Cultural Landscape

This report is attempted to explain the cultural landscape definition that should appropriated with Thailand and why the cultural landscape should be in the category of site history, existing conditions, analysis, evaluation and recommendation in Tiger
Cave temple, Thailand. The cultural landscape study should provide more understanding the old place and rural context in Thailand and increasing local knowledge and awareness to protect destroying its cultural heritage and footprint in
the past. The concept of cultural landscape should be part of study, analysis,
evaluation and recommendation of cultural landscape for both local people and rural
planner. This case is Wat Tham Sua Or "Tiger Cave temple" is located Krabi
province in southern Thailand, the area is a center for meditation where teaches a form of Buddhism called Vipassana (insight meditation) and main tourist attraction in the temple complex where is the 1,237 steps climb up a limestone tower to see the
footprint of the Buddha and the replica of the Lord, Buddha's footprint, the Pagoda of the Holy Relic, and a huge Buddha image. The aim of this report is to deep understand on Tiger Cave temple cultural landscape. To analyze and identify the significance of landscape characteristics and features in the context of the landscape with creative ideas and future challenges. To recommend the preservation strategy for long-term management of cultural landscape based on its significance, existing condition, and use.

PLACE-Hampi provides a framework for a new approach to the rendering of the cultural experience, whose aesthetic and representational features gives the general public a dramatic new appreciation of the many layered significations of such historical, archaeological, and architectural spaces. While PLACE-Hampi embodies a single user interaction model, the autonomous narrative scenarios that populate each of the panoramic scenes with

O artigo apresenta os resultados do primeiro inventário de um hecta¬re realizado na área de um sítio tipo geoglifo. Até o momento, todos os geoglifos estudados não tinham cobertua vegetal. O geoglifo Três Vertentes não mostra evidência de ter sido queimado ou usado para agricultura ou assentamento no passado recente. Assim, é possível que a vegetação existente sobre o geoglifo não tenha sido perturbada, com a possívele exceção de usos extrativos pela caça ou coleta de látex. Trata-se de uma mata de cipó. Essa conclusão apoia-se na grande proporção de árvores dicotiledôneas cobertas por cipós, com a alta densidade e frequência de moráceas, cuja maior parte é composta por cipós ou trepadeiras. Há grande densidade e frequência de palmeiras excluem cipós, também a alta frequência de bananeiras bravas (Phenakospermum guyannense). Nota-se uma área basal relativamente pequena e o pequeno número de indivíduos com dbh ? 10 cm dentro de um hectare de floresta. É surpreendente o fato de haver ...

Castalla Castle (Alicante, Spain), built between the 11 th and 16 th centuries, is one of the most outstanding fortifications in the province of Alicante, as part of al-Andalus, first, and the Kingdom of Valencia, after. The present work aims to deepen the knowledge of its landscape on a medium scale for a large part of the Middle Ages. In this way, analysing some material (archaeological) and cultural (written) sources, it has been possible to better draw the Castalla Castle landscape in the Foia de Castalla district, a geographic territory located in the north of the province of Alicante, between the 11 th and 15 th centuries and during two different chronocultural periods: Andalusian (11 th century-1244) and Christian (1244-1499).

Mobile livestock herders have long been seen as the main culprits of over-stocking and rangeland degradation. In recent years, however, anthropolo-gists and ecologists have argued that African pastoralists have developed sustainable modes of pasture management based on a ...

“วัดพู” เป็นศาสนสถานที่แสดงถึงความรุ่งเรืองของอายธรรมบนที่ราบลุ่มริมน้ำโขงในเขตจำปาสัก และถือเป็นรากฐานสำคัญที่แสดงให้เห็นการก่อร่างสร้างตัวมีพัฒนาการทางสังคมวัฒนธรรม และรูปแบบศิลปกรรมที่เป็นเอกลักษณ์แห่งภูมิภาคเอเชียตะวันออกเฉียงใต้ จากสังคมบุพกาลที่ดำเนินชีวิตอย่างเรียบง่ายสู่สังคมแห่งอารยธรรมที่มีโครงสร้างสลับซับซ้อนในระหว่างพุทธศตวรรษที่ ๕-๑๘

นักวางผังในสมัยโบราณได้ปรับใช้ลักษณะทางกายภาพของพื้นที่ ให้ตอบสนองต่อแนวความคิดทางศาสนาโดยเปรียบให้ยอดภูเก้าที่เรียกว่า ลึงคปรวต (Lingaparvata) อันเป็นที่สถิตแห่งองค์ศิวะเทพหรือสัญลักษณ์แห่งบุรุษเพศ แม่น้ำโขงก็เปรียบได้กับแม่น้ำคงคา (Ganges River) ส่วนศาสนสถานทางฝั่งซ้ายตรงตำแหน่งปลายอีกด้านของแกน เป็นศาสนสถานแห่งพระรุทรานีอันเป็นศักติของพระอิศวรก็เปรียบเป็นศาสนสถานแห่งอิตถีเพศ ที่ราบลุ่มระหว่างภูเก้าและน้ำโขงอันเป็นที่ตั้งของเมืองโบราณจึงเปรียบได้กับทุ่งกุรุเกษตรา (Kurukshestra) ลักษณะของภูมิทัศน์วัฒนธรรมแห่งนี้ จึงเป็นการแสดงออกให้เห็นอัจฉริยะภาพของการวางผังเมืองที่ตอบสนองต่อจักรวาลทัศน์ และตำนานความเชื่อในลัทธิไศวนิกายแห่งศาสนาฮินดู รวมไปถึงการประยุกต์เอาแนวคิดดั้งเดิมของภูมิภาคที่เคารพ ต่อภูเขาและแม่น้ำด้วย นอกจากการวางผังเมืองแล้ว การวางผังกลุ่มอาคารศาสนสถานวัดพูก็ยังมีความสำคัญ

เนื่องจากเป็นการวางผังศาสนสถานในลักษณะศาสนบรรพตที่เป็นแม่แบบให้แก่ศาสนสถานแห่งอื่นๆคุณค่าของภูมิทัศน์วัฒนธรรมอีกประการหนึ่ง คือ ร่องรอยของมรดกทางวัฒนธรรมประเภทต่างๆที่มีความสัมพันธ์ซึ่งกันและกัน ทั้งศาสนสถาน, ร่องรอยการตั้งถิ่นฐานชุมชน, พื้นที่เกษตรกรรม, เหมืองตัดหิน, เตาเผา, คันดิน, เส้นทางคมนาคม, แหล่งน้ำ และการชลประทาน สิ่งต่างๆเหล่านี้ล้วนประกอบขึ้นเป็นภูมิทัศน์วัฒนธรรมที่ยังปรากฏอยู่ในพื้นที่มานับพันปี แสดงถึงอัจฉระยภาพในการสร้างสรรค์ของมนุษยชาติ และแสดงให้เห็นถึงองค์ประกอบของโครงสร้างสังคม, วัฒนธรรม, วิถีชีวิต, เศรษฐกิจ การปกครอง และการศาสนาของบรรพบุรุษและต้นธารวัฒนธรรมแห่งเอเชียตะวันออกเฉียงใต้ ศูนย์มรดกโลก องค์การยูเนสโกจึงได้ประกาศรับรองว่าพื้นที่มรดกทางภูมิทัศน์วัฒนธรรมจำปาสักเป็นมรดกทางภูมิทัศนวัฒนธรรม (World Heritage Cultural Landscape) เมื่อปี พ.ศ. ๒๕๔๔ โดยเข้าเกณฑ์ข้อที่ ๓, ๔ และ ๕ ตามบรรทัดฐาน ๖ ข้อว่าด้วยการพิจารณาการขึ้นบัญชีมรดกทางวัฒนธรรมโลก (Criteria for the Inclusion of Cultural Properties in World Heritage List)

คุณค่าดังที่กล่าวมาข้างต้นทำให้เกิดแนวความคิดในการจัดการ และการอนุรักษ์มรดกทางภูมิทัศน์วัฒนธรรมของพื้นที่ โดยหัวใจหลักของการจัดการต้องคำนึงถึงความยั่งยืนของภูมิทัศน์และการดำเนินต่อไปของประโยชน์ใช้สอยในปัจจุบันของชุมชนเจ้าของพื้นที่ โดยมีอิสระในการดำเนินชีวิตเพื่อการพัฒนายกระดับคุณค่า และความมั่นคงแห่งชีวิต ด้วยการอยู่ร่วมกับสภาพแวดล้อมทางธรรมชาติและวัฒนธรรมของตนอย่างยั่งยืน การจัดการและการพัฒนาที่ปราศจากการมีส่วนร่วมของชุมชนมิอาจเป็นการพัฒนาที่ยั่งยืนได้ รวมไปถึงการท่องเที่ยวที่ปราศจากการจัดการที่ดีและละเอียดลึกซึ้งเพียงพอจะกลายเป็นสิ่งที่ก่อให้เกิดผลกระทบต่อภูมิทัศน์วัฒนธรรมและมรดกทางวัฒนธรรมรวมไปถึงการสร้างความอ่อนแอให้กับชุมชนในระยะยาวด้วย

