Ledwiki - User contributions [en]

LED 2016 Group A Landscape Democracy Challenge 2

2016-09-10T10:49:47Z

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

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

'''''Transformation of a city part in Mashhad, Iran'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place name''' ||style="background:Lavender"| '' add name''
|-
| '''Location''' || style="background:Lavender"|''Mashhad''
|-
| '''Country''' || style="background:Lavender"|''Iran''
|-
| '''Author(s)''' || style="background:Lavender"|''Hani Gholami''
|-
| 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? ==
The challenge concentrates on a part of Mashhad in Iran. Throughout the time, this area has changed a lot. It has transformed from a natural suburb with pleasing open spaces, to a dense rural artificial zone. Previously, it provided people with engaging sceneries, open spaces and greenery. Locals were used to do picknicing, relaxing and enjoy it with family. Nowadays, it does nothing similar, but some small park, so called breathing points, because it has been transformed to a high dense built area.
To this day, the decisions mostly have been made by the municipality and locals did not have any direct participation. In fact there was not so much possibility to cooperate for them. Plus it seems they were also not that much aware of the influences of upcoming changes during the time. Now the locals are aware and they are demanding participation and influencing the decisions. They desire not only stopping this sort of new constructions, but also providing more open spaces by pushing back some constructions in the area.
The locals in this case are trying to be a part of decision making and not just leave it to municipality. It means there is a big gap between the infrastructure and people. This gap should be solved by new ideas for local participation and taking individuals interest out of the decision making.
I find this demand for change from locals in sense of revivals of the values similar to my case.

== 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:MI1.jpg|Transformation
Image:MI2.jpg|Local Demand in Participation
</gallery>

== Reflection ==

The major challenges seem to be remodelling the usual one sided planning to uncommon participatory planning, what the locals desire to happen. The challenge is to convience the the infrastructure and administrations to open the doors for public participation.

=== What could be a starting point for democractically-based change? ===
The planners must hold some events to sit with the locals and have open dicussions. The disuccions are supposed to summarize with collecting the local's goals, points of views, interests and needs. Then they together should develop one or some small size landscape designs in the area and develop the design together during some workshops. The goal is to approach a design based on the locals ideas and professionals lead. The design(s) will be projected and constructed on sites. It will be a sample of cooperation and locals contribution to landscape projects. The experience should be summarized and be presented in a public event to inform everybody about the achievements of the cooperations. Then the achievements should be transformed to a guideline policty to be used in planning for further plannings in the area.

== 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 A Landscape Democracy Challenge 2

2016-09-10T10:11:24Z

Hanig: /* Reflection */

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

'''''Transformation of a city part in Mashhad, Iran'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place name''' ||style="background:Lavender"| '' add name''
|-
| '''Location''' || style="background:Lavender"|''Mashhad''
|-
| '''Country''' || style="background:Lavender"|''Iran''
|-
| '''Author(s)''' || style="background:Lavender"|''Hani Gholami''
|-
| 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? ==
The challenge concentrates on a part of Mashhad in Iran. Throughout the time, this area has changed a lot. It has transformed from a natural suburb with pleasing open spaces, to a dense rural artificial zone. Previously, it provided people with engaging sceneries, open spaces and greenery. Locals were used to do picknicing, relaxing and enjoy it with family. Nowadays, it does nothing similar, but some small park, so called breathing points, because it has been transformed to a high dense built area.
To this day, the decisions mostly have been made by the municipality and locals did not have any direct participation. In fact there was not so much possibility to cooperate for them. Plus it seems they were also not that much aware of the influences of upcoming changes during the time. Now the locals are aware and they are demanding participation and influencing the decisions. They desire not only stopping this sort of new constructions, but also providing more open spaces by pushing back some constructions in the area.
The locals in this case are trying to be a part of decision making and not just leave it to municipality. It means there is a big gap between the infrastructure and people. This gap should be solved by new ideas for local participation and taking individuals interest out of the decision making.
I find this demand for change from locals in sense of revivals of the values similar to my case.

== 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:MI1.jpg|Transformation
Image:MI2.jpg|Local Demand in Participation
</gallery>

== Reflection ==

The major challenges seem to be remodelling the usual one sided planning to uncommon participatory planning, what the locals desire to happen. The challenge is to convience the the infrastructure and administrations to open the doors for public participation.

=== 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 A Landscape Democracy Challenge 2

2016-09-10T10:10:55Z

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

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

'''''Transformation of a city part in Mashhad, Iran'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place name''' ||style="background:Lavender"| '' add name''
|-
| '''Location''' || style="background:Lavender"|''Mashhad''
|-
| '''Country''' || style="background:Lavender"|''Iran''
|-
| '''Author(s)''' || style="background:Lavender"|''Hani Gholami''
|-
| 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? ==
The challenge concentrates on a part of Mashhad in Iran. Throughout the time, this area has changed a lot. It has transformed from a natural suburb with pleasing open spaces, to a dense rural artificial zone. Previously, it provided people with engaging sceneries, open spaces and greenery. Locals were used to do picknicing, relaxing and enjoy it with family. Nowadays, it does nothing similar, but some small park, so called breathing points, because it has been transformed to a high dense built area.
To this day, the decisions mostly have been made by the municipality and locals did not have any direct participation. In fact there was not so much possibility to cooperate for them. Plus it seems they were also not that much aware of the influences of upcoming changes during the time. Now the locals are aware and they are demanding participation and influencing the decisions. They desire not only stopping this sort of new constructions, but also providing more open spaces by pushing back some constructions in the area.
The locals in this case are trying to be a part of decision making and not just leave it to municipality. It means there is a big gap between the infrastructure and people. This gap should be solved by new ideas for local participation and taking individuals interest out of the decision making.
I find this demand for change from locals in sense of revivals of the values similar to my case.

== 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:MI1.jpg|Transformation
Image:MI2.jpg|Local Demand in Participation
</gallery>

== Reflection ==

*''Please add approx. 150 words in essay style''
The major challenges seem to be remodelling the usual one sided planning to uncommon participatory planning, what the locals desire to happen. The challenge is to convience the the infrastructure and administrations to open the doors for public participation.

=== 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 A Landscape Democracy Challenge 2

2016-09-10T10:10:27Z

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

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

'''''Transformation of a city part in Mashhad, Iran'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place name''' ||style="background:Lavender"| '' add name''
|-
| '''Location''' || style="background:Lavender"|''Mashhad''
|-
| '''Country''' || style="background:Lavender"|''Iran''
|-
| '''Author(s)''' || style="background:Lavender"|''Hani Gholami''
|-
| 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? ==
The challenge concentrates on a part of Mashhad in Iran. Throughout the time, this area has changed a lot. It has transformed from a natural suburb with pleasing open spaces, to a dense rural artificial zone. Previously, it provided people with engaging sceneries, open spaces and greenery. Locals were used to do picknicing, relaxing and enjoy it with family. Nowadays, it does nothing similar, but some small park, so called breathing points, because it has been transformed to a high dense built area.
To this day, the decisions mostly have been made by the municipality and locals did not have any direct participation. In fact there was not so much possibility to cooperate for them. Plus it seems they were also not that much aware of the influences of upcoming changes during the time. Now the locals are aware and they are demanding participation and influencing the decisions. They desire not only stopping this sort of new constructions, but also providing more open spaces by pushing back some constructions in the area.
The locals in this case are trying to be a part of decision making and not just leave it to municipality. It means there is a big gap between the infrastructure and people. This gap should be solved by new ideas for local participation and taking individuals interest out of the decision making.
I find this demand for change from locals in sense of revivals of the values similar to my case.

== 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:MI1.jpg|Transformation
Image:MI2.jpg|Local Demand in Participation
</gallery>

== Reflection ==
=== What are the major challenges for changing the situation? ===
*''Please add approx. 150 words in essay style''
The major challenges seem to be remodelling the usual one sided planning to uncommon participatory planning, what the locals desire to happen. The challenge is to convience the the infrastructure and administrations to open the doors for public participation.

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

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

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

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

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

LED Online Seminar 2016 - Working Group A

2016-08-03T20:21:54Z

Hanig: /* Presentation slides '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 ===
*[https://cmapscloud.ihmc.us/viewer/cmap/1Q4HTPVBC-22LL587-167SQ9 Group A Collaborative Concept Map]

=== Step 3 - Reporting ===
*Please write, as a group, a 250 words reflection on your concept mapping process
*Group A Reflections on Readings, LED Seminar 2016|Group reflection on the readings - PARTICIPATION is the term core on which our conceptual maps revolve, that because participation is an expression of sharing, of democracy and of a social system in which decisions are common and meet common.
From participation we analyzed the Decision Making Process and the tools necessary to be effective.
in cases of shared planning, right tools are necessary both to adjust the work between the parties (making it available to everyone ), both train people to this type of collaborations.
Professionals and ordinary people make their contribution in making decisions or planning : the first for knowledge and specific skills by engagement, the latter by participation, because they are the voice of the person who will live the changed place.
People, moved by the cultural environment, by the idea of beauty in a social context and by the attention that a cultural climate give to the commons, if they are encouraged to have a conscious idea of "ideal landscape", are motivated to participate actively.
Each idea is feasible if there is a considerable number of people involved, condition available only if it takes a focused information, designed to raise awareness of both the problem should be addressed together, both to make known the problem should be faced together.
Historically the idea of “landscape” has undergone many changes but to date fits well with the concept of cooperation and participation in fact from the '60s the "landscape" concept is closer to the idea of “product of the society”.
“Landscape is integrative, it functions as a platform to get people together to consider the future of the places they want to live in.” (International Federation of Landscape Architects).

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

=== 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:Photo.jpg|slide 1
Image:slide.jpg|slide 2
Image:slide1.JPG|slide 3
Image:slide2.JPG|slide 4
Image:Karski_-_visual_interpretation_-_my_interpretation.jpeg|slide 5
Image:Karski_-_visual_interpretation_-_my_impression.jpeg|slide 6
Image:AraguaiaPalace.jpg|slide 7
Image:Haroldo 2nd image.jpeg|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 A Landscape Democracy Challenge 1|Landscape Democracy Challenge 1]]'''
* '''[[LED 2016 Group A Landscape Democracy Challenge 2|Landscape Democracy Challenge 2]]'''
* '''[[LED 2016 Group A Landscape Democracy Challenge 3|Landscape Democracy Challenge 3]]'''
* '''[[LED 2016 Group A Landscape Democracy Challenge 4|Landscape Democracy Challenge 4]]'''
* '''[[LED 2016 Group A 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:fear.jpg|slide 1
Image:third_slide.jpg|slide 2
Image:MI1.jpg|slide 3
Image:MI2.jpg|slide 4
Image:Reflection. Involve people.JPG|slide 5
Image:Reflection. Missing tools .JPG|slide 6
Image:final_slide.jpg|slide 7
</gallery>

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

=== Your Democratic Change Process ===
* '''[[LED 2016 Group A 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:Stakeholders.jpg|slide 1
Image:Method.jpg|slide 2
Image:GroupA-Scenario.jpg|slide 3
Image:Ass_5_Slide_4.jpg|slide 4
Image:group_slide5.JPG|slide 5
</gallery>

LED Online Seminar 2016 - Working Group A

2016-08-03T20:21:36Z

Hanig: /* Presentation slides '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 ===
*[https://cmapscloud.ihmc.us/viewer/cmap/1Q4HTPVBC-22LL587-167SQ9 Group A Collaborative Concept Map]

=== Step 3 - Reporting ===
*Please write, as a group, a 250 words reflection on your concept mapping process
*Group A Reflections on Readings, LED Seminar 2016|Group reflection on the readings - PARTICIPATION is the term core on which our conceptual maps revolve, that because participation is an expression of sharing, of democracy and of a social system in which decisions are common and meet common.
From participation we analyzed the Decision Making Process and the tools necessary to be effective.
in cases of shared planning, right tools are necessary both to adjust the work between the parties (making it available to everyone ), both train people to this type of collaborations.
Professionals and ordinary people make their contribution in making decisions or planning : the first for knowledge and specific skills by engagement, the latter by participation, because they are the voice of the person who will live the changed place.
People, moved by the cultural environment, by the idea of beauty in a social context and by the attention that a cultural climate give to the commons, if they are encouraged to have a conscious idea of "ideal landscape", are motivated to participate actively.
Each idea is feasible if there is a considerable number of people involved, condition available only if it takes a focused information, designed to raise awareness of both the problem should be addressed together, both to make known the problem should be faced together.
Historically the idea of “landscape” has undergone many changes but to date fits well with the concept of cooperation and participation in fact from the '60s the "landscape" concept is closer to the idea of “product of the society”.
“Landscape is integrative, it functions as a platform to get people together to consider the future of the places they want to live in.” (International Federation of Landscape Architects).

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

=== 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:Photo.jpg|slide 1
Image:slide.jpg|slide 2
Image:slide1.JPG|slide 3
Image:slide2.JPG|slide 4
Image:Karski_-_visual_interpretation_-_my_interpretation.jpeg|slide 5
Image:Karski_-_visual_interpretation_-_my_impression.jpeg|slide 6
Image:AraguaiaPalace.jpg|slide 7
Image:Haroldo 2nd image.jpeg|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 A Landscape Democracy Challenge 1|Landscape Democracy Challenge 1]]'''
* '''[[LED 2016 Group A Landscape Democracy Challenge 2|Landscape Democracy Challenge 2]]'''
* '''[[LED 2016 Group A Landscape Democracy Challenge 3|Landscape Democracy Challenge 3]]'''
* '''[[LED 2016 Group A Landscape Democracy Challenge 4|Landscape Democracy Challenge 4]]'''
* '''[[LED 2016 Group A 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:fear.jpg|slide 1
Image:third_slide.jpg|slide 2
Image:MI1.jpgslide 3
Image:MI2.jpg|slide 4
Image:Reflection. Involve people.JPG|slide 5
Image:Reflection. Missing tools .JPG|slide 6
Image:final_slide.jpg|slide 7
</gallery>

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

=== Your Democratic Change Process ===
* '''[[LED 2016 Group A 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:Stakeholders.jpg|slide 1
Image:Method.jpg|slide 2
Image:GroupA-Scenario.jpg|slide 3
Image:Ass_5_Slide_4.jpg|slide 4
Image:group_slide5.JPG|slide 5
</gallery>

File:MI2.jpg

2016-08-03T20:21:14Z

Hanig: Hanig uploaded a new version of File:MI2.jpg

File:MI1.jpg

2016-08-03T20:20:23Z

Hanig: Hanig uploaded a new version of File:MI1.jpg

File:GroupA-Scenario.jpg

2016-06-15T16:25:07Z

Hanig: Hanig uploaded a new version of File:GroupA-Scenario.jpg

LED Online Seminar 2016 - Working Group A

2016-06-15T16:12:46Z

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

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

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

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

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

=== Step 2 - Concept mapping of core terms ===
*[https://cmapscloud.ihmc.us/viewer/cmap/1Q4HTPVBC-22LL587-167SQ9 Group A Collaborative Concept Map]

=== Step 3 - Reporting ===
*Please write, as a group, a 250 words reflection on your concept mapping process
*[[Group A 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 A |Landscape Symbols Reflection Group A]]'''

=== 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:Photo.jpg|slide 1
Image:slide.jpg|slide 2
Image:slide1.JPG|slide 3
Image:slide2.JPG|slide 4
Image:Karski_-_visual_interpretation_-_my_interpretation.jpeg|slide 5
Image:Karski_-_visual_interpretation_-_my_impression.jpeg|slide 6
Image:AraguaiaPalace.jpg|slide 7
Image:Haroldo 2nd image.jpeg|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 A Landscape Democracy Challenge 1|Landscape Democracy Challenge 1]]'''
* '''[[LED 2016 Group A Landscape Democracy Challenge 2|Landscape Democracy Challenge 2]]'''
* '''[[LED 2016 Group A Landscape Democracy Challenge 3|Landscape Democracy Challenge 3]]'''
* '''[[LED 2016 Group A Landscape Democracy Challenge 4|Landscape Democracy Challenge 4]]'''
* '''[[LED 2016 Group A 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:fear.jpg|slide 1
Image:third_slide.jpg|slide 2
Image:group_slide3.JPG|slide 3
Image:group_slide3.JPG|slide 4
Image:Reflection. Involve people.JPG|slide 5
Image:Reflection. Missing tools .JPG|slide 6
Image:final_slide.jpg|slide 7
</gallery>

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

=== Your Democratic Change Process ===
* '''[[LED 2016 Group A 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:Stakeholders.jpg|slide 1
Image:Method.jpg|slide 2
Image:GroupA-Scenario.jpg|slide 3
Image:group_slide4.JPG|slide 4
Image:group_slide5.JPG|slide 5
</gallery>

File:GroupA-Scenario.jpg

2016-06-15T16:12:13Z

Hanig:

LED 2016 Group A Landscape Democracy Challenge 2

2016-05-20T06:34:21Z

Hanig: /* Representation of your observations */

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

'''''Transformation of a city part in Mashhad, Iran'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place name''' ||style="background:Lavender"| '' add name''
|-
| '''Location''' || style="background:Lavender"|''Mashhad''
|-
| '''Country''' || style="background:Lavender"|''Iran''
|-
| '''Author(s)''' || style="background:Lavender"|''Hani Gholami''
|-
| 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? ==
The challenge concentrates on a part of Mashhad in Iran. Throughout the time, this area has changed a lot. It has transformed from a natural suburb with pleasing open spaces, to a dense rural artificial zone. Previously, it provided people with engaging sceneries, open spaces and greenery. Locals were used to do picknicing, relaxing and enjoy it with family. Nowadays, it does nothing similar, but some small park, so called breathing points, because it has been transformed to a high dense built area.
To this day, the decisions mostly have been made by the municipality and locals did not have any direct participation. In fact there was not so much possibility to cooperate for them. Plus it seems they were also not that much aware of the influences of upcoming changes during the time. Now the locals are aware and they are demanding participation and influencing the decisions. They desire not only stopping this sort of new constructions, but also providing more open spaces by pushing back some constructions in the area.
The locals in this case are trying to be a part of decision making and not just leave it to municipality. It means there is a big gap between the infrastructure and people. This gap should be solved by new ideas for local participation and taking individuals interest out of the decision making.
I find this demand for change from locals in sense of revivals of the values similar to my case.

== 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:MI1.jpg|Transformation
Image:MI2.jpg|Local Demand in Participation
</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 A Landscape Democracy Challenge 2

2016-05-20T06:33:24Z

Hanig: /* Representation of your observations */

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

'''''Transformation of a city part in Mashhad, Iran'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place name''' ||style="background:Lavender"| '' add name''
|-
| '''Location''' || style="background:Lavender"|''Mashhad''
|-
| '''Country''' || style="background:Lavender"|''Iran''
|-
| '''Author(s)''' || style="background:Lavender"|''Hani Gholami''
|-
| 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? ==
The challenge concentrates on a part of Mashhad in Iran. Throughout the time, this area has changed a lot. It has transformed from a natural suburb with pleasing open spaces, to a dense rural artificial zone. Previously, it provided people with engaging sceneries, open spaces and greenery. Locals were used to do picknicing, relaxing and enjoy it with family. Nowadays, it does nothing similar, but some small park, so called breathing points, because it has been transformed to a high dense built area.
To this day, the decisions mostly have been made by the municipality and locals did not have any direct participation. In fact there was not so much possibility to cooperate for them. Plus it seems they were also not that much aware of the influences of upcoming changes during the time. Now the locals are aware and they are demanding participation and influencing the decisions. They desire not only stopping this sort of new constructions, but also providing more open spaces by pushing back some constructions in the area.
The locals in this case are trying to be a part of decision making and not just leave it to municipality. It means there is a big gap between the infrastructure and people. This gap should be solved by new ideas for local participation and taking individuals interest out of the decision making.
I find this demand for change from locals in sense of revivals of the values similar to my case.

== 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:MI1.jpg|case representation
Image:MI2.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

File:MI2.jpg

2016-05-20T06:32:54Z

Hanig:

File:MI1.jpg

2016-05-20T06:32:31Z

Hanig:

LED 2016 Group A Landscape Democracy Challenge 2

2016-05-20T06:28:32Z

Hanig:

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

'''''Transformation of a city part in Mashhad, Iran'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place name''' ||style="background:Lavender"| '' add name''
|-
| '''Location''' || style="background:Lavender"|''Mashhad''
|-
| '''Country''' || style="background:Lavender"|''Iran''
|-
| '''Author(s)''' || style="background:Lavender"|''Hani Gholami''
|-
| 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? ==
The challenge concentrates on a part of Mashhad in Iran. Throughout the time, this area has changed a lot. It has transformed from a natural suburb with pleasing open spaces, to a dense rural artificial zone. Previously, it provided people with engaging sceneries, open spaces and greenery. Locals were used to do picknicing, relaxing and enjoy it with family. Nowadays, it does nothing similar, but some small park, so called breathing points, because it has been transformed to a high dense built area.
To this day, the decisions mostly have been made by the municipality and locals did not have any direct participation. In fact there was not so much possibility to cooperate for them. Plus it seems they were also not that much aware of the influences of upcoming changes during the time. Now the locals are aware and they are demanding participation and influencing the decisions. They desire not only stopping this sort of new constructions, but also providing more open spaces by pushing back some constructions in the area.
The locals in this case are trying to be a part of decision making and not just leave it to municipality. It means there is a big gap between the infrastructure and people. This gap should be solved by new ideas for local participation and taking individuals interest out of the decision making.
I find this demand for change from locals in sense of revivals of the values similar to my case.

== 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 A Landscape Democracy Challenge 2

2016-05-20T06:27:37Z

Hanig:

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

'''''Transformation of a city part in Mashhad, Iran'''''

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

== Rationale: Why have you chosen this case for the landscape and democracy seminar? ==
The challenge concentrates on a part of Mashhad in Iran. Throughout the time, this area has changed a lot. It has transformed from a natural suburb with pleasing open spaces, to a dense rural artificial zone. Previously, it provided people with engaging sceneries, open spaces and greenery. Locals were used to do picknicing, relaxing and enjoy it with family. Nowadays, it does nothing similar, but some small park, so called breathing points, because it has been transformed to a high dense built area.
To this day, the decisions mostly have been made by the municipality and locals did not have any direct participation. In fact there was not so much possibility to cooperate for them. Plus it seems they were also not that much aware of the influences of upcoming changes during the time. Now the locals are aware and they are demanding participation and influencing the decisions. They desire not only stopping this sort of new constructions, but also providing more open spaces by pushing back some constructions in the area.
The locals in this case are trying to be a part of decision making and not just leave it to municipality. It means there is a big gap between the infrastructure and people. This gap should be solved by new ideas for local participation and taking individuals interest out of the decision making.
I find this demand for change from locals in sense of revivals of the values similar to my case.

== 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 A Landscape Democracy Challenge 2

2016-05-20T06:26:10Z

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

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

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

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

== Rationale: Why have you chosen this case for the landscape and democracy seminar? ==
The challenge concentrates on a part of Mashhad in Iran. Throughout the time, this area has changed a lot. It has transformed from a natural suburb with pleasing open spaces, to a dense rural artificial zone. Previously, it provided people with engaging sceneries, open spaces and greenery. Locals were used to do picknicing, relaxing and enjoy it with family. Nowadays, it does nothing similar, but some small park, so called breathing points, because it has been transformed to a high dense built area.
To this day, the decisions mostly have been made by the municipality and locals did not have any direct participation. In fact there was not so much possibility to cooperate for them. Plus it seems they were also not that much aware of the influences of upcoming changes during the time. Now the locals are aware and they are demanding participation and influencing the decisions. They desire not only stopping this sort of new constructions, but also providing more open spaces by pushing back some constructions in the area.
The locals in this case are trying to be a part of decision making and not just leave it to municipality. It means there is a big gap between the infrastructure and people. This gap should be solved by new ideas for local participation and taking individuals interest out of the decision making.
I find this demand for change from locals in sense of revivals of the values similar to my case.

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

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

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

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

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

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

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

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

LED Online Seminar 2016 Groups Readings Selection Page

2016-05-12T09:09:10Z

Hanig: /* Reading Selection Group A */

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

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

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

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

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

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

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

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

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

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

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

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

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

'''E: Communication'''
* VH:''Storytelling example from the Scottish Islands''

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

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

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

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

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

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

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

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

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

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

* Landscape Concepts:

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

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

'''C: Community and Identity'''

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

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

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

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

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

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

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

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

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

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

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

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

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

'''* Landscape Concepts:'''
* ''Concepts of Landscape'' '''(Guido Maria Amorati)'''

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

LED Online Seminar 2016 Groups Readings Selection Page

2016-05-12T09:08:09Z

Hanig: /* Reading Selection Group A */

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

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

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

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

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

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

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

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

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

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

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

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

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

'''E: Communication'''
* VH:''Storytelling example from the Scottish Islands''

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

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

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

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

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

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

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

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

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

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

* Landscape Concepts:

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

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

'''C: Community and Identity'''

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

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

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

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

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

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

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

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

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

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

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

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

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

'''* Landscape Concepts:'''
* ''Concepts of Landscape'' '''(Guido Maria Amorati)'''

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

LED Seminar 2016 - Landscape Symbols Reflection Group A

2016-05-12T09:02:16Z

Hanig: /* Reflections */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Photo.jpg|Group A
Image:filename-1 kopio.jpg|slide 2
Image:mindmap.jpg|slide 3
</gallery>

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:SYMBOLS-BOLOGNA.jpg|Bologna's symbols
Image:slide1.JPG|Slide2
Image:slide2.JPG|Slide1
</gallery>

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

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

''

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Bench of Jan Karski.jpg|Bench of Jan Karski
Image:Karski_-_visual_interpretation_-_my_interpretation.jpeg|slide 2
Image:Karski_-_visual_interpretation_-_my_impression.jpeg|slide 3
</gallery>

=== Reflections ===

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

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

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

== Landscape Symbol 5- Schematic Symbol, Memorial actions for Self-sacrificeds in war, Iran, Hani Gholami ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Landscape Symbol-Schematic.jpg|Holiness Symbols
Image:Holy Memorial Symbols.jpg|Memorial Actions
Image:Sketch-City landscape.jpg|City Landscape
</gallery>

=== Reflections ===
Decades ago, so many people sacrified themselve in war to save their country, Iran. This people are heroes and to show the admiration of what they did, lots of memorials and artworks have been made and exist in the whole country. Nowadays, this memorial actions appear in different forms and influence the city landscapes. On one hand the story behind is about the people and on another hand, landscape that this actions are taking place in is for people. And the perception of this symbols of honour and values are quite mutual through wide variety of cultures in Iran. It still has the same meaning as before but it is losing its value through people by time. The reason might be the quality of actions and the lack of people's participation in decision making in this cases.

== Landscape Symbol 4- Araguaia Palace Palmas Brazil, Haroldo Pereira ==

=== Representations and analytical drawings ===

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

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

</gallery>

=== Reflections ===

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

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

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

LED Seminar 2016 - Landscape Symbols Reflection Group A

2016-05-12T09:00:00Z

Hanig: /* Reflections */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Photo.jpg|Group A
Image:filename-1 kopio.jpg|slide 2
Image:mindmap.jpg|slide 3
</gallery>

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:SYMBOLS-BOLOGNA.jpg|Bologna's symbols
Image:slide1.JPG|Slide2
Image:slide2.JPG|Slide1
</gallery>

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

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

''

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Bench of Jan Karski.jpg|Bench of Jan Karski
Image:Karski_-_visual_interpretation_-_my_interpretation.jpeg|slide 2
Image:Karski_-_visual_interpretation_-_my_impression.jpeg|slide 3
</gallery>

=== Reflections ===

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

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

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

== Landscape Symbol 5- Schematic Symbol, Memorial actions for Self-sacrificeds in war, Iran, Hani Gholami ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Landscape Symbol-Schematic.jpg|Holiness Symbols
Image:Holy Memorial Symbols.jpg|Memorial Actions
Image:Sketch-City landscape.jpg|City Landscape
</gallery>

=== Reflections ===
Decades ago, so many people sacrified themselve in war to save their country, Iran. This people are heroes and to show the admiration of what they did, lots of memorials and artworks have been made and exist in the whole country. Nowadays, this memorial actions appear in different forms and influence the city landscapes. On one hand the story behind is about the people and on another hand, landscape that this actions are taking place in is for people. And this symbols of honour and value are quite mutual through wide variety of cultures in Iran. It still has the same meaning as before but it is loosing its interest through people by time. The reason might be the quality of actions and the lack of people's participation in decision making in this cases.

== Landscape Symbol 4- Araguaia Palace Palmas Brazil, Haroldo Pereira ==

=== Representations and analytical drawings ===

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

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

</gallery>

=== Reflections ===

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

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

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

LED Seminar 2016 - Landscape Symbols Reflection Group A

2016-05-12T08:59:14Z

Hanig: /* Reflections */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Photo.jpg|Group A
Image:filename-1 kopio.jpg|slide 2
Image:mindmap.jpg|slide 3
</gallery>

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:SYMBOLS-BOLOGNA.jpg|Bologna's symbols
Image:slide1.JPG|Slide2
Image:slide2.JPG|Slide1
</gallery>

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

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

''

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Bench of Jan Karski.jpg|Bench of Jan Karski
Image:Karski_-_visual_interpretation_-_my_interpretation.jpeg|slide 2
Image:Karski_-_visual_interpretation_-_my_impression.jpeg|slide 3
</gallery>

=== Reflections ===

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

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

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

== Landscape Symbol 5- Schematic Symbol, Memorial actions for Self-sacrificeds in war, Iran, Hani Gholami ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Landscape Symbol-Schematic.jpg|Holiness Symbols
Image:Holy Memorial Symbols.jpg|Memorial Actions
Image:Sketch-City landscape.jpg|City Landscape
</gallery>

=== Reflections ===
Decades ago, so many people sacrified themselve in war to save their country, Iran. This people for are heros and to show the admiration of what they did, lots of memorials and artworks have been made and exist in whole the country. Nowadays, this memorial actions appear in different forms and influence the city landscapes. On one hand the story behind is about the people and on another hand, landscape that this actions are taking place in is for people. And this symbols of honour and value are quite mutual through wide variety of cultures in Iran. It still has the same meaning as before but it is loosing its interest through people by time. The reason might be the quality of actions and the lack of people's participation in decision making in this cases.

== Landscape Symbol 4- Araguaia Palace Palmas Brazil, Haroldo Pereira ==

=== Representations and analytical drawings ===

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

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

</gallery>

=== Reflections ===

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

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

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

LED Seminar 2016 - Landscape Symbols Reflection Group A

2016-05-12T08:58:21Z

Hanig: /* Reflections */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Photo.jpg|Group A
Image:filename-1 kopio.jpg|slide 2
Image:mindmap.jpg|slide 3
</gallery>

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:SYMBOLS-BOLOGNA.jpg|Bologna's symbols
Image:slide1.JPG|Slide2
Image:slide2.JPG|Slide1
</gallery>

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

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

''

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Bench of Jan Karski.jpg|Bench of Jan Karski
Image:Karski_-_visual_interpretation_-_my_interpretation.jpeg|slide 2
Image:Karski_-_visual_interpretation_-_my_impression.jpeg|slide 3
</gallery>

=== Reflections ===

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

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

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

== Landscape Symbol 5- Schematic Symbol, Memorial actions for Self-sacrificeds in war, Iran, Hani Gholami ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Landscape Symbol-Schematic.jpg|Holiness Symbols
Image:Holy Memorial Symbols.jpg|Memorial Actions
Image:Sketch-City landscape.jpg|City Landscape
</gallery>

=== Reflections ===
So many people sacrified themselve in war decades a go to save their country, Iran. This people for are heros and to show the admiration of what they did, lots of memorials and artworks have been made and exist in whole the country. Nowadays, this memorial actions appear in different forms and influence the city landscapes. On one hand the story behind is about the people and on another hand, landscape that this actions are taking place in is for people. And this symbols of honour and value are quite mutual through wide variety of cultures in Iran. It still has the same meaning as before but it is loosing its interest through people by time. The reason might be the quality of actions and the lack of people's participation in decision making in this cases.

== Landscape Symbol 4- Araguaia Palace Palmas Brazil, Haroldo Pereira ==

=== Representations and analytical drawings ===

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

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

</gallery>

=== Reflections ===

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

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

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

LED Seminar 2016 - Landscape Symbols Reflection Group A

2016-05-12T08:47:05Z

Hanig: /* Representations and analytical drawings */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Photo.jpg|Group A
Image:filename-1 kopio.jpg|slide 2
Image:mindmap.jpg|slide 3
</gallery>

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:SYMBOLS-BOLOGNA.jpg|Bologna's symbols
Image:slide1.JPG|Slide2
Image:slide2.JPG|Slide1
</gallery>

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

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

''

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Bench of Jan Karski.jpg|Bench of Jan Karski
Image:Karski_-_visual_interpretation_-_my_interpretation.jpeg|slide 2
Image:Karski_-_visual_interpretation_-_my_impression.jpeg|slide 3
</gallery>

=== Reflections ===

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

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

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

== Landscape Symbol 5- Schematic Symbol, Memorial actions for Self-sacrificeds in war, Iran, Hani Gholami ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Landscape Symbol-Schematic.jpg|Holiness Symbols
Image:Holy Memorial Symbols.jpg|Memorial Actions
Image:Sketch-City landscape.jpg|City Landscape
</gallery>

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

''add your text here''

== Landscape Symbol 4- Araguaia Palace Palmas Brazil, Haroldo Pereira ==

=== Representations and analytical drawings ===

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

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

</gallery>

=== Reflections ===

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

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

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

LED Seminar 2016 - Landscape Symbols Reflection Group A

2016-05-12T08:46:47Z

Hanig: /* Representations and analytical drawings */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Photo.jpg|Group A
Image:filename-1 kopio.jpg|slide 2
Image:mindmap.jpg|slide 3
</gallery>

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:SYMBOLS-BOLOGNA.jpg|Bologna's symbols
Image:slide1.JPG|Slide2
Image:slide2.JPG|Slide1
</gallery>

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

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

''

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Bench of Jan Karski.jpg|Bench of Jan Karski
Image:Karski_-_visual_interpretation_-_my_interpretation.jpeg|slide 2
Image:Karski_-_visual_interpretation_-_my_impression.jpeg|slide 3
</gallery>

=== Reflections ===

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

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

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

== Landscape Symbol 5- Schematic Symbol, Memorial actions for Self-sacrificeds in war, Iran, Hani Gholami ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Landscape Symbol-Schematic.jpg|Holiness Symbol s
Image:Holy Memorial Symbols.jpg|Memorial Actions
Image:Sketch-City landscape.jpg|City landscape
</gallery>

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

''add your text here''

== Landscape Symbol 4- Araguaia Palace Palmas Brazil, Haroldo Pereira ==

=== Representations and analytical drawings ===

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

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

</gallery>

=== Reflections ===

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

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

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

LED Seminar 2016 - Landscape Symbols Reflection Group A

2016-05-12T08:45:55Z

Hanig: /* Landscape Symbol 5- Schematic Symbol, Self-sacrificeds in war Memorials in Iran, Hani Gholami */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Photo.jpg|Group A
Image:filename-1 kopio.jpg|slide 2
Image:mindmap.jpg|slide 3
</gallery>

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:SYMBOLS-BOLOGNA.jpg|Bologna's symbols
Image:slide1.JPG|Slide2
Image:slide2.JPG|Slide1
</gallery>

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

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

''

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Bench of Jan Karski.jpg|Bench of Jan Karski
Image:Karski_-_visual_interpretation_-_my_interpretation.jpeg|slide 2
Image:Karski_-_visual_interpretation_-_my_impression.jpeg|slide 3
</gallery>

=== Reflections ===

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

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

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

== Landscape Symbol 5- Schematic Symbol, Memorial actions for Self-sacrificeds in war, Iran, Hani Gholami ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Landscape Symbol-Schematic.jpg|Schematic Landscape Symbol
Image:Holy Memorial Symbols.jpg|Holy Memorial Symbols
Image:Sketch-City landscape.jpg|City landscape
</gallery>

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

''add your text here''

== Landscape Symbol 4- Araguaia Palace Palmas Brazil, Haroldo Pereira ==

=== Representations and analytical drawings ===

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

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

</gallery>

=== Reflections ===

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

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

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

LED Seminar 2016 - Landscape Symbols Reflection Group A

2016-05-12T08:44:29Z

Hanig: /* Landscape Symbol 5- Schematic Symbol, Self-sacrifieds in war Memorials in Iran, Hani Gholami */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Photo.jpg|Group A
Image:filename-1 kopio.jpg|slide 2
Image:mindmap.jpg|slide 3
</gallery>

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:SYMBOLS-BOLOGNA.jpg|Bologna's symbols
Image:slide1.JPG|Slide2
Image:slide2.JPG|Slide1
</gallery>

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

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

''

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Bench of Jan Karski.jpg|Bench of Jan Karski
Image:Karski_-_visual_interpretation_-_my_interpretation.jpeg|slide 2
Image:Karski_-_visual_interpretation_-_my_impression.jpeg|slide 3
</gallery>

=== Reflections ===

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

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

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

== Landscape Symbol 5- Schematic Symbol, Self-sacrificeds in war Memorials in Iran, Hani Gholami ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Landscape Symbol-Schematic.jpg|Schematic Landscape Symbol
Image:Holy Memorial Symbols.jpg|Holy Memorial Symbols
Image:Sketch-City landscape.jpg|City landscape
</gallery>

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

''add your text here''

== Landscape Symbol 4- Araguaia Palace Palmas Brazil, Haroldo Pereira ==

=== Representations and analytical drawings ===

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

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

</gallery>

=== Reflections ===

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

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

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

LED Seminar 2016 - Landscape Symbols Reflection Group A

2016-05-12T08:44:10Z

Hanig: /* Landscape Symbol 5- Schematic Symbol, Hani Gholami */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Photo.jpg|Group A
Image:filename-1 kopio.jpg|slide 2
Image:mindmap.jpg|slide 3
</gallery>

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:SYMBOLS-BOLOGNA.jpg|Bologna's symbols
Image:slide1.JPG|Slide2
Image:slide2.JPG|Slide1
</gallery>

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

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

''

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Bench of Jan Karski.jpg|Bench of Jan Karski
Image:Karski_-_visual_interpretation_-_my_interpretation.jpeg|slide 2
Image:Karski_-_visual_interpretation_-_my_impression.jpeg|slide 3
</gallery>

=== Reflections ===

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

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

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

== Landscape Symbol 5- Schematic Symbol, Self-sacrifieds in war Memorials in Iran, Hani Gholami ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Landscape Symbol-Schematic.jpg|Schematic Landscape Symbol
Image:Holy Memorial Symbols.jpg|Holy Memorial Symbols
Image:Sketch-City landscape.jpg|City landscape
</gallery>

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

''add your text here''

== Landscape Symbol 4- Araguaia Palace Palmas Brazil, Haroldo Pereira ==

=== Representations and analytical drawings ===

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

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

</gallery>

=== Reflections ===

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

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

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

LED Seminar 2016 - Landscape Symbols Reflection Group A

2016-05-12T08:39:06Z

Hanig: /* Representations and analytical drawings */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Photo.jpg|Group A
Image:filename-1 kopio.jpg|slide 2
Image:mindmap.jpg|slide 3
</gallery>

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:SYMBOLS-BOLOGNA.jpg|Bologna's symbols
Image:slide1.JPG|Slide2
Image:slide2.JPG|Slide1
</gallery>

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

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

''

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Bench of Jan Karski.jpg|Bench of Jan Karski
Image:Karski_-_visual_interpretation_-_my_interpretation.jpeg|slide 2
Image:Karski_-_visual_interpretation_-_my_impression.jpeg|slide 3
</gallery>

=== Reflections ===

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

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:Landscape Symbol-Schematic.jpg|Schematic Landscape Symbol
Image:Holy Memorial Symbols.jpg|Holy Memorial Symbols
Image:Sketch-City landscape.jpg|City landscape
</gallery>

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

''add your text here''

== Landscape Symbol 4- Araguaia Palace Palmas Brazil, Haroldo Pereira ==

=== Representations and analytical drawings ===

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

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

</gallery>

=== Reflections ===

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

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

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

File:Sketch-City landscape.jpg

2016-05-12T08:38:14Z

Hanig:

LED Online Seminar 2016 Groups Readings Selection Page

2016-04-28T05:34:06Z

Hanig: /* Reading Selection Group A */

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

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

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

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

* Landscape Concepts:
* [HD] "Reading the landscape. An appreciation of W.G. Hoskins and J-B. Jackson
* Burckhardt, Lucius (1979): Why is landscape beautiful? in: Fezer/Schmitz (Eds.) Rethinking Man-made Environments (2012)

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

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

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

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

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

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

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

'''E: Communication'''
* ''Storytelling example from the Scottish Islands''

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

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

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

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

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

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

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

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

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

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

* Landscape Concepts:

* ''Kjersti: Lynch, Kevin. (1960): The Image of the City''
* ''Joseph: '':
* ''Davide: 'Sieverts, Thomas (2003): Cities without cities. An interpretation of the Zwischenstadt':
* ''Gabriela: '':
* ''Sanaz: '': Lynch, Kevin. (1960): The Image of the City''

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

'''C: Community and Identity'''

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

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

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

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

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

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

'''Policy frameworks, laws and resolutions''':
* ''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.''
* '''''(TG)''' 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'''
* '''''(TG)''' Burckhardt, Lucius (1957): Urban Planning and Democracy in: Fezer/Schmitz (Eds.) Rethinking Man-made Environments (2012)
* ''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'''
* '''''(TG)''' Nassauer, Joan Iverson (1995): Culture and Changing Landscape Structure, Landscape Ecology, vol. 10 no. 4.
* ''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'''
* '''''(TG)''' Hester, Randolph: Life, Liberty and the Pursuit of Sustainable Happiness
* ''Massachusetts Institute of Technology (2013): Places in the Making: How Placemaking Builds Places and Communities'':
* ''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'' '''(Tonje Cecilie Stordalen)'''
* ''Directive providing for public participation in respect of the drawing up of certain plans and programmes relating to the environment'' '''(Tonje Cecilie Stordalen)'''
* ''Strategic Environmental Assessment Directive''
* ''Water Framework Directive''

'''* Landscape Concepts:'''
* ''Concepts of Landscape'' '''(Guido Maria Amorati)'''

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

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

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

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

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

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

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

'''B: Concepts of Participation'''
*''(MG) Day, Christopher (2002): Consensus Design, Architectural Press''
* '''(NR)''' Gaventa, John: The Powerful, the Powerless, and the Experts
* '''(RR)''' Hester, Randolph (2012): Evaluating Community Design, Landscape Journal

'''C: Community and Identity'''
*''(MG) Girling, Cynthia (2006): Informing Design Charrettes, The Integrated Assessment Journal
* '''(NR)''' Hester, Randolph (2006): Design for Ecological Democracy
* '''(RR)'''Welk Von Mossner, Alexa (2014): Cinematic Landscapes, In: Topos, No. 88, 2014.

'''D: The Design Process'''
*''(MG) D’hondt, Frank (2014): Better Cities for Kosovo: Visioning as Participatory Planning Tool,UN-Habitat report
* '''(NR)''' Hester, Randolph: Democratic Drawing - Techniques for Participatory Design
* '''(RR)'''Massachusetts Institute of Technology (2013): Places in the Making: How Placemaking Builds Places and Communities

'''E: Communication'''
* ''(MG) Online decision making with loomio
* '''(NR)''' Storytelling example from the Scottish Islands

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

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

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

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

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

LED Seminar 2016 - Landscape Symbols Reflection Group A

2016-04-18T04:27:33Z

Hanig: /* Representations and analytical drawings */

LED Seminar 2016 - Landscape Symbols Reflection Group A

2016-04-18T04:26:59Z

Hanig: /* Representations and analytical drawings */

LED Seminar 2016 - Landscape Symbols Reflection Group A

2016-04-18T04:25:43Z

Hanig: /* Representations and analytical drawings */

File:Holy Memorial Symbols.jpg

2016-04-18T04:24:20Z

Hanig:

File:Landscape Symbol-Schematic.jpg

2016-04-08T08:11:21Z

Hanig: