LED Online Seminar 2018 - Working Group 2

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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 here
  • Readings are accessible via the resources page

Step 1: Your Landscape Democracy Manifestoes

  • Amsal's manifesto

    Amsal's manifesto

  • Patrizia's manifesto

    Patrizia's manifesto

  • ahmed's manifesto

    ahmed's manifesto

  • Mehrnoosh's manifesto

    Mehrnoosh's manifesto

  • Oumeima's manifesto 1

    Oumeima's manifesto 1

  • Oumeima's manifesto 2

    Oumeima's manifesto 2

Step 2: Define your readings

  • Please add your readings selection for the terminology exercise before April 18:

A: Landscape and Democracy


B: Concepts of Participation

Mehrnoosh Rahimian: The Right to the City: David, Harvey (2003)

Ahmed Abdelhafaz: Evaluating Community Design, Landscape Journal, Hester, Randolph (2012)

Amsal Mešić: Day, Christopher (2002): Consensus Design, Architectural Press

C: Community and Identity

Patrizia Eben: URBACT programme, The European Territorial Cooperation programme aiming to foster sustainable integrated urban development across Europe

Mehrnoosh Rahimian: Cinematic Landscapes by Welk Von Mossner, Alexa (2014).

D: Designing

Amsal Mešić: Smith, Nicola Dawn (2012): Design Charrette: A Vehicle for Consultation or Collaboration
Hester, Randolph: Democratic Drawing - Techniques for Participatory Design

E: Communicating a Vision

Steps 3 and 4: Concepts Selection and definition

  • Each group member selects three relevant concepts derived from his/her readings and synthesize them/publish them on the wiki by May 9, 2018
  • Group members reflect within their groups and define their chosen concepts into a shared definition to be posted on the wiki by June 6, 2018.
  • Other group members will be able to comment on the definitions until June 12, 2018
  • Each group will also report on their process to come to a set of shared definitions of key landscape democracy concepts on the wiki documentation until June 20, 2018

Concepts and definitions

Author 1: Amsal Mešić

  • Day, Christopher (2002): Consensus Design, Architectural Press: In a proper democracy, discussion should be valued more than mere voting. When several options are presented, mere voting can often lead to the dissatisfaction of the majority. Discussion, on the other hand, leads to a consensus on which design would suit everyone's needs and desires or at least it can produce a viable compromise.
  • Smith, Nicola Dawn (2012): Design Charrette: A Vehicle for Consultation or Collaboration: The design charrette encompasses tools used in the early phases of the design process, whereby main stakeholders are encouraged to work together with the designer. This ensures that the design process is quicker and more interactive.
  • Hester, Randolph: Democratic Drawing - Techniques for Participatory Design: Painting, collage, sketching, collage and other creative methods are used express ideas and thoughts. Drawing is an attempt add value to the space in the eyes of the people. This makes collaboration very important.

Author 2: Patrizia Eben (URBACT)

  • involving inhabitants & relevant key stakeholders in the development of local policies
  • sharing knowledge with other European cities working on the same problems (transnational exchange)
  • developing sustainable solutions that integrate economic, social and environmental urban topics

Reference: http://urbact.eu/

Author 3: Ahmed Abdelhafaz

  • Legitimacy: The participatory process for community development and the social considerations by Democratic Process- Community Considerations - Environmental Justice and Learning Opportunities, Reference: Evaluating Community Design, Landscape Journal, Hester, Randolph (2012)
  • The scored awareness: a common language among participants that learn their feelings, not intellectualize them by resources (R), valuation (V), and performance (P) process, Reference: Evaluating Community Design, Landscape Journal, Hester, Randolph (2012)
  • Consensus: Extensive ‘listening’ and ‘collective goals setting to lead to creative consensus), Reference: Evaluating Community Design, Landscape Journal, Hester, Randolph (2012)

Author 4: ...

  • ......
  • .......
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Author 5: ...

  • ......
  • .......
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Author 6: ...

  • ......
  • .......
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Step 5: Reflection

Step 6: Revised manifestoes

  • please look again at your initial manifestoes and update them with any new aspects/prespectives you have taken up during this seminar
  • Author1's updated manifesto

    Author1's updated manifesto

  • Author2's updated manifesto

    Author2's updated manifesto

  • Author3's updated manifesto

    Author3's updated manifesto

  • Author4's updated manifesto

    Author4's updated manifesto

  • Author5's updated manifesto

    Author5's updated manifesto

  • Author5's updated manifesto

    Author5's updated manifesto

Assignment 2 - Your Landscape Symbols

  • You can read more details about this assignment here

Landscape Symbols Author 1: Amsal Mešić

  • The Partisan cemetery was once a stunning monument to the brotherhood and unity of Yugoslav peoples, while its present neglect and desecration reflect the reign of ethnic nationalism in modern-day Mostar and Bosnia-Herzegovina.

    The Partisan cemetery was once a stunning monument to the brotherhood and unity of Yugoslav peoples, while its present neglect and desecration reflect the reign of ethnic nationalism in modern-day Mostar and Bosnia-Herzegovina.

  • Počitelj is a picturesque 16th century town in Bosnia-Herzegovina. Due to a lack of communication with various levels of government, the families that have lived there for centuries now consist of a few elderly people. The stone walls, cemeteries and orchards are being swallowed by ivy and bushes.

    Počitelj is a picturesque 16th century town in Bosnia-Herzegovina. Due to a lack of communication with various levels of government, the families that have lived there for centuries now consist of a few elderly people. The stone walls, cemeteries and orchards are being swallowed by ivy and bushes.

  • When these plane trees were planted, Mostar was part of the realm of the Emperor of Austria, the building was the mayor's residence, and the street was named in honor of the Crown Princess. Fast forward a century, and Mostar does not have an emperor, a princess, or a mayor's residence, but the plane trees have grown big and strong.

    When these plane trees were planted, Mostar was part of the realm of the Emperor of Austria, the building was the mayor's residence, and the street was named in honor of the Crown Princess. Fast forward a century, and Mostar does not have an emperor, a princess, or a mayor's residence, but the plane trees have grown big and strong.

Landscape Symbols Author 2: Patrizia Eben

  • Herzoggarten Landshut, Germany

    Herzoggarten Landshut, Germany

  • Roadside Cross, Altdorf, Germany

    Roadside Cross, Altdorf, Germany

  • Nuclear Power Station Isar, near Landshut, Germany

    Nuclear Power Station Isar, near Landshut, Germany

Landscape Symbols Auther 3: Ahmed Abdelhafaz

  • The Central Park(New York/ USA)Historical & political symbolic: Referring to a historical background of this the park which designed related to the city's need for a public park at this time.

    The Central Park(New York/ USA)Historical & political symbolic: Referring to a historical background of this the park which designed related to the city's need for a public park at this time.

  • The National September 11 Memorial & Museum (New York City / USA)-Memorial symbolic: Remember and honor the thousands of innocent men, women, and children murdered by terrorists in the horrific attacks of February 26, 1993 and September 11, 2001.Respect this place made sacred through tragic loss.Recognize the endurance of those who survived, the courage of those who risked their lives to save others, and the of all who supported us in our darkest hours.

    The National September 11 Memorial & Museum (New York City / USA)-Memorial symbolic: Remember and honor the thousands of innocent men, women, and children murdered by terrorists in the horrific attacks of February 26, 1993 and September 11, 2001.Respect this place made sacred through tragic loss.Recognize the endurance of those who survived, the courage of those who risked their lives to save others, and the of all who supported us in our darkest hours.

  • The Lincoln Memorial Reflecting Pool(Washington / USA)-Memorial & Events symbolic: the reflecting pool is right in front of the Lincoln Memorial, many famous events have happened there.

    The Lincoln Memorial Reflecting Pool(Washington / USA)-Memorial & Events symbolic: the reflecting pool is right in front of the Lincoln Memorial, many famous events have happened there.

  • The combined symbols.

    The combined symbols.

  • The combined symbols.

    The combined symbols.

Landscape Symbols Author 4: Mehrnoosh Rahimian

  • Naghsh-e Jahan Square was the core of Isfahan city, Iran constructed between 1598 and 1629. Nowadays, it’s an important historical site for tourists and one of UNESCO’s world heritage sites. The square is surrounded by buildings from the Safavid era. The Shah mosque on the south side and Sheikh Lotf Allah mosque on the eastern side of this square were served as a religious pole of the city. The Ali Qapu palace on the west side of the square was as a government center, and finally on the northern side, Keisaria gate opens into the Isfahan Grand Bazar and It has been operated as a commercial part of the city. It is the historical and memorial symbol referring to a historical background of the site and the manner of expanding the city in Safavid era.

    Naghsh-e Jahan Square was the core of Isfahan city, Iran constructed between 1598 and 1629. Nowadays, it’s an important historical site for tourists and one of UNESCO’s world heritage sites. The square is surrounded by buildings from the Safavid era. The Shah mosque on the south side and Sheikh Lotf Allah mosque on the eastern side of this square were served as a religious pole of the city. The Ali Qapu palace on the west side of the square was as a government center, and finally on the northern side, Keisaria gate opens into the Isfahan Grand Bazar and It has been operated as a commercial part of the city. It is the historical and memorial symbol referring to a historical background of the site and the manner of expanding the city in Safavid era.

  • Chahar Bagh Boulevard is a historical avenue in Isfahan constructed in the Safavid era of Iran. The avenue, historically, is the most famous. It connects the northern parts of the city to the southern sections and is about 6 kilometers long. This historical avenue could be as a landscape symbol and even cityscape symbol too. It serves as an open space gathering people together for social communication, economic activities and recreations. It is the historical and memorial symbol referring to a historical background of the site and the manner of expanding the city in Safavid era.

    Chahar Bagh Boulevard is a historical avenue in Isfahan constructed in the Safavid era of Iran. The avenue, historically, is the most famous. It connects the northern parts of the city to the southern sections and is about 6 kilometers long. This historical avenue could be as a landscape symbol and even cityscape symbol too. It serves as an open space gathering people together for social communication, economic activities and recreations. It is the historical and memorial symbol referring to a historical background of the site and the manner of expanding the city in Safavid era.

  • The Shah mosque is a mosque in Isfahan, Iran standing in south side of Naghsh-e Jahan square, built during the Safavid empire. It is regarded as one of the masterpiece of Persian architecture in the Islamic era. Even though, After Iranian revolution the name of this was changed and called Imam mosque but it always remembers the glory and majesty of the Iranian history and culture.

    The Shah mosque is a mosque in Isfahan, Iran standing in south side of Naghsh-e Jahan square, built during the Safavid empire. It is regarded as one of the masterpiece of Persian architecture in the Islamic era. Even though, After Iranian revolution the name of this was changed and called Imam mosque but it always remembers the glory and majesty of the Iranian history and culture.

  • Grand Bazar was originally constructed during the 11th century, on the southwest wing of Shah Mosuq (Jameh Mosque) and Kohneh Squre but various arcades and rooms were later added to it. The present remnant dates from the Safavid period, during which the Qaysariya Bazaar was built on the north wing of Naghsh-e Jahan Square, a square which was developed as a substitute for Kohneh Square. The bazaar, one of the oldest and largest bazaars in the Middle East, dates to Saljuqid and Safavid era and is the longest roofed market in the world. The site has been destroyed several times and the contemporary bazaar dates to the 17th century. The bazaar is a vaulted two-kilometre street linking the old city with the new. Indeed, It a commercial and historical core (symbol) of the Isfahan city gathering citizens together for economic and social interactions.

    Grand Bazar was originally constructed during the 11th century, on the southwest wing of Shah Mosuq (Jameh Mosque) and Kohneh Squre but various arcades and rooms were later added to it. The present remnant dates from the Safavid period, during which the Qaysariya Bazaar was built on the north wing of Naghsh-e Jahan Square, a square which was developed as a substitute for Kohneh Square. The bazaar, one of the oldest and largest bazaars in the Middle East, dates to Saljuqid and Safavid era and is the longest roofed market in the world. The site has been destroyed several times and the contemporary bazaar dates to the 17th century. The bazaar is a vaulted two-kilometre street linking the old city with the new. Indeed, It a commercial and historical core (symbol) of the Isfahan city gathering citizens together for economic and social interactions.

Landscape Symbols Author 5: Oumeima Lajnef

  • Sidi Bou Said is a Tunisian city located on the top of a cliff, around 20 km from Tunis, the capital. In the 12th century, Abu Said El Beji arrived in the village and what is previously named “Jbal El Mnara” and established its Sufi sanctuary, that became later on his tomb. In the 1920’s, Rodolph d’Erlanger, a French baron, applied the blue and white colors in all the city buildings. Thanks to its bright colors and light, Sidi Bou Said have inspired many famous artists such as Paul Klee and Gustave-Henri Jossot. Know days, the city is known for its art galleries, its phenomenal views on the Mediterranean see and the bay of Tunis, its typical Tunisian architecture and its welcoming cafés. That what makes it today a Tunisian symbol.

    Sidi Bou Said is a Tunisian city located on the top of a cliff, around 20 km from Tunis, the capital. In the 12th century, Abu Said El Beji arrived in the village and what is previously named “Jbal El Mnara” and established its Sufi sanctuary, that became later on his tomb. In the 1920’s, Rodolph d’Erlanger, a French baron, applied the blue and white colors in all the city buildings. Thanks to its bright colors and light, Sidi Bou Said have inspired many famous artists such as Paul Klee and Gustave-Henri Jossot. Know days, the city is known for its art galleries, its phenomenal views on the Mediterranean see and the bay of Tunis, its typical Tunisian architecture and its welcoming cafés. That what makes it today a Tunisian symbol.

  • Located around 270 km south east of Tunis (the capital of Tunisia), Sfax is was built over the ruins of Taparura. Nowadays, Sfax represents an industrial capital for the country. The town was mainly formed by the ‘Medina’: a big fortress surrounded by high walls. Inside the ‘medina’ the streets are structured as if they were a maze. The particularity of the medina of Sfax remains in its stability: No changes has been made on its structure through the years. This is why it was considered as a national historic monument conserved by the United Nations. It is currently the best example of the old Arab Muslim town. The originality of Sfax’s medina remains also in its souks (markets): All the souks are organized according to their specialties (wool, Chechia (old hat), jewelry, fabric…) and named after them. This picture was taken in one of these souks, in an old house that was converted into a fabric store. It represents the souks, the old Tunisian architecture and wall decoration.

    Located around 270 km south east of Tunis (the capital of Tunisia), Sfax is was built over the ruins of Taparura. Nowadays, Sfax represents an industrial capital for the country. The town was mainly formed by the ‘Medina’: a big fortress surrounded by high walls. Inside the ‘medina’ the streets are structured as if they were a maze. The particularity of the medina of Sfax remains in its stability: No changes has been made on its structure through the years. This is why it was considered as a national historic monument conserved by the United Nations. It is currently the best example of the old Arab Muslim town. The originality of Sfax’s medina remains also in its souks (markets): All the souks are organized according to their specialties (wool, Chechia (old hat), jewelry, fabric…) and named after them. This picture was taken in one of these souks, in an old house that was converted into a fabric store. It represents the souks, the old Tunisian architecture and wall decoration.

  • Symbol yourname photovoice3

    add a caption (one paragraph max) description of the symbolism, interpretation, as well as geo-location

Landscape Symbols Author 6: ...

  • Symbol yourname photovoice1

    add a caption (one paragraph max) description of the symbolism, interpretation, as well as geo-location

  • Symbol yourname photovoice2

    add a caption (one paragraph max) description of the symbolism, interpretation, as well as geo-location

  • Symbol yourname photovoice3

    add a caption (one paragraph max) description of the symbolism, interpretation, as well as geo-location

Assignment 3 - Role Play on Landscape Democracy "movers and shakers"

  • You can read more details about this assignment here

Assignment 4 - Your Landscape Democracy Challenge

  • You can read more details about this assignment here
  • Each group member will specify a landscape democracy challenge in his/her environment

Landscape Democracy Challenge 1

  • Give a title to your challenge
  • Yourname challenge 1.jpg

    caption: why did you select this case?

  • Yourname challenge 2.jpg

    caption: what is the issue/conflict (1)

  • Yourname challenge 3.jpg

    caption: what is the issue/conflict (2)

  • Yourname challenge 4.jpg

    caption: who are the actors?

Your references:

  • ...
  • ...

Landscape Democracy Challenge 2

  • Give a title to your challenge
  • Yourname challenge 1.jpg

    caption: why did you select this case?

  • Yourname challenge 2.jpg

    caption: what is the issue/conflict (1)

  • Yourname challenge 3.jpg

    caption: what is the issue/conflict (2)

  • Yourname challenge 4.jpg

    caption: who are the actors?

Your references:

  • ...
  • ...

Landscape Democracy Challenge 3

  • Give a title to your challenge
  • Yourname challenge 1.jpg

    caption: why did you select this case?

  • Yourname challenge 2.jpg

    caption: what is the issue/conflict (1)

  • Yourname challenge 3.jpg

    caption: what is the issue/conflict (2)

  • Yourname challenge 4.jpg

    caption: who are the actors?

Your references:

  • ...
  • ...

Landscape Democracy Challenge 4

  • Give a title to your challenge
  • Yourname challenge 1.jpg

    caption: why did you select this case?

  • Yourname challenge 2.jpg

    caption: what is the issue/conflict (1)

  • Yourname challenge 3.jpg

    caption: what is the issue/conflict (2)

  • Yourname challenge 4.jpg

    caption: who are the actors?

Your references:

  • ...
  • ...

Landscape Democracy Challenge 5

  • Give a title to your challenge
  • Yourname challenge 1.jpg

    caption: why did you select this case?

  • Yourname challenge 2.jpg

    caption: what is the issue/conflict (1)

  • Yourname challenge 3.jpg

    caption: what is the issue/conflict (2)

  • Yourname challenge 4.jpg

    caption: who are the actors?

Your references:

  • ...
  • ...

Landscape Democracy Challenge 6

  • Give a title to your challenge
  • Yourname challenge 1.jpg

    caption: why did you select this case?

  • Yourname challenge 2.jpg

    caption: what is the issue/conflict (1)

  • Yourname challenge 3.jpg

    caption: what is the issue/conflict (2)

  • Yourname challenge 4.jpg

    caption: who are the actors?

Your references:

  • ...
  • ...

Assignment 5 - Your Democratic Change Process

  • You can read more details about this assignment here
  • After documenting and reflecting on your challenges you will continue jointly with one of these challenges and design a democratic change process

Your Democratic Change Process

  • Add Title
  • Your Democratic Change Process Slide1.jpg

    caption: ...

  • Your Democratic Change Process Slide2.jpg

    caption: ...

  • Your Democratic Change Process Slide3.jpg

    caption: ...

  • Your Democratic Change Process Slide4.jpg

    caption: ...

Reflection

  • ....
  • ....
  • ....

Conclusion:

  • ....
  • ....
  • ....

Your references

  • ...
  • ...
  • ...


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