Ledwiki - User contributions [en]

LED 2016 Group F Democratic Change Process

2016-06-22T06:08:00Z

Torag: /* Concluding reflections */

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

''Copy - paste the wiki text of the landscape democracy challenge you have selected for further discussion, then continue with the rest of the template, please place the references at the end now''

== Power Map ==

''Create a visual representation of the stakeholder groups that are involved in your case. Try to cover the following aspects in your representation: Power (high, medium, low) / Support (positive, neutral, negative)/ Influence (high or low)/ Need (strong, medium, weak)+ also map the relationships between the stakeholder/power groups''

<gallery caption="Power Map" widths="600px" heights="300px" perrow="1">
File:Slide4444444.JPG|Power Map
</gallery>

== Change Process ==

''Look at the various methods and tools available and think how they can be applied creatively. Think about the needs of different stakeholder groups - you may need a methodical mix to address them all. Illustrate graphically how these methods/tools might be applied in a short, medium and long-term perspective.

<gallery caption="Change Process" widths="600px" heights="300px" perrow="1">
File:Group f Slide555.JPG|Change Process
</gallery>

== Concluding reflections ==

The main emphasis of our change model is to involve and engage people through practical events and happenings. Our case study, the square of Bologna, Piazza Verdi, and its unstable and frightening state during night, is no unknown and recent phenomena, but due to a common societal problem, taking place in different contexts around the world, it is essential to make a site-specific initiative.

Our change model is directed towards the users of the square themselves, and the first Phase is meant to build up the first trust and knowledge among everyone involved in the square. By directly facing the problem, the people are challenged to express their true opinion and reactions. On the other hand, since there is a big gap between the different groups of people using the square, it is a challenge to achieve a common interest. As the illegal actions is no external factor, easy to remove, the illegal group of people has to be included in the further steps of the change model. The solution is not to chase them to another corner of the city; it will not solve the problem.

As planners and designers, we have an important task to take an active part in organizing and including all groups of people. We are responsible to see the interconnections between the different interests, and to end up with a design that in greatest extent fulfills a common happiness.

== References ==

[[Category:Democratic Change Process LED 2016]]

LED Online Seminar 2016 - Working Group F

2016-06-20T08:04:46Z

Torag: /* 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]].

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

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

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

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

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

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:Fuligni symbol 1.jpg | federica fuligni
Image:I miei portici2.jpg | federica fuligni
Image:Flagpole concept.jpeg | Ibrahim Al Mardini
Image:Ibrahim 2.jpg | Ibrahim Al Mardini
Image:Slide1 Tora.jpeg |Tora Grøstad
Image:Slide2 Tora.jpeg | Tora Grøstad
Image:Landscape symbols mario.jpg | Mario Matamoros
Image:2 LED Assignment Mario Matamoros slide explanation.jpg | Mario Matamoros
Image:2 LED Assignment group reflections.jpg| group reflection
</gallery>

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

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

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

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

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:Landscape challenge2.jpg|slide 1
Image:Landscape challenge1.3.jpg|slide 2
Image:Slide2 group f.JPG|slide 3
Image:Slide3 group f.JPG|slide 4
Image:Slide1 ibra.JPG|slide 5
Image:Slide2 ibra.JPG|slide 6
Image:m_landscape challenge_1.jpg|slide 7
Image:m_landscape challenge_2.jpg|slide 8
Image:Reflection.jpg|slide 9
</gallery>

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

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

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

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:Slide2 group f.JPG|slide 1
Image:Slide3 group f.JPG|slide 2
Image:Slide4444444.JPG|slide 3
Image:Group f Slide555.JPG|slide 4
Image:Slide6 group f.JPG|slide 5
Image:Slide7 group f.JPG|slide 6
</gallery>

File:Reflection.jpg

2016-06-20T08:04:09Z

Torag:

LED Online Seminar 2016 - Working Group F

2016-06-20T08:00:22Z

Torag: /* 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]].

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

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

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

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

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

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:Fuligni symbol 1.jpg | federica fuligni
Image:I miei portici2.jpg | federica fuligni
Image:Flagpole concept.jpeg | Ibrahim Al Mardini
Image:Ibrahim 2.jpg | Ibrahim Al Mardini
Image:Slide1 Tora.jpeg |Tora Grøstad
Image:Slide2 Tora.jpeg | Tora Grøstad
Image:Landscape symbols mario.jpg | Mario Matamoros
Image:2 LED Assignment Mario Matamoros slide explanation.jpg | Mario Matamoros
Image:2 LED Assignment group reflections.jpg| group reflection
</gallery>

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

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

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

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

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:Landscape challenge2.jpg|slide 1
Image:Landscape challenge1.3.jpg|slide 2
Image:Slide2 group f.JPG|slide 3
Image:Slide3 group f.JPG|slide 4
Image:Slide1 ibra.JPG|slide 5
Image:Slide2 ibra.JPG|slide 6
Image:m_landscape challenge_1.jpg|slide 7
Image:m_landscape challenge_2.jpg|slide 8
</gallery>

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

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

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

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:Slide2 group f.JPG|slide 1
Image:Slide3 group f.JPG|slide 2
Image:Slide4444444.JPG|slide 3
Image:Group f Slide555.JPG|slide 4
Image:Slide6 group f.JPG|slide 5
Image:Slide7 group f.JPG|slide 6
</gallery>

File:Landscape challenge2.jpg

2016-06-20T07:56:27Z

Torag:

LED 2016 Group F Landscape Democracy Challenge 1

2016-05-04T09:00:43Z

Torag: /* References */

'''--> [[LED_Online_Seminar_2016_-_Working_Group_F|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? ==
* On my way to work, cycling form Svartdal to Seljord, I repeatedly risk my life, being overtaken by big trucks. Despite the fact that the road is narrow, curved and steep, it still counts as the main transport route between east and west of Norway. But in 2013 a new major national road investment project started; a 9,4 kilometer long tunnel between Seljord and Hjartdal will liberate the small villages along the old road from being polluted by noisy monsters. Simultaneously a new comprehensive improvement project of the old curved route, “The experience route through Nutheim”, is being planned in secret, by the politicians in cooperation with the public road departure in Norway. The project itself is a wonderful initiative, and will benefit the inhabitants if it is done the right way. I think it is an interesting case to study as a landscape democracy challenge in the way the planning process has been done; the fact that the municipality has been planning it for several years without even mentioning it for the inhabitants, at least I haven’t heard about it until a month ago.

== 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:Landscape challenge1.1.jpg|case representation
Image:Landscape challenge1.2.jpg|case representation
Image:Landscape challenge1.3.jpg|case representation
Image:yourfilename4.jpg|case representation
</gallery>

== Reflection ==
=== What are the major challenges for changing the situation? ===
*In this case it is still a lot to do for involving the inhabitants, although it would have been better to inform and include the users at an earlier stage. The project is tightly bound to the everyday landscape of the locals, and will influence the way they move and uses their environment. The importance of building a participatory platform where the users can express their thoughts and ideas, is incredible important for creating enthusiasm and later use of the area. Recently it is actually been established a representative, local group from each village, whose task is to convey the opinions of their local community to the bigger working team. But as the project surprisingly was announced for the locals, without any prior notice, it is already been created a gap between the locals and the politicians. The importance of informing the users at an early stage in the process is absolutely crucial for creating the goodwill and engagement required to form a good partnership.

=== What could be a starting point for democractically-based change? ===
*To achieve a common understanding of the project it is important that politicians together with the public road department show interest in the local people and listen to what they have to say. It is always a dilemma between municipal interests and local interests, which often make democratic processes difficult. There are several aspects in such a big project, but the personal knowledge can only be contributed by the locals, and such information, I think, is always unique for the project. Another idea might be to use new creative methods to delimit the gap between the politicians/planners and the locals/users. Maybe an open-air meetings in the landscape, can switch the democratic scene from politician`s comfort, to the local sense of belonging? But perhaps most important, to get the democratic processes working, the information has to reach everyone. Everyone must have the opportunity to express their feelings and use of various means of disseminate information is necessary.

== References ==
*https://no.wikipedia.org/wiki/M%C3%A6lefjelltunnelen*
*http://www.hjartdal.kommune.no/nb-NO/Politikk/~/media/Hjartdal/Dokumenter/Moteboker/2014/Innkallinger/20140505_fon.ashx

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

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

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

LED 2016 Group F Landscape Democracy Challenge 1

2016-05-04T08:59:23Z

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

'''--> [[LED_Online_Seminar_2016_-_Working_Group_F|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? ==
* On my way to work, cycling form Svartdal to Seljord, I repeatedly risk my life, being overtaken by big trucks. Despite the fact that the road is narrow, curved and steep, it still counts as the main transport route between east and west of Norway. But in 2013 a new major national road investment project started; a 9,4 kilometer long tunnel between Seljord and Hjartdal will liberate the small villages along the old road from being polluted by noisy monsters. Simultaneously a new comprehensive improvement project of the old curved route, “The experience route through Nutheim”, is being planned in secret, by the politicians in cooperation with the public road departure in Norway. The project itself is a wonderful initiative, and will benefit the inhabitants if it is done the right way. I think it is an interesting case to study as a landscape democracy challenge in the way the planning process has been done; the fact that the municipality has been planning it for several years without even mentioning it for the inhabitants, at least I haven’t heard about it until a month ago.

== 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:Landscape challenge1.1.jpg|case representation
Image:Landscape challenge1.2.jpg|case representation
Image:Landscape challenge1.3.jpg|case representation
Image:yourfilename4.jpg|case representation
</gallery>

== Reflection ==
=== What are the major challenges for changing the situation? ===
*In this case it is still a lot to do for involving the inhabitants, although it would have been better to inform and include the users at an earlier stage. The project is tightly bound to the everyday landscape of the locals, and will influence the way they move and uses their environment. The importance of building a participatory platform where the users can express their thoughts and ideas, is incredible important for creating enthusiasm and later use of the area. Recently it is actually been established a representative, local group from each village, whose task is to convey the opinions of their local community to the bigger working team. But as the project surprisingly was announced for the locals, without any prior notice, it is already been created a gap between the locals and the politicians. The importance of informing the users at an early stage in the process is absolutely crucial for creating the goodwill and engagement required to form a good partnership.

=== What could be a starting point for democractically-based change? ===
*To achieve a common understanding of the project it is important that politicians together with the public road department show interest in the local people and listen to what they have to say. It is always a dilemma between municipal interests and local interests, which often make democratic processes difficult. There are several aspects in such a big project, but the personal knowledge can only be contributed by the locals, and such information, I think, is always unique for the project. Another idea might be to use new creative methods to delimit the gap between the politicians/planners and the locals/users. Maybe an open-air meetings in the landscape, can switch the democratic scene from politician`s comfort, to the local sense of belonging? But perhaps most important, to get the democratic processes working, the information has to reach everyone. Everyone must have the opportunity to express their feelings and use of various means of disseminate information is necessary.

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

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

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

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

LED 2016 Group F Landscape Democracy Challenge 1

2016-05-04T08:59:04Z

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

'''--> [[LED_Online_Seminar_2016_-_Working_Group_F|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? ==
* On my way to work, cycling form Svartdal to Seljord, I repeatedly risk my life, being overtaken by big trucks. Despite the fact that the road is narrow, curved and steep, it still counts as the main transport route between east and west of Norway. But in 2013 a new major national road investment project started; a 9,4 kilometer long tunnel between Seljord and Hjartdal will liberate the small villages along the old road from being polluted by noisy monsters. Simultaneously a new comprehensive improvement project of the old curved route, “The experience route through Nutheim”, is being planned in secret, by the politicians in cooperation with the public road departure in Norway. The project itself is a wonderful initiative, and will benefit the inhabitants if it is done the right way. I think it is an interesting case to study as a landscape democracy challenge in the way the planning process has been done; the fact that the municipality has been planning it for several years without even mentioning it for the inhabitants, at least I haven’t heard about it until a month ago.

== 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:Landscape challenge1.1.jpg|case representation
Image:Landscape challenge1.2.jpg|case representation
Image:Landscape challenge1.3.jpg|case representation
Image:yourfilename4.jpg|case representation
</gallery>

== Reflection ==
=== What are the major challenges for changing the situation? ===
*In this case it is still a lot to do for involving the inhabitants, although it would have been better to inform and include the users at an earlier stage. The project is tightly bound to the everyday landscape of the locals, and will influence the way they move and uses their environment. The importance of building a participatory platform where the users can express their thoughts and ideas, is incredible important for creating enthusiasm and later use of the area. Recently it is actually been established a representative, local group from each village, whose task is to convey the opinions of their local community to the bigger working team. But as the project surprisingly was announced for the locals, without any prior notice, it is already been created a gap between the locals and the politicians. The importance of informing the users at an early stage in the process is absolutely crucial for creating the goodwill and engagement required to form a good partnership.

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

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

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

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

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

LED 2016 Group F Landscape Democracy Challenge 1

2016-05-04T08:58:43Z

Torag: /* Representation of your observations */

LED 2016 Group F Landscape Democracy Challenge 1

2016-05-04T08:55:12Z

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

LED 2016 Group F Landscape Democracy Challenge 1

2016-05-04T08:54:38Z

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

File:Landscape challenge1.2.jpg

2016-05-04T08:51:58Z

Torag:

File:Landscape challenge1.3.jpg

2016-05-04T08:16:17Z

Torag:

File:Landscape challenge1.1.jpg

2016-05-04T08:15:45Z

Torag:

'Mover and Shaker' Selection List

2016-05-01T08:58:50Z

Torag: /* James Rojas (place-it) */

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

* Vera Hausmanns
* add your name
* add your name

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

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

LED Online Seminar 2016 Groups Readings Selection Page

2016-04-27T19:41:59Z

Torag: /* Reading Selection Group F */

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

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

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

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

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

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

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

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

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

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

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

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

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

== Reading Selection Group C ==
'''A: Landscape and Democracy - Mapping the Terrain'''
* '''Policy frameworks, laws and resolutions''':
* DE: The Aarhus Convention on Access to Information, Public Participation in Decision-making and Access to Justice in Environmental Matters
* NT: The European Landscape Convention
* 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: Antrop, Marc; Kühne, Olaf (2015) Concepts of Landscape, in: Landscape Culture - Culturing Landscapes. The Differentiated Construction of Landscapes (Bruns, Kühne, Schönwald, Theile ed.)
* 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.

'''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 F

2016-04-25T09:45:28Z

Torag: /* Representations and analytical drawings */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Slide1 Tora.jpeg|Presentation Slide
Image:Slide2 Tora.jpeg|Presentation slide
Image:IMG 0002-page-001.jpg|slide 3
</gallery>

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

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

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

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

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

=== Representations and analytical drawings ===

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

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

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

=== Representations and analytical drawings ===

''in addition to your initial visual please add two further analytical drawings of your symbol''

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

Image:12106031 1639114643044805 384713958 n.jpg|slide 1

Image:groupI_slide2.JPG|slide 2

Image:groupI_slide3.JPG|slide 3

</gallery>

=== Reflections ===

''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''

*How and why did the symbols you identify appear in your landscape?

*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?

*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

''add your text here''

== Landscape Symbol 4- Tegucigalpa, Mario Matamoros ==

=== Representations and analytical drawings ===

''in addition to your initial visual please add two further analytical drawings of your symbol''

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

Image:Landscape symbols mario.jpg|slide 1

Image:2_LED_Assignment_Mario_Matamoros_slide_explanation.jpg|slide 2

Image:groupI_slide3.JPG|slide 3

</gallery>

=== Reflections ===

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

== Landscape Symbol 5- Ibrahim Al Mardini ==

=== Representations and analytical drawings ===

''in addition to your initial visual please add two further analytical drawings of your symbol''

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

Image:Flagpole concept.jpeg|slide 1

Image:Ibrahim_2.jpg|slide 2

Image:groupI_slide3.JPG|slide 3

</gallery>

=== Reflections ===

''Please write a 250 words text reflecting on the following questions, you can also take ideas from your group members into account''

*How and why did the symbols you identify appear in your landscape?

*Did their meaning change along with socio-political, economic, environmental or cultural changes in your region, or country?

*What do these symbols mean to you today? Are they meaningful to more than just one cultural group? Are they shared across cultures?

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

== Group reflection ==

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

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

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-20T12:40:44Z

Torag: /* = Landscape Symbol 2- The Porticoes of Bologna, Federica Fuligni */

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-20T12:39:21Z

Torag: /* Landscape Symbol 1- Seljord Norway, Tora Grøstad */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Slide1 Tora.jpeg|Presentation Slide
Image:Slide2 Tora.jpeg|Presentation slide
Image:G|slide 3
</gallery>

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

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

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

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

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

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

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:12106031 1639114643044805 384713958 n.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

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

''add your text here''

== Landscape Symbol 4- Tegucigalpa, Mario Matamoros ==

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

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

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

== Landscape Symbol 5- Ibrahim Al Mardini ==

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

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

''add your text here''

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-20T12:30:20Z

Torag: /* Reflections */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Slide1 Tora.jpeg|Presentation Slide
Image:Slide2 Tora.jpeg|Presentation slide
Image:G|slide 3
</gallery>

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

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

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

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

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

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

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:12106031 1639114643044805 384713958 n.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

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

''add your text here''

== Landscape Symbol 4- Tegucigalpa, Mario Matamoros ==

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

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

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

== Landscape Symbol 5- Ibrahim Al Mardini ==

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

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

''add your text here''

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-20T12:28:59Z

Torag: /* Representations and analytical drawings */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Slide1 Tora.jpeg|Presentation Slide
Image:Slide2 Tora.jpeg|Presentation slide
Image:G|slide 3
</gallery>

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

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

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

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

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

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:12106031 1639114643044805 384713958 n.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

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

''add your text here''

== Landscape Symbol 4- Tegucigalpa, Mario Matamoros ==

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

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

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

== Landscape Symbol 5- Ibrahim Al Mardini ==

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

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

''add your text here''

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-20T12:16:52Z

Torag: /* Representations and analytical drawings */

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-20T12:16:26Z

Torag: /* Representations and analytical drawings */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Slide1 Tora.jpeg|Presentation Slide
Image:Slide2 Tora.jpeg|Presentation slide

=== Reflections ===

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

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

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

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Fuligni symbol 1.jpg|The porticoes of Bologna
Image:I miei portici2.jpg|The porticoes of Bologna_uses and functions

</gallery>

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

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:12106031 1639114643044805 384713958 n.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

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

''add your text here''

== Landscape Symbol 4- Tegucigalpa, Mario Matamoros ==

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

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

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

== Landscape Symbol 5- Ibrahim Al Mardini ==

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

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

''add your text here''

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-20T12:16:06Z

Torag: /* Representations and analytical drawings */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Slide1 Tora.jpeg|Presentation Slide
Image:Slide2 Tora.jpeg|Presentation slide
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===

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

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

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

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Fuligni symbol 1.jpg|The porticoes of Bologna
Image:I miei portici2.jpg|The porticoes of Bologna_uses and functions

</gallery>

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

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:12106031 1639114643044805 384713958 n.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

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

''add your text here''

== Landscape Symbol 4- Tegucigalpa, Mario Matamoros ==

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

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

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

== Landscape Symbol 5- Ibrahim Al Mardini ==

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

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

''add your text here''

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-20T12:15:24Z

Torag: /* Representations and analytical drawings */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Slide1 Tora.jpg|Presentation Slide
Image:Slide2 Tora.jpeg|Presentation slide
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===

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

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

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

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Fuligni symbol 1.jpg|The porticoes of Bologna
Image:I miei portici2.jpg|The porticoes of Bologna_uses and functions

</gallery>

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

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:12106031 1639114643044805 384713958 n.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

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

''add your text here''

== Landscape Symbol 4- Tegucigalpa, Mario Matamoros ==

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

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

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

== Landscape Symbol 5- Ibrahim Al Mardini ==

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

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

''add your text here''

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-20T12:14:30Z

Torag: /* Representations and analytical drawings */

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Slide1_Tora.jpg|Presentation Slide
Image:Slide2_Tora.JPG|Presentation slide
Image:groupI_slide3.JPG|slide 3
</gallery>

=== Reflections ===

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

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

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

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="200px" heights="150px" perrow="3">
Image:Fuligni symbol 1.jpg|The porticoes of Bologna
Image:I miei portici2.jpg|The porticoes of Bologna_uses and functions

</gallery>

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

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

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

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

=== Representations and analytical drawings ===
''in addition to your initial visual please add two further analytical drawings of your symbol''
<gallery caption=" " widths="250px" heights="150px" perrow="3">
Image:12106031 1639114643044805 384713958 n.jpg|slide 1
Image:groupI_slide2.JPG|slide 2
Image:groupI_slide3.JPG|slide 3
</gallery>

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

''add your text here''

== Landscape Symbol 4- Tegucigalpa, Mario Matamoros ==

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

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

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

== Landscape Symbol 5- Ibrahim Al Mardini ==

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

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

''add your text here''

== Group reflection ==

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

[[Category:Landscape Symbols Group Reflection 2016]]

File:Slide2 Tora.jpeg

2016-04-20T12:12:45Z

Torag:

File:Slide1 Tora.jpeg

2016-04-20T12:11:43Z

Torag:

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-16T11:29:08Z

Torag: /* Representations and analytical drawings */

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-16T11:28:38Z

Torag: /* Representations and analytical drawings */

File:Presentasjon,Tora.jpg

2016-04-16T11:25:53Z

Torag:

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-15T10:42:06Z

Torag: /* Representations and analytical drawings */

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-15T10:39:24Z

Torag: /* Reflections */

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-15T10:38:49Z

Torag: /* Reflections */

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-15T10:38:01Z

Torag: /* Reflections */

LED Seminar 2016 - Landscape Symbols Reflection Group F

2016-04-15T10:36:02Z

Torag: /* Representations and analytical drawings */

LED Online Seminar 2016 - Working Group F

2016-04-15T10:35:43Z

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

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

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

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

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

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

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

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

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

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:IMG 0002-page-001.jpg|Symbol Sketch
Image:|Slide 2
Image:group_slide3.JPG|slide 3
Image:group_slide4.JPG|slide 4
Image:group_slide5.JPG|slide 5
</gallery>

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

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

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

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

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

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

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

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

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

LED Online Seminar 2016 - Working Group F

2016-04-15T10:31:31Z

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

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

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

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

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

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

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

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

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

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:IMG 0002-page-001.jpg|Symbol Sketch
Image:Sjøormtårnet in Seljord (Norway).jpeg|The Sea Serpent Tower
Image:group_slide3.JPG|slide 3
Image:group_slide4.JPG|slide 4
Image:group_slide5.JPG|slide 5
</gallery>

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

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

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

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

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

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

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

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

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

LED Online Seminar 2016 - Working Group F

2016-04-15T10:22:12Z

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

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

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

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

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

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

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

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

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

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:IMG 0002-page-001.jpg|slide 1
Image:Sjøormtårnet in Seljord (Norway).jpeg|slide 2
Image:group_slide3.JPG|slide 3
Image:group_slide4.JPG|slide 4
Image:group_slide5.JPG|slide 5
</gallery>

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

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

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

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

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

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

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

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

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

LED Online Seminar 2016 - Working Group F

2016-04-15T10:19:09Z

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

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

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

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

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

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

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

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

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

<gallery caption=" " widths="150px" heights="150px" perrow="5">
Image:|slide 1
Image:Sjøormtårnet in Seljord (Norway).jpeg|slide 2
Image:group_slide3.JPG|slide 3
Image:group_slide4.JPG|slide 4
Image:group_slide5.JPG|slide 5
</gallery>

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

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

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

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

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

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

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

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

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

File:View from the Sea Serpent Tower.jpeg

2016-04-13T18:12:22Z

Torag:

File:Sjøormtårnet in Seljord (Norway).jpeg

2016-04-13T18:07:54Z

Torag: The serpent tower, Sjøormtårnet, in Seljord was finished and available for visitors 18th of October 2011. It rises 17meter above the ground, but its wooden construction let it adapt to the landscape. It is situated by the lake of Seljord and is meant...

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

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

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

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

File:Selfietora.jpg

2016-04-09T18:51:43Z

Torag:

File:IMG 0002-page-001.jpg

2016-04-06T21:42:06Z

Torag:

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

File:IMG 0002-page-001.jpg

2016-04-06T19:37:33Z

Torag:

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

File:IMG 0002-page-001.jpg

2016-04-06T19:36:56Z

Torag: seljord holds a lot of cultural engagement based on old traditions. As it is surrounded by mountains on all sides, many artists found earl interest in all the different perspectives, and some even settled down. Also musicians got inspired, and the melo...

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