This paper examines the opportunities of Landscape architect students to integrate with other students which are related to the Landscape architects vocational field during their education. It also involves a discussion about the profession of Landscape architects and the view of Landscape architect students concerning who they will work with in their professional career. Six qualitative interviews were carried out to identify how one work with student exchanges, both within the Landscape architecture education program and in voluntary forums during the students' leisure time. The interviewees have experiences of different student exchanges and different approach to Landscape architecture education at the Swedish University of Agricultural Sciences (SLU) in Alnarp. During the interviews, it emerged that the number of exchanges for different reasons steadily has declined in recent years. At the same time, the interviewed conceded that exchanges are important to prepare students for their professional career. An electronic survey was sent to all Landscape architecture students at SLU Alnarp.

How does the criticism of Landscape architecture in Swedish professional journals look today? Does it exist at all? What is criticism and what is its purpose? These questions have been the starting point for this degree project. I have found a lot of different answers among journals, books and websites, as well as in interviews with five persons that all have a relation to the Landscape architecture criticism in different ways. These answers may look a bit disjointed at first, but are at a closer examination pointing in the same direction ? that the criticism of Landscape architecture projects hardly exists today.

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.

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.

In this essay, I explore the history of the ideas that have shaped the profession of Landscape architecture, in a Swedish context. To this purpose, I have sampled the professional debate on Landscape architecture at four points in time. These are the years around 1890, 1930, 1970 and 2010. Drawing on G N Brandt (1920), I make the distinction between two arguably crucial approaches, i . e., naturalism and formalism. By identifying these perspectives, and by dividing the arguments of each time period according to this classification, I am able to compare the course of the debate over time. I take on the task through hermeneutics.

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.

Place is on the one hand a commonsense everyday word with diversely connotative meanings, and on the other a contested concept with different interpretations across a broad range of academic disciplines and discourses. This thesis researches theories of place and their implications for the theory and design practice of Landscape architecture. Responding to problems of insufficient theoretical grounding and inconsistent use of the concept of place within the discipline presently, it argues the need for a theory of place better articulated in relation to Landscape architecture. It seeks to contribute to such theory formation by drawing on ideas from related disciplines ? tracing diverse understandings of place beyond the commonsense meanings of the word and into the deeper reaches of place theory as tools to explain physical, social and spiritual aspects of the environment, and human relationships with it.

This degree project is based on my personal relation and engagement to the small-scaled cultural Landscape. My viewpoint is the village Torpa in Östergötland. My observations of the changes and development together with the stories of the village people has lead me to the questioning about the future prospects of the small-scaled cultural Landscape. The rationalization of the society and our urban culture has lead to big changes in the cultural Landscape and the people have reduced to a small crowd. Fewer and fewer hands are managing the small-scaled cultural Landscape and fewer and fewer young people have connection to this kind of Landscape and its management.

A lot of habitats have declined or disappeared as the old cultural Landscape changed to the modern agricultural Landscape of today. Places such as power line corridors, racing tracks, gravel pits and military training sites have become refuges for many species associated with the old cultural Landscape. These sites have been exposed to ecological disturbances that create the same type of habitats that were found in the old cultural Landscape.The military training sites in Sweden has an impressive diversity of species. Disturbances from the military exercises have created habitats that are important for a wide range of species.The purpose of this thesis is to study some of the ecological disturbances occurring in the military training sites of the Swedish Armed Forces and examine how they affect different types of habitats. The thesis explains through litterateur and field studies the reason to the rich biodiversity often found at military training sites.

This work derives from the question ?What is a beautiful road??. The question is being discussed in interviews with two employees at the Swedish National Road Administration and two former members of the ?Council of environment and beauty? at the Swedish National Road Administration. The interviews are summarized in my own discussion about the concept of ?Beautiful roads?.

The Landscape architect is similar to the moviemaker in that they both want to mediate an experience with their creations. The Landscape architect designs playgrounds and the moviemaker makes movies for children, but how does the relationship between children and nature look like in the Landscape formed by the movie maker?s fantasy? The purpose with this thesis is to study how the relationship between child and nature is depicted in a movie as a medium, by analysing ?My neighbour Totoro?, a Japanese animated movie from 1988 by Hayao Miyazaki. The analysis consists of two combined analyses, Experiential Landscape Analysis and Gordon Cullen?s Serial Vision, both of which analyse the relationship between a human being and her environment as well as the emotional changes that occur as she moves in it.

The purpose of this essay is to analyze and show possibilities how a city can grow into the scenery of a oak dominated Landscape and how this encounter can add values to the city. The city in focus is Linköping, a city that is approaching one of Sweden?s largest oak dominated cultural Landscapes. To this Landscape high ecological and cultural values are connected. The recreational values are also of importance especially because of its urban location also because the city is mainly surrounded by flat agricultural land.

Since the beginning of the new millennium the world?s population has increased exponentially fast. The majority of this growth has been accommodated for by urbanization of the developing world. This in turn has lead to a wide spread of informal settlements. Thus, areas of urban slums, that have risen illegally on the marginal lands within and at the periphery of the formal city.

The aim of the "Green forest management plans" is to help forest owners to reach the environmental goal of the forestry act. But are they able to do that? Is it possible to plan preservation of species on single estates? How do single-estate-plans differ from a Landscape analysis and how can the Landscape approach be used in operative planning? This work was initiated to give an answer to these questions. This study was made in a Landscape of 4200 ha in Östergötland county, south-eastern Sweden. A lanscape analysis was made and then compared to the Green forest management plans in the same area. The nature conservation areas (areas that were set aside to be managed with environmenatl goals) differed quite a lot between the two alternatives.

Landscape architects has many ways of transforming our cities and Landscapes. Traditionally, most attention has been put to visual qualities. Pen and paper are well established as the way to present proposals and to analyse in the Landscape architects profession and training. But are we perhaps missing out on other ways of seeing the Landscape? The purpose of this paper is to present sound as a tool of transformation. Sound in public spaces has long been treated just as noise and therefore unwanted.