and_Synthesizing_Core_Terminology_(2017)|here]]
*Readings are accessible via the [[Resources_and_Literature_Landscape_and_Democracy|resources page]]

=== Step 1: Your Landscape Democracy Manifestoes ===

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:Anastasia`s_manifesto.jpg|Anastasia`s_manifesto
Image:About_Landscape_Democracy.jpg|Emanuele's manifesto
Image:Assignment 1.jpg|Kirsti's manifesto
Image:Led1.jpg|Michele's manifesto
Image:StephenFlack_LandscapeDemocracyManifesto.jpg|Stephen's manifesto
</gallery>

=== Step 2: Define your readings ===
*Please add your readings selection for the terminology exercise before '''April 12''':

'''A: Landscape and Democracy - Mapping the Terrain'''
* The European Landscape Convention

'''Landscape Concepts:'''
* Olwig, Kenneth R. (1996): "Recovering the Substantive Nature of Landscape" In: Annals of the Association of American Geographers, 86 (4), pp. 630-653. Cambridge/Oxford: Blackwell Publishers.
* Burckhardt, Lucius (1979): Why is landscape beautiful? in: Fezer/Schmitz (Eds.) Rethinking Man-made Environments (2012)
* Lynch, Kevin. (1960): The Image of the City, Cambridge, Mass.: MIT Press

'''B: Concepts of Participation'''
*Gaventa, John: The Powerful, the Powerless, and the Experts

'''C: Community and Identity'''
*Francis, Mark: A Case Study Method for Landscape Architecture

'''D: Designing'''
*Hester, Randolph: Life, Liberty and the Pursuit of Sustainable Happiness

'''E: Communicating a Vision'''
*Online decision making with loomio

=== Steps 3 and 4: Concepts Selection and definition ===
* Each group member selects three relevant concepts derived from his/her readings and synthesize them/publish them on the wiki by '''April 30, 2017'''
* Group members reflect within their groups and define their chosen concepts into a shared definition to be posted on the wiki by '''May 10, 2017.'''
* Other group members will be able to comment on the definitions until '''May 20, 2017'''

'''Concepts and definitions'''

'''Author 1 - Stephen Flack:'''
* Concept 1
The original Germanic word 'landschaft' incorporated both the meaning of a discrete unit of territory as well as the sense of landscape being a construct of perception through the eyes of humans. Over time it also came to mean the human laws, customs and traditions associated with an area that helped form a specific identity for the people living there. Northern European landscape art represents 'landschaft' as it was intended to emphasise the link between land and the customs and culture of the people depicted. This is opposed to Italianate landscape art, which emphasised timeless universal laws of landscape tracing back to Roman ideals (Olwig 1996).

* Concept 2
A substantive understanding of landscape requires an understanding of the historical and contemporary uses of land and how human development and identity has been shaped by interaction with it (Olwig 1996). This is more 'substantive' than attributing merely 'scenic' value to landscape.

* Concept 3
Case studies in landscape architecture projects allow for approaches to real landscapes in the past to be documented, analysed, critiqued and learnt from. A case study is a comprehensive method of summarising key aspects of a project such as core goals, site analysis, budget, maintenance issues, timeline, decision-making processes and other aspects can be documented (Francis).

References

Francis, Mark: A Case Study Method for Landscape Architecture

Olwig, Kenneth R. (1996): "Recovering the Substantive Nature of Landscape" In: Annals of the Association of American Geographers, 86 (4), pp. 630-653. Cambridge/Oxford: Blackwell Publishers.

'''Author 2 - Kirsti Henriksen:'''
* Concept 1
** The Knowledge society is an idea from the Post-industrial society. Post-industrial society is organized around knowledge, for the purpose of social control, and the direction of innovation and change, and this in turn will give rise to new social relationships and new structures which have to be manages politically (Gaventa).

* Concept 2
** The Sustainable city is were ecological science and human needs are prioritized. In order for designers to make this happen, they have to offer different choices and educate people about the concequences of the different choices and help people choose sustainability (Hester).

* Concept 3
** The Knowledge elite consists of experts that are determined by society. Knowledge, in addition to land and industry, becomes a product to be owed as capital. Within that economic structure, the expert, the specialist og knowledge, becomes the power broker, much as the landlord or boss in other political economies (Gaventa).

References

Gaventa, John: The Powerful, the Powerless, and the Experts

Hester, Randolph: Life, Liberty and the Pursuit of Sustainable Happiness

'''Author 3: Anastasia'''
* Public participation in decision-making and access to justice in matters relating to the environment
* The Convention is an important repository that defines and assesses landscapes throughout the territory. Each landscape forms a mixture of components and structures: types of territories, social representations and constantly changing natural, social and economic forces. Once this identification work is completed, the terrain can be protected, managed or developed.
* It is necessary to ensure that any natural and legal person has access to environmental information.
* It functions as a platform to get people together they want to live in
* Democracy is participative - it means involving people and including them as part of the decision making process
* Understanding that landscape is a cultural construct, developed through organic and cumulative process, forming part of a common life which is central to the development of life
* A striking contrast between the center of the town and its peripheral areas - almost as if the center. Need to re-learn how to build places in the world.

References

The European Landscape Convention

'''Author 4:'''
*......
*.......
*.......

=== Step 5: Reflection ===
*We discovered that the concept of landscape is a complex cultural construct, made up of many changing elements including social, environmental and economic factors. It is largely based on perceptions of culture and nature in the minds of people - far being merely scenic, landscape often incorporates individual and collective human identity and development. These perceptions can differ greatly between countries and within populations, and hence documents such as the European Landscape Convention provide a framework for people of all backgrounds to grasp the common threads. Design has been and still is often protected by a knowledge elite without recourse to what people actually desire in their surroundings. There is a paradigm shift in the making based on the recognition that to design a landscape for people one must seek an exchange of ideas and participation from diverse stakeholders. Landscape design is ideally democratic, including people in making decisions and having access to justice. In order to do this people need to be informed, with access to environmental information. This is where experts can bridge the divide in transferring knowledge to the general public. Sustainable cities balance ecological and human needs, and the role of educating people about multiple goals in design is an important one. Case studies offer a way forward for designers and practitioners to exchange ideas and lessons learnt from successful projects. In 21st century post-industrial societies there is an expectation that design processes are collaborative and represent a diversity of opinion.

=== Step 6: Revised manifestoes ===
*please look again at your initial manifestoes and update them with any new aspects/prespectives you have taken up during this seminar

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:updatedmanifesto1.jpg|xy's updated manifesto
Image:updatedmanifesto2.jpg|xy's updated manifesto
Image:updatedmanifesto3.jpg|xy's updated manifesto
Image:updatedmanifesto4.jpg|xy's updated manifesto
Image:updatedmanifesto5.jpg|xy's updated manifesto
</gallery>

== Assignment 2 - Your Landscape Symbols ==
*You can read more details about this assignment [[Assignment_2:_Your_Landscape_Symbols_(2017)|here]]

=== Landscape Symbols Author 1 ===
<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:symbol_yourname_photovoice1|add a caption (one paragraph max) description of the symbolism, interpretation, as well as geo-location
Image:symbol_yourname_photovoice2|add a caption (one paragraph max) description of the symbolism, interpretation, as well as geo-location
Image:symbol_yourname_photovoice3|add a caption (one paragraph max) description of the symbolism, interpretation, as well as geo-location
Image:symbol_yourname_photovoice4|add a caption (one paragraph max) description of the symbolism, interpretation, as well as geo-location
Image:symbol_yourname_photovoice5|add a caption (one paragraph max) description of the symbolism, interpretation, as well as geo-location
</gallery>

=== Landscape Symbols Anastasiia T. ===
<gallery caption=" " widths="150px" heights="150px" perrow="5">
Road bridges, Ufa, Russia.jpg|Road bridges across the White River on the Orenburg crossing: The first permanent bridge was built between 1953 and 1956. Since the early 1980s, he has stopped coping with the flow of cars for the weekend. The construction of the second six-lane bridge started in 1988 and was opened in 1992. These bridges link a bustling city with the untouched nature. The bridge is a symbol of movement to new places and new adventures. Ufa, Russia
The Cathedral of St. Basil the Blessed.jpg|The Cathedral of St. Basil the Blessed is an Orthodox church on Red Square in Moscow, a well-known monument of Russian architecture. The cathedral was built between 1555 and 1561 on the orders of Ivan the Terrible in memory of the capture of Kazan and the victory over the Kazan Khanate, which happened on the day of the Protection of the Blessed Virgin Mary - in early October 1552. Cathedrals and temples are not only monuments of architecture, but also popular places for tourists. The cathedral clusters history and religion and is a reflection of the Russian cultural identity. Moskow, Russia
Ufa Amphitheater.jpg|Ufa Amphitheater is an open area for the Congress Hill for events and concerts in the open air format. Construction period: 2007 year. Today the Amphitheater is a playground for big city events, local events, people's self-realization. Also, many people come here to rest in the evenings and look at the river during the sunset. Events here can be arranged by anyone. Ufa, Russia
</gallery>

=== Landscape Symbols - Stephen Flack ===
<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:WelzheimOstkastelleWesternGate.jpeg|Reconstructed western gate of Ostkastelle, a Roman fort forming part of the Upper Germanic-Rhaetian Limes protecting the Roman Empire from Germanic tribes. This reconstruction serves as a monument to foundational settlement in the area.
Image:KölnCathedral_LandscapeSymbol_SFlack.jpg|With construction starting in 1248, Cologne Cathedral stands as a monument to the foundational place of Christianity in northern Europe. Modern civic events in Cologne (eg Cologne Carnival) feature this iconic landmark. Geolocation: N50 56 28 E6 57 26
Image:CheckpointCharlie_LandscapeSymbol_SFlack.jpg|Checkpoint Charlie was a strategic border crossing between East and West Berlin during the Cold War years, emblematic of stark ideological differences between the Soviet Union and Western countries.
</gallery>

=== Landscape Symbols - Kirsti Henriksen ===
<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:IMG_3334 (3).jpg|This is a caption of "Andedammen" at NMBU campus. The red and white doghouse in the middle of the dam symbolizes "Hannkattene", an old fraternity for students at NMBU - Norwegian University of Life Sciences. This dam is a social connecting point for the fraternities and students at the university, providing a great place to connect and meet new people.
Image:IMG 3330.jpg|This is a caption of "Matbua" at NMBU campus. It is a small shop with organic vegetables and fruits from the local farmers. The shop reduces the use of plasticbags, as well as it's a great way to support both local farmers and Norwegian agriculture.
Image:IMG 3336 (2).jpg|This is a caption of plants at NMBU campus. The garden pots look like molecules and cells, as well as the plants contain a paper with the name and description. This symbolizes a connection between research and science, and a diversity of plants.
</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"_(2017)|here]]

*Samuel Mockbee - Kirsti Henriksen
*Sonja Hörster - Stephen Flack
*Jan Gehl- Anastasiia Titarenko

== Assignment 4 - Your Landscape Democracy Challenge ==
*You can read more details about this assignment [[Assignment_4:_Your_Landscape_Democracy_Challenge_(2017)|here]]
*Each group member will specify a landscape democracy challenge in his/her environment

=== Landscape Democracy Challenge 1 - Stephen Flack ===
<gallery caption="Biodiversity/Landscape Character versus Asset Protection" widths="150px" heights="150px" perrow="5">
Image:RBGC.jpg|I have an interest in biodiversity and rural landscape character in my home state of Victoria, which are threatened by loosened vegetation clearance laws following devastating bushfires in February 2009.
Image:Currawong bush park conference centre.JPG|The ‘10/30 right’ allows property owners to clear any vegetation, including trees, within 10 metres of a house and any vegetation except for trees within 30 metres of a building used for accommodation, without the need for a permit.
Image:CSIRO_ScienceImage_10725_A_burntout_car_and_house_at_Kinglake_after_the_Black_Saturday_bushfires.jpg|The issue is between the right of people to protect their houses from fire risk and a 'one size fits all' clearing rule that results in vegetation being cleared for purposes other than bushfire protection, with loss of biodiversity and landscape character
Image:CouncilBacksliding.jpg|Actors: state government which determines clearing policies. Residents who carry out clearing around houses. Rural municipalities and other groups who are concerned about biodiversity and landscape character loss.
</gallery>
'''Your references:'''
*Bachelard, M. (2010) 'Shire 'backsliding' on bushfire policy', The Age, 4 July [Online]. Available at: http://www.theage.com.au/victoria/shire-backsliding-on-bushfire-policy-20100703-zv2r.html(Accessed 3 May 2017)

=== Landscape Democracy Challenge 2 ===
<gallery caption="Give a title to your challenge" widths="150px" heights="150px" perrow="5">
Image:yourname_challenge_1.jpg|caption: why did you select this case?
Image:yourname_challenge_2.jpg|caption: what is the issue/conflict (1)
Image:yourname_challenge_3.jpg|caption: what is the issue/conflict (2)
Image:yourname_challenge_4.jpg|caption: who are the actors?
</gallery>
'''Your references:'''
*...
*...

=== Landscape Democracy Challenge 3 ===
<gallery caption="Give a title to your challenge" widths="150px" heights="150px" perrow="5">
Image:yourname_challenge_1.jpg|caption: why did you select this case?
Image:yourname_challenge_2.jpg|caption: what is the issue/conflict (1)
Image:yourname_challenge_3.jpg|caption: what is the issue/conflict (2)
Image:yourname_challenge_4.jpg|caption: who are the actors?
</gallery>
'''Your references:'''
*...
*...

=== Landscape Democracy Challenge - Kirsti Henriksen ===
<gallery caption="Maintenance and Garbage Disposal in The Landscape" widths="150px" heights="150px" perrow="5">
Image:IMG 3428.JPG|I chose this issue because I think it's important to keep the nature healthy and clean. Although there are beautiful gardens at NMBU campus, there will always be hidden spots where people seem to forget about the importance of maintaining the landscape. By maintaining the landscape I suggest providing sufficient trashcans, keep statues and buildings tidy, and not letting the landscape overgrow.

Image:IMG 3444.JPG|This is a caption of a building in a forest nearby the NMBU. I think something could have been done to make the building a little more aesthetic instead of just being an object suffering from tagging.

Image:IMG 3449.JPG|This is a caption of a statue in the driveway to NIBIO at NMBU campus. The statue looks like it is almost not part of the campus. It is just like it has been forgotten. This is in great contrast to other buildings and gardens nearby witch is being nicely taken care of.

Image:IMG 3454.JPG|The actors for maintaining the landscape is not only the government, but also the people in general.
</gallery>

=== Landscape Democracy Challenge 5 ===
<gallery caption="Give a title to your challenge" widths="150px" heights="150px" perrow="5">
Image:yourname_challenge_1.jpg|caption: why did you select this case?
Image:yourname_challenge_2.jpg|caption: what is the issue/conflict (1)
Image:yourname_challenge_3.jpg|caption: what is the issue/conflict (2)
Image:yourname_challenge_4.jpg|caption: who are the actors?
</gallery>
'''Your references:'''
*...
*...

== Assignment 5 - Your Democratic Change Process ==
*You can read more details about this assignment [[Assignment_5:_Your_Democratic_Change_Process_(2017)|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 Process ===

<gallery caption="Add the title of your project " widths="600px" heights="300px" perrow="1">
Image:yourgroupname_2017_powermap.jpg|''a power map identifying who is affected by the challenge and who is influencing it''
Image:yourgroupname_2017_change process (1).jpg|''Look at the various methods and tools available and think how they can be applied creatively. Think about the needs of different stakeholder groups - you may need a methodical mix to address them all. Illustrate graphically how these methods/tools might be applied in a short, medium and long-term perspective.''
Image:yourgroupname_2017_scenario.jpg|''a scenario illustrating how these tools can be applied within a short, medium and long term perspective involving the groups you want to address, this should include a process timeline''
</gallery>

=== Reflection ===
*''Evaluate in the group how far your ideas either built on the theoretical frame that has been introduced to you during this seminar or react to this by filling a potential gap (approx 150 words)''

=== Your references ===
*....
*....
*....
*....

----
[[Category:Landscape Democracy Working Group 2017]]

LED Online Seminar 2017 - Working Group 6

2017-04-11T18:54:50Z

Federica.fuligni:

Partner Institutions

2017-03-22T13:10:11Z

Federica.fuligni:

= Project partner and grant coordinator =

== Norwegian University of Life Sciences | Ås, Norway ==

[https://www.nmbu.no/en/about-nmbu/faculties/samvit/departments/ilp Department of Landscape Architecture and Spatial Planning]

[[File:Deni.JPG|mini|right|200px|Prof. Deni Ruggeri]]

Contact person: '''Prof. Deni Ruggeri'''

Dr. Deni Ruggeri is Associate Professor and Landscape Architecture Section Leader in the Institute for Landscape Architecture and Spatial Planning at the Norwegian University of Life Sciences (NMBU), Norway. His research focuses on social dimensions of landscape and urban design. He is particularly interested in the influence landscapes have on people’s place identity and attachment, and in developing new tools and processes for engaging communities in the design of places that are conducive to sustainable lifestyles, physical and mental well-being, ecological health, economic viability, identity, delight, and biophilia.

Deni Ruggeri’s education includes a Ph.D. in Landscape Architecture from the University of California, Berkeley and graduate degrees in both Landscape Architecture and City Planning from Cornell University. He has practiced landscape architecture in California and Colorado, and has international experience in leading community design and visioning processes. Before joining NMBU, Deni has taught in the USA at the University of Oregon and Cornell University.

= Project partners =

== Nürtingen-Geislingen University | Nürtingen, Germany ==

[[File:Ellen.JPG|mini|right|200px|Dr. Ellen Fetzer]]
[https://www.hfwu.de/elearning/ Competence Centre for University Didactics]

Contact person: '''Dr Ellen Fetzer'''

Ellen Fetzer holds a diploma and a doctoral degree in landscape planning from Kassel University, Germany. Since 2001 she has been working at the school for landscape architecture, environmental and urban planning in Nürtigen (Stuttgart area, Germany). She is primarly coordinating an international master degree in landscape architecture (IMLA). The second focus of her work is in the Centre for University Didactics as an e-learning coordinator. Ellen works a lot in the field of computer-supported collaborative learning and facilitates online seminars in international cooperations. She is vice-president of ECLAS, the European Council of Landscape Architecture Schools.

== University of Kassel | Kassel, Germany ==
[[File:Diedrich.JPG|mini|right|200px|Prof. Diedrich Bruns]]
School of Architecture, Urban and Landscape Planning, [http://www.uni-kassel.de/fb06/fachgebiete/landschaftsarchitektur-und-planung/landschaftsplanung-landnutzung/startseite.html Landscape Planning Group], Kassel, Germany

Contact person: '''Prof. Dr. Diedrich Bruns'''

Diedrich Bruns is Full Professor and chair of Landscape Planning and Land Use at Kassel University, Germany. He worked in Africa, Asia, North America and on several European projects and has many years of experience in landscape planning practice, teaching and research. Planning methods is his main area of expertise, with a focus on participatory methods, particularly with respect to inclusiveness and early public involvement in landscape decision making. Dr Bruns has published several peer reviewed journal papers, book chapters and books.

