Ledwiki - User contributions [en]

LED 2016 Group G Landscape Democracy Challenge 3

2016-05-19T15:01:25Z

Guidoa: /* What could be a starting point for democractically-based change? */

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

'''''Regeneration of "Villa Ghigi" in Bologna'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place''' ||style="background:Lavender"| '' Villa Ghigi''
|-
| '''Location''' || style="background:Lavender"|''Bologna''
|-
| '''Country''' || style="background:Lavender"|''Italy''
|-
| '''Author(s)''' || style="background:Lavender"|''Guido Maria Amorati''
|-
| 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?''
* ''The Villa Ghigi building in Bologna is still representing a missed occasion. This house is located in the homonymous park and dating back to the IXX century, though the first establishment is in the XVI century, but it is now abandoned. The Park of Villa Ghigi has a very high naturalistic value: it is located on the hills at the south Bologna, it is really close to the city center though it has not the features of an urban park. In fact presents a “rural” arrangement, with rows of fruit trees, and has strong differences of levels. The past proprietaries Callisto Ghigi and his son Alessandro brought a lot of exotic species of plants, even from Asia, making the park a sort of oasis for the biodiversity. Today the ownership is of the common, the park and the villa managed by a founding called Fondazione Villa Ghigi that promotes pedagogical activities with the schools and walks in the park.''

== 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? ===
*''Although the park is very popular, there is an under-utilization of the architectural work: the “villa”, the “caretaker’s house”, the “palazzino” where the Fondazione Villa Ghigi is established. There is a project to make the caretaker’s house a small refreshment point, but it is a pity that the a building as important as the villa will remain empty in state of decay. The main problem, as always, is the lack of money, some years ago the common banned an auction but it went deserted. The building need a restoration. The challenge in this case is to raise awareness on what that place could be; is necessary that people knew that the place is resource for the community. People often do not think that abandoned places are their properties and also opportunities, but they only accept the situation as it is.
''

=== What could be a starting point for democractically-based change? ===
*''The core concept for this case of study is the new appropriation (not a re-appropriation because the villa has never been public) of a place that could be a great resource for the city and for the community. It needs to create a vision. Imagine new activities and new usage modes. The city of Bologna is not dead from this point of view: you can count some episodes where association won public calls for the regeneration of unproductive sites. Starting from the strong features: the park is popular, close to the center, very rich of plants, pedagogical programs that could be empower, you may involve citizenship, particularly the kids from the school, or member the association engaged in protection of the environment and biodiversity, to start visioning meeting to imagine the future of the park.''

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

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

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

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

LED 2016 Group G Landscape Democracy Challenge 3

2016-05-19T14:59:57Z

Guidoa: /* What are the major challenges for changing the situation? */

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

'''''Regeneration of "Villa Ghigi" in Bologna'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place''' ||style="background:Lavender"| '' Villa Ghigi''
|-
| '''Location''' || style="background:Lavender"|''Bologna''
|-
| '''Country''' || style="background:Lavender"|''Italy''
|-
| '''Author(s)''' || style="background:Lavender"|''Guido Maria Amorati''
|-
| 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?''
* ''The Villa Ghigi building in Bologna is still representing a missed occasion. This house is located in the homonymous park and dating back to the IXX century, though the first establishment is in the XVI century, but it is now abandoned. The Park of Villa Ghigi has a very high naturalistic value: it is located on the hills at the south Bologna, it is really close to the city center though it has not the features of an urban park. In fact presents a “rural” arrangement, with rows of fruit trees, and has strong differences of levels. The past proprietaries Callisto Ghigi and his son Alessandro brought a lot of exotic species of plants, even from Asia, making the park a sort of oasis for the biodiversity. Today the ownership is of the common, the park and the villa managed by a founding called Fondazione Villa Ghigi that promotes pedagogical activities with the schools and walks in the park.''

== 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? ===
*''Although the park is very popular, there is an under-utilization of the architectural work: the “villa”, the “caretaker’s house”, the “palazzino” where the Fondazione Villa Ghigi is established. There is a project to make the caretaker’s house a small refreshment point, but it is a pity that the a building as important as the villa will remain empty in state of decay. The main problem, as always, is the lack of money, some years ago the common banned an auction but it went deserted. The building need a restoration. The challenge in this case is to raise awareness on what that place could be; is necessary that people knew that the place is resource for the community. People often do not think that abandoned places are their properties and also opportunities, but they only accept the situation as it is.
''

=== 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 G Landscape Democracy Challenge 3

2016-05-19T14:59:06Z

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

LED 2016 Group G Landscape Democracy Challenge 3

2016-05-19T14:58:38Z

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

LED Online Seminar 2016 - Working Group G

2016-05-19T14:56:36Z

Guidoa: /* 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]].

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

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

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

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

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

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

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

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

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

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

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

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

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

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

LED 2016 Group G Landscape Democracy Challenge 3

2016-05-17T17:40:49Z

Guidoa:

LED 2016 Group G Landscape Democracy Challenge 3

2016-05-17T17:38:16Z

Guidoa:

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

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

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

== Rationale: Why have you chosen this case for the landscape and democracy seminar? ==
* ''Why is this case relevant?''
* ''brief explanation in essay style , approx 150 words''

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

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

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

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

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

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

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

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

LED 2016 Group G Landscape Democracy Challenge 3

2016-05-17T17:36:07Z

Guidoa:

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

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

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Villa Ghigi''' ||style="background:Lavender"| '' add name''
|-
| '''Bologna''' || style="background:Lavender"|''add location''
|-
| '''Italy''' || style="background:Lavender"|''add country''
|-
| '''Guido Maria Amorati''' || style="background:Lavender"|''add author''
|-
| colspan="3" align="center" style="background:silver"| [[File:Replacethisfilewithyourvisual.jpg|250px]]
|-
| ||style="background:Lavender"|
|-
| colspan="3" align="center" style="background:silver"|
|}

== Rationale: Why have you chosen this case for the landscape and democracy seminar? ==
* ''Why is this case relevant?''
* ''brief explanation in essay style , approx 150 words''

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

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

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

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

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

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

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

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

Assignment 5: Your Democratic Change Model

2016-05-17T14:05:29Z

Guidoa: /* Task description */

'''-->''' Back to [[LED_Online_Seminar_Assignments_2016|Assignments Overview]]

== Time frame ==
Weeks 9 – 12:26.05. – 16.06.2016

== Task description ==
During the coming weeks you are invited to imagine yourself as the designer of a process. This imagined process will allow the community you have chosen to investigate to face the challenges you have identified according to an approach that addresses the need for 'landscape democracy' in contemporary planning and design. Your process could address changes to policies, planning, urban design, community development, governance, landscape management, transportation and beyond.

Your approach should include the following elements:
* a '''stakeholder map''' identifying who is affected by the challenge and who may be able to influence, inform and act to activate your process(es)
* a '''selection of tools and methods''' for activating stakeholders in your identified process. Think about the needs of different stakeholder groups - you may need a '''methodical mix''' to address them all.
* a '''scenario''' illustrating how these methods/tools might be applied in '''a short, medium and long-term''' perspective.
*A reflection/evaluation as group about the theories, practices or practitioners that have framed your work, including a brief narrative of the potential '''gaps''' you have filled in our knowledge as designers and planners of participation.
* Your findings will be presented to the plenary on '''16.06.2016'''

== Submission format and presentation ==
*'''Individual work:''' complete template with graphical representations and short explanatory texts
*'''Group work:''' reflect how your work relates to the theoretical frame, prepare group presentation

== Evaluation criteria ==
*Creativity and innovation
*evidence of solid theoretical and methodological knowledge
*Completeness, depth and formal correctness of required elements
*Visible synergy of project team
*Quality of documentation
*Quality of oral presentation (i.e. keeping time limits, clarity, expression, quality of presentation slides)

'Mover and Shaker' Selection List

2016-05-02T06:58:31Z

Guidoa: /* Giancarlo De Carlo (Team 10, Legitimizing architecture) */

'''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) ==
* Md Abdulla Al-Mamun
* add your name
* add your name

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

== Karl Linn (UC Berkeley, Community Gardens) ==
* Joanna Storie
* 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) ==
* Stuti Sareen
* Mario Matamoros
* Esra' Najjar

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

== Ralph Erskine (Byker Redevelopment) ==
* Federica Fuligni
* Helene Hoel Oppegaard
* 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) ==
* Theresia Hupfer
* Tora Grøstad
* add your name

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

== Giancarlo De Carlo (Team 10, Legitimizing architecture) ==
* Guido Maria Amorati
* 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 Groups Readings Selection Page

2016-04-26T13:48:54Z

Guidoa: /* Reading Selection Group G */

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

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

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

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

* Landscape Concepts:
* [HD] "Reading the landscape. An appreciation of W.G. Hoskins and J-B. Jackson

'''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'''
* ''add your selection'':

'''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
* '''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
'''B: Concepts of Participation''':
* DE: Hester, Randolph (1999): A Refrain with a View, UC Berkeley
*NT: Hester, Randolph (2012): Evaluating Community Design, Landscape Journal
'''C: Community and Identity''':
* DE: Welk Von Mossner, Alexa (2014): Cinematic Landscapes, In: Topos, No. 88, 2014.

'''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
'''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'''
* ''add your selection'':

== 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: '':
* ''Gabriela: '':
* ''Sanaz: '': Landscape Democracy Resolution(IFLA-Europe)

* Landscape Concepts:

''Kjersti: Lynch, Kevin. (1960): The Image of the City''
* ''Joseph: '':
* ''Davide: '':
* ''Gabriela: '':
* ''Sanaz: '': Lynch, Kevin. (1960): The Image of the City''

'''B: Concepts of Participation'''
* ''Joseph: '':
* ''Davide: '':
* ''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: '':
* ''Gabriela: '':
* ''Sanaz: '': Hester, Randolph (2006): Design for Ecological Democracy, The MIT Press

'''D: The Design Process'''
* ''Joseph: '':
* ''Davide: '':
* ''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: '':
* ''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''':
* ''Strategic Environmental Assessment Directive''
'''Landscape Concepts''':
* ''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).''
* ''Kucan, Ana (2007). Constructing Landscape Conceptions. In: ECLAS (ed.). JoLA spring 2007, 30-41. Munich: Callwey.''
* ''Burckhardt, Lucius (1979): Why is landscape beautiful? in: Fezer/Schmitz (Eds.) Rethinking Man-made Environments (2012)''
* ''Sieverts, Thomas (2003): Cities without cities. An interpretation of the Zwischenstadt. English language ed. London: Spon Press.''

'''B: Concepts of Participation'''
* ''Hester, Randolph (2012): Evaluating Community Design, Landscape Journal'':
* ''Day, Christopher (2002): Consensus Design, Architectural Press''
* ''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'''
* ''Welk Von Mossner, Alexa (2014): Cinematic Landscapes, In: Topos, No. 88, 2014'':
* ''Nassauer, Joan Iverson (1995): Culture and Changing Landscape Structure, Landscape Ecology, vol. 10 no. 4.''

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

'''E: Communication'''
* ''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''
* ''Directive providing for public participation in respect of the drawing up of certain plans and programmes relating to the environment''
* ''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''
* ''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.''

'''D: The Design Process'''
* ''Hester, Randolph: Democratic Drawing - Techniques for Participatory Design''
* ''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''
* ''Online decision making with loomio'' (Guido Maria Amorati)

== Reading Selection Group H ==
'''A: Landscape and Democracy - Mapping the Terrain'''
* [EB] ''Olwig, Kenneth R. (1996): "Recovering the Substantive Nature of Landscape''

'''Policy frameworks, laws and resolutions:'''
* ''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"

* ''European Union (Parliament and Council), ''Water Framework Directive'''':
'''Landscape Concepts:'''
* ''Antrop, Marc; Kühne, Olaf (2015) Concepts of Landscape, in: Landscape Culture - Culturing Landscapes. The Differentiated Construction of Landscapes (Bruns, Kühne, Schönwald, Theile ed.)''
* ''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"

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

'''C: Community and Identity'''
* ''add your selection'':

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

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

== 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 ''

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

LED Online Seminar 2016 Groups Readings Selection Page

2016-04-26T13:48:02Z

Guidoa: /* Reading Selection Group G */

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

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

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

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

* Landscape Concepts:
* [HD] "Reading the landscape. An appreciation of W.G. Hoskins and J-B. Jackson

'''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'''
* ''add your selection'':

'''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
* '''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
'''B: Concepts of Participation''':
* DE: Hester, Randolph (1999): A Refrain with a View, UC Berkeley
*NT: Hester, Randolph (2012): Evaluating Community Design, Landscape Journal
'''C: Community and Identity''':
* DE: Welk Von Mossner, Alexa (2014): Cinematic Landscapes, In: Topos, No. 88, 2014.

'''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
'''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'''
* ''add your selection'':

== 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: '':
* ''Gabriela: '':
* ''Sanaz: '': Landscape Democracy Resolution(IFLA-Europe)

* Landscape Concepts:

''Kjersti: Lynch, Kevin. (1960): The Image of the City''
* ''Joseph: '':
* ''Davide: '':
* ''Gabriela: '':
* ''Sanaz: '': Lynch, Kevin. (1960): The Image of the City''

'''B: Concepts of Participation'''
* ''Joseph: '':
* ''Davide: '':
* ''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: '':
* ''Gabriela: '':
* ''Sanaz: '': Hester, Randolph (2006): Design for Ecological Democracy, The MIT Press

'''D: The Design Process'''
* ''Joseph: '':
* ''Davide: '':
* ''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: '':
* ''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''':
* ''Strategic Environmental Assessment Directive''
'''Landscape Concepts''':
* ''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).''
* ''Kucan, Ana (2007). Constructing Landscape Conceptions. In: ECLAS (ed.). JoLA spring 2007, 30-41. Munich: Callwey.''
* ''Burckhardt, Lucius (1979): Why is landscape beautiful? in: Fezer/Schmitz (Eds.) Rethinking Man-made Environments (2012)''
* ''Sieverts, Thomas (2003): Cities without cities. An interpretation of the Zwischenstadt. English language ed. London: Spon Press.''

'''B: Concepts of Participation'''
* ''Hester, Randolph (2012): Evaluating Community Design, Landscape Journal'':
* ''Day, Christopher (2002): Consensus Design, Architectural Press''
* ''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'''
* ''Welk Von Mossner, Alexa (2014): Cinematic Landscapes, In: Topos, No. 88, 2014'':
* ''Nassauer, Joan Iverson (1995): Culture and Changing Landscape Structure, Landscape Ecology, vol. 10 no. 4.''

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

'''E: Communication'''
* ''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''
* ''Directive providing for public participation in respect of the drawing up of certain plans and programmes relating to the environment''
* ''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''
* ''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.''

'''D: The Design Process'''
* ''Hester, Randolph: Democratic Drawing - Techniques for Participatory Design''
* ''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''
* ''Online decision making with loom'' (Guido Maria Amorati)

== Reading Selection Group H ==
'''A: Landscape and Democracy - Mapping the Terrain'''
* [EB] ''Olwig, Kenneth R. (1996): "Recovering the Substantive Nature of Landscape''

'''Policy frameworks, laws and resolutions:'''
* ''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"

* ''European Union (Parliament and Council), ''Water Framework Directive'''':
'''Landscape Concepts:'''
* ''Antrop, Marc; Kühne, Olaf (2015) Concepts of Landscape, in: Landscape Culture - Culturing Landscapes. The Differentiated Construction of Landscapes (Bruns, Kühne, Schönwald, Theile ed.)''
* ''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"

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

'''C: Community and Identity'''
* ''add your selection'':

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

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

== 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 ''

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

LED Online Seminar 2016 Groups Readings Selection Page

2016-04-26T13:46:58Z

Guidoa: /* Reading Selection Group G */

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

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

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

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

* Landscape Concepts:
* [HD] "Reading the landscape. An appreciation of W.G. Hoskins and J-B. Jackson

'''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'''
* ''add your selection'':

'''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
* '''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
'''B: Concepts of Participation''':
* DE: Hester, Randolph (1999): A Refrain with a View, UC Berkeley
*NT: Hester, Randolph (2012): Evaluating Community Design, Landscape Journal
'''C: Community and Identity''':
* DE: Welk Von Mossner, Alexa (2014): Cinematic Landscapes, In: Topos, No. 88, 2014.

'''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
'''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'''
* ''add your selection'':

== 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: '':
* ''Gabriela: '':
* ''Sanaz: '': Landscape Democracy Resolution(IFLA-Europe)

* Landscape Concepts:

''Kjersti: Lynch, Kevin. (1960): The Image of the City''
* ''Joseph: '':
* ''Davide: '':
* ''Gabriela: '':
* ''Sanaz: '': Lynch, Kevin. (1960): The Image of the City''

'''B: Concepts of Participation'''
* ''Joseph: '':
* ''Davide: '':
* ''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: '':
* ''Gabriela: '':
* ''Sanaz: '': Hester, Randolph (2006): Design for Ecological Democracy, The MIT Press

'''D: The Design Process'''
* ''Joseph: '':
* ''Davide: '':
* ''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: '':
* ''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''':
* ''Strategic Environmental Assessment Directive''
'''Landscape Concepts''':
* ''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).''
* ''Kucan, Ana (2007). Constructing Landscape Conceptions. In: ECLAS (ed.). JoLA spring 2007, 30-41. Munich: Callwey.''
* ''Burckhardt, Lucius (1979): Why is landscape beautiful? in: Fezer/Schmitz (Eds.) Rethinking Man-made Environments (2012)''
* ''Sieverts, Thomas (2003): Cities without cities. An interpretation of the Zwischenstadt. English language ed. London: Spon Press.''

'''B: Concepts of Participation'''
* ''Hester, Randolph (2012): Evaluating Community Design, Landscape Journal'':
* ''Day, Christopher (2002): Consensus Design, Architectural Press''
* ''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'''
* ''Welk Von Mossner, Alexa (2014): Cinematic Landscapes, In: Topos, No. 88, 2014'':
* ''Nassauer, Joan Iverson (1995): Culture and Changing Landscape Structure, Landscape Ecology, vol. 10 no. 4.''

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

'''E: Communication'''
* ''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''
* ''Directive providing for public participation in respect of the drawing up of certain plans and programmes relating to the environment''
* ''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''
* ''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.''

'''D: The Design Process'''
* ''Hester, Randolph: Democratic Drawing - Techniques for Participatory Design''
* ''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''
* ''Online decision making with loom'' (Guido Maria Amorati)

== Reading Selection Group H ==
'''A: Landscape and Democracy - Mapping the Terrain'''
* [EB] ''Olwig, Kenneth R. (1996): "Recovering the Substantive Nature of Landscape''

'''Policy frameworks, laws and resolutions:'''
* ''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"

* ''European Union (Parliament and Council), ''Water Framework Directive'''':
'''Landscape Concepts:'''
* ''Antrop, Marc; Kühne, Olaf (2015) Concepts of Landscape, in: Landscape Culture - Culturing Landscapes. The Differentiated Construction of Landscapes (Bruns, Kühne, Schönwald, Theile ed.)''
* ''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"

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

'''C: Community and Identity'''
* ''add your selection'':

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

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

== 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 ''

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

LED Seminar 2016 - Landscape Symbols Reflection Group G

2016-04-26T13:41:34Z

Guidoa: /* Group reflection */

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

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

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

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

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

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

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

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

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

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

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

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

''add your text here''

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

=== Reflections ===

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

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

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

== Group reflection ==

1 - READING THE LANDSCAPE
- with an “educated eye” (theoretical or historical)
- through experience and perception of everybody (subjective)

2 - TIME
- historical perspective
- time of day/night

3 - USE
- useful vs. useless
- the everyday life as landscape symbols

4 -THE INFLUENCE OF THE SYMBOL
- one strong vs. many “weak”?
- degree of influence
- place-identity

5 - MOBILE SYMBOLS VS. PLACE-SPECIFIC
- bikes create a “new landscape” when moved
- when using one: the landscape is perceived differently

Conclusion: Perception of symbols in the landscape is variable and to a large extent subjective, especially when perceiving symbols in a cultural or historical context one does not know. Symbols can be mobile and they can have great or little impact in shaping the landscape or people's way of living.

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group G

2016-04-26T13:40:46Z

Guidoa: /* Group reflection */

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

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

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

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

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

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

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

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

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

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

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

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

''add your text here''

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

=== Reflections ===

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

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

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

== Group reflection ==

READING THE LANDSCAPE
- with an “educated eye” (theoretical or historical)
- through experience and perception of everybody (subjective)

1 - TIME
- historical perspective
- time of day/night

2 - USE
- useful vs. useless
- the everyday life as landscape symbols

3 -THE INFLUENCE OF THE SYMBOL
- one strong vs. many “weak”?
- degree of influence
- place-identity

4 - MOBILE SYMBOLS VS. PLACE-SPECIFIC
- bikes create a “new landscape” when moved
- when using one: the landscape is perceived differently

Conclusion: Perception of symbols in the landscape is variable and to a large extent subjective, especially when perceiving symbols in a cultural or historical context one does not know. Symbols can be mobile and they can have great or little impact in shaping the landscape or people's way of living.

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group G

2016-04-19T15:02:06Z

Guidoa: /* Representations and analytical drawings */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Landscape symbols of Ås.jpg|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 2- Democratic Republic of the Congo, Sharla Russell ==

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

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

''add your text here''

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

== Landscape Symbol 5- Square in Iran Bahman Nahri ==

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

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

File:Assignment 2 drawing.jpg

2016-04-19T15:01:11Z

Guidoa:

LED Seminar 2016 - Landscape Symbols Reflection Group G

2016-04-18T17:29:00Z

Guidoa: /* Reflections */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Landscape symbols of Ås.jpg|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 2- Democratic Republic of the Congo, Sharla Russell ==

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

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

''add your text here''

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

== Landscape Symbol 5- Square in Iran Bahman Nahri ==

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

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group G

2016-04-18T09:52:04Z

Guidoa: /* Representations and analytical drawings */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Landscape symbols of Ås.jpg|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 2- Democratic Republic of the Congo, Sharla Russell ==

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

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

''add your text here''

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

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

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

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

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

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

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

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

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

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

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:EngineeringTower.jpg|slide 1
Image:Bologna turrited.jpg|slide 2
Image: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 5- Square in Iran Bahman Nahri ==

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

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

File:Bologna turrited.jpg

2016-04-18T09:50:30Z

Guidoa:

LED Seminar 2016 - Landscape Symbols Reflection Group G

2016-04-17T22:29:24Z

Guidoa: /* Landscape Symbol 6 - Engineering Tower - Guido Maria Amorati */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Landscape symbols of Ås.jpg|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 2- Democratic Republic of the Congo, Sharla Russell ==

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

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

''add your text here''

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

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

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

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

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

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

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

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

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

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

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:EngineeringTower.jpg|slide 1
Image: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 5- Square in Iran Bahman Nahri ==

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

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group G

2016-04-17T22:25:23Z

Guidoa: /* Landscape Symbol 6 - Engineering Tower - Guido Maria Amorati */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Landscape symbols of Ås.jpg|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 2- Democratic Republic of the Congo, Sharla Russell ==

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

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

''add your text here''

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

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

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

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

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

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

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

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

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

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

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Engineering_Tower_-_Bologna.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 5- Square in Iran Bahman Nahri ==

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

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group G

2016-04-17T22:16:29Z

Guidoa: /* Landscape Symbol 6- Guido Maria Amorati */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Landscape symbols of Ås.jpg|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 2- Democratic Republic of the Congo, Sharla Russell ==

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

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

''add your text here''

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

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

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

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

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

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

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

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

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

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

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:|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 5- Square in Iran Bahman Nahri ==

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

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group G

2016-04-17T22:00:24Z

Guidoa: /* Landscape Symbol 5- Guido Maria Amorati */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Landscape symbols of Ås.jpg|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 2- Democratic Republic of the Congo, Sharla Russell ==

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

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

''add your text here''

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

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

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

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

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

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

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

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

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

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

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

== Landscape Symbol 6- Guido Maria Amorati ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:groupI_slide1.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 5- Square in Iran Bahman Nahri ==

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

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

File:EngineeringTower.jpg

2016-04-13T12:10:27Z

Guidoa:

File:IMG 20160407 161304128.jpg

2016-04-07T14:16:30Z

Guidoa: