Ledwiki - User contributions [en]

LED 2016 Group I Landscape Democracy Challenge 1

2016-05-09T19:24:19Z

Lucasp:

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

'''''Florianópoli's Sapiens Center'''''

{| align="right" width="250pt" style="background:Gainsboro; color:black"
|-
| '''Place name''' ||style="background:Lavender"| ''City Center''
|-
| '''Location''' || style="background:Lavender"|''Florianópolis''
|-
| '''Country''' || style="background:Lavender"|''Brazil''
|-
| '''Author(s)''' || style="background:Lavender"|''Lucas Passold''
|-
| colspan="3" align="center" style="background:silver"| [[File:Florianopolis_city_center.jpg|250px]]
|-
| ||style="background:Lavender"|
|-
| colspan="3" align="center" style="background:silver"|
|}

== Rationale: Why have you chosen this case for the landscape and democracy seminar? ==
* ''Why is this case relevant?''
* ''Florianópoli's city center have been case of several studies of public spaces usage. It is the oldest part of the city, the busiest area, the most populated area but at the same time the last place where people want to spend their leisure time. The consequence is a place of no sense of belonging for people, an area that disappears when the work time ends and people go back home. Although it is the richest part in terms of culture, architecture and history, it is still the most unappreciated. Lately the city hall and mostly investors are tryinh to create a program for this area that is called "Sapiens Center", which is trying to recover a part of this area, which is the most historical one, trying to convert it into a technological e a creativity focus point of the city. They're aim is to attract startups and investors to change the feeling of the place and to become a meeting point of art professionals, IT companies. But who has participation on this process? Who is really interested in changing the aspects of this place? Is attracting more workers the only way to do that? These are some of the questions that I would like to reflect on. ''

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

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

== Reflection ==
=== What are the major challenges for changing the situation? ===
*''The participation of the people on the process of changing the most important and historical part of the city. It is challenging because this is a place that people don't feel that it belongs to them, it is only a place to work or go shopping. So, how to engage people to interact, reflect and give their opinions about a place that is only temporary in their lives? How to make them realize that this place has a potential and that it can be more than what they are used to know in their everyday life? How can a ideia that comes from investors and entrepreneurs can impact the people who actually lives this places everyday?''

=== What could be a starting point for democractically-based change? ===
*''I think the starting point is to publicize the changes that are being made to let people know what is happening. After that, try to get opinions of the most different users of this place as possible, so there can be a diverse range of opinions. Since the project is being made for the creativity industry, why not unite these creative professionals with the people who live and work in the city center, to come up with democratic ideas? ''

== 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:Florianopolis city center.jpg

2016-05-09T19:21:16Z

Lucasp:

LED 2016 Group I Landscape Democracy Challenge 1

2016-05-09T18:59:36Z

Lucasp:

'''--> [[LED_Online_Seminar_2016_-_Working_Group_I|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"| ''City Center''
|-
| '''Location''' || style="background:Lavender"|''Florianópolis''
|-
| '''Country''' || style="background:Lavender"|''Brazil''
|-
| '''Author(s)''' || style="background:Lavender"|''Lucas Passold''
|-
| colspan="3" align="center" style="background:silver"| [[File:Replacethisfilewithyourvisual.jpg|250px]]
|-
| ||style="background:Lavender"|
|-
| colspan="3" align="center" style="background:silver"|
|}

== Rationale: Why have you chosen this case for the landscape and democracy seminar? ==
* ''Why is this case relevant?''
* ''Florianópoli's city center have been case of several studies of public spaces usage. It is the oldest part of the city, the busiest area, the most populated area but at the same time the last place where people want to spend their leisure time. The consequence is a place of no sense of belonging for people, an area that disappears when the work time ends and people go back home. Although it is the richest part in terms of culture, architecture and history, it is still the most unappreciated. Lately the city hall and mostly investors are tryinh to create a program for this area that is called "Sapiens Center", which is trying to recover a part of this area, which is the most historical one, trying to convert it into a technological e a creativity focus point of the city. They're aim is to attract startups and investors to change the feeling of the place and to become a meeting point of art professionals, IT companies. But who has participation on this process? Who is really interested in changing the aspects of this place? Is attracting more workers the only way to do that? These are some of the questions that I would like to reflect on. ''

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

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

== Reflection ==
=== What are the major challenges for changing the situation? ===
*''The participation of the people on the process of changing the most important and historical part of the city. It is challenging because this is a place that people don't feel that it belongs to them, it is only a place to work or go shopping. So, how to engage people to interact, reflect and give their opinions about a place that is only temporary in their lives? How to make them realize that this place has a potential and that it can be more than what they are used to know in their everyday life? How can a ideia that comes from investors and entrepreneurs can impact the people who actually lives this places everyday?''

=== What could be a starting point for democractically-based change? ===
*''I think the starting point is to publicize the changes that are being made to let people know what is happening. After that, try to get opinions of the most different users of this place as possible, so there can be a diverse range of opinions. Since the project is being made for the creativity industry, why not unite these creative professionals with the people who live and work in the city center, to come up with democratic ideas? ''

== 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

2016-05-09T17:15:30Z

Lucasp: /* Reading Selection Group I */

'''--> 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'''
* 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'':

'Mover and Shaker' Selection List

2016-05-04T13:38:39Z

Lucasp: /* Walter Hood (UC Berkeley, Lafayette Park Oakland, CA) */

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

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

== Randy Hester (UC Berkeley, Manteo, Big Wild, The Spoonbill project) ==
* Md Abdulla Al-Mamun
* Tonje Cecilie Stordalen
* add your name

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

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

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

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

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

== Jan Gehl (‘Life between buildings’, how to study public life) ==
* Stuti Sareen
* Mario Matamoros
* Esra' Najjar

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

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

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

== Walter Hood (UC Berkeley, Lafayette Park Oakland, CA) ==
* Lucas Passold
* add your name
* add your name

== Samuel Mockbee (The Rural Studio) ==
* Siddharth Trivedi
* Benedetta Allegrini
* add your name

== James Rojas (place-it) ==
* Theresia Hupfer
* Tora Grøstad
* add your name

== ReBar (Parking day/parklets) ==
* Serena Indaco
* Nicolas Reibel
* Kjersti B Skjelbreid

== Giancarlo De Carlo (Team 10, Legitimizing architecture) ==
* Guido Maria Amorati
* Davide Lombardi
* add your name

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

== Christopher Alexander (The Oregon Experiment, Pattern Language) ==
* Daniela Ellis
* Sanaz Emamverdi
* Reihaneh Rafiemanzelat

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

* Vera Hausmanns
* add your name
* add your name

== Leonie Sandercock (University of British Columbia, Collingwood Neighbourhood House) ==
* Melis Kilic
* add your name
* add your name

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

LED Seminar 2016 - Landscape Symbols Reflection Group I

2016-04-20T23:02:48Z

Lucasp: /* Representations and analytical drawings */

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

== Landscape Symbol 1- Warsaw, Anna Janus ==

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

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

''add your text here''
The Palace of Culture and Science, originally known as the Joseph Stalin Palace of Culture and Science, was built in 1955. It was a 'gift from the Soviet Union to the people of Poland', as a symbol of soviet power and city reconstruction. Over the time and generations sense of the building changed. For older people The Palace reminds about Polish history and problematic past. For young people it is just centrally located building, without any emotional charge. Many consider it as ugly piece of architecture that should be destroyed or covered by other constructions.
For me it is a symbol of the past. It is a well organised, useful public building that combines different cultural facilities as theatre, museum, or cinema. It also carries many art pieces of Polish artists such as paintings, sculptures, as well as furniture and architectonical details. For many it is regarded as Warsaw landmark.

== Landscape Symbol 2- Saeid Saadat ==

=== 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:LED 1.jpg|slide 1
Image:River path.jpg|slide 2
Image:Garden.jpg|slide 3
</gallery>

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

''add your text here''

== Landscape Symbol 3- Tea Stall, Stuti Sareen ==

=== 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:TEA STALL.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

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

''add your text here''

== Landscape Symbol 4- Sebastian Sanchez Napal ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:groupI_slide1.JPG|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

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

''add your text here''

== Landscape Symbol 5- Florianopolis, Lucas Passold ==

=== 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:Waterfront North, Florianópolis.jpeg|slide 1
Image:Location.jpg|slide 2
Image:Section.jpg|slide 3
</gallery>

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

''Florianópolis is a city well known across the country by its natural landscape, mostly because of the beautiful beaches. So the sea is totally associated with the image of the city, becoming a symbol. Since the city is an island, it is impossible to not notice it, but that doesn't necessarily mean that everybody who lives here sees the symbol in the same context. The vision of the seashore has changed along the times, coming from a place of trash disposal to become a place of leisure and human interaction. This new approach to the sea made the city invest mostly in these parts, adding value to the nearby land and expelling the bigger e poorest part of the population to the outskirts of Florianópolis. Sadly, the investments aren't good either, since they are made mostly with an infrastructure sense of providing good assets for cars (12 car lanes and 1 small pedestrian lane along the shore). The small remaining part along the shore gives only a small possibility for the people who live nearby to practice sports like running and biking. Somehow this landscape is becoming only a good symbol for the rich who has access to it, meanwhile this landscape is not a palpable symbol for the rest of the citizens who can only watch it from inside the bus on the way to work.''

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

File:Section.jpg

2016-04-20T22:34:41Z

Lucasp:

File:Location.jpg

2016-04-20T22:33:49Z

Lucasp:

LED Seminar 2016 - Landscape Symbols Reflection Group I

2016-04-18T13:20:37Z

Lucasp: /* Reflections */

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

== Landscape Symbol 1- Warsaw, Anna Janus ==

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

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

''add your text here''

== Landscape Symbol 2- Saeid Saadat ==

=== 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:groupI_slide1.JPG|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

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

''add your text here''

== Landscape Symbol 3- Tea Stall, Stuti Sareen ==

=== 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:TEA STALL.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

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

''add your text here''

== Landscape Symbol 4- Sebastian Sanchez Napal ==

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:groupI_slide1.JPG|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

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

''add your text here''

== Landscape Symbol 5- Florianopolis, Lucas Passold ==

=== 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:Waterfront North, Florianópolis.jpeg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

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

''Florianópolis is a city well known across the country by its natural landscape, mostly because of the beautiful beaches. So the sea is totally associated with the image of the city, becoming a symbol. Since the city is an island, it is impossible to not notice it, but that doesn't necessarily mean that everybody who lives here sees the symbol in the same context. The vision of the seashore has changed along the times, coming from a place of trash disposal to become a place of leisure and human interaction. This new approach to the sea made the city invest mostly in these parts, adding value to the nearby land and expelling the bigger e poorest part of the population to the outskirts of Florianópolis. Sadly, the investments aren't good either, since they are made mostly with an infrastructure sense of providing good assets for cars (12 car lanes and 1 small pedestrian lane along the shore). The small remaining part along the shore gives only a small possibility for the people who live nearby to practice sports like running and biking. Somehow this landscape is becoming only a good symbol for the rich who has access to it, meanwhile this landscape is not a palpable symbol for the rest of the citizens who can only watch it from inside the bus on the way to work.''

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

LED Online Seminar 2016 Groups Readings Selection Page

2016-04-18T12:50:22Z

Lucasp: /* Reading Selection Group I */

File:60 sec sketch - street I lived in Budapest.jpeg

2016-04-07T14:19:00Z

Lucasp:

File:Waterfront North, Florianópolis.jpeg

2016-04-05T19:50:03Z

Lucasp: My city is well known across the country by its natural landscape, mostly because of the beautiful beaches. So the sea is totally associated with the image of the city, becoming a symbol. Since the city is an island, it is impossible to not notice it,...

My city is well known across the country by its natural landscape, mostly because of the beautiful beaches. So the sea is totally associated with the image of the city, becoming a symbol. Since the city is an island, it is impossible to not notice it, but that doesn't necessarily mean that everybody who lives here sees the symbol in the same context. The vision of the seashore has changed along the times, coming from a place of trash disposal to become a place of leisure and human interaction. This new approach to the sea made the city invest mostly in these parts, adding value to the nearby land and expelling the bigger e poorest part of the population to the outskirts of Florianópolis. Sadly, the investments aren't good either, since they are made mostly with an infrastructure sense of providing good assets for cars (12 car lanes and 1 small pedestrian lane along the shore). Somehow this landscape is becoming only a good symbol for the rich who has access to it, meanwhile this landscape is not a palpable symbol for the rest of the citizens who can only watch it from inside the bus on the way to work.