== University of Bologna | Bologna, Italy ==

[http://www.da.unibo.it/it/internazionalizzazione/the-department-of-architecture-2013-university-of-bologna Department of Architecture,]
[[File:Luigi.JPG|mini|right|200px|Prof. Luigi Bartolomei]]

Contact person: '''Prof. Luigi Bartolomei'''

Luigi Bartolomei, Architectural Engineer, obtained his PhD in Design and Architectural Composition at the University of Bologna with a thesis regarding the Phenomenology of Sacred Space. With this body of reserarch he promoted an analysis of archetypal figures in relation to the contemporary landscape and church architecture. He has worked at the School of Engineering and Architecture of the University of Bologna since 2007 among various roles. Luigi Bartolomei began as a tutor in History of Architecture (AA.2007/08 and 08/09) and later as a contract professor teaching Design and Architectural Composition (AA. 2009/10) and Landscape and Infrastructure Design (AA. 2010/11, 2011/12). The later course resulted in superior work between him and his students and was selected among the best projects regarding infrastructures in Italy by UrbanPromo. He is responsible for the Agreement between the Department of Architecture and FTER-Theological Faculty of Emilia-Romagna and subsequent courses that have derived from this collaborative partnership. He is a collaborator of the “The Journal of Architecture” [Il Giornale dell’Architettura] since 2008, where he has found a place for his architectural critic to be fully expressed. More specifically, Bartolomei was the editor of an investigative report regarding the city of Bologna (January 2012), and on the architecture of churches in the 50th anniversary of the Second Vatican Council (December 2012). In 2009 he won, in collaboration with Prof. Giorgio Praderio, a research project PRIN – Research of Relevant National Interest on the preservation and valorization of the landscape in small towns. Bartolomei is also actively involved with the Commission for Sacred Art and Architecture of Bologna Diocese, since 2008. He is currently responsible for the Project of Census of all Catholic Churches in the territory of Bologna’s Archdiocese (which involves more than 690 buildings). Since 2014 he is the director of “IN_BO, Ricerche e progetti per il territorio, la città e l’architettura”, (IN_BO, Researches and projects on territory, towns and architecture), an open-access and peer-reviewed scientific journal of the Department of Architecture at the University of Bologna.

== Szent István University | Budapest, Hungary ==

[http://sziu.hu/ Szent István University]
[[File:Albert fekete.jpg|mini|right|200px|Albert Fekete, PhD]]

Contact person: '''Albert Fekete, PhD'''

Graduated Landscape Architect, Head of Department of Garden Art and Dean of the Faculty of Landscape Architecture and Urbanism Budapest, Szent István University. He is an active landscape designer with European design experiences, having since 2000 his own office (Lépték Terv Landscape Office) in Budapest/Hungary and since 2007 the AB PLAN Design Office in Romania. He is working in Germany, Holland and Spain as well, having more than 50 realized landscape and open space design projects. He is member of the stearing commitee of the Hungarian Association of Landscape Architects. Being leader of several research projects in the last 15 years, he has a rich international scientifical experience as well. He was awarded among other in more than 15 design competitions, and won several national and international awards, for instance the „Landscape Architect of the Year 2012” prize in Hungary, and the „Europa Nostra Prize” of the EU in 2014.

== LE:NOTRE Institute ==

[http://www.le-notre.org LE:NOTRE Institute]
an international foundation based in Wageningen, Netherlands.

Contact person: '''M.Eng. Anna Szilágyi-Nagy'''

[[File:Anna.JPG|mini|right|200px|M. Eng. Anna Szilágyi- Nagy]]

Anna Szilágyi-Nagy is a Hungarian MSc landscape architect graduated at the HfWU Nürtingen-Geislingen, Germany. As board member of the Le:Notre Institute is in charge of the development of the international certification system in the LED project.
In her diploma she focused on collaborative revitalization strategy of the Hosszúréti-creek, emphasizing the role of public involvement and environmental education in the suburb of Budapest. Later she helped to facilitate the community planning process of Normafa Közösen and was a tutor of online courses provided by HfWU Nürtingen-Geislingen.
Currently she is working for the Town Hall of Törökbálint to continue to propel creek revitalization process in her community and to smoothen cooperation between private and public sector. She is vice-president of the kultúrAktív Association, an NGO boosting playful tools and methods to support active citizenship and participation in urban life among children, and coordinates the development processes of the live board game Urbanity and the international action based project #playhellocity. She is also a guest lecturer at the Szent István University focusing on storytelling in creekside landscape.

= Associate Faculty =

== University of Life Sciences and Natural Resources | Vienna, Austria ==
Institute of Landscape Architecture at [https://www.univie.ac.at/en/ University of Life Sciences and Natural Resources, Vienna, Austria]

'''Eva Schwab, PhD'''
[[File:Eva schwab (3).JPG|mini|right|200px|Eva Schwab]]

Eva Schwab currently is a lecturer and researcher at the Institute of Landscape Architecture (ILA) at the University of Life Sciences and Natural Resources in Vienna, Austria. She holds a diploma and PhD in Landscape Architecture from the same university. Before entering a career in research, she practiced as a landscape architect for several years.
Eva’s research focuses on socio-spatial urban research, the politics of public space production and socio-cultural aspects in open space use. She is particularly interested in the power positions of different actors in the production of urban space and processes of in- and exclusion. Over the past few years, Eva was engaged in a number of inter- and transdisciplinary research projects in Austria, Argentina and Colombia as well as at the EU-level.

== Nürtingen-Geislingen University | Nürtingen, Germany ==

Representative of the [https://www.hfwu.de/hochschule/anlaufstellen/fakultaeten/flus School of Landscape Architecture, Environmental and Urban Design:]

'''Prof. Dr. Birgit Kröniger'''

[[File:Birgit Kroniger.JPG|mini|right|200px|Birgit Kröninger]]
Birgit Kröniger is Full Professor of design in landscape architecture at the HfWU Nürtingen since 2014. In 2000 she founded the design firm ver.de landschaftsarchitektur located in Freising-Weihenstephan, Germany, together with two partners. Working interdisciplinary with a team consisting of up to ten landscape architects and students, Birgit and her partners have taken part succesfully in numerous design competitions for open spaces and designed and realized public urban spaces, courtyards and residential neighbourhoods which won several design awards. Birgit holds a diploma in landscape architecture and a doctoral degree from Technische Universität München. She worked for the landscape architect Peter Latz several years before she founded her own firm.

= Tutors =

[[File:Tonje_neu.JPG|mini|left|200px]]
'''M-LA Tonje Cecile Stordalen'''

''Norwegian University of Life Science (NMBU)''

Tonje Cecilie Stordalen is a Ph.D. candidate of the Faculty of Landscape and Society at NMBU. The primary focus of her research is the democratization of everyday landscapes through community participation, and to develop an evaluative framework for assessing the performance of community-based processes. Tonje holds a Master in Landscape Architecture from NMBU. She is passionate about participatory processes inspiring design and is mainly concerned with topics such as historical development, place identity and attachment, equality and right to landscape in a multicultural context.

[[File:Federica_neu.JPG|mini|left|200px]]
'''Federica Fuligini'''

Federica Fuligni is tutor of the LED program for the University of Bologna, where she graduated in the combined Bachelor and Master of Architecture and Building Engineering in 2016.
Within the Erasmus+ program she studied at the Technical University in Munich and at the Wroclaw University of Technology. Federica is engaged to architecture as a social problem and developed her master thesis about the influences that common spaces in a co-housing solution might have in supporting integration and dignity among residents.

== Former LED-project partners ==

[[File:Kristin.JPG|mini|left|150px|Prof. Kristin Faurest]]
'''Kristin Faurest'''

Kristin Faurest is director of cultural institution at the Portland Japanese Garden in Portland, Oregon. For 14 years she has managed her own design firm, Artemisia Landscape Design, specializing in gardens for small urban spaces and special needs populations. Her studies include time spent at the Royal Botanic Gardens of Kew, London, and Kirstenbosch Botanical Garden in Cape Town, South Africa. She was employed as associate professor of landscape architecture at Szent István University, Budapest, Hungary during her engagement in the LED-project.

[[File:Jacksonita3.jpg|mini|left|150px]]
'''Irene Jackson Gil

Irene is studying the International Master of Landscape Architecture in the HfWU where is student assistant for the LED program under the supervision of Dr. Ellen Fetzer. She did her bachelor degree in Architecture in the Unversidad Central de Venezuela. Currently she is writing her Master thesis, the topic is Non verbal communication in participatory design.

[[File:Mirsa GISHTI LED.jpg|mini|left|150px]]
'''Mirsa Gishti'''

Mirsa is since October 2015 a tutor of LED online course assisting Dr. Ellen Fetzer and participates at the same time at the ERASMUS+ Project ‘Social Entrepreneurship for Local Change’. She is keen on social dimensions of landscape and urban design and as well on developing appropriate means of including disadvantaged social groups.
She holds a previous Master Degree in Architecture and Urban Planning from Polytechnic University of Tirana, Albania. Currently she is an IMLA Master student in the 4th semester at Nürtingen-Geislingen University in Germany and she is doing her internship at Faktorgruen in Freiburg (Germany) as landscape architect.

[[File:Sophie.JPG|mini|left|150px]]
'''Sophie Bittner'''

Sophie is a master student in landscape planning at the University of Kassel. She works at Prof. Diedrich Bruns chair landscape planning and land use as his student assistant for LED. In the year 2015 she studied one semester at the NMBU in Norway as an Erasmus student. At the moment she writes her master thesis, where participation as a democratic aspect is a great issue as well.

'''Ivana Lilikj'''

Ivana Lilikj is currently enrolled in the IMLA (International Master of Landscape Architecture) at Nürtingen-Geislingen University, Germany in the last semester, working on a Master Thesis: Green Infrastructure potentials for Ohrid region. Under the supervision of Dr. Ellen Fetzer she is student assistant in the LED online seminar. She holds a Bachelor diploma at the Faculty of Architecture and Society at Politecnico di Milano, Italy. Ivana is interested in transboundary/international collaborations in the context of design/planning ranging from theory to practice.

= Partners map =
{{#display_map: 51.32562507899497,9.504040405263368~Kassel University~Landscape Planning Group; 48.60897699335809,9.35187622902049~HfWU Nürtingen-Geislingen~School for Landscape Architecture, Environmental Design and Urban Planning; 59.66842037939986,10.766517519841727~NMBU~Centre for Landscape Democracy; 47.48009976883704,19.03879210350169~Svent Istvan University~Faculty for Landscape Architecture; 51.97546293564086,5.661449428880587~LE:NOTRE Institute; 44.49637918106034,11.353823393556013~Bologna University~Faculty for Architecture
}}

Partner Institutions

2017-03-22T13:09:32Z

Federica.fuligni: Undo revision 2932 by Federica.fuligni (talk)

= Project partner and grant coordinator =

== Norwegian University of Life Sciences | Ås, Norway ==

[https://www.nmbu.no/en/about-nmbu/faculties/samvit/departments/ilp Department of Landscape Architecture and Spatial Planning]

[[File:Deni.JPG|mini|right|200px|Prof. Deni Ruggeri]]

Contact person: '''Prof. Deni Ruggeri'''

Dr. Deni Ruggeri is Associate Professor and Landscape Architecture Section Leader in the Institute for Landscape Architecture and Spatial Planning at the Norwegian University of Life Sciences (NMBU), Norway. His research focuses on social dimensions of landscape and urban design. He is particularly interested in the influence landscapes have on people’s place identity and attachment, and in developing new tools and processes for engaging communities in the design of places that are conducive to sustainable lifestyles, physical and mental well-being, ecological health, economic viability, identity, delight, and biophilia.

Deni Ruggeri’s education includes a Ph.D. in Landscape Architecture from the University of California, Berkeley and graduate degrees in both Landscape Architecture and City Planning from Cornell University. He has practiced landscape architecture in California and Colorado, and has international experience in leading community design and visioning processes. Before joining NMBU, Deni has taught in the USA at the University of Oregon and Cornell University.

= Project partners =

== Nürtingen-Geislingen University | Nürtingen, Germany ==

[[File:Ellen.JPG|mini|right|200px|Dr. Ellen Fetzer]]
[https://www.hfwu.de/elearning/ Competence Centre for University Didactics]

Contact person: '''Dr Ellen Fetzer'''

Ellen Fetzer holds a diploma and a doctoral degree in landscape planning from Kassel University, Germany. Since 2001 she has been working at the school for landscape architecture, environmental and urban planning in Nürtigen (Stuttgart area, Germany). She is primarly coordinating an international master degree in landscape architecture (IMLA). The second focus of her work is in the Centre for University Didactics as an e-learning coordinator. Ellen works a lot in the field of computer-supported collaborative learning and facilitates online seminars in international cooperations. She is vice-president of ECLAS, the European Council of Landscape Architecture Schools.

== University of Kassel | Kassel, Germany ==
[[File:Diedrich.JPG|mini|right|200px|Prof. Diedrich Bruns]]
School of Architecture, Urban and Landscape Planning, [http://www.uni-kassel.de/fb06/fachgebiete/landschaftsarchitektur-und-planung/landschaftsplanung-landnutzung/startseite.html Landscape Planning Group], Kassel, Germany

Contact person: '''Prof. Dr. Diedrich Bruns'''

Diedrich Bruns is Full Professor and chair of Landscape Planning and Land Use at Kassel University, Germany. He worked in Africa, Asia, North America and on several European projects and has many years of experience in landscape planning practice, teaching and research. Planning methods is his main area of expertise, with a focus on participatory methods, particularly with respect to inclusiveness and early public involvement in landscape decision making. Dr Bruns has published several peer reviewed journal papers, book chapters and books.

== University of Bologna | Bologna, Italy ==

[http://www.da.unibo.it/it/internazionalizzazione/the-department-of-architecture-2013-university-of-bologna Department of Architecture,]
[[File:Luigi.JPG|mini|right|200px|Prof. Luigi Bartolomei]]

Contact person: '''Prof. Luigi Bartolomei'''

Luigi Bartolomei, Architectural Engineer, obtained his PhD in Design and Architectural Composition at the University of Bologna with a thesis regarding the Phenomenology of Sacred Space. With this body of reserarch he promoted an analysis of archetypal figures in relation to the contemporary landscape and church architecture. He has worked at the School of Engineering and Architecture of the University of Bologna since 2007 among various roles. Luigi Bartolomei began as a tutor in History of Architecture (AA.2007/08 and 08/09) and later as a contract professor teaching Design and Architectural Composition (AA. 2009/10) and Landscape and Infrastructure Design (AA. 2010/11, 2011/12). The later course resulted in superior work between him and his students and was selected among the best projects regarding infrastructures in Italy by UrbanPromo. He is responsible for the Agreement between the Department of Architecture and FTER-Theological Faculty of Emilia-Romagna and subsequent courses that have derived from this collaborative partnership. He is a collaborator of the “The Journal of Architecture” [Il Giornale dell’Architettura] since 2008, where he has found a place for his architectural critic to be fully expressed. More specifically, Bartolomei was the editor of an investigative report regarding the city of Bologna (January 2012), and on the architecture of churches in the 50th anniversary of the Second Vatican Council (December 2012). In 2009 he won, in collaboration with Prof. Giorgio Praderio, a research project PRIN – Research of Relevant National Interest on the preservation and valorization of the landscape in small towns. Bartolomei is also actively involved with the Commission for Sacred Art and Architecture of Bologna Diocese, since 2008. He is currently responsible for the Project of Census of all Catholic Churches in the territory of Bologna’s Archdiocese (which involves more than 690 buildings). Since 2014 he is the director of “IN_BO, Ricerche e progetti per il territorio, la città e l’architettura”, (IN_BO, Researches and projects on territory, towns and architecture), an open-access and peer-reviewed scientific journal of the Department of Architecture at the University of Bologna.

== Szent István University | Budapest, Hungary ==

[http://sziu.hu/ Szent István University]
[[File:Albert fekete.jpg|mini|right|200px|Albert Fekete, PhD]]

Contact person: '''Albert Fekete, PhD'''

Graduated Landscape Architect, Head of Department of Garden Art and Dean of the Faculty of Landscape Architecture and Urbanism Budapest, Szent István University. He is an active landscape designer with European design experiences, having since 2000 his own office (Lépték Terv Landscape Office) in Budapest/Hungary and since 2007 the AB PLAN Design Office in Romania. He is working in Germany, Holland and Spain as well, having more than 50 realized landscape and open space design projects. He is member of the stearing commitee of the Hungarian Association of Landscape Architects. Being leader of several research projects in the last 15 years, he has a rich international scientifical experience as well. He was awarded among other in more than 15 design competitions, and won several national and international awards, for instance the „Landscape Architect of the Year 2012” prize in Hungary, and the „Europa Nostra Prize” of the EU in 2014.

== LE:NOTRE Institute ==

[http://www.le-notre.org LE:NOTRE Institute]
an international foundation based in Wageningen, Netherlands.

Contact person: '''M.Eng. Anna Szilágyi-Nagy'''

[[File:Anna.JPG|mini|right|200px|M. Eng. Anna Szilágyi- Nagy]]

Anna Szilágyi-Nagy is a Hungarian MSc landscape architect graduated at the HfWU Nürtingen-Geislingen, Germany. As board member of the Le:Notre Institute is in charge of the development of the international certification system in the LED project.
In her diploma she focused on collaborative revitalization strategy of the Hosszúréti-creek, emphasizing the role of public involvement and environmental education in the suburb of Budapest. Later she helped to facilitate the community planning process of Normafa Közösen and was a tutor of online courses provided by HfWU Nürtingen-Geislingen.
Currently she is working for the Town Hall of Törökbálint to continue to propel creek revitalization process in her community and to smoothen cooperation between private and public sector. She is vice-president of the kultúrAktív Association, an NGO boosting playful tools and methods to support active citizenship and participation in urban life among children, and coordinates the development processes of the live board game Urbanity and the international action based project #playhellocity. She is also a guest lecturer at the Szent István University focusing on storytelling in creekside landscape.

= Associate Faculty =

== University of Life Sciences and Natural Resources | Vienna, Austria ==
Institute of Landscape Architecture at [https://www.univie.ac.at/en/ University of Life Sciences and Natural Resources, Vienna, Austria]

'''Eva Schwab, PhD'''
[[File:Eva schwab (3).JPG|mini|right|200px|Eva Schwab]]

Eva Schwab currently is a lecturer and researcher at the Institute of Landscape Architecture (ILA) at the University of Life Sciences and Natural Resources in Vienna, Austria. She holds a diploma and PhD in Landscape Architecture from the same university. Before entering a career in research, she practiced as a landscape architect for several years.
Eva’s research focuses on socio-spatial urban research, the politics of public space production and socio-cultural aspects in open space use. She is particularly interested in the power positions of different actors in the production of urban space and processes of in- and exclusion. Over the past few years, Eva was engaged in a number of inter- and transdisciplinary research projects in Austria, Argentina and Colombia as well as at the EU-level.

== Nürtingen-Geislingen University | Nürtingen, Germany ==

Representative of the [https://www.hfwu.de/hochschule/anlaufstellen/fakultaeten/flus School of Landscape Architecture, Environmental and Urban Design:]

'''Prof. Dr. Birgit Kröniger'''

[[File:Birgit Kroniger.JPG|mini|right|200px|Birgit Kröninger]]
Birgit Kröniger is Full Professor of design in landscape architecture at the HfWU Nürtingen since 2014. In 2000 she founded the design firm ver.de landschaftsarchitektur located in Freising-Weihenstephan, Germany, together with two partners. Working interdisciplinary with a team consisting of up to ten landscape architects and students, Birgit and her partners have taken part succesfully in numerous design competitions for open spaces and designed and realized public urban spaces, courtyards and residential neighbourhoods which won several design awards. Birgit holds a diploma in landscape architecture and a doctoral degree from Technische Universität München. She worked for the landscape architect Peter Latz several years before she founded her own firm.

= Tutors =

[[File:Tonje_neu.JPG|mini|left|200px]]
'''M-LA Tonje Cecile Stordalen'''

''Norwegian University of Life Science (NMBU)''

Tonje Cecilie Stordalen is a Ph.D. candidate of the Faculty of Landscape and Society at NMBU. The primary focus of her research is the democratization of everyday landscapes through community participation, and to develop an evaluative framework for assessing the performance of community-based processes. Tonje holds a Master in Landscape Architecture from NMBU. She is passionate about participatory processes inspiring design and is mainly concerned with topics such as historical development, place identity and attachment, equality and right to landscape in a multicultural context.

[[File:Federica_neu.JPG|mini|left|200px]]
'''Federica Fuligini'''

Federica Fuligni is a master student in Architecture and Building Engineering at the University of Bologna, Italy, and she is assisting Prof. Luigi Bartolomei in the LED project. Within the Erasmus+ program she studied at the Technical University in Munich and at the Wroclaw University of Technology.
Federica is engaged to architecture as a social problem and is currently developing her master thesis about how co-housing could support integration and guarantee dignity in disadvantaged situations.

== Former LED-project partners ==

[[File:Kristin.JPG|mini|left|150px|Prof. Kristin Faurest]]
'''Kristin Faurest'''

Kristin Faurest is director of cultural institution at the Portland Japanese Garden in Portland, Oregon. For 14 years she has managed her own design firm, Artemisia Landscape Design, specializing in gardens for small urban spaces and special needs populations. Her studies include time spent at the Royal Botanic Gardens of Kew, London, and Kirstenbosch Botanical Garden in Cape Town, South Africa. She was employed as associate professor of landscape architecture at Szent István University, Budapest, Hungary during her engagement in the LED-project.

[[File:Jacksonita3.jpg|mini|left|150px]]
'''Irene Jackson Gil

Irene is studying the International Master of Landscape Architecture in the HfWU where is student assistant for the LED program under the supervision of Dr. Ellen Fetzer. She did her bachelor degree in Architecture in the Unversidad Central de Venezuela. Currently she is writing her Master thesis, the topic is Non verbal communication in participatory design.

[[File:Mirsa GISHTI LED.jpg|mini|left|150px]]
'''Mirsa Gishti'''

Mirsa is since October 2015 a tutor of LED online course assisting Dr. Ellen Fetzer and participates at the same time at the ERASMUS+ Project ‘Social Entrepreneurship for Local Change’. She is keen on social dimensions of landscape and urban design and as well on developing appropriate means of including disadvantaged social groups.
She holds a previous Master Degree in Architecture and Urban Planning from Polytechnic University of Tirana, Albania. Currently she is an IMLA Master student in the 4th semester at Nürtingen-Geislingen University in Germany and she is doing her internship at Faktorgruen in Freiburg (Germany) as landscape architect.

[[File:Sophie.JPG|mini|left|150px]]
'''Sophie Bittner'''

Sophie is a master student in landscape planning at the University of Kassel. She works at Prof. Diedrich Bruns chair landscape planning and land use as his student assistant for LED. In the year 2015 she studied one semester at the NMBU in Norway as an Erasmus student. At the moment she writes her master thesis, where participation as a democratic aspect is a great issue as well.

'''Ivana Lilikj'''

Ivana Lilikj is currently enrolled in the IMLA (International Master of Landscape Architecture) at Nürtingen-Geislingen University, Germany in the last semester, working on a Master Thesis: Green Infrastructure potentials for Ohrid region. Under the supervision of Dr. Ellen Fetzer she is student assistant in the LED online seminar. She holds a Bachelor diploma at the Faculty of Architecture and Society at Politecnico di Milano, Italy. Ivana is interested in transboundary/international collaborations in the context of design/planning ranging from theory to practice.

= Partners map =
{{#display_map: 51.32562507899497,9.504040405263368~Kassel University~Landscape Planning Group; 48.60897699335809,9.35187622902049~HfWU Nürtingen-Geislingen~School for Landscape Architecture, Environmental Design and Urban Planning; 59.66842037939986,10.766517519841727~NMBU~Centre for Landscape Democracy; 47.48009976883704,19.03879210350169~Svent Istvan University~Faculty for Landscape Architecture; 51.97546293564086,5.661449428880587~LE:NOTRE Institute; 44.49637918106034,11.353823393556013~Bologna University~Faculty for Architecture
}}

Partner Institutions

2017-03-22T13:07:28Z

Federica.fuligni: /* Tutors */

= Project partner and grant coordinator =

== Norwegian University of Life Sciences | Ås, Norway ==

[https://www.nmbu.no/en/about-nmbu/faculties/samvit/departments/ilp Department of Landscape Architecture and Spatial Planning]

[[File:Deni.JPG|mini|right|200px|Prof. Deni Ruggeri]]

Contact person: '''Prof. Deni Ruggeri'''

Dr. Deni Ruggeri is Associate Professor and Landscape Architecture Section Leader in the Institute for Landscape Architecture and Spatial Planning at the Norwegian University of Life Sciences (NMBU), Norway. His research focuses on social dimensions of landscape and urban design. He is particularly interested in the influence landscapes have on people’s place identity and attachment, and in developing new tools and processes for engaging communities in the design of places that are conducive to sustainable lifestyles, physical and mental well-being, ecological health, economic viability, identity, delight, and biophilia.

Deni Ruggeri’s education includes a Ph.D. in Landscape Architecture from the University of California, Berkeley and graduate degrees in both Landscape Architecture and City Planning from Cornell University. He has practiced landscape architecture in California and Colorado, and has international experience in leading community design and visioning processes. Before joining NMBU, Deni has taught in the USA at the University of Oregon and Cornell University.

= Project partners =

== Nürtingen-Geislingen University | Nürtingen, Germany ==

[[File:Ellen.JPG|mini|right|200px|Dr. Ellen Fetzer]]
[https://www.hfwu.de/elearning/ Competence Centre for University Didactics]

Contact person: '''Dr Ellen Fetzer'''

Ellen Fetzer holds a diploma and a doctoral degree in landscape planning from Kassel University, Germany. Since 2001 she has been working at the school for landscape architecture, environmental and urban planning in Nürtigen (Stuttgart area, Germany). She is primarly coordinating an international master degree in landscape architecture (IMLA). The second focus of her work is in the Centre for University Didactics as an e-learning coordinator. Ellen works a lot in the field of computer-supported collaborative learning and facilitates online seminars in international cooperations. She is vice-president of ECLAS, the European Council of Landscape Architecture Schools.

== University of Kassel | Kassel, Germany ==
[[File:Diedrich.JPG|mini|right|200px|Prof. Diedrich Bruns]]
School of Architecture, Urban and Landscape Planning, [http://www.uni-kassel.de/fb06/fachgebiete/landschaftsarchitektur-und-planung/landschaftsplanung-landnutzung/startseite.html Landscape Planning Group], Kassel, Germany

Contact person: '''Prof. Dr. Diedrich Bruns'''

Diedrich Bruns is Full Professor and chair of Landscape Planning and Land Use at Kassel University, Germany. He worked in Africa, Asia, North America and on several European projects and has many years of experience in landscape planning practice, teaching and research. Planning methods is his main area of expertise, with a focus on participatory methods, particularly with respect to inclusiveness and early public involvement in landscape decision making. Dr Bruns has published several peer reviewed journal papers, book chapters and books.

== University of Bologna | Bologna, Italy ==

[http://www.da.unibo.it/it/internazionalizzazione/the-department-of-architecture-2013-university-of-bologna Department of Architecture,]
[[File:Luigi.JPG|mini|right|200px|Prof. Luigi Bartolomei]]

Contact person: '''Prof. Luigi Bartolomei'''

Luigi Bartolomei, Architectural Engineer, obtained his PhD in Design and Architectural Composition at the University of Bologna with a thesis regarding the Phenomenology of Sacred Space. With this body of reserarch he promoted an analysis of archetypal figures in relation to the contemporary landscape and church architecture. He has worked at the School of Engineering and Architecture of the University of Bologna since 2007 among various roles. Luigi Bartolomei began as a tutor in History of Architecture (AA.2007/08 and 08/09) and later as a contract professor teaching Design and Architectural Composition (AA. 2009/10) and Landscape and Infrastructure Design (AA. 2010/11, 2011/12). The later course resulted in superior work between him and his students and was selected among the best projects regarding infrastructures in Italy by UrbanPromo. He is responsible for the Agreement between the Department of Architecture and FTER-Theological Faculty of Emilia-Romagna and subsequent courses that have derived from this collaborative partnership. He is a collaborator of the “The Journal of Architecture” [Il Giornale dell’Architettura] since 2008, where he has found a place for his architectural critic to be fully expressed. More specifically, Bartolomei was the editor of an investigative report regarding the city of Bologna (January 2012), and on the architecture of churches in the 50th anniversary of the Second Vatican Council (December 2012). In 2009 he won, in collaboration with Prof. Giorgio Praderio, a research project PRIN – Research of Relevant National Interest on the preservation and valorization of the landscape in small towns. Bartolomei is also actively involved with the Commission for Sacred Art and Architecture of Bologna Diocese, since 2008. He is currently responsible for the Project of Census of all Catholic Churches in the territory of Bologna’s Archdiocese (which involves more than 690 buildings). Since 2014 he is the director of “IN_BO, Ricerche e progetti per il territorio, la città e l’architettura”, (IN_BO, Researches and projects on territory, towns and architecture), an open-access and peer-reviewed scientific journal of the Department of Architecture at the University of Bologna.

== Szent István University | Budapest, Hungary ==

[http://sziu.hu/ Szent István University]
[[File:Albert fekete.jpg|mini|right|200px|Albert Fekete, PhD]]

Contact person: '''Albert Fekete, PhD'''

Graduated Landscape Architect, Head of Department of Garden Art and Dean of the Faculty of Landscape Architecture and Urbanism Budapest, Szent István University. He is an active landscape designer with European design experiences, having since 2000 his own office (Lépték Terv Landscape Office) in Budapest/Hungary and since 2007 the AB PLAN Design Office in Romania. He is working in Germany, Holland and Spain as well, having more than 50 realized landscape and open space design projects. He is member of the stearing commitee of the Hungarian Association of Landscape Architects. Being leader of several research projects in the last 15 years, he has a rich international scientifical experience as well. He was awarded among other in more than 15 design competitions, and won several national and international awards, for instance the „Landscape Architect of the Year 2012” prize in Hungary, and the „Europa Nostra Prize” of the EU in 2014.

== LE:NOTRE Institute ==

[http://www.le-notre.org LE:NOTRE Institute]
an international foundation based in Wageningen, Netherlands.

Contact person: '''M.Eng. Anna Szilágyi-Nagy'''

[[File:Anna.JPG|mini|right|200px|M. Eng. Anna Szilágyi- Nagy]]

Anna Szilágyi-Nagy is a Hungarian MSc landscape architect graduated at the HfWU Nürtingen-Geislingen, Germany. As board member of the Le:Notre Institute is in charge of the development of the international certification system in the LED project.
In her diploma she focused on collaborative revitalization strategy of the Hosszúréti-creek, emphasizing the role of public involvement and environmental education in the suburb of Budapest. Later she helped to facilitate the community planning process of Normafa Közösen and was a tutor of online courses provided by HfWU Nürtingen-Geislingen.
Currently she is working for the Town Hall of Törökbálint to continue to propel creek revitalization process in her community and to smoothen cooperation between private and public sector. She is vice-president of the kultúrAktív Association, an NGO boosting playful tools and methods to support active citizenship and participation in urban life among children, and coordinates the development processes of the live board game Urbanity and the international action based project #playhellocity. She is also a guest lecturer at the Szent István University focusing on storytelling in creekside landscape.

= Associate Faculty =

== University of Life Sciences and Natural Resources | Vienna, Austria ==
Institute of Landscape Architecture at [https://www.univie.ac.at/en/ University of Life Sciences and Natural Resources, Vienna, Austria]

'''Eva Schwab, PhD'''
[[File:Eva schwab (3).JPG|mini|right|200px|Eva Schwab]]

Eva Schwab currently is a lecturer and researcher at the Institute of Landscape Architecture (ILA) at the University of Life Sciences and Natural Resources in Vienna, Austria. She holds a diploma and PhD in Landscape Architecture from the same university. Before entering a career in research, she practiced as a landscape architect for several years.
Eva’s research focuses on socio-spatial urban research, the politics of public space production and socio-cultural aspects in open space use. She is particularly interested in the power positions of different actors in the production of urban space and processes of in- and exclusion. Over the past few years, Eva was engaged in a number of inter- and transdisciplinary research projects in Austria, Argentina and Colombia as well as at the EU-level.

== Nürtingen-Geislingen University | Nürtingen, Germany ==

Representative of the [https://www.hfwu.de/hochschule/anlaufstellen/fakultaeten/flus School of Landscape Architecture, Environmental and Urban Design:]

'''Prof. Dr. Birgit Kröniger'''

[[File:Birgit Kroniger.JPG|mini|right|200px|Birgit Kröninger]]
Birgit Kröniger is Full Professor of design in landscape architecture at the HfWU Nürtingen since 2014. In 2000 she founded the design firm ver.de landschaftsarchitektur located in Freising-Weihenstephan, Germany, together with two partners. Working interdisciplinary with a team consisting of up to ten landscape architects and students, Birgit and her partners have taken part succesfully in numerous design competitions for open spaces and designed and realized public urban spaces, courtyards and residential neighbourhoods which won several design awards. Birgit holds a diploma in landscape architecture and a doctoral degree from Technische Universität München. She worked for the landscape architect Peter Latz several years before she founded her own firm.

= Tutors =

[[File:Tonje_neu.JPG|mini|left|200px]]
'''M-LA Tonje Cecile Stordalen'''

''Norwegian University of Life Science (NMBU)''

Tonje Cecilie Stordalen is a Ph.D. candidate of the Faculty of Landscape and Society at NMBU. The primary focus of her research is the democratization of everyday landscapes through community participation, and to develop an evaluative framework for assessing the performance of community-based processes. Tonje holds a Master in Landscape Architecture from NMBU. She is passionate about participatory processes inspiring design and is mainly concerned with topics such as historical development, place identity and attachment, equality and right to landscape in a multicultural context.

[[File:Federica_neu.JPG|mini|left|200px]]
'''Federica Fuligini'''

Federica Fuligni is tutor of the LED program for the University of Bologna, where she graduated in the combined Bachelor and Master of Architecture and Building Engineering in 2016.
Within the Erasmus+ program she studied at the Technical University in Munich and at the Wroclaw University of Technology. Federica is engaged to architecture as a social problem and developed her master thesis about the influences that common spaces in a co-housing solution might have in supporting integration and dignity among residents.

= Former LED-project partners =

[[File:Kristin.JPG|mini|left|150px|Prof. Kristin Faurest]]
'''Kristin Faurest'''

Kristin Faurest is director of cultural institution at the Portland Japanese Garden in Portland, Oregon. For 14 years she has managed her own design firm, Artemisia Landscape Design, specializing in gardens for small urban spaces and special needs populations. Her studies include time spent at the Royal Botanic Gardens of Kew, London, and Kirstenbosch Botanical Garden in Cape Town, South Africa. She was employed as associate professor of landscape architecture at Szent István University, Budapest, Hungary during her engagement in the LED-project.

[[File:Jacksonita3.jpg|mini|left|150px]]
'''Irene Jackson Gil

Irene is studying the International Master of Landscape Architecture in the HfWU where is student assistant for the LED program under the supervision of Dr. Ellen Fetzer. She did her bachelor degree in Architecture in the Unversidad Central de Venezuela. Currently she is writing her Master thesis, the topic is Non verbal communication in participatory design.

[[File:Mirsa GISHTI LED.jpg|mini|left|150px]]
'''Mirsa Gishti'''

Mirsa is since October 2015 a tutor of LED online course assisting Dr. Ellen Fetzer and participates at the same time at the ERASMUS+ Project ‘Social Entrepreneurship for Local Change’. She is keen on social dimensions of landscape and urban design and as well on developing appropriate means of including disadvantaged social groups.
She holds a previous Master Degree in Architecture and Urban Planning from Polytechnic University of Tirana, Albania. Currently she is an IMLA Master student in the 4th semester at Nürtingen-Geislingen University in Germany and she is doing her internship at Faktorgruen in Freiburg (Germany) as landscape architect.

[[File:Sophie.JPG|mini|left|150px]]
'''Sophie Bittner'''

Sophie is a master student in landscape planning at the University of Kassel. She works at Prof. Diedrich Bruns chair landscape planning and land use as his student assistant for LED. In the year 2015 she studied one semester at the NMBU in Norway as an Erasmus student. At the moment she writes her master thesis, where participation as a democratic aspect is a great issue as well.

'''Ivana Lilikj'''

Ivana Lilikj is currently enrolled in the IMLA (International Master of Landscape Architecture) at Nürtingen-Geislingen University, Germany in the last semester, working on a Master Thesis: Green Infrastructure potentials for Ohrid region. Under the supervision of Dr. Ellen Fetzer she is student assistant in the LED online seminar. She holds a Bachelor diploma at the Faculty of Architecture and Society at Politecnico di Milano, Italy. Ivana is interested in transboundary/international collaborations in the context of design/planning ranging from theory to practice.

= Partners map =
{{#display_map: 51.32562507899497,9.504040405263368~Kassel University~Landscape Planning Group; 48.60897699335809,9.35187622902049~HfWU Nürtingen-Geislingen~School for Landscape Architecture, Environmental Design and Urban Planning; 59.66842037939986,10.766517519841727~NMBU~Centre for Landscape Democracy; 47.48009976883704,19.03879210350169~Svent Istvan University~Faculty for Landscape Architecture; 51.97546293564086,5.661449428880587~LE:NOTRE Institute; 44.49637918106034,11.353823393556013~Bologna University~Faculty for Architecture
}}

LED Online Seminar 2016 - Working Group F

2016-06-22T17:14:37Z

Federica.fuligni: /* Step 3 - Reporting */

'''--> 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]].

* Ibrahim: Burckhardt, Lucius (1979): Why is landscape beautiful? in: Fezer/Schmitz (Eds.) Rethinking Man-made Environments (2012)
* Ibrahim: Kucan, Ana (2007). Constructing Landscape Conceptions. In: ECLAS (ed.). JoLA spring 2007, 30-41. Munich: Callwey.
* Ibrahim: Reading the Landscape' by Simon Bell, EMU Tartu

=== Step 2 - Concept mapping of core terms ===
* [https://cmapscloud.ihmc.us/viewer/cmap/1Q4HTTYV9-1F5NY96-167TKB Group F Concept Map]

=== Step 3 - Reporting ===
*Please write, as a group, a 250 words reflection on your concept mapping process

The process itself was constructed in two phases: the first was when each of us read and structured his\her own map, with the second step of knowing how to connect those four maps together and modifying them, based on what did each of us understand from the others as well. As a group composed of people coming from very different backgrounds, we were very focused on the societal perspective of landscape, as well as its collective interpretation. Through group meetings, the main defined theme of the map was also assigned; due to the variety of the readings, it was not easy to reach a mid-point, yet through language differences, it was finally achieved.
It was important for us to create a common ground defining what landscape is and represents. Some of our readings focused on the instruments to represent it; others in its role to contain and empower a continuos social construct. Still, the readings mainly reflected about the collective character of the landscape phenomenon; the creation of a continuously changing collective memory. This collective memory is sustainable in the extent it represents and forges a common interest among the users, a common responsibility shared to preserve and maintain the sense of place and a common happiness of users to enjoy and use the place.
Another exciting point was to see some of the readings being understood differently, depending on the culture and the background of studies, as some of us had the same readings but mixed with other ones. This has given us a deeper understanding to some of the readings, as well as allowing the group to hear about more readings in a shorter time period

== 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 F |Landscape Symbols Reflection Group F]]'''

=== 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:Fuligni symbol 1.jpg | federica fuligni
Image:I miei portici2.jpg | federica fuligni
Image:Flagpole concept.jpeg | Ibrahim Al Mardini
Image:Ibrahim 2.jpg | Ibrahim Al Mardini
Image:Slide1 Tora.jpeg |Tora Grøstad
Image:Slide2 Tora.jpeg | Tora Grøstad
Image:Landscape symbols mario.jpg | Mario Matamoros
Image:2 LED Assignment Mario Matamoros slide explanation.jpg | Mario Matamoros
Image:2 LED Assignment group reflections.jpg| group reflection
</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 F Landscape Democracy Challenge 1|Landscape Democracy Challenge 1]]'''
* '''[[LED 2016 Group F Landscape Democracy Challenge 2|Landscape Democracy Challenge 2]]'''
* '''[[LED 2016 Group F Landscape Democracy Challenge 3|Landscape Democracy Challenge 3]]'''
* '''[[LED 2016 Group F Landscape Democracy Challenge 4|Landscape Democracy Challenge 4]]'''
* '''[[LED 2016 Group F 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:Landscape challenge2.jpg|slide 1
Image:Landscape challenge1.3.jpg|slide 2
Image:Slide2 group f.JPG|slide 3
Image:Slide3 group f.JPG|slide 4
Image:Slide1 ibra.JPG|slide 5
Image:Slide2 ibra.JPG|slide 6
Image:m_landscape challenge_1.jpg|slide 7
Image:m_landscape challenge_2.jpg|slide 8
Image:Reflection.jpg|slide 9
</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 F 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:Slide2 group f.JPG|slide 1
Image:Slide3 group f.JPG|slide 2
Image:Slide4444444.JPG|slide 3
Image:Group f Slide555.JPG|slide 4
Image:Slide6 group f.JPG|slide 5
Image:Slide7 group f.JPG|slide 6
</gallery>

Parking Day 2013 & UniverCity 1st Lecture & Urban Design Workshop II & Zingonia Colouring Book & Zingonia UniverCity Workshop

2016-05-26T09:47:18Z

Federica.fuligni: Created page with "This project is part of a wider process that, supported by the local administrations, aims to improve the living conditions of Zingonia’s citizens; since 2013, “Zingonia 3..."

This project is part of a wider process that, supported by the local administrations, aims to improve the living conditions of Zingonia’s citizens; since 2013, “Zingonia 3.0” follows this path operating to enhance the cohesion between the various '''communities'''. In 2014, an international Workshop is organised in Zingonia to focus on the problems and '''potentialities''' of the public spaces; a key point of it was the study on “'''Piazza Affari'''”, which still holds a high symbolical meaning. It had two main outputs, a plenary session to present the possible future scenario of '''interventions''' and the publication of a '''comic book''' for children.

== ''URBAN DESIGN WORKSHOP II'' ==

During the Urban Design Workshop, the students, divided into focus groups, observed the environment and met the local stakeholders, in a process of evaluation of possible problems and constrains of the place. In a further phase, they identified the possibilities that such place have and tried to develop strategies of intervention to convert it into a more liveable and lively area.

=== ''SOCIALITY'' // '''USE OF PUBLIC SPACE''' ===

<gallery caption=" " widths="600px" heights="450px" perrow"">
Image:1.1.jpg|SOCIALITY: analysis
Image:1.2.jpg|SOCIALITY: interventions
</gallery>

=== ''CONNECTIVITY'' // '''CONNECTION WITH THE SURROUNDINGS''' ===

<gallery caption=" " widths="600px" heights="450px" perrow"">
Image:2.1.jpg|CONNECTIVITY: constrains
Image:2.2.jpg|CONNECTIVITY: opportunities
</gallery>

=== ''LIVEABILITY'' // '''SPACES BETWEEN PUBLIC AND PRIVATE''' ===

<gallery caption=" " widths="600px" heights="450px" perrow"">
Image:3.1.jpg|LIVEABILITY: methods
Image:3.2.jpg|LIVEABILITY: suggestions
</gallery>

== ''URBAN DESIGN WORKSHOP II'' ==

During these years of collaboration, the partners collected many '''historical images''' and '''personal memories''' about the environment, describing its evolution from its foundation in the ‘60s to nowadays, which are generally blocked out from the current degeneration. With this book, “Colora la tua città”, the partners wish to involve the '''children''' in a discovery journey through the years, to find a new form of identity in the landscape they live in. Young generations could in fact be the driving force for a positive and shared image of Zingonia, leading ''from invisibility to liveability''.

<gallery caption=" " widths="600px" heights="450px" perrow"">
Image:Libro Zingonia 3.0.jpg
</gallery>

File:Libro Zingonia 3.0.jpg

2016-05-26T09:36:37Z

Federica.fuligni:

File:3.2.jpg

2016-05-26T09:30:19Z

Federica.fuligni:

File:3.1.jpg

2016-05-26T09:29:36Z

Federica.fuligni:

File:2.2.jpg

2016-05-26T09:27:56Z

Federica.fuligni:

File:2.1.jpg

2016-05-26T09:25:28Z

Federica.fuligni:

File:1.2.jpg

2016-05-26T09:21:31Z

Federica.fuligni:

File:1.1.jpg

2016-05-26T09:19:56Z

Federica.fuligni:

LED 2016 Group F Landscape Democracy Challenge 2

2016-05-17T15:43:43Z

Federica.fuligni:

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

'''''Piazza Verdi and its need for a public care'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place name''' ||style="background:Lavender"| '' Piazza Verdi''
|-
| '''Location''' || style="background:Lavender"|''Bologna''
|-
| '''Country''' || style="background:Lavender"|''Italy''
|-
| '''Author(s)''' || style="background:Lavender"|''Federica Fuligni''
|-
| colspan="3" align="center" style="background:silver"| [[File:Piazza verdi giorno pulita 2.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? ==
* ''Why is this case relevant?''

I decided to choose as a democratic challenge in my personal landscape the case of PIAZZA VERDI, in Bologna. It is a public square right in the centre of the historical city, surrounded by a very social area. Being in the University district, students cross it every day on their way to classes and exams; many cafes and bars are places nearby so it could be a location for nice breaks from early in the morning to the aperitivo time in the evening. One of the main theatres of Bologna is also placed in Piazza Verdi, such as different historical sites, so it could also host cultural events.
Instead, everyone knows it for its degradation and suspicious users, especially after the sunset. Many projects took place over the years to change the situation, some of them really effective, others less, but the square still needs a common reaction to become a high quality public space.

== 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:Democratic challenge piazza verdi.jpg|Piazza Verdi _ problems analysis
Image:Democratic challenge piazza verdi2.jpg|Piazza Verdi _ past problems and future challenges
</gallery>

== Reflection ==
=== What are the major challenges for changing the situation? ===
The problems of Piazza Verdi and the surrounding areas are various but I describe the major ones. It is commonly known how people can buy cheap alcohol and drugs in the square from illegal sellers; this could be identified as a main issue, since it strongly influence the following ones. People in fact spends the whole night in the square, drinking and playing instruments, before leaving on the floor empty bottles and any kind of rubbish. In addition the area is characterized by a terribly bed smell, caused by drunk people using the arcades as open-air toilets. Moreover, Piazza Verdi could be an unsafe area to cross, especially during the night for a girl alone, due to past cases of robbery and abuses.

=== What could be a starting point for democractically-based change? ===
As already stated, various project were already developed to improve the area; the overall situation is surely better than few years ago, but many things could still be done to transform Piazza Verdi into a social and sustainable public space.
In 2011 the government converted the nearby streets into pedestrian, connecting the square to the arcades and the University district; this led to an enlarged use of the square. Few years after the municipality also provided it with new public furniture, such as benches and trees, and a free Wi-Fi. Many citizens took part of this process as well, as a woman who donated 35.000 euro to build public toilets or a group of volunteers, who increased the number of recycling bins for a night.
The challenge now is to involve in this regeneration any user of the square, from the student passing by early in the morning to the groups of friends who sits there late in the night, to dissuade illegal affairs and create a truly public space.

== References ==
* http://www.urbancenterbologna.it/strategie-progetti-urban-center-bologna/progetti-mostra-urban-center-bologna/335-piazza-verdi-allestimento-permanente
* https://commons.wikimedia.org/wiki/File:Bologna_San_Giacomo_Maggiore_vanaf_Piazza_Giuseppe_Verdi_29-04-2012_10-52-37.jpg
* http://www.bolognatoday.it/cronaca/piazza-verdi-piazza-verde-rifiuti-video.html
* http://www.ilrestodelcarlino.it/bologna/piazza-verdi-bagni-1.1579634

* ''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:Piazza verdi giorno pulita 2.jpg

2016-05-17T15:42:23Z

Federica.fuligni:

LED 2016 Group F Landscape Democracy Challenge 2

2016-05-17T15:41:02Z

Federica.fuligni: /* References */

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

'''''Piazza Verdi and its need for a public care'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place name''' ||style="background:Lavender"| '' Piazza Verdi''
|-
| '''Location''' || style="background:Lavender"|''Bologna''
|-
| '''Country''' || style="background:Lavender"|''Italy''
|-
| '''Author(s)''' || style="background:Lavender"|''Federica Fuligni''
|-
| 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? ==
* ''Why is this case relevant?''

I decided to choose as a democratic challenge in my personal landscape the case of PIAZZA VERDI, in Bologna. It is a public square right in the centre of the historical city, surrounded by a very social area. Being in the University district, students cross it every day on their way to classes and exams; many cafes and bars are places nearby so it could be a location for nice breaks from early in the morning to the aperitivo time in the evening. One of the main theatres of Bologna is also placed in Piazza Verdi, such as different historical sites, so it could also host cultural events.
Instead, everyone knows it for its degradation and suspicious users, especially after the sunset. Many projects took place over the years to change the situation, some of them really effective, others less, but the square still needs a common reaction to become a high quality public space.

== 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:Democratic challenge piazza verdi.jpg|Piazza Verdi _ problems analysis
Image:Democratic challenge piazza verdi2.jpg|Piazza Verdi _ past problems and future challenges
</gallery>

== Reflection ==
=== What are the major challenges for changing the situation? ===
The problems of Piazza Verdi and the surrounding areas are various but I describe the major ones. It is commonly known how people can buy cheap alcohol and drugs in the square from illegal sellers; this could be identified as a main issue, since it strongly influence the following ones. People in fact spends the whole night in the square, drinking and playing instruments, before leaving on the floor empty bottles and any kind of rubbish. In addition the area is characterized by a terribly bed smell, caused by drunk people using the arcades as open-air toilets. Moreover, Piazza Verdi could be an unsafe area to cross, especially during the night for a girl alone, due to past cases of robbery and abuses.

=== What could be a starting point for democractically-based change? ===
As already stated, various project were already developed to improve the area; the overall situation is surely better than few years ago, but many things could still be done to transform Piazza Verdi into a social and sustainable public space.
In 2011 the government converted the nearby streets into pedestrian, connecting the square to the arcades and the University district; this led to an enlarged use of the square. Few years after the municipality also provided it with new public furniture, such as benches and trees, and a free Wi-Fi. Many citizens took part of this process as well, as a woman who donated 35.000 euro to build public toilets or a group of volunteers, who increased the number of recycling bins for a night.
The challenge now is to involve in this regeneration any user of the square, from the student passing by early in the morning to the groups of friends who sits there late in the night, to dissuade illegal affairs and create a truly public space.

== References ==
* http://www.urbancenterbologna.it/strategie-progetti-urban-center-bologna/progetti-mostra-urban-center-bologna/335-piazza-verdi-allestimento-permanente
* https://commons.wikimedia.org/wiki/File:Bologna_San_Giacomo_Maggiore_vanaf_Piazza_Giuseppe_Verdi_29-04-2012_10-52-37.jpg
* http://www.bolognatoday.it/cronaca/piazza-verdi-piazza-verde-rifiuti-video.html
* http://www.ilrestodelcarlino.it/bologna/piazza-verdi-bagni-1.1579634

* ''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 F Landscape Democracy Challenge 2

2016-05-17T15:38:19Z

Federica.fuligni: /* Representation of your observations */

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

'''''Piazza Verdi and its need for a public care'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place name''' ||style="background:Lavender"| '' Piazza Verdi''
|-
| '''Location''' || style="background:Lavender"|''Bologna''
|-
| '''Country''' || style="background:Lavender"|''Italy''
|-
| '''Author(s)''' || style="background:Lavender"|''Federica Fuligni''
|-
| 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? ==
* ''Why is this case relevant?''

I decided to choose as a democratic challenge in my personal landscape the case of PIAZZA VERDI, in Bologna. It is a public square right in the centre of the historical city, surrounded by a very social area. Being in the University district, students cross it every day on their way to classes and exams; many cafes and bars are places nearby so it could be a location for nice breaks from early in the morning to the aperitivo time in the evening. One of the main theatres of Bologna is also placed in Piazza Verdi, such as different historical sites, so it could also host cultural events.
Instead, everyone knows it for its degradation and suspicious users, especially after the sunset. Many projects took place over the years to change the situation, some of them really effective, others less, but the square still needs a common reaction to become a high quality public space.

== 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:Democratic challenge piazza verdi.jpg|Piazza Verdi _ problems analysis
Image:Democratic challenge piazza verdi2.jpg|Piazza Verdi _ past problems and future challenges
</gallery>

== Reflection ==
=== What are the major challenges for changing the situation? ===
The problems of Piazza Verdi and the surrounding areas are various but I describe the major ones. It is commonly known how people can buy cheap alcohol and drugs in the square from illegal sellers; this could be identified as a main issue, since it strongly influence the following ones. People in fact spends the whole night in the square, drinking and playing instruments, before leaving on the floor empty bottles and any kind of rubbish. In addition the area is characterized by a terribly bed smell, caused by drunk people using the arcades as open-air toilets. Moreover, Piazza Verdi could be an unsafe area to cross, especially during the night for a girl alone, due to past cases of robbery and abuses.

=== What could be a starting point for democractically-based change? ===
As already stated, various project were already developed to improve the area; the overall situation is surely better than few years ago, but many things could still be done to transform Piazza Verdi into a social and sustainable public space.
In 2011 the government converted the nearby streets into pedestrian, connecting the square to the arcades and the University district; this led to an enlarged use of the square. Few years after the municipality also provided it with new public furniture, such as benches and trees, and a free Wi-Fi. Many citizens took part of this process as well, as a woman who donated 35.000 euro to build public toilets or a group of volunteers, who increased the number of recycling bins for a night.
The challenge now is to involve in this regeneration any user of the square, from the student passing by early in the morning to the groups of friends who sits there late in the night, to dissuade illegal affairs and create a truly public space.

== 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:Democratic challenge piazza verdi2.jpg

2016-05-17T15:36:58Z

Federica.fuligni:

File:Democratic challenge piazza verdi.jpg

2016-05-17T15:36:03Z

Federica.fuligni:

LED 2016 Group F Landscape Democracy Challenge 2

2016-05-17T15:34:58Z

Federica.fuligni: /* What could be a starting point for democractically-based change? */

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

'''''Piazza Verdi and its need for a public care'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place name''' ||style="background:Lavender"| '' Piazza Verdi''
|-
| '''Location''' || style="background:Lavender"|''Bologna''
|-
| '''Country''' || style="background:Lavender"|''Italy''
|-
| '''Author(s)''' || style="background:Lavender"|''Federica Fuligni''
|-
| 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? ==
* ''Why is this case relevant?''

I decided to choose as a democratic challenge in my personal landscape the case of PIAZZA VERDI, in Bologna. It is a public square right in the centre of the historical city, surrounded by a very social area. Being in the University district, students cross it every day on their way to classes and exams; many cafes and bars are places nearby so it could be a location for nice breaks from early in the morning to the aperitivo time in the evening. One of the main theatres of Bologna is also placed in Piazza Verdi, such as different historical sites, so it could also host cultural events.
Instead, everyone knows it for its degradation and suspicious users, especially after the sunset. Many projects took place over the years to change the situation, some of them really effective, others less, but the square still needs a common reaction to become a high quality public space.

== 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? ===
The problems of Piazza Verdi and the surrounding areas are various but I describe the major ones. It is commonly known how people can buy cheap alcohol and drugs in the square from illegal sellers; this could be identified as a main issue, since it strongly influence the following ones. People in fact spends the whole night in the square, drinking and playing instruments, before leaving on the floor empty bottles and any kind of rubbish. In addition the area is characterized by a terribly bed smell, caused by drunk people using the arcades as open-air toilets. Moreover, Piazza Verdi could be an unsafe area to cross, especially during the night for a girl alone, due to past cases of robbery and abuses.

=== What could be a starting point for democractically-based change? ===
As already stated, various project were already developed to improve the area; the overall situation is surely better than few years ago, but many things could still be done to transform Piazza Verdi into a social and sustainable public space.
In 2011 the government converted the nearby streets into pedestrian, connecting the square to the arcades and the University district; this led to an enlarged use of the square. Few years after the municipality also provided it with new public furniture, such as benches and trees, and a free Wi-Fi. Many citizens took part of this process as well, as a woman who donated 35.000 euro to build public toilets or a group of volunteers, who increased the number of recycling bins for a night.
The challenge now is to involve in this regeneration any user of the square, from the student passing by early in the morning to the groups of friends who sits there late in the night, to dissuade illegal affairs and create a truly public space.

== 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 F Landscape Democracy Challenge 2

2016-05-17T15:18:57Z

Federica.fuligni: /* What are the major challenges for changing the situation? */

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

'''''Piazza Verdi and its need for a public care'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place name''' ||style="background:Lavender"| '' Piazza Verdi''
|-
| '''Location''' || style="background:Lavender"|''Bologna''
|-
| '''Country''' || style="background:Lavender"|''Italy''
|-
| '''Author(s)''' || style="background:Lavender"|''Federica Fuligni''
|-
| 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? ==
* ''Why is this case relevant?''

I decided to choose as a democratic challenge in my personal landscape the case of PIAZZA VERDI, in Bologna. It is a public square right in the centre of the historical city, surrounded by a very social area. Being in the University district, students cross it every day on their way to classes and exams; many cafes and bars are places nearby so it could be a location for nice breaks from early in the morning to the aperitivo time in the evening. One of the main theatres of Bologna is also placed in Piazza Verdi, such as different historical sites, so it could also host cultural events.
Instead, everyone knows it for its degradation and suspicious users, especially after the sunset. Many projects took place over the years to change the situation, some of them really effective, others less, but the square still needs a common reaction to become a high quality public space.

== 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? ===
The problems of Piazza Verdi and the surrounding areas are various but I describe the major ones. It is commonly known how people can buy cheap alcohol and drugs in the square from illegal sellers; this could be identified as a main issue, since it strongly influence the following ones. People in fact spends the whole night in the square, drinking and playing instruments, before leaving on the floor empty bottles and any kind of rubbish. In addition the area is characterized by a terribly bed smell, caused by drunk people using the arcades as open-air toilets. Moreover, Piazza Verdi could be an unsafe area to cross, especially during the night for a girl alone, due to past cases of robbery and abuses.

=== 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 2016 Group F Landscape Democracy Challenge 2

2016-05-17T15:02:16Z

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

LED Online Seminar 2016 - Working Group F

2016-05-17T13:46:01Z

Federica.fuligni: Undo revision 2041 by Federica.fuligni (talk)

'''--> 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]].

* Ibrahim: Burckhardt, Lucius (1979): Why is landscape beautiful? in: Fezer/Schmitz (Eds.) Rethinking Man-made Environments (2012)
* Ibrahim: Kucan, Ana (2007). Constructing Landscape Conceptions. In: ECLAS (ed.). JoLA spring 2007, 30-41. Munich: Callwey.
* Ibrahim: Reading the Landscape' by Simon Bell, EMU Tartu

=== 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 F 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 F |Landscape Symbols Reflection Group F]]'''

=== 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:Fuligni symbol 1.jpg | federica fuligni
Image:I miei portici2.jpg | federica fuligni
Image:Flagpole concept.jpeg | Ibrahim Al Mardini
Image:Ibrahim 2.jpg | Ibrahim Al Mardini
Image:Slide1 Tora.jpeg |Tora Grøstad
Image:Slide2 Tora.jpeg | Tora Grøstad
Image:Landscape symbols mario.jpg | Mario Matamoros
Image:2 LED Assignment Mario Matamoros slide explanation.jpg | Mario Matamoros
Image:2 LED Assignment group reflections.jpg| group reflection
</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 F Landscape Democracy Challenge 1|Landscape Democracy Challenge 1]]'''
* '''[[LED 2016 Group F Landscape Democracy Challenge 2|Landscape Democracy Challenge 2]]'''
* '''[[LED 2016 Group F Landscape Democracy Challenge 3|Landscape Democracy Challenge 3]]'''
* '''[[LED 2016 Group F Landscape Democracy Challenge 4|Landscape Democracy Challenge 4]]'''
* '''[[LED 2016 Group F 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 F 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 F

2016-05-17T13:45:02Z

Federica.fuligni: /* Your Landscape Democracy Challenges */

'''--> 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]].

* Ibrahim: Burckhardt, Lucius (1979): Why is landscape beautiful? in: Fezer/Schmitz (Eds.) Rethinking Man-made Environments (2012)
* Ibrahim: Kucan, Ana (2007). Constructing Landscape Conceptions. In: ECLAS (ed.). JoLA spring 2007, 30-41. Munich: Callwey.
* Ibrahim: Reading the Landscape' by Simon Bell, EMU Tartu

=== 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 F 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 F |Landscape Symbols Reflection Group F]]'''

=== 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:Fuligni symbol 1.jpg | federica fuligni
Image:I miei portici2.jpg | federica fuligni
Image:Flagpole concept.jpeg | Ibrahim Al Mardini
Image:Ibrahim 2.jpg | Ibrahim Al Mardini
Image:Slide1 Tora.jpeg |Tora Grøstad
Image:Slide2 Tora.jpeg | Tora Grøstad
Image:Landscape symbols mario.jpg | Mario Matamoros
Image:2 LED Assignment Mario Matamoros slide explanation.jpg | Mario Matamoros
Image:2 LED Assignment group reflections.jpg| group reflection
</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 ===
* '''Bike path form Svartdal to Seljord'''
* '''Piazza Verdi, Bologna'''
* '''[[LED 2016 Group F Landscape Democracy Challenge 3|Landscape Democracy Challenge 3]]'''
* '''[[LED 2016 Group F Landscape Democracy Challenge 4|Landscape Democracy Challenge 4]]'''
* '''[[LED 2016 Group F 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 F 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 2016 Group F Landscape Democracy Challenge 2

2016-05-17T09:25:36Z

Federica.fuligni:

LED Online Seminar 2016 - Working Group A

2016-05-04T08:38:23Z

Federica.fuligni: /* Presentation slides 'Your Landscape Symbols' */

LED Seminar 2016 - Landscape Symbols Reflection Group A

2016-05-04T08:37:09Z

Federica.fuligni: /* Representations and analytical drawings */

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

== Landscape Symbol 1- Ås Church and Allee, Pirjetta Fagerli ==

=== 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:Photo.jpg|Group A
Image:filename-1 kopio.jpg|slide 2
Image:mindmap.jpg|slide 3
</gallery>

=== Reflections ===
'''Placed on top of a high point in the landscape lies the church.''' A row of trees on both sides of the road makes it hard to miss. Allé brings rhythm to the landscape and leads the passersby towards the church. It can be seen as a symbol in the landscape, promising that something of great worth can be found at the end. As an arrangement, it is quite rigid and formal.

The church has great views due to the high location and looks mighty. Church as a symbol is at the same time static, meaning that it represents christianity and humans connection to God, but it has also changed throughout time and history. The church itself is still used in similar ways as before but maybe not as frequently. It is a historical symbol but also much more. It serves as a social meeting place and allows people to connect with their past while they are connecting with eachother. It can be seen as a center of the community and carries great identity on many levels of the society. It is also a sacred symbol and touches the lives of many throughout the celebrations of human life. It is still a strong christian symbol and might seem excluding to some groups, provoking to others.

== Landscape Symbol 2- Bologna's Symbols, Benedetta Allegrini ==

=== 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-BOLOGNA.jpg|Bologna's symbols
Image:slide1.JPG|Slide2
Image:slide2.JPG|Slide1
</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?

''The city's gates have an historical importance and they are what survives from the medieval old Bologna. This radial structure of the town and his extension lasted until the '60s when the city has begun to grow. During last century gates lost the utility because now they don't define the border between the city and the country and they can't monitor who enter in the city and who go out. They now only are monuments.
Every gate now is the link between the center of the city, so the old part, and the new part in all the directions. What remains is the general function: it is a place of passage that create a path and that directs people in the heart of the town.
They remind the arcades that traditionally spread in all the center. One symbol of Bologna in fact is the arcade and his main use is in the gate.
Moving in the center is very simple in fact the walls of the city are like a circle and it is easy to find direction referring to the city gates.
Today the gates of the city are of course shared across cultures because we can find them in all the old cities in all countries and because they came from many traditions far from a specific religion or a specific kind of power. For everybody they are a landmarks that identify the district where they rise.

''

== Landscape Symbol 3-Bench of Jan Karski, Agnieszka Kudelka ==

=== 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:Bench of Jan Karski.jpg|Bench of Jan Karski
Image:Karski_-_visual_interpretation_-_my_interpretation.jpeg|slide 2
Image:Karski_-_visual_interpretation_-_my_impression.jpeg|slide 3
</gallery>

=== Reflections ===

The monument is not very good visible in the landscape, but it's interesting and many people sit next to Karski to take a photo, and then get to know his history thanks to the text on the right site of the monument. I've got to know it by the visit in the Museum of the History of Polish Jews, which is next to the monument and I watch it always when I go there.

Its meaning didn't change along with socio-political, economic, environmental or cultural changes in my region and country because the socio-political, economic, environmental or cultural changes are not visible yet

This symbol is important for me because it's one of some "democratic monuments" in the city. It's a nice "human" monument. It's meaningful to more than just one cultural group: Poles, Jews, Germans and Americans, so it is shared across cultures.

== Landscape Symbol 5- Schematic Symbol, Hani Gholami ==

=== 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:Landscape Symbol-Schematic.jpg|Schematic Landscape Symbol
Image:Holy Memorial Symbols.jpg|Holy Memorial Symbols
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 4- Araguaia Palace Palmas Brazil, Haroldo Pereira ==

=== Representations and analytical drawings ===

<gallery caption=" " widths="250px" heights="150px" perrow="3">

Image:AraguaiaPalace.jpg|Havana's Liberty statue
Image:Haroldo 2nd image.jpeg|Havana's Liberty statue

</gallery>

=== Reflections ===

The city of Palmas is the last planned capital in the XX century and was designed to be the capital of Tocantins, the newest state of Brazil. Palmas was designed between two landmarks, one natural (Carmo's Sierra) and the other artificial (Lajeado's Lake). The city has lots of other landmarks, such as the Girassol's Square (2nd biggest square in the world) and the Aragauia Palace. The square is located in the meeting point of the two main axial avenues of Palmas.
Havan is a brazilian department store and has over 90 stores in Brazil, including one in Palmas. The store has the replica of the Statue of Liberty as the symbol, and usually has a huge replica of it in front of the store. The biggest statue has 57 meters high, and it's the biggest statue in Brazil.
In Palmas, the statue inserts itself in a strategic point turning itself in a landmark that has a huge impact in the landscape of the city and has no concern with the context and has no reason to be in such a strategic point.
In some cities, the store was not allowed to put the statue. The facade is also a problem . One of the facades has a "poor greek classical"intention on it, and the other three are just blank walls.
For some, the statue reinforces the lack of concern with the landscape of the city and the area in which the statue is inserted, and how a brand has the power to consolidate itself changing a whole skyline by just creating a visual focal point. But for others, the statue is a good thing, as it turned into a new " tourist attraction".

== Group reflection ==

''The group A reflected on the symbols proposed by participants.
For what is about architecture we want to stress the difference between the buildings considered.
The church in the nature is a little place closely linked to religion where few people go. In fact, the users of this place go there with a precise intent and they are only a part of the citizens.
The statue is a controvertial symbol in the city, as it became an important landmark that has no concern with the landscape of the city and the area where the statue is located. It respresents the power of a brand to consolidate itself by changing a whole skyline with the creation of a visual focal point.
The gate of the city instead is a place of transition where people go through, it is an open link from the center and the new part of the city. Behind its design there is not a need to satisfay.
A symbol can also be a monument that everybody can look. A monument can be more or less politically involved.
The Bench of Jan Karski refers to a single person but it has also a general aim of express the extermination of Jewish minority by Germans and Polish help to them in a person of Karski, but also the American (dis)engagement with rescuing Jews. The Memorial Symbols are spread and they are referred to who lost life in the recent war, so they are holy, they have particular meaning link with a specific moment.''

[[Category:Landscape Symbols Group Reflection 2016]]

<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:last_slide.jpg|Group A

File:Haroldo 2nd image.jpeg

2016-05-04T08:35:55Z

Federica.fuligni:

LED Online Seminar 2016 Groups Readings Selection Page

2016-05-01T16:29:43Z

Federica.fuligni: /* Reading Selection Group F */

'''--> 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
* Burckhardt, Lucius (1979): Why is landscape beautiful? in: Fezer/Schmitz (Eds.) Rethinking Man-made Environments (2012)

'''B: Concepts of Participation'''
* [HD] Hester, Randolph (1999): A Refrain with a View,
'''C: Community and Identity'''
* PF: Spirn, Anne (2005): Restoring Mill Creek

'''D: The Design Process'''
* Massachusetts Institute of Technology (2013): Places in the Making: How Placemaking Builds Places and Communities

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

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

'''B: Concepts of Participation'''
* Day, Christopher (2002): Consensus Design, Architectural Press
* 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'''
* ''Storytelling example from the Scottish Islands''

== 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: '':
* ''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: '':
* ''Sanaz: '': Lynch, Kevin. (1960): The Image of the City''

'''B: Concepts of Participation'''
* ''Joseph: '':
* ''Davide: 'Day, Christopher (2002): Consensus Design':
* ''Gabriela: '':
* ''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: '':
* ''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: '':
* ''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: '':
* ''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''
* ''Water Framework Directive''

'''* 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''
* ''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''
* ''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''

'''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"

'''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"

'''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"

'''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: ''
**(ST)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'''
* ''LP: 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'':

'Mover and Shaker' Selection List

2016-04-29T15:43:24Z

Federica.fuligni: /* Ralph Erskine (Byker Redevelopment) */

'''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) ==
* Federica Fuligni
* 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
* Nicolas Reibel
* 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 F

2016-04-26T07:32:51Z

Federica.fuligni: /* Presentation slides 'Your Landscape Symbols' */

LED Online Seminar 2016 - Working Group A

2016-04-25T16:00:29Z

Federica.fuligni: /* Presentation slides 'Your Landscape Symbols' */

LED Online Seminar 2016 Groups Readings Selection Page

2016-04-25T09:22:29Z

Federica.fuligni: /* Reading Selection Group F */

LED Online Seminar 2016 Groups Readings Selection Page

2016-04-25T09:21:34Z

Federica.fuligni: /* Reading Selection Group F */

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-21T10:27:27Z

Federica.fuligni: /* Reflections */

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

== Landscape Symbol 1- Seljord Norway, Tora Grøstad ==

=== 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:Slide1 Tora.jpeg|Presentation Slide
Image:Slide2 Tora.jpeg|Presentation slide
Image:G|slide 3
</gallery>

=== The Sea Serpent Tower in Seljord ===
The serpent tower, Sjøormtårnet, in Seljord was finished and available for visitors 18th of October 2011. It rises 17meter above the ground, but its wooden construction let it adapt to the landscape. It is situated by the lake of Seljord and is meant as a viewing point for discovering the well-known sea serpent, Selma. At night the construction allows light to emit and the tower appears as a luminous periscope in the horizontal landscape.

The tower itself is quite new, but the myth of the sea serpent is old. In 250 years, and probably even longer, have people claimed to have seen a large, serpent-like creature in the lake of Seljord. The stair tower can be seen as a symbol of the municipality’s many mysterious myths and cultural heritage.
The tower is of course also meant to attract visitors to the small village, and the politicians together with the municipality have invested a lot of money with conscious motives of making an attractive place.
As the tower just exist for 5 years it is difficult to say something about a potential change of meaning due to changes in the local society, but I think the tower can contribute to many different application, not only as a mean for seeing the sea serpent. For some locals, might the tower even become a personal spot, a free space where thoughts are allowed to drift freely through the landscape.
The tower takes also part of a larger art project initiated in Seljord called Into the Landscape. As the municipality have a lot of cultural heritage and long traditions within art, it might have been initiated based on availability of money, or just the idea of promoting the village with a startling symbol.

Today the stair tower count as Seljord’s new landmark. It has been invested a lot of money on it, and many locals criticize the use of resources. On the other hand has the project gained international attention, and will hopefully drag visitors to Seljord, strengthening its reputation.

As the tower was built to enlighten old myths and traditions in Seljord, it has a strong foundation in the local society, but as an architectural, modern tower, it holds no specific cultural group. As it takes part of the art scene, there are of course many artists interested in the project, but the aim is to reach as many as possible. If we talk about different religions or people with different cultural heritage, I think there is a broad stage and shared understanding of the mystery, and the tower itself doesn’t make any difference, and can be used by anyone, whether the purpose is to see the sea serpent or not.

== Landscape Symbol 2- The Porticoes of Bologna, Federica Fuligni ==

=== Representations and analytical drawings ===

<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Landscape symbol LED.jpg|A landscape symbol of Bologna, Italy
Image:Fuligni symbol 1.jpg|The porticoes of Bologna
Image:I miei portici2.jpg|The porticoes of Bologna_uses and functions
</gallery>

=== Reflections ===
The porticoes of Bologna became during the centuries a distinctive feature of the urban settlement and they are now included into the Unesco world heritage list. They spread along 53 km and represent an alive symbol of the city.
The citizens, to face the increasing demand of houses in the city centre due to the establishment of the University of Bologna in 1088, created this new typology spontaneously. By adding an arcade to the original façade, they could obtain a covered space at the ground floor, used as a shelter “en plain air” workshop for artisans, and a dwelling for students at the upper floors. When the municipality understood the importance and the potentialities of these structures, they introduced a specific legislation about porticoes and made them compulsory for any building, both new and old.
In this way, porticoes became a new typology of private/semi-private/public space, still extremely used by the citizens during the daily life.
The porticoes have many various functions along their length. For instance, the portico of San Luca has been used over the centuries for pilgrimage; it unwinds itself over a total distance of 3.5 Km and is composed of 666 arches and was built thanks to the contributions provided by all citizens. The upper floors still host houses and offices, while at the ground level are mainly placed shops and laboratories.
The space underneath the arcade is a public space, although it is maintained and owned by privates. Nowadays it can be used and appreciated by anyone, independently from its culture and habits, and holds even now a strong social functions by leading to a common sense of belonging to the city.

== Landscape Symbol 3- Place near to my home, Eszter Tóth ==

=== 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:12106031 1639114643044805 384713958 n.jpg|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 4- Tegucigalpa, Mario Matamoros ==

=== 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:Landscape symbols mario.jpg|slide 1

Image:2_LED_Assignment_Mario_Matamoros_slide_explanation.jpg|slide 2

Image:groupI_slide3.JPG|slide 3

</gallery>

=== Reflections ===

'This is my daily landscape perception as I commute from my house to my working place at the National University of Tegucigalpa. The image could be perceived as a conflict of landmarks rather than a clear lecture of symbols. The part of Tegucigalpa I live in is an former extension of the city, Tegucigalpa grew along its boulevards that originated from the historic downtown. The boulevards became then the new centers of business and economics. One of them, the Blvd Morazan became a fast food catalogue where I often buy a coffee to go or have a quick lunch. As I cross the boulevard I experience the clash of different social classes though a narrow street that has the rich and prominent at the left and the slums at the right. As I approach my workplace I cross the only Sport park of the city, which is sadly covered by a endless wall. and then I have two options of getting to my job; one evidences a control dispute between the catholics and the laic institutions, the university's expensive administrative building; the second crosses the back of the sport park and there you see a vast dry forest area that has everything to become a leisure park but remains unseen.''

== Landscape Symbol 5- Ibrahim Al Mardini ==

=== 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:Flagpole concept.jpeg|slide 1

Image:Ibrahim_2.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?

''This symbol of history and identity is a representation of what has the Arabs succeeded in doing over 100 years ago. This flagpole was added in the memory of the100 years that has passed over that revolt. This is not just a representation for Jordan alone; it is for all the nations and cultures that have played a role in that. It stands next to the castle of Aqaba, which was the house of Hussein bin Ali (the leader of that revolt). Though it has not been so long for its presence, but the symbol was supposed to be next to some markets that support the locals, in order to make it a part of the development which is happening in Aqaba city. Unfortunately, the flow of development followed the private sectors who came to invest and that detoured the whole concept away and now it stands of course as a special symbol of the city, yet it is neglected and does not work as it should have done. To me, this symbol reminds me of our history and recalls the duty to “make” action and change; it motivates me to remember that that revolt was for a reason of change and the people’s lives that were shed for that reason should not be wasted; they should be remembered with hard work and consistency to build a better place for the next generations that come. A powerful symbol that one day united Arabs and made them work as one.''

== Group reflection ==

<gallery caption=" " widths="250px" heights="150px" perrow="3">
2 LED Assignment group reflections.jpg
</gallery>

''After the analysis done on the wide range of different landscape interpretations and their locations, we can identify some strong similarities among some symbols despite of their background. The common factor behind all of the symbols is their subjective interpretation, which leads to a very personal meaning to the person who drew it. The symbols synthesize the very most particular elements on everyone's everyday landscape. Then, we can observe 2 main interpretation groups of the landscape symbols:
# Single and clear landmarks which define a reference to their surroundings.
# The second group focuses on one or more elements that could be identified as landmarks
# Another strong similarity found is that 3 of the 5 landscape symbols are the suggestion of an itinerary, transition and /or a route.
# Some other similarities reflect the presence and/or struggle of power behind the production of the landscape symbols''

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group A

2016-04-20T22:10:49Z

Federica.fuligni: /* Reflections */

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

== Landscape Symbol 1- Ås Church and Allee, Pirjetta Fagerli ==

=== 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:Photo.jpg|Group A
Image:filename-1 kopio.jpg|slide 2
Image:mindmap.jpg|slide 3
</gallery>

=== Reflections ===
'''Placed on top of a high point in the landscape lies the church.''' A row of trees on both sides of the road makes it hard to miss. Allé brings rhythm to the landscape and leads the passersby towards the church. It can be seen as a symbol in the landscape, promising that something of great worth can be found at the end. As an arrangement, it is quite rigid and formal.

The church has great views due to the high location and looks mighty. Church as a symbol is at the same time static, meaning that it represents christianity and humans connection to God, but it has also changed throughout time and history. The church itself is still used in similar ways as before but maybe not as frequently. It is a historical symbol but also much more. It serves as a social meeting place and allows people to connect with their past while they are connecting with eachother. It can be seen as a center of the community and carries great identity on many levels of the society. It is also a sacred symbol and touches the lives of many throughout the celebrations of human life. It is still a strong christian symbol and might seem excluding to some groups, provoking to others.

== Landscape Symbol 2- Bologna's Symbols, Benedetta Allegrini ==

=== 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-BOLOGNA.jpg|Bologna's symbols
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-Bench of Jan Karski, Agnieszka Kudelka ==

=== 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:Bench of Jan Karski.jpg|Bench of Jan Karski
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===

The monument is not very good visible in the landscape, but it's interesting and many people sit next to Karski to take a photo, and then get to know his history thanks to the text on the right site of the monument. I've got to know it by the visit in the Museum of the History of Polish Jews, which is next to the monument and I watch it always when I go there.

Its meaning didn't change along with socio-political, economic, environmental or cultural changes in my region and country because the socio-political, economic, environmental or cultural changes are not visible yet

This symbol is important for me because it's one of some "democratic monuments" in the city. It's a nice "human" monument. It's meaningful to more than just one cultural group: Poles, Jews, Germans and Americans, so it is shared across cultures.

== Landscape Symbol 5- Schematic Symbol, Hani Gholami ==

=== 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:Landscape Symbol-Schematic.jpg|Schematic Landscape Symbol
Image:Holy Memorial Symbols.jpg|Holy Memorial Symbols
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 4- Araguaia Palace Palmas Brazil, Haroldo Pereira ==

=== Representations and analytical drawings ===

<gallery caption=" " widths="250px" heights="150px" perrow="3">

Image:AraguaiaPalace.jpg|Araguaia Palace
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?

The city of Palmas is the last planned capital in the XX century and was designed to be the capital of Tocantins, the newest state of Brazil. Palmas was designed between two landmarks, one natural (Carmo's Sierra) and the other artificial (Lajeado's Lake). The city has lots of other landmarks, such as the Girassol's Square (2nd biggest square in the world) and the Aragauaia Palace. The square is located in the meeting point of the two main axial avenues of Palmas. Havan is a brazilian department store and has over 90 stores in Brazil, including one in Palmas. The store has the replica of the Statue of Liberty as its symbol, and usually has a huge replica of it in front of the store. The biggest statue has 57 meters high, and it's the biggest statue in Brazil. In Palmas, the statue inserts itself in a strategic point turning itself into a landmark that has a huge impact in the landscape of the city and has no concern with the context, so it has no reason to be in such a strategic point. In some cities, the store was not allowed to put the statue. The facade is also a problem . One of the facades has a "classical" intention on it, and the other three are just blank walls. For some, the statue reinforces the lack of concern with the landscape of the city and the area in which the statue is inserted, and how a brand has the power to consolidate itself changing a whole skyline by just creating a visual focal point. But for others, the statue is a good thing, as it turned into a new " tourist attraction".

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:last_slide.jpg|Group A

LED Seminar 2016 - Landscape Symbols Reflection Group A

2016-04-20T21:56:01Z

Federica.fuligni:

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

== Landscape Symbol 1- Ås Church and Allee, Pirjetta Fagerli ==

=== 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:Photo.jpg|Group A
Image:filename-1 kopio.jpg|slide 2
Image:mindmap.jpg|slide 3
</gallery>

=== Reflections ===
'''Placed on top of a high point in the landscape lies the church.''' A row of trees on both sides of the road makes it hard to miss. Allé brings rhythm to the landscape and leads the passersby towards the church. It can be seen as a symbol in the landscape, promising that something of great worth can be found at the end. As an arrangement, it is quite rigid and formal.

The church has great views due to the high location and looks mighty. Church as a symbol is at the same time static, meaning that it represents christianity and humans connection to God, but it has also changed throughout time and history. The church itself is still used in similar ways as before but maybe not as frequently. It is a historical symbol but also much more. It serves as a social meeting place and allows people to connect with their past while they are connecting with eachother. It can be seen as a center of the community and carries great identity on many levels of the society. It is also a sacred symbol and touches the lives of many throughout the celebrations of human life. It is still a strong christian symbol and might seem excluding to some groups, provoking to others.

== Landscape Symbol 2- Bologna's Symbols, Benedetta Allegrini ==

=== 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-BOLOGNA.jpg|Bologna's symbols
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-Bench of Jan Karski, Agnieszka Kudelka ==

=== 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:Bench of Jan Karski.jpg|Bench of Jan Karski
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===

The monument is not very good visible in the landscape, but it's interesting and many people sit next to Karski to take a photo, and then get to know his history thanks to the text on the right site of the monument. I've got to know it by the visit in the Museum of the History of Polish Jews, which is next to the monument and I watch it always when I go there.

Its meaning didn't change along with socio-political, economic, environmental or cultural changes in my region and country because the socio-political, economic, environmental or cultural changes are not visible yet

This symbol is important for me because it's one of some "democratic monuments" in the city. It's a nice "human" monument. It's meaningful to more than just one cultural group: Poles, Jews, Germans and Americans, so it is shared across cultures.

The city of Palmas is the last planned capital in the XX century and was designed to be the capital of Tocantins, the newest state of Brazil. Palmas was designed between two landmarks, one natural (Carmo's Sierra) and the other artificial (Lajeado's Lake). The city has lots of other landmarks, such as the Girassol's Square (2nd biggest square in the world) and the Aragauaia Palace. The square is located in the meeting point of the two main axial avenues of Palmas.
Havan is a brazilian department store and has over 90 stores in Brazil, including one in Palmas. The store has the replica of the Statue of Liberty as its symbol, and usually has a huge replica of it in front of the store. The biggest statue has 57 meters high, and it's the biggest statue in Brazil.
In Palmas, the statue inserts itself in a strategic point turning itself into a landmark that has a huge impact in the landscape of the city and has no concern with the context, so it has no reason to be in such a strategic point.
In some cities, the store was not allowed to put the statue. The facade is also a problem . One of the facades has a "classical" intention on it, and the other three are just blank walls.
For some, the statue reinforces the lack of concern with the landscape of the city and the area in which the statue is inserted, and how a brand has the power to consolidate itself changing a whole skyline by just creating a visual focal point. But for others, the statue is a good thing, as it turned into a new " tourist attraction".

== Landscape Symbol 5- Schematic Symbol, Hani Gholami ==

=== 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:Landscape Symbol-Schematic.jpg|Schematic Landscape Symbol
Image:Holy Memorial Symbols.jpg|Holy Memorial Symbols
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 4- Araguaia Palace Palmas Brazil, Haroldo Pereira ==

=== Representations and analytical drawings ===

<gallery caption=" " widths="250px" heights="150px" perrow="3">

Image:AraguaiaPalace.jpg|Araguaia Palace
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?

The city of Palmas is the last planned capital in the XX century and was designed to be the capital of Tocantins, the newest state of Brazil. Palmas was designed between two landmarks, one natural (Carmo's Sierra) and the other artificial (Lajeado's Lake). The city has lots of other landmarks, such as the Girassol's Square (2nd biggest square in the world) and the Aragauaia Palace. The square is located in the meeting point of the two main axial avenues of Palmas. Havan is a brazilian department store and has over 90 stores in Brazil, including one in Palmas. The store has the replica of the Statue of Liberty as its symbol, and usually has a huge replica of it in front of the store. The biggest statue has 57 meters high, and it's the biggest statue in Brazil. In Palmas, the statue inserts itself in a strategic point turning itself into a landmark that has a huge impact in the landscape of the city and has no concern with the context, so it has no reason to be in such a strategic point. In some cities, the store was not allowed to put the statue. The facade is also a problem . One of the facades has a "classical" intention on it, and the other three are just blank walls. For some, the statue reinforces the lack of concern with the landscape of the city and the area in which the statue is inserted, and how a brand has the power to consolidate itself changing a whole skyline by just creating a visual focal point. But for others, the statue is a good thing, as it turned into a new " tourist attraction".

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:last_slide.jpg|Group A

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-20T16:39:51Z

Federica.fuligni: /* Representations and analytical drawings */

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

== Landscape Symbol 1- Seljord Norway, Tora Grøstad ==

=== 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:Slide1 Tora.jpeg|Presentation Slide
Image:Slide2 Tora.jpeg|Presentation slide
Image:G|slide 3
</gallery>

=== The Sea Serpent Tower in Seljord ===
The serpent tower, Sjøormtårnet, in Seljord was finished and available for visitors 18th of October 2011. It rises 17meter above the ground, but its wooden construction let it adapt to the landscape. It is situated by the lake of Seljord and is meant as a viewing point for discovering the well-known sea serpent, Selma. At night the construction allows light to emit and the tower appears as a luminous periscope in the horizontal landscape.

The tower itself is quite new, but the myth of the sea serpent is old. In 250 years, and probably even longer, have people claimed to have seen a large, serpent-like creature in the lake of Seljord. The stair tower can be seen as a symbol of the municipality’s many mysterious myths and cultural heritage.
The tower is of course also meant to attract visitors to the small village, and the politicians together with the municipality have invested a lot of money with conscious motives of making an attractive place.
As the tower just exist for 5 years it is difficult to say something about a potential change of meaning due to changes in the local society, but I think the tower can contribute to many different application, not only as a mean for seeing the sea serpent. For some locals, might the tower even become a personal spot, a free space where thoughts are allowed to drift freely through the landscape.
The tower takes also part of a larger art project initiated in Seljord called Into the Landscape. As the municipality have a lot of cultural heritage and long traditions within art, it might have been initiated based on availability of money, or just the idea of promoting the village with a startling symbol.

Today the stair tower count as Seljord’s new landmark. It has been invested a lot of money on it, and many locals criticize the use of resources. On the other hand has the project gained international attention, and will hopefully drag visitors to Seljord, strengthening its reputation.

As the tower was built to enlighten old myths and traditions in Seljord, it has a strong foundation in the local society, but as an architectural, modern tower, it holds no specific cultural group. As it takes part of the art scene, there are of course many artists interested in the project, but the aim is to reach as many as possible. If we talk about different religions or people with different cultural heritage, I think there is a broad stage and shared understanding of the mystery, and the tower itself doesn’t make any difference, and can be used by anyone, whether the purpose is to see the sea serpent or not.

== Landscape Symbol 2- The Porticoes of Bologna, Federica Fuligni ==

=== Representations and analytical drawings ===

<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Landscape symbol LED.jpg|A landscape symbol of Bologna, Italy
Image:Fuligni symbol 1.jpg|The porticoes of Bologna
Image:I miei portici2.jpg|The porticoes of Bologna_uses and functions
</gallery>

=== Reflections ===
The porticoes of Bologna became during the centuries a distinctive feature of the urban settlement and they are now included into the Unesco world heritage list. They spread along 53 km and represent an alive symbol of the city.
The citizens, to face the increasing demand of houses in the city centre due to the establishment of the University of Bologna in 1048, created this new typology spontaneously. By adding an arcade to the original façade, they could obtain a covered space at the ground floor, used as a shelter “en plain air” workshop for artisans, and a dwelling for students at the upper floors. When the municipality understood the importance and the potentialities of these structures, they introduced a specific legislation about porticoes and made them compulsory for any building, both new and old.
In this way, porticoes became a new typology of private/semi-private/public space, still extremely used by the citizens during the daily life.
The porticoes have many various functions along their length. For instance, the portico of San Luca has been used over the centuries for pilgrimage; it unwinds itself over a total distance of 3.5 Km and is composed of 666 arches and was built thanks to the contributions provided by all citizens.
The upper floors still host houses and offices, while at the ground level are mainly placed shops and laboratories. The space underneath the arcade is a public space, although it is maintained and owned by privates. Nowadays it can be used and appreciated by anyone, independently from its culture and habits, and holds even now a strong social functions; it leads to a common sense of belonging to the city.

== Landscape Symbol 3- Place near to my home, Eszter Tóth ==

=== 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:12106031 1639114643044805 384713958 n.jpg|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 4- Tegucigalpa, Mario Matamoros ==

=== 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:Landscape symbols mario.jpg|slide 1

Image:2_LED_Assignment_Mario_Matamoros_slide_explanation.jpg|slide 2

Image:groupI_slide3.JPG|slide 3

</gallery>

=== Reflections ===

'This is my daily landscape perception as I commute from my house to my working place at the National University of Tegucigalpa. The image could be perceived as a conflict of landmarks rather than a clear lecture of symbols. The part of Tegucigalpa I live in is an former extension of the city, Tegucigalpa grew along its boulevards that originated from the historic downtown. The boulevards became then the new centers of business and economics. One of them, the Blvd Morazan became a fast food catalogue where I often buy a coffee to go or have a quick lunch. As I cross the boulevard I experience the clash of different social classes though a narrow street that has the rich and prominent at the left and the slums at the right. As I approach my workplace I cross the only Sport park of the city, which is sadly covered by a endless wall. and then I have two options of getting to my job; one evidences a control dispute between the catholics and the laic institutions, the university's expensive administrative building; the second crosses the back of the sport park and there you see a vast dry forest area that has everything to become a leisure park but remains unseen.''

== Landscape Symbol 5- Ibrahim Al Mardini ==

=== 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:Flagpole concept.jpeg|slide 1

Image:Ibrahim_2.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''

== Group reflection ==

<gallery caption=" " widths="250px" heights="150px" perrow="3">
2 LED Assignment group reflections.jpg
</gallery>

''After the analysis done on the wide range of different landscape interpretations and their locations, we can identify some strong similarities among some symbols despite of their background. The common factor behind all of the symbols is their subjective interpretation, which leads to a very personal meaning to the person who drew it. The symbols synthesize the very most particular elements on everyone's everyday landscape. Then, we can observe 2 main interpretation groups of the landscape symbols:
# Single and clear landmarks which define a reference to their surroundings.
# The second group focuses on one or more elements that could be identified as landmarks
# Another strong similarity found is that 3 of the 5 landscape symbols are the suggestion of an itinerary, transition and /or a route.
# Some other similarities reflect the presence and/or struggle of power behind the production of the landscape symbols''

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-20T15:27:31Z

Federica.fuligni: /* Group reflection */

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

== Landscape Symbol 1- Seljord Norway, Tora Grøstad ==

=== 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:Slide1 Tora.jpeg|Presentation Slide
Image:Slide2 Tora.jpeg|Presentation slide
Image:G|slide 3
</gallery>

=== The Sea Serpent Tower in Seljord ===
The serpent tower, Sjøormtårnet, in Seljord was finished and available for visitors 18th of October 2011. It rises 17meter above the ground, but its wooden construction let it adapt to the landscape. It is situated by the lake of Seljord and is meant as a viewing point for discovering the well-known sea serpent, Selma. At night the construction allows light to emit and the tower appears as a luminous periscope in the horizontal landscape.

The tower itself is quite new, but the myth of the sea serpent is old. In 250 years, and probably even longer, have people claimed to have seen a large, serpent-like creature in the lake of Seljord. The stair tower can be seen as a symbol of the municipality’s many mysterious myths and cultural heritage.
The tower is of course also meant to attract visitors to the small village, and the politicians together with the municipality have invested a lot of money with conscious motives of making an attractive place.
As the tower just exist for 5 years it is difficult to say something about a potential change of meaning due to changes in the local society, but I think the tower can contribute to many different application, not only as a mean for seeing the sea serpent. For some locals, might the tower even become a personal spot, a free space where thoughts are allowed to drift freely through the landscape.
The tower takes also part of a larger art project initiated in Seljord called Into the Landscape. As the municipality have a lot of cultural heritage and long traditions within art, it might have been initiated based on availability of money, or just the idea of promoting the village with a startling symbol.

Today the stair tower count as Seljord’s new landmark. It has been invested a lot of money on it, and many locals criticize the use of resources. On the other hand has the project gained international attention, and will hopefully drag visitors to Seljord, strengthening its reputation.

As the tower was built to enlighten old myths and traditions in Seljord, it has a strong foundation in the local society, but as an architectural, modern tower, it holds no specific cultural group. As it takes part of the art scene, there are of course many artists interested in the project, but the aim is to reach as many as possible. If we talk about different religions or people with different cultural heritage, I think there is a broad stage and shared understanding of the mystery, and the tower itself doesn’t make any difference, and can be used by anyone, whether the purpose is to see the sea serpent or not.

== Landscape Symbol 2- The Porticoes of Bologna, Federica Fuligni ==

=== Representations and analytical drawings ===

<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Fuligni symbol 1.jpg|The porticoes of Bologna
Image:I miei portici2.jpg|The porticoes of Bologna_uses and functions
</gallery>

=== Reflections ===
The porticoes of Bologna became during the centuries a distinctive feature of the urban settlement and they are now included into the Unesco world heritage list. They spread along 53 km and represent an alive symbol of the city.
The citizens, to face the increasing demand of houses in the city centre due to the establishment of the University of Bologna in 1048, created this new typology spontaneously. By adding an arcade to the original façade, they could obtain a covered space at the ground floor, used as a shelter “en plain air” workshop for artisans, and a dwelling for students at the upper floors. When the municipality understood the importance and the potentialities of these structures, they introduced a specific legislation about porticoes and made them compulsory for any building, both new and old.
In this way, porticoes became a new typology of private/semi-private/public space, still extremely used by the citizens during the daily life.
The porticoes have many various functions along their length. For instance, the portico of San Luca has been used over the centuries for pilgrimage; it unwinds itself over a total distance of 3.5 Km and is composed of 666 arches and was built thanks to the contributions provided by all citizens.
The upper floors still host houses and offices, while at the ground level are mainly placed shops and laboratories. The space underneath the arcade is a public space, although it is maintained and owned by privates. Nowadays it can be used and appreciated by anyone, independently from its culture and habits, and holds even now a strong social functions; it leads to a common sense of belonging to the city.

== Landscape Symbol 3- Place near to my home, Eszter Tóth ==

=== 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:12106031 1639114643044805 384713958 n.jpg|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 4- Tegucigalpa, Mario Matamoros ==

=== 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:Landscape symbols mario.jpg|slide 1

Image:2_LED_Assignment_Mario_Matamoros_slide_explanation.jpg|slide 2

Image:groupI_slide3.JPG|slide 3

</gallery>

=== Reflections ===

'This is my daily landscape perception as I commute from my house to my working place at the National University of Tegucigalpa. The image could be perceived as a conflict of landmarks rather than a clear lecture of symbols. The part of Tegucigalpa I live in is an former extension of the city, Tegucigalpa grew along its boulevards that originated from the historic downtown. The boulevards became then the new centers of business and economics. One of them, the Blvd Morazan became a fast food catalogue where I often buy a coffee to go or have a quick lunch. As I cross the boulevard I experience the clash of different social classes though a narrow street that has the rich and prominent at the left and the slums at the right. As I approach my workplace I cross the only Sport park of the city, which is sadly covered by a endless wall. and then I have two options of getting to my job; one evidences a control dispute between the catholics and the laic institutions, the university's expensive administrative building; the second crosses the back of the sport park and there you see a vast dry forest area that has everything to become a leisure park but remains unseen.''

== Landscape Symbol 5- Ibrahim Al Mardini ==

=== 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:Flagpole concept.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''

== Group reflection ==

<gallery caption=" " widths="250px" heights="150px" perrow="3">
2 LED Assignment group reflections.jpg
</gallery>

''After the analysis done on the wide range of different landscape interpretations and their locations, we can identify some strong similarities among some symbols despite of their background. The common factor behind all of the symbols is their subjective interpretation, which leads to a very personal meaning to the person who drew it. The symbols synthesize the very most particular elements on everyone's everyday landscape. Then, we can observe 2 main interpretation groups of the landscape symbols:
# Single and clear landmarks which define a reference to their surroundings.
# The second group focuses on one or more elements that could be identified as landmarks
# Another strong similarity found is that 3 of the 5 landscape symbols are the suggestion of an itinerary, transition and /or a route.
# Some other similarities reflect the presence and/or struggle of power behind the production of the landscape symbols''

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-20T13:27:29Z

Federica.fuligni:

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

== Landscape Symbol 1- Seljord Norway, Tora Grøstad ==

=== 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:Slide1 Tora.jpeg|Presentation Slide
Image:Slide2 Tora.jpeg|Presentation slide
Image:G|slide 3
</gallery>

=== The Sea Serpent Tower in Seljord ===
The serpent tower, Sjøormtårnet, in Seljord was finished and available for visitors 18th of October 2011. It rises 17meter above the ground, but its wooden construction let it adapt to the landscape. It is situated by the lake of Seljord and is meant as a viewing point for discovering the well-known sea serpent, Selma. At night the construction allows light to emit and the tower appears as a luminous periscope in the horizontal landscape.

The tower itself is quite new, but the myth of the sea serpent is old. In 250 years, and probably even longer, have people claimed to have seen a large, serpent-like creature in the lake of Seljord. The stair tower can be seen as a symbol of the municipality’s many mysterious myths and cultural heritage.
The tower is of course also meant to attract visitors to the small village, and the politicians together with the municipality have invested a lot of money with conscious motives of making an attractive place.
As the tower just exist for 5 years it is difficult to say something about a potential change of meaning due to changes in the local society, but I think the tower can contribute to many different application, not only as a mean for seeing the sea serpent. For some locals, might the tower even become a personal spot, a free space where thoughts are allowed to drift freely through the landscape.
The tower takes also part of a larger art project initiated in Seljord called Into the Landscape. As the municipality have a lot of cultural heritage and long traditions within art, it might have been initiated based on availability of money, or just the idea of promoting the village with a startling symbol.

Today the stair tower count as Seljord’s new landmark. It has been invested a lot of money on it, and many locals criticize the use of resources. On the other hand has the project gained international attention, and will hopefully drag visitors to Seljord, strengthening its reputation.

As the tower was built to enlighten old myths and traditions in Seljord, it has a strong foundation in the local society, but as an architectural, modern tower, it holds no specific cultural group. As it takes part of the art scene, there are of course many artists interested in the project, but the aim is to reach as many as possible. If we talk about different religions or people with different cultural heritage, I think there is a broad stage and shared understanding of the mystery, and the tower itself doesn’t make any difference, and can be used by anyone, whether the purpose is to see the sea serpent or not.

== Landscape Symbol 2- The Porticoes of Bologna, Federica Fuligni ==

=== Representations and analytical drawings ===

<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Fuligni symbol 1.jpg|The porticoes of Bologna
Image:I miei portici2.jpg|The porticoes of Bologna_uses and functions
</gallery>

=== Reflections ===
The porticoes of Bologna became during the centuries a distinctive feature of the urban settlement and they are now included into the Unesco world heritage list. They spread along 53 km and represent an alive symbol of the city.
The citizens, to face the increasing demand of houses in the city centre due to the establishment of the University of Bologna in 1048, created this new typology spontaneously. By adding an arcade to the original façade, they could obtain a covered space at the ground floor, used as a shelter “en plain air” workshop for artisans, and a dwelling for students at the upper floors. When the municipality understood the importance and the potentialities of these structures, they introduced a specific legislation about porticoes and made them compulsory for any building, both new and old.
In this way, porticoes became a new typology of private/semi-private/public space, still extremely used by the citizens during the daily life.
The porticoes have many various functions along their length. For instance, the portico of San Luca has been used over the centuries for pilgrimage; it unwinds itself over a total distance of 3.5 Km and is composed of 666 arches and was built thanks to the contributions provided by all citizens.
The upper floors still host houses and offices, while at the ground level are mainly placed shops and laboratories. The space underneath the arcade is a public space, although it is maintained and owned by privates. Nowadays it can be used and appreciated by anyone, independently from its culture and habits, and holds even now a strong social functions; it leads to a common sense of belonging to the city.

== Landscape Symbol 3- Place near to my home, Eszter Tóth ==

=== 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:12106031 1639114643044805 384713958 n.jpg|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 4- Tegucigalpa, Mario Matamoros ==

=== 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:Landscape symbols mario.jpg|slide 1

Image:2_LED_Assignment_Mario_Matamoros_slide_explanation.jpg|slide 2

Image:groupI_slide3.JPG|slide 3

</gallery>

=== Reflections ===

'This is my daily landscape perception as I commute from my house to my working place at the National University of Tegucigalpa. The image could be perceived as a conflict of landmarks rather than a clear lecture of symbols. The part of Tegucigalpa I live in is an former extension of the city, Tegucigalpa grew along its boulevards that originated from the historic downtown. The boulevards became then the new centers of business and economics. One of them, the Blvd Morazan became a fast food catalogue where I often buy a coffee to go or have a quick lunch. As I cross the boulevard I experience the clash of different social classes though a narrow street that has the rich and prominent at the left and the slums at the right. As I approach my workplace I cross the only Sport park of the city, which is sadly covered by a endless wall. and then I have two options of getting to my job; one evidences a control dispute between the catholics and the laic institutions, the university's expensive administrative building; the second crosses the back of the sport park and there you see a vast dry forest area that has everything to become a leisure park but remains unseen.''

== Landscape Symbol 5- Ibrahim Al Mardini ==

=== 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:Flagpole concept.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''

== Group reflection ==

<gallery caption=" " widths="250px" heights="150px" perrow="3">
2 LED Assignment group reflections.jpg
</gallery>

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

[[Category:Landscape Symbols Group Reflection 2016]]

File:2 LED Assignment group reflections.jpg

2016-04-20T13:26:18Z

Federica.fuligni:

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-20T13:25:31Z

Federica.fuligni: /* Landscape Symbol 2- The Porticoes of Bologna, Federica Fuligni */

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

== Landscape Symbol 1- Seljord Norway, Tora Grøstad ==

=== 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:Slide1 Tora.jpeg|Presentation Slide
Image:Slide2 Tora.jpeg|Presentation slide
Image:G|slide 3
</gallery>

=== The Sea Serpent Tower in Seljord ===
The serpent tower, Sjøormtårnet, in Seljord was finished and available for visitors 18th of October 2011. It rises 17meter above the ground, but its wooden construction let it adapt to the landscape. It is situated by the lake of Seljord and is meant as a viewing point for discovering the well-known sea serpent, Selma. At night the construction allows light to emit and the tower appears as a luminous periscope in the horizontal landscape.

The tower itself is quite new, but the myth of the sea serpent is old. In 250 years, and probably even longer, have people claimed to have seen a large, serpent-like creature in the lake of Seljord. The stair tower can be seen as a symbol of the municipality’s many mysterious myths and cultural heritage.
The tower is of course also meant to attract visitors to the small village, and the politicians together with the municipality have invested a lot of money with conscious motives of making an attractive place.
As the tower just exist for 5 years it is difficult to say something about a potential change of meaning due to changes in the local society, but I think the tower can contribute to many different application, not only as a mean for seeing the sea serpent. For some locals, might the tower even become a personal spot, a free space where thoughts are allowed to drift freely through the landscape.
The tower takes also part of a larger art project initiated in Seljord called Into the Landscape. As the municipality have a lot of cultural heritage and long traditions within art, it might have been initiated based on availability of money, or just the idea of promoting the village with a startling symbol.

Today the stair tower count as Seljord’s new landmark. It has been invested a lot of money on it, and many locals criticize the use of resources. On the other hand has the project gained international attention, and will hopefully drag visitors to Seljord, strengthening its reputation.

As the tower was built to enlighten old myths and traditions in Seljord, it has a strong foundation in the local society, but as an architectural, modern tower, it holds no specific cultural group. As it takes part of the art scene, there are of course many artists interested in the project, but the aim is to reach as many as possible. If we talk about different religions or people with different cultural heritage, I think there is a broad stage and shared understanding of the mystery, and the tower itself doesn’t make any difference, and can be used by anyone, whether the purpose is to see the sea serpent or not.

== Landscape Symbol 2- The Porticoes of Bologna, Federica Fuligni ==

=== Representations and analytical drawings ===

<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Fuligni symbol 1.jpg|The porticoes of Bologna
Image:I miei portici2.jpg|The porticoes of Bologna_uses and functions
</gallery>

=== Reflections ===
The porticoes of Bologna became during the centuries a distinctive feature of the urban settlement and they are now included into the Unesco world heritage list. They spread along 53 km and represent an alive symbol of the city.
The citizens, to face the increasing demand of houses in the city centre due to the establishment of the University of Bologna in 1048, created this new typology spontaneously. By adding an arcade to the original façade, they could obtain a covered space at the ground floor, used as a shelter “en plain air” workshop for artisans, and a dwelling for students at the upper floors. When the municipality understood the importance and the potentialities of these structures, they introduced a specific legislation about porticoes and made them compulsory for any building, both new and old.
In this way, porticoes became a new typology of private/semi-private/public space, still extremely used by the citizens during the daily life.
The porticoes have many various functions along their length. For instance, the portico of San Luca has been used over the centuries for pilgrimage; it unwinds itself over a total distance of 3.5 Km and is composed of 666 arches and was built thanks to the contributions provided by all citizens.
The upper floors still host houses and offices, while at the ground level are mainly placed shops and laboratories. The space underneath the arcade is a public space, although it is maintained and owned by privates. Nowadays it can be used and appreciated by anyone, independently from its culture and habits, and holds even now a strong social functions; it leads to a common sense of belonging to the city.

== Landscape Symbol 3- Place near to my home, Eszter Tóth ==

=== 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:12106031 1639114643044805 384713958 n.jpg|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 4- Tegucigalpa, Mario Matamoros ==

=== 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:Landscape symbols mario.jpg|slide 1

Image:2_LED_Assignment_Mario_Matamoros_slide_explanation.jpg|slide 2

Image:groupI_slide3.JPG|slide 3

</gallery>

=== Reflections ===

'This is my daily landscape perception as I commute from my house to my working place at the National University of Tegucigalpa. The image could be perceived as a conflict of landmarks rather than a clear lecture of symbols. The part of Tegucigalpa I live in is an former extension of the city, Tegucigalpa grew along its boulevards that originated from the historic downtown. The boulevards became then the new centers of business and economics. One of them, the Blvd Morazan became a fast food catalogue where I often buy a coffee to go or have a quick lunch. As I cross the boulevard I experience the clash of different social classes though a narrow street that has the rich and prominent at the left and the slums at the right. As I approach my workplace I cross the only Sport park of the city, which is sadly covered by a endless wall. and then I have two options of getting to my job; one evidences a control dispute between the catholics and the laic institutions, the university's expensive administrative building; the second crosses the back of the sport park and there you see a vast dry forest area that has everything to become a leisure park but remains unseen.''

== Landscape Symbol 5- Ibrahim Al Mardini ==

=== 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:Flagpole concept.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''

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-20T13:13:13Z

Federica.fuligni:

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

== Landscape Symbol 1- Seljord Norway, Tora Grøstad ==

=== 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:Slide1 Tora.jpeg|Presentation Slide
Image:Slide2 Tora.jpeg|Presentation slide
Image:G|slide 3
</gallery>

=== The Sea Serpent Tower in Seljord ===
The serpent tower, Sjøormtårnet, in Seljord was finished and available for visitors 18th of October 2011. It rises 17meter above the ground, but its wooden construction let it adapt to the landscape. It is situated by the lake of Seljord and is meant as a viewing point for discovering the well-known sea serpent, Selma. At night the construction allows light to emit and the tower appears as a luminous periscope in the horizontal landscape.

The tower itself is quite new, but the myth of the sea serpent is old. In 250 years, and probably even longer, have people claimed to have seen a large, serpent-like creature in the lake of Seljord. The stair tower can be seen as a symbol of the municipality’s many mysterious myths and cultural heritage.
The tower is of course also meant to attract visitors to the small village, and the politicians together with the municipality have invested a lot of money with conscious motives of making an attractive place.
As the tower just exist for 5 years it is difficult to say something about a potential change of meaning due to changes in the local society, but I think the tower can contribute to many different application, not only as a mean for seeing the sea serpent. For some locals, might the tower even become a personal spot, a free space where thoughts are allowed to drift freely through the landscape.
The tower takes also part of a larger art project initiated in Seljord called Into the Landscape. As the municipality have a lot of cultural heritage and long traditions within art, it might have been initiated based on availability of money, or just the idea of promoting the village with a startling symbol.

Today the stair tower count as Seljord’s new landmark. It has been invested a lot of money on it, and many locals criticize the use of resources. On the other hand has the project gained international attention, and will hopefully drag visitors to Seljord, strengthening its reputation.

As the tower was built to enlighten old myths and traditions in Seljord, it has a strong foundation in the local society, but as an architectural, modern tower, it holds no specific cultural group. As it takes part of the art scene, there are of course many artists interested in the project, but the aim is to reach as many as possible. If we talk about different religions or people with different cultural heritage, I think there is a broad stage and shared understanding of the mystery, and the tower itself doesn’t make any difference, and can be used by anyone, whether the purpose is to see the sea serpent or not.

== Landscape Symbol 2- The Porticoes of Bologna, Federica Fuligni ==

=== Representations and analytical drawings ===

<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Fuligni symbol 1.jpg|The porticoes of Bologna
Image:I miei portici2.jpg|The porticoes of Bologna_uses and functions
</gallery>

=== Reflections ===
The porticoes of Bologna became during the centuries a distinctive feature of the urban settlement and they are now included into the Unesco world heritage list. They spread along 53 km and represent an alive symbol of the city.

===Historical excursus===
The citizens, to face the increasing demand of houses in the city centre due to the establishment of the University of Bologna in 1048, created this new typology spontaneously. By adding an arcade to the original façade, they could obtain a covered space at the ground floor, used as a shelter “en plain air” workshop for artisans, and a dwelling for students at the upper floors. When the municipality understood the importance and the potentialities of these structures, they introduced a specific legislation about porticoes and made them compulsory for any building, both new and old.
In this way, porticoes became a new typology of private/semi-private/public space, still extremely used by the citizens during the daily life.

===Functions and uses===
The porticoes have many various functions along their length. For instance, the portico of San Luca has been used over the centuries for pilgrimage; it unwinds itself over a total distance of 3.5 Km and is composed of 666 arches and was built thanks to the contributions provided by all citizens.
The upper floors still host houses and offices, while at the ground level are mainly placed shops and laboratories. The space underneath the arcade is a public space, although it is maintained and owned by privates. Nowadays it can be used and appreciated by anyone, independently from its culture and habits, and holds even now a strong social functions; it leads to a common sense of belonging to the city.

== Landscape Symbol 3- Place near to my home, Eszter Tóth ==

=== 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:12106031 1639114643044805 384713958 n.jpg|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 4- Tegucigalpa, Mario Matamoros ==

=== 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:Landscape symbols mario.jpg|slide 1

Image:2_LED_Assignment_Mario_Matamoros_slide_explanation.jpg|slide 2

Image:groupI_slide3.JPG|slide 3

</gallery>

=== Reflections ===

'This is my daily landscape perception as I commute from my house to my working place at the National University of Tegucigalpa. The image could be perceived as a conflict of landmarks rather than a clear lecture of symbols. The part of Tegucigalpa I live in is an former extension of the city, Tegucigalpa grew along its boulevards that originated from the historic downtown. The boulevards became then the new centers of business and economics. One of them, the Blvd Morazan became a fast food catalogue where I often buy a coffee to go or have a quick lunch. As I cross the boulevard I experience the clash of different social classes though a narrow street that has the rich and prominent at the left and the slums at the right. As I approach my workplace I cross the only Sport park of the city, which is sadly covered by a endless wall. and then I have two options of getting to my job; one evidences a control dispute between the catholics and the laic institutions, the university's expensive administrative building; the second crosses the back of the sport park and there you see a vast dry forest area that has everything to become a leisure park but remains unseen.''

== Landscape Symbol 5- Ibrahim Al Mardini ==

=== 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:Flagpole concept.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''

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-19T21:44:12Z

Federica.fuligni: /* Representations and analytical drawings */

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

== Landscape Symbol 1- Seljord Norway, Tora Grøstad==

=== 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:Presentasjon,Tora.jpg|Presentation Slide
Image:groupI_slide2.JPG|Slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===

Seljord(in Norway) holds a lot of cultural engagement based on old traditions. As it is surrounded by mountains on all sides, many artists found earl interest in all the different perspectives, and some even settled down. Also musicians got inspired, and the melodies from the "Harding-fiddle" renders tones from old oral stories, oft accompanied by folk dance. Seljord also have long traditions within agriculture, and the annual Dyrsku-festival houses uptil 60.000 visitors a year. In later times different art projects have enlightened the many qualities in Seljord, and even a 17 meter high tower is built, counting as the main tourist attraction commercialising the myth of Selma the sea serpent. Since the main transport road between west end east passes seljord is it always a conflict between commercial businesses and conservation of cultural heritage.

The serpent tower, Sjøormtårnet, in Seljord was finished and available for visitors 18th of October 2011. It rises 17meter above the ground, but its wooden construction let it adapt to the landscape. It is situated by the lake of Seljord and is meant as a viewing point for discovering the well-known sea serpent, Selma. At night the construction allows light to emit and the tower appears as a luminous periscope in the horizontal landscape.

The tower itself is quite new, but the myth of the sea serpent is old. In 250 years, and probably even longer, have people claimed to have seen a large, serpent-like creature in the lake of Seljord. The stair tower can be seen as a symbol of the municipality’s many mysterious myths and cultural heritage. The tower is of course also meant to attract visitors to the small village, and the politicians together with the municipality have invested a lot of money with conscious motives of making an attractive place. As the tower just exist for 5 years it is difficult to say something about a potential change of meaning due to changes in the local society, but I think the tower can contribute to many different application, not only as a mean for seeing the sea serpent. For some locals, might the tower even become a personal spot, a free space where thoughts are allowed to drift freely through the landscape. The tower takes also part of a larger art project initiated in Seljord called Into the Landscape. As the municipality have a lot of cultural heritage and long traditions within art, it might have been initiated based on availability of money, or just the idea of promoting the village with a startling symbol.

Today the stair tower count as Seljord’s new landmark. It has been invested a lot of money on it, and many locals criticize the use of resources. On the other hand has the project gained international attention, and will hopefully drag visitors to Seljord, strengthening its reputation.

As the tower was built to enlighten old myths and traditions in Seljord, it has a strong foundation in the local society, but as an architectural, modern tower, it holds no specific cultural group. As it takes part of the art scene, there are of course many artists interested in the project, but the aim is to reach as many as possible. If we talk about different religions or people with different cultural heritage, I think there is a broad stage and shared understanding of the mystery, and the tower itself doesn’t make any difference, and can be used by anyone, whether the purpose is to see the sea serpent or not.

== Landscape Symbol 2- The porticoes of Bologna, Federica Fulgini ==

=== 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:Fuligni symbol 1.jpg|The porticoes of Bologna
Image:I miei portici2.jpg|The porticoes of Bologna_uses and functions

</gallery>

=== Reflections ===
The porticoes of Bologna became during the centuries a distinctive feature of the urban settlement and they are now included into the Unesco world heritage list. They spread along 53 km and represent an alive symbol of the city.

===Historical excursus===
The citizens, to face the increasing demand of houses in the city centre due to the establishment of the University of Bologna in 1048, created this new typology spontaneously. By adding an arcade to the original façade, they could obtain a covered space at the ground floor, used as a shelter “en plain air” workshop for artisans, and a dwelling for students at the upper floors. When the municipality understood the importance and the potentialities of these structures, they introduced a specific legislation about porticoes and made them compulsory for any building, both new and old.
In this way, porticoes became a new typology of private/semi-private/public space, still extremely used by the citizens during the daily life.

===Functions and uses===
The porticoes have many various functions along their length. For instance, the portico of San Luca has been used over the centuries for pilgrimage; it unwinds itself over a total distance of 3.5 Km and is composed of 666 arches and was built thanks to the contributions provided by all citizens.
The upper floors still host houses and offices, while at the ground level are mainly placed shops and laboratories. The space underneath the arcade is a public space, although it is maintained and owned by privates. Nowadays it can be used and appreciated by anyone, independently from its culture and habits, and holds even now a strong social functions; it leads to a common sense of belonging to the city.

== Landscape Symbol 3- Place near to my home, Eszter Tóth ==

=== 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:12106031 1639114643044805 384713958 n.jpg|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 4- Tegucigalpa, Mario Matamoros ==

=== 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:Landscape symbols mario.jpg|slide 1
Image:2_LED_Assignment_Mario_Matamoros_slide_explanation.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?

'This is my daily landscape perception as I commute from my house to my working place at the National University of Tegucigalpa. The image could be perceived as a conflict of landmarks rather than a clear lecture of symbols. The part of Tegucigalpa I live in is an former extension of the city, Tegucigalpa grew along its boulevards that originated from the historic downtown. The boulevards became then the new centers of business and economics. One of them, the Blvd Morazan became a fast food catalogue where I often buy a coffee to go or have a quick lunch. As I cross the boulevard I experience the clash of different social classes though a narrow street that has the rich and prominent at the left and the slums at the right. As I approach my workplace I cross the only Sport park of the city, which is sadly covered by a endless wall. and then I have two options of getting to my job; one evidences a control dispute between the catholics and the laic institutions, the university's expensive administrative building; the second crosses the back of the sport park and there you see a vast dry forest area that has everything to become a leisure park but remains unseen.''

== Landscape Symbol 5- Ibrahim Al Mardini ==

=== 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:Flagpole concept.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''

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-19T21:43:38Z

Federica.fuligni: /* Landscape Symbol 2- Bologna, Federica Fulgini */

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

== Landscape Symbol 1- Seljord Norway, Tora Grøstad==

=== 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:Presentasjon,Tora.jpg|Presentation Slide
Image:groupI_slide2.JPG|Slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===

Seljord(in Norway) holds a lot of cultural engagement based on old traditions. As it is surrounded by mountains on all sides, many artists found earl interest in all the different perspectives, and some even settled down. Also musicians got inspired, and the melodies from the "Harding-fiddle" renders tones from old oral stories, oft accompanied by folk dance. Seljord also have long traditions within agriculture, and the annual Dyrsku-festival houses uptil 60.000 visitors a year. In later times different art projects have enlightened the many qualities in Seljord, and even a 17 meter high tower is built, counting as the main tourist attraction commercialising the myth of Selma the sea serpent. Since the main transport road between west end east passes seljord is it always a conflict between commercial businesses and conservation of cultural heritage.

The serpent tower, Sjøormtårnet, in Seljord was finished and available for visitors 18th of October 2011. It rises 17meter above the ground, but its wooden construction let it adapt to the landscape. It is situated by the lake of Seljord and is meant as a viewing point for discovering the well-known sea serpent, Selma. At night the construction allows light to emit and the tower appears as a luminous periscope in the horizontal landscape.

The tower itself is quite new, but the myth of the sea serpent is old. In 250 years, and probably even longer, have people claimed to have seen a large, serpent-like creature in the lake of Seljord. The stair tower can be seen as a symbol of the municipality’s many mysterious myths and cultural heritage. The tower is of course also meant to attract visitors to the small village, and the politicians together with the municipality have invested a lot of money with conscious motives of making an attractive place. As the tower just exist for 5 years it is difficult to say something about a potential change of meaning due to changes in the local society, but I think the tower can contribute to many different application, not only as a mean for seeing the sea serpent. For some locals, might the tower even become a personal spot, a free space where thoughts are allowed to drift freely through the landscape. The tower takes also part of a larger art project initiated in Seljord called Into the Landscape. As the municipality have a lot of cultural heritage and long traditions within art, it might have been initiated based on availability of money, or just the idea of promoting the village with a startling symbol.

Today the stair tower count as Seljord’s new landmark. It has been invested a lot of money on it, and many locals criticize the use of resources. On the other hand has the project gained international attention, and will hopefully drag visitors to Seljord, strengthening its reputation.

As the tower was built to enlighten old myths and traditions in Seljord, it has a strong foundation in the local society, but as an architectural, modern tower, it holds no specific cultural group. As it takes part of the art scene, there are of course many artists interested in the project, but the aim is to reach as many as possible. If we talk about different religions or people with different cultural heritage, I think there is a broad stage and shared understanding of the mystery, and the tower itself doesn’t make any difference, and can be used by anyone, whether the purpose is to see the sea serpent or not.

== Landscape Symbol 2- The porticoes of Bologna, Federica Fulgini ==

=== 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:Fuligni symbol 1.jpg|The PORTICOES of Bologna
Image:I miei portici2.jpg|The PORTICOES of Bologna_uses and functions

</gallery>

=== Reflections ===
The porticoes of Bologna became during the centuries a distinctive feature of the urban settlement and they are now included into the Unesco world heritage list. They spread along 53 km and represent an alive symbol of the city.

===Historical excursus===
The citizens, to face the increasing demand of houses in the city centre due to the establishment of the University of Bologna in 1048, created this new typology spontaneously. By adding an arcade to the original façade, they could obtain a covered space at the ground floor, used as a shelter “en plain air” workshop for artisans, and a dwelling for students at the upper floors. When the municipality understood the importance and the potentialities of these structures, they introduced a specific legislation about porticoes and made them compulsory for any building, both new and old.
In this way, porticoes became a new typology of private/semi-private/public space, still extremely used by the citizens during the daily life.

===Functions and uses===
The porticoes have many various functions along their length. For instance, the portico of San Luca has been used over the centuries for pilgrimage; it unwinds itself over a total distance of 3.5 Km and is composed of 666 arches and was built thanks to the contributions provided by all citizens.
The upper floors still host houses and offices, while at the ground level are mainly placed shops and laboratories. The space underneath the arcade is a public space, although it is maintained and owned by privates. Nowadays it can be used and appreciated by anyone, independently from its culture and habits, and holds even now a strong social functions; it leads to a common sense of belonging to the city.

== Landscape Symbol 3- Place near to my home, Eszter Tóth ==

=== 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:12106031 1639114643044805 384713958 n.jpg|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 4- Tegucigalpa, Mario Matamoros ==

=== 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:Landscape symbols mario.jpg|slide 1
Image:2_LED_Assignment_Mario_Matamoros_slide_explanation.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?

'This is my daily landscape perception as I commute from my house to my working place at the National University of Tegucigalpa. The image could be perceived as a conflict of landmarks rather than a clear lecture of symbols. The part of Tegucigalpa I live in is an former extension of the city, Tegucigalpa grew along its boulevards that originated from the historic downtown. The boulevards became then the new centers of business and economics. One of them, the Blvd Morazan became a fast food catalogue where I often buy a coffee to go or have a quick lunch. As I cross the boulevard I experience the clash of different social classes though a narrow street that has the rich and prominent at the left and the slums at the right. As I approach my workplace I cross the only Sport park of the city, which is sadly covered by a endless wall. and then I have two options of getting to my job; one evidences a control dispute between the catholics and the laic institutions, the university's expensive administrative building; the second crosses the back of the sport park and there you see a vast dry forest area that has everything to become a leisure park but remains unseen.''

== Landscape Symbol 5- Ibrahim Al Mardini ==

=== 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:Flagpole concept.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''

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-19T21:42:11Z

Federica.fuligni: /* THE PORTICOES OF BOLOGNA */

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

== Landscape Symbol 1- Seljord Norway, Tora Grøstad==

=== 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:Presentasjon,Tora.jpg|Presentation Slide
Image:groupI_slide2.JPG|Slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===

Seljord(in Norway) holds a lot of cultural engagement based on old traditions. As it is surrounded by mountains on all sides, many artists found earl interest in all the different perspectives, and some even settled down. Also musicians got inspired, and the melodies from the "Harding-fiddle" renders tones from old oral stories, oft accompanied by folk dance. Seljord also have long traditions within agriculture, and the annual Dyrsku-festival houses uptil 60.000 visitors a year. In later times different art projects have enlightened the many qualities in Seljord, and even a 17 meter high tower is built, counting as the main tourist attraction commercialising the myth of Selma the sea serpent. Since the main transport road between west end east passes seljord is it always a conflict between commercial businesses and conservation of cultural heritage.

The serpent tower, Sjøormtårnet, in Seljord was finished and available for visitors 18th of October 2011. It rises 17meter above the ground, but its wooden construction let it adapt to the landscape. It is situated by the lake of Seljord and is meant as a viewing point for discovering the well-known sea serpent, Selma. At night the construction allows light to emit and the tower appears as a luminous periscope in the horizontal landscape.

The tower itself is quite new, but the myth of the sea serpent is old. In 250 years, and probably even longer, have people claimed to have seen a large, serpent-like creature in the lake of Seljord. The stair tower can be seen as a symbol of the municipality’s many mysterious myths and cultural heritage. The tower is of course also meant to attract visitors to the small village, and the politicians together with the municipality have invested a lot of money with conscious motives of making an attractive place. As the tower just exist for 5 years it is difficult to say something about a potential change of meaning due to changes in the local society, but I think the tower can contribute to many different application, not only as a mean for seeing the sea serpent. For some locals, might the tower even become a personal spot, a free space where thoughts are allowed to drift freely through the landscape. The tower takes also part of a larger art project initiated in Seljord called Into the Landscape. As the municipality have a lot of cultural heritage and long traditions within art, it might have been initiated based on availability of money, or just the idea of promoting the village with a startling symbol.

Today the stair tower count as Seljord’s new landmark. It has been invested a lot of money on it, and many locals criticize the use of resources. On the other hand has the project gained international attention, and will hopefully drag visitors to Seljord, strengthening its reputation.

As the tower was built to enlighten old myths and traditions in Seljord, it has a strong foundation in the local society, but as an architectural, modern tower, it holds no specific cultural group. As it takes part of the art scene, there are of course many artists interested in the project, but the aim is to reach as many as possible. If we talk about different religions or people with different cultural heritage, I think there is a broad stage and shared understanding of the mystery, and the tower itself doesn’t make any difference, and can be used by anyone, whether the purpose is to see the sea serpent or not.

== Landscape Symbol 2- Bologna, Federica Fulgini ==

=== 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:Fuligni symbol 1.jpg|The PORTICOES of Bologna
Image:I miei portici2.jpg|The PORTICOES of Bologna_uses and functions

</gallery>

=== Reflections ===
The porticoes of Bologna became during the centuries a distinctive feature of the urban settlement and they are now included into the Unesco world heritage list. They spread along 53 km and represent an alive symbol of the city.

===Historical excursus===
The citizens, to face the increasing demand of houses in the city centre due to the establishment of the University of Bologna in 1048, created this new typology spontaneously. By adding an arcade to the original façade, they could obtain a covered space at the ground floor, used as a shelter “en plain air” workshop for artisans, and a dwelling for students at the upper floors. When the municipality understood the importance and the potentialities of these structures, they introduced a specific legislation about porticoes and made them compulsory for any building, both new and old.
In this way, porticoes became a new typology of private/semi-private/public space, still extremely used by the citizens during the daily life.

===Functions and uses===
The porticoes have many various functions along their length. For instance, the portico of San Luca has been used over the centuries for pilgrimage; it unwinds itself over a total distance of 3.5 Km and is composed of 666 arches and was built thanks to the contributions provided by all citizens.
The upper floors still host houses and offices, while at the ground level are mainly placed shops and laboratories. The space underneath the arcade is a public space, although it is maintained and owned by privates. Nowadays it can be used and appreciated by anyone, independently from its culture and habits, and holds even now a strong social functions; it leads to a common sense of belonging to the city.

== Landscape Symbol 3- Place near to my home, Eszter Tóth ==

=== 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:12106031 1639114643044805 384713958 n.jpg|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 4- Tegucigalpa, Mario Matamoros ==

=== 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:Landscape symbols mario.jpg|slide 1
Image:2_LED_Assignment_Mario_Matamoros_slide_explanation.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?

'This is my daily landscape perception as I commute from my house to my working place at the National University of Tegucigalpa. The image could be perceived as a conflict of landmarks rather than a clear lecture of symbols. The part of Tegucigalpa I live in is an former extension of the city, Tegucigalpa grew along its boulevards that originated from the historic downtown. The boulevards became then the new centers of business and economics. One of them, the Blvd Morazan became a fast food catalogue where I often buy a coffee to go or have a quick lunch. As I cross the boulevard I experience the clash of different social classes though a narrow street that has the rich and prominent at the left and the slums at the right. As I approach my workplace I cross the only Sport park of the city, which is sadly covered by a endless wall. and then I have two options of getting to my job; one evidences a control dispute between the catholics and the laic institutions, the university's expensive administrative building; the second crosses the back of the sport park and there you see a vast dry forest area that has everything to become a leisure park but remains unseen.''

== Landscape Symbol 5- Ibrahim Al Mardini ==

=== 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:Flagpole concept.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''

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-19T21:40:03Z

Federica.fuligni: /* Reflections */

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

== Landscape Symbol 1- Seljord Norway, Tora Grøstad==

=== 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:Presentasjon,Tora.jpg|Presentation Slide
Image:groupI_slide2.JPG|Slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===

Seljord(in Norway) holds a lot of cultural engagement based on old traditions. As it is surrounded by mountains on all sides, many artists found earl interest in all the different perspectives, and some even settled down. Also musicians got inspired, and the melodies from the "Harding-fiddle" renders tones from old oral stories, oft accompanied by folk dance. Seljord also have long traditions within agriculture, and the annual Dyrsku-festival houses uptil 60.000 visitors a year. In later times different art projects have enlightened the many qualities in Seljord, and even a 17 meter high tower is built, counting as the main tourist attraction commercialising the myth of Selma the sea serpent. Since the main transport road between west end east passes seljord is it always a conflict between commercial businesses and conservation of cultural heritage.

The serpent tower, Sjøormtårnet, in Seljord was finished and available for visitors 18th of October 2011. It rises 17meter above the ground, but its wooden construction let it adapt to the landscape. It is situated by the lake of Seljord and is meant as a viewing point for discovering the well-known sea serpent, Selma. At night the construction allows light to emit and the tower appears as a luminous periscope in the horizontal landscape.

The tower itself is quite new, but the myth of the sea serpent is old. In 250 years, and probably even longer, have people claimed to have seen a large, serpent-like creature in the lake of Seljord. The stair tower can be seen as a symbol of the municipality’s many mysterious myths and cultural heritage. The tower is of course also meant to attract visitors to the small village, and the politicians together with the municipality have invested a lot of money with conscious motives of making an attractive place. As the tower just exist for 5 years it is difficult to say something about a potential change of meaning due to changes in the local society, but I think the tower can contribute to many different application, not only as a mean for seeing the sea serpent. For some locals, might the tower even become a personal spot, a free space where thoughts are allowed to drift freely through the landscape. The tower takes also part of a larger art project initiated in Seljord called Into the Landscape. As the municipality have a lot of cultural heritage and long traditions within art, it might have been initiated based on availability of money, or just the idea of promoting the village with a startling symbol.

Today the stair tower count as Seljord’s new landmark. It has been invested a lot of money on it, and many locals criticize the use of resources. On the other hand has the project gained international attention, and will hopefully drag visitors to Seljord, strengthening its reputation.

As the tower was built to enlighten old myths and traditions in Seljord, it has a strong foundation in the local society, but as an architectural, modern tower, it holds no specific cultural group. As it takes part of the art scene, there are of course many artists interested in the project, but the aim is to reach as many as possible. If we talk about different religions or people with different cultural heritage, I think there is a broad stage and shared understanding of the mystery, and the tower itself doesn’t make any difference, and can be used by anyone, whether the purpose is to see the sea serpent or not.

== Landscape Symbol 2- Bologna, Federica Fulgini ==

=== 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:Fuligni symbol 1.jpg|The PORTICOES of Bologna
Image:I miei portici2.jpg|The PORTICOES of Bologna_uses and functions

</gallery>

=== THE PORTICOES OF BOLOGNA ===
The porticoes of Bologna became during the centuries a distinctive feature of the urban settlement and they are now included into the Unesco world heritage list. They spread along 53 km and represent an alive symbol of the city.

===Historical excursus===
The citizens, to face the increasing demand of houses in the city centre due to the establishment of the University of Bologna in 1048, created this new typology spontaneously. By adding an arcade to the original façade, they could obtain a covered space at the ground floor, used as a shelter “en plain air” workshop for artisans, and a dwelling for students at the upper floors. When the municipality understood the importance and the potentialities of these structures, they introduced a specific legislation about porticoes and made them compulsory for any building, both new and old.
In this way, porticoes became a new typology of private/semi-private/public space, still extremely used by the citizens during the daily life.

===Functions and uses===
The porticoes have many various functions along their length. For instance, the portico of San Luca has been used over the centuries for pilgrimage; it unwinds itself over a total distance of 3.5 Km and is composed of 666 arches and was built thanks to the contributions provided by all citizens.
The upper floors still host houses and offices, while at the ground level are mainly placed shops and laboratories. The space underneath the arcade is a public space, although it is maintained and owned by privates. Nowadays it can be used and appreciated by anyone, independently from its culture and habits, and holds even now a strong social functions; it leads to a common sense of belonging to the city.

== Landscape Symbol 3- Place near to my home, Eszter Tóth ==

=== 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:12106031 1639114643044805 384713958 n.jpg|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 4- Tegucigalpa, Mario Matamoros ==

=== 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:Landscape symbols mario.jpg|slide 1
Image:2_LED_Assignment_Mario_Matamoros_slide_explanation.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?

'This is my daily landscape perception as I commute from my house to my working place at the National University of Tegucigalpa. The image could be perceived as a conflict of landmarks rather than a clear lecture of symbols. The part of Tegucigalpa I live in is an former extension of the city, Tegucigalpa grew along its boulevards that originated from the historic downtown. The boulevards became then the new centers of business and economics. One of them, the Blvd Morazan became a fast food catalogue where I often buy a coffee to go or have a quick lunch. As I cross the boulevard I experience the clash of different social classes though a narrow street that has the rich and prominent at the left and the slums at the right. As I approach my workplace I cross the only Sport park of the city, which is sadly covered by a endless wall. and then I have two options of getting to my job; one evidences a control dispute between the catholics and the laic institutions, the university's expensive administrative building; the second crosses the back of the sport park and there you see a vast dry forest area that has everything to become a leisure park but remains unseen.''

== Landscape Symbol 5- Ibrahim Al Mardini ==

=== 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:Flagpole concept.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''

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-19T21:02:24Z

Federica.fuligni: /* Representations and analytical drawings */

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

== Landscape Symbol 1- Seljord Norway, Tora Grøstad==

=== 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:Presentasjon,Tora.jpg|Presentation Slide
Image:groupI_slide2.JPG|Slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===

Seljord(in Norway) holds a lot of cultural engagement based on old traditions. As it is surrounded by mountains on all sides, many artists found earl interest in all the different perspectives, and some even settled down. Also musicians got inspired, and the melodies from the "Harding-fiddle" renders tones from old oral stories, oft accompanied by folk dance. Seljord also have long traditions within agriculture, and the annual Dyrsku-festival houses uptil 60.000 visitors a year. In later times different art projects have enlightened the many qualities in Seljord, and even a 17 meter high tower is built, counting as the main tourist attraction commercialising the myth of Selma the sea serpent. Since the main transport road between west end east passes seljord is it always a conflict between commercial businesses and conservation of cultural heritage.

The serpent tower, Sjøormtårnet, in Seljord was finished and available for visitors 18th of October 2011. It rises 17meter above the ground, but its wooden construction let it adapt to the landscape. It is situated by the lake of Seljord and is meant as a viewing point for discovering the well-known sea serpent, Selma. At night the construction allows light to emit and the tower appears as a luminous periscope in the horizontal landscape.

The tower itself is quite new, but the myth of the sea serpent is old. In 250 years, and probably even longer, have people claimed to have seen a large, serpent-like creature in the lake of Seljord. The stair tower can be seen as a symbol of the municipality’s many mysterious myths and cultural heritage. The tower is of course also meant to attract visitors to the small village, and the politicians together with the municipality have invested a lot of money with conscious motives of making an attractive place. As the tower just exist for 5 years it is difficult to say something about a potential change of meaning due to changes in the local society, but I think the tower can contribute to many different application, not only as a mean for seeing the sea serpent. For some locals, might the tower even become a personal spot, a free space where thoughts are allowed to drift freely through the landscape. The tower takes also part of a larger art project initiated in Seljord called Into the Landscape. As the municipality have a lot of cultural heritage and long traditions within art, it might have been initiated based on availability of money, or just the idea of promoting the village with a startling symbol.

Today the stair tower count as Seljord’s new landmark. It has been invested a lot of money on it, and many locals criticize the use of resources. On the other hand has the project gained international attention, and will hopefully drag visitors to Seljord, strengthening its reputation.

As the tower was built to enlighten old myths and traditions in Seljord, it has a strong foundation in the local society, but as an architectural, modern tower, it holds no specific cultural group. As it takes part of the art scene, there are of course many artists interested in the project, but the aim is to reach as many as possible. If we talk about different religions or people with different cultural heritage, I think there is a broad stage and shared understanding of the mystery, and the tower itself doesn’t make any difference, and can be used by anyone, whether the purpose is to see the sea serpent or not.

== Landscape Symbol 2- Bologna, Federica Fulgini ==

=== 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:Fuligni symbol 1.jpg|The PORTICOES of Bologna
Image:I miei portici2.jpg|The PORTICOES of Bologna_uses and functions

</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- Place near to my home, Eszter Tóth ==

=== 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:12106031 1639114643044805 384713958 n.jpg|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 4- Tegucigalpa, Mario Matamoros ==

=== 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:Landscape symbols mario.jpg|slide 1
Image:2_LED_Assignment_Mario_Matamoros_slide_explanation.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?

'This is my daily landscape perception as I commute from my house to my working place at the National University of Tegucigalpa. The image could be perceived as a conflict of landmarks rather than a clear lecture of symbols. The part of Tegucigalpa I live in is an former extension of the city, Tegucigalpa grew along its boulevards that originated from the historic downtown. The boulevards became then the new centers of business and economics. One of them, the Blvd Morazan became a fast food catalogue where I often buy a coffee to go or have a quick lunch. As I cross the boulevard I experience the clash of different social classes though a narrow street that has the rich and prominent at the left and the slums at the right. As I approach my workplace I cross the only Sport park of the city, which is sadly covered by a endless wall. and then I have two options of getting to my job; one evidences a control dispute between the catholics and the laic institutions, the university's expensive administrative building; the second crosses the back of the sport park and there you see a vast dry forest area that has everything to become a leisure park but remains unseen.''

== Landscape Symbol 5- Ibrahim Al Mardini ==

=== 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:Flagpole concept.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''

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

File:I miei portici2.jpg

2016-04-19T21:01:36Z

Federica.fuligni: