The landscape can be something that you rest your eyes on, something that goes quickly past outside the windscreen or the place for the daily work. To me, landscape is everything around us ? the city, the field and the forest. But what is landscape for you? What does the idea of the landscape stand for? How does our view of the landscape become influenced of the place where we grow up? And the differences between peoples different views of the landscape ? what does they depend on? My point of the view for this paper is that the landscape ideals mostly depend on the landscape where you grow up and that it depends less on the differences between the individuals. As a Landscape Architect the idea of the landscape is the essential. The more we learn, the more we realize how complex it is, but deep down we always have our own experiences and memories and that shapes our personalities.

As the European Landscape Convention is brought into action, planning in Sweden has got to become increasingly considerate of the landscape and its character. To render this possible, a basic requirement is that we find a functional method for analysis. The Landscape is a synthesis of the interplay between place and man. It is made up of our physical environment and shows the result of our actions throughout history. Our surroundings affect us in many ways, financially as well as emotionally. This is why an analysis of the landscape has to be inclusive of many types of information. I have performed a landscape analysis, according to the British Landscape Character Assessment-method, in Svedala kommun.

This essay examines what some of the Swedish authorities? argument are for vegetation, what their grounds are for the arguments and why vegetation is important for the human health and experience. I have examined publications and reports from 6 different authorities on state- , regional and communal level. The authorities which publications I have studied are Boverket, Naturvårdsverket, Folkhälsoinstitutet, Miljödepartementet, Länsstyrelsen Skåne och Malmö Kommun. The publications has been analyzed by different themes; Children and young peoples influence of vegetation, Elderly and sick?s influence of vegetation, Human health, wellbeing and experience of vegetation, Vegetation at work, The influence of vegetation on stress and The effect of vegetation in the city.

The purpose with this essay is to examine the role of landscape photography as a portrayer of nature. The study contains interviews with eight landscape photographers, to find out how they look at tendencies and changes in photography. The essay focuses on the discussion of authenticity and realism in landscape photography. Due to the requirement of nature as something natural and authentic, the landscape photography stands in a special position when it comes to matters of manipulation and influence. On the basis of certain analysis themes, the landscape photographers debate questions such as where landscape photography stands today, and how the future looks for the genre..

This essay examines what some of the Swedish authorities? argument are for vegetation, what their grounds are for the arguments and why vegetation is important for the human health and experience. I have examined publications and reports from 6 different authorities on state- , regional and communal level. The authorities which publications I have studied are Boverket, Naturvårdsverket, Folkhälsoinstitutet, Miljödepartementet, Länsstyrelsen Skåne och Malmö Kommun. The publications has been analyzed by different themes; Children and young peoples influence of vegetation, Elderly and sick?s influence of vegetation, Human health, wellbeing and experience of vegetation, Vegetation at work, The influence of vegetation on stress and The effect of vegetation in the city.

In this paper I have sought a suitable level of abstraction in my models describing the landscape; the models are made to be viewed from eyelevel. Because of the spectator being ?in the model? the objects included need a certain degree of realism. I have sought what is needed in the model to be able to comprehend that the model is showing a landscape. Some details might be unnecessary.

This paper researches how the palimpsest concept is used in relation to landscape, and how it can function as a tool within Landscape Architecture. Palimpsest originally refers to old parchment handwritings, where new text has been applied on top of effaced, but still discernable, earlier writing. Superimposition of information is the core of the palimpsest concept, used within a range of scientific as well as cultural fields. The purpose of this paper is to find how a landscape palimpsest can be distinguished among the many different layers of landscape, such as historical or cultural, and to examine the potential use of the concept in theory and practice of the Landscape Architecture field. The study is conducted as a literature survey, examining the use of the palimpsest concept within academic works related to landscape.

Stage Design is design for action and contains décor, side-scenes and properties, as well as costume and grease-paint. The one responsible for this is the Stage Designer, who together with the Director, creates the best conditions for the actors to perform in. The stage, where the play takes place, could be either in a theater, an auditorium, or in another sort of room, at another place, inside or outside, and where the place itself inspires to theatrical performance and expressions. This type of theater is called Site-specific theatre. Two examples of this is the workshop ?Skogen sjunger? (eng.

Residential estates are created without any adaptation to the users who will use them. Clients wouldprofit on involving users in an early project stage to create housing estates adapted to the user?s needsand wishes. Clients of the housing estates that require missions from consultants should realize that noone exclusive can represent other people's needs, regardless of the theoretical expertise they possess. TheSwedish million programme in the 1970s is an example of how objective expertise gained control, whichled to the creation of outdoor environments where few wanted to stay and live.

My purpose with this thesis has been tostudy the intersection between Landscapearchitecture and Land Art. They both relateto the landscape in some way whetherit is to the urban landscape or thenatural landscape.What tangent points are there betweenthese two subjects, and can you learnsomething of the artists approach to thelandscape?Land Art is an art movement that began inthe late 60?s, what links are there to thecurrent landscape?Last summer, I travelled around the U.S.for a month and visited the three classicLand Art projects. Lightning Field in NewMexico, by Walter De Maria, Sun Tunnels inUtah, by Nancy Holt and the Spiral Jetty,also in Utah, by Robert Smithson.The sites where visited from half a day upto 24 hours and was described and analyzedwith text and photographs.To visit these sites has been crucial formy thesis and will affect my future workas a Landscape Architect. The use of themethod has been a thought of mine for along time, particularly to analyze ordescribe a landscape with images.

This is a booklet with information and inspiration about precast retaining walls. The three chapters contain information about concrete as a material, how the surface of the wall can be altered, and a chapter with ideas for a new precast wall. I have obtained information through books, interviews, lectures and fairs. The retaining walls on the market do not correspond to the requirements of the Landscape Architects I have interviewed. I have therefore considered their opinions in the chapter containing my new ideas for new retaining walls.

My purpose with this thesis has been tostudy the intersection between Landscapearchitecture and Land Art. They both relateto the landscape in some way whetherit is to the urban landscape or thenatural landscape.What tangent points are there betweenthese two subjects, and can you learnsomething of the artists approach to thelandscape?Land Art is an art movement that began inthe late 60?s, what links are there to thecurrent landscape?Last summer, I travelled around the U.S.for a month and visited the three classicLand Art projects. Lightning Field in NewMexico, by Walter De Maria, Sun Tunnels inUtah, by Nancy Holt and the Spiral Jetty,also in Utah, by Robert Smithson.The sites where visited from half a day upto 24 hours and was described and analyzedwith text and photographs.To visit these sites has been crucial formy thesis and will affect my future workas a Landscape Architect. The use of themethod has been a thought of mine for along time, particularly to analyze ordescribe a landscape with images.

Comparing your own work with art has been an obvious standpoint for Landscape Architects, especially during the midst of the 20th century. With this as background this essay intends to find out if there are any change to this condition visible today. This essay discusses the two notions of ?Landscape Architecture? and ?art? with the intention of describing what they mean. A connection to todays active Landscape Architects is given through an examinating part of the essay.

User participation in the planning process of renewing the yards of existing residential areas was introduced in Sweden in the 1970s. It arose as a solution to many of the problems which became common in the residential areas built within the Swedish million program. The aim with the million program was to build one million homes within ten years. The same year as the million program was completed, in 1975, government subsidies to improve the residential yards were introduced. One of the conditions to get the subsidies was that the residents had to be involved in the planning process.

Abstract ? What is an exhibition hall? ? How do you create tension between art and nature? ? Why should an exhibition hall be situated in the country side; would that add to the experience? ? What are the conditions of exhibiting contemporary art? These are some of the questions I first asked myself when I came to work with this project on an exhibition hall outside Kivik, Österlen. These questions brought me to new places, meetings and ideas. The team working actively to realize this project, calls it ?Art by the Sea?. The team has been working with the project since 2001 .