The book has great potential as a textbook for upper level undergraduate courses. This potential is enhanced by the inclusion of boxes, chapter summaries, discussion questions, “further reading” lists, and Web sites. I would have thought a map or two would make an appearance, and the visuals in general are fairly sparse, given the textbook styling. Yet the book’s utility outweighs these minor shortcomings, particularly because it is also a book valuable for research purposes, providing engaged, highlevel arguments on a number of key debates. McEwan’s extensive and ecumenical reading of postcolonial studies, development geography, and global feminism are put to good use throughout the text.

Racconti Saraceni di Sicilia  di Michelangelo Caldara. Presentazione, Stralci. Sinossi. Indice.
        La Sicilia delle radici meticce. Berberi, arabi, aleramici, normanni, greci, sicani. Humus, di ancestrali legami con la terra; con l’anima contadina. Il sangue smarrito.
    Cronaca speciale di persone comuni e frammenti particolari di eventi e personaggi della storia, inusualmente s’incontrano e si fondono in Racconti Saraceni di Sicilia. Brevi racconti. Sapori moderni e antichi.

The contribute wants to show how the concepts of landscape and cultural landscape fit within the international debate by reading the international charts, the 1972 UNESCO Word Heritage Convention concerning the protection of the word cultural and natural heritage to the 2005 Faro Convention.
Starting from the concept of heritage formulated in the Word Heritage Convention (WHC) we will take into consideration the concept of cultural landscape expressed in the “Guidelines on the inscriptions of specific types of properties on the word heritage list” (representing the evolution of the WHC) and in the European Landscape Convention. We finally will examine the contributions at the international debate given by to the 2003 Convention for safeguarding of the intangible cultural heritage and the 2005th Faro Convention on the value of cultural heritage.
The WHC expressed heritage as a set of properties that have exceptional significance, strictly separated into two categories of "cultural heritage" and "natural heritage". It was born from the desire to protect them from degradation also due to social changes and economic changing conditions in those years. Since1992 the category of "cultural landscapes" was included in the “Guidelines on the inscriptions of specific types”: they represent one of the specific properties to be protected because they illustrate the evolution of human society. The 2000 European Landscape Convention (ELC) instead recognizes value to each type of landscape as a bearer of meaning, even those degraded.
The two different interpretations of landscape and cultural landscape given from the Guidelines and the ELC are affected by the different roles of the institutions  which pertain, UNESCO and the Council of Europe. The WHC refers in only to sites that have an "exceptional universal value", while the ELC emphasizes the value of the landscape as an area of human activity. Together they help us to understand how in the debate on cultural heritage there are different views of the same property.

This article intends to provide a few remarks towards theology of the landscape, especially with regard to the so-called spatial turn in general and to the spatial turn in theology in particular. In outline, spatial turn is a cultural turn, but finds its resonance within the field of theology, where it can inspire towards deeper theological reflection of space, places and the landscape.

In the 1880s British and American planned industrial communities revealed a distinct shift in spatial practices as two discrete architecture and landscape architectural aesthetics were applied to community design: Beaux Arts, and Arts and Crafts. Two of the most extensive planned industrial communities during this decade received aesthetic attention: Pullman, Illinois near Chicago (1880), established by George Pullman, and Port Sunlight, near Liverpool (1888), established by William Lever. Both Pullman and Lever believed that by applying a distinctive aesthetic they could establish a cohesive visual ideology for social control. Lever and Pullman believed that by creating “beautiful” spaces, this would encourage and/or constrain worker attitudes and behaviors, what Henri Lefebvre calls “means of control” (1991, p 26). In addition, both Pullman and Port Sunlight became central to establishing and maintaining each company's brand identity. This paper explores the visual ideologies these two industrialists used to produce a distinctive sense of community while also revealing the inherent tensions and limitations of those aesthetics. Not only do Pullman and Port Sunlight reflect an important shift in spatial practices during the 1880s, their architects and landscape architects became influential leaders in the visual ideologies of the City Beautiful and Garden City planning movements.

Beiting, slått and the restoration of old buildings have prompted new activities and discussions in the Vega Archipelago. The long-term study of the interaction between man and nature in the cultural landscape of Vega shows that increased biodiversity, the reintroduction of the old Norwegian sheep, the rediscovery of old traditions and skills, the revitalisation of the eider duck tradition, together with local outreach programmes such as haymaking courses for children and restoration workshops for adults, have not just boosted tourism on the archipelago but have also helped to reinforce the islanders’ sense of pride, thus creating new energy to invest further in Vega’s future.

Resumen:

La intervención en el Convento dos Capuchos de Alferrara es el resultado de la interpretación del tiempo y del lugar, instalación y desactivación de la unidad paisajística donde se integra este conjunto edificado. Tras el abandono de las estructuras arquitectónicas, sus ruinas sugieren la inversión temporal en el sentido de que, aunque permanezcan como elementos de fuerte expresión identitaria, se encuentran en plena transición de sentido de su uso, por más que éste, subliminalmente, permanezca.
Nuestra propuesta es no reconstruir el Convento, pero interponer en el interior la idea de “astillero” fundacional de la obra. Este referente introduce la idea de que el Convento se encuentra estacionado en el período de su edificación y no en proceso de ruina. Se intenta de sustentar un proceso de mediación sociocultural de la presencia continuada del Hombre en la construcción del paisaje para continuar a disfrutar de éste, sin que se plantee la necesidad de (re)construir.


Abstract:

The intervention in the Capuchos Convent in Alferrara is the result of interpreting time and space, despite human action in the cycles of recognition, installation and deactivation of the landscaped unit where this built complex is integrated. After the abandonment of the architectural structures, their ruins suggest a temporal inversion in the sense that, although they remain as strong expressions of identity, they are at a transitional situation in terms of use, even though the original function still subliminally remains.
Our proposal does not aim to rebuild the Convent; on the contrary, we intend to introduce the idea of the foundational construction site in its interior, introducing the idea that the Convent is frozen in its construction period and not in a process of ruin. This intervention aims to sustain a process of sociocultural mediation of the continued presence of man in the construction of the landscape in order to continue to benefit from it without, however, needing to (re)build.

Cultural, Social and Economic Aspects for Greening of Surface Mining Landscapes On the pages of Greening Deserts and in the entire concept, cultural, social, economic and scientific aspects of professional greening and research projects for mining, surface mining and post-mining landscapes are described. Important and additional points are summarized here.

• Establishment and development of a professional network with experts in the fields of culture, business and science – especially in the field of nature conservation, sustainable greening, agriculture, forestry and greenhouse management
• Development and offer of an extensive sociocultural program with art and music, free of charge and paid • Offer and sale of natural products (medicines and crops) and services, see concept and section ‘Services’ • Exhibitions from and for art, not just landscape art
• Involvement of artists and works of art in the landscape and processes • Introduction of landscape planning, nature conservation and socioeconomic areas or fields by integrating suitable and interested institutions, organizations and partners as well as persons and associations with potential or professional competence
• Promotion of the recultivation and rehabilitation of opencast mining areas for a better future use, sustainable nature conservation, cultural, social and economic purposes in connection with the respective municipalities and regions
• Integration of schools, universities and other educational institutions in the development and development process, but also through extra programs, guided tours, trainings, workshops and events
• Sustainable landscaped recreational use, national and international tourism with the best possible natural experience, cultural and artistic life experience
• Sustainable and economical management, optimization and improvement of the energy industry
• Use and adaptation of conditions and properties of opencast mining deserts for realistic desert exploration, especially in the summer • Continuous research and development of forms or techniques of greenhouse, forestry and agriculture
• Development and research of wind, water and solar systems within the framework of the research projects

Further points and extensive information on the topics are extensively described in the Masterplan “Concept and Study on Sustainable Greening Methods, Greenhouse Management, Forestry, Agriculture and Culture Industry for Surface Mining and Post-Mining Landscapes“.

Author: Oliver Gediminas Caplikas / www.Greening-Deserts.com

De kustzone van Holland wordt gekenmerkt door een afwisseling van parallel aan elkaar liggende strandwallen en tussenliggende strandvlakten. Op de oude wallen liggen de geesten, voor de Hollandse kust kenmerkende akkercomplexen. Ook in de omgeving van het Noord-Hollandse Castricum worden in de literatuur geesten onderscheiden, maar omdat hier de monding van het Oer-IJ lag zijn er geen strandwallen aanwezig. Welke geesten zijn er in Castricum, en welke bodemkundige eigenschappen hebben deze bouwlanden?

Cultural landscapes represent social structures, interests, and values. At the same time, the observer can derive, interpret, reinterpret, and inscribe new meanings to the landscape. Landscapes that are saturated with ideologically charged symbols dictate to the viewer what can and cannot be seen and derived from them. On the other hand, landscapes that are abandoned, ruined, partly erased, and deprived of actors, activities, and political context present a different sort of setting. What can be derived from them? What or whom do they represent? Can the current conceptualisations help to capture their meanings? This paper attempts to expand the debate on cultural landscapes, by exploring the linkages to the concepts of haunting and ghosts. It uses the Russian settlements of Barentsburg, Pyramiden, and Grumant, located in Svalbard (Norway), as an example. The paper argues that ruined and abandoned landscapes are 'haunted', and that the viewer can engage with a haunted landscape through interactions with 'ghosts'-fictitious agents that fulfil two roles: i) allowing the viewer to associate with the ghost, and ii) reminding the viewer of the bygone actors, forces, and contexts that shaped the landscape.

Even if a landscape is characterized by the occurrence of no particular natural or cultural attractions, it is of undeniable cultural and historical value since it documents a long-term relationship between humans and the place where they have spent their lives. One way to identify and quantify the values of normal, unexceptional types of landscapes is by using the concept

In dit overzicht komt de onderzoeksgeschiedenis van het Oer-IJ gebied aan de orde en de interactie tussen de inheemse bevolking en de Romeinen die hier in d eeerste helft van de eerste eeuw een havenfort hadden. Verder aan bod komen huisbouwtraditie en aardewerk en de opvallende rituele deposities.

El paradigma occidental de simplificación y parcialización del conocimiento formulado por Descartes, postuló el pensamiento disyuntor como método en la investigación científica. No sería hasta el siglo XX cuando éste, comenzaría a revelar vacios, con el surgimiento del pensamiento estructuralista, la teoría de sistemas y los estudios de la complejidad como respuesta a esta parcialización del conocimiento, evidenciando la necesidad de una integración del conocimiento en sus tres grandes campos; la biología, la física y las humanidades. A este último campo pertenece la disciplina de la conservación del patrimonio, que en este comunicado argumenta la necesidad de considerar metodologías integrativas para una nueva visión de la conservación del patrimonio cultural enfatizando la importancia de la investigación del paisaje cultural como parte esencial de una metodología que permita hacer una lectura más acertada del espacio habitable (en sus tres niveles de concreción –territorio, asentamientos humanos, arquitectura-) con el objetivo de englobar diversos enfoques, que coadyuven a una lectura, interpretación y registro del paisaje cultural. Los argumentos a favor de considerar un enfoque holístico, integrativo y transdisciplinario del conocimiento tienen aplicación clara en la identificación, protección, conservación y políticas de desarrollo sustentable de los paisajes culturales. Para este estudio se toma el paisaje de la Cuenca Lacustre de Pátzcuaro que fue en época mesoamericana el centro de la cultura purépecha, conservándose en la actualidad como uno de los sitios más extensos y homogéneos de esta cultura.

Palabras clave: Transdiciplina, Paisaje cultural, Patrimonio intangible, Páztcuaro

The Kyklades or Cycladic Islands have always been popular amongst archaeologists working on the Aegean Bronze Age and the 'glorious' Classical Greek past. In contrast, not much light has been shed upon aspects of post-Roman life on the islands. Research into the post-medieval period has been a subject mainly for historians and folklorists. This paper attempts to explore aspects of the lifestyle of the peoples who inhabited this island group throughout the more recent, yet most neglected centuries of Greek history, using archaeological, textual and other sources and methods. My aim is to reconstruct everyday rural life in Greece, by focusing on the domestic sphere and addressing questions concerning society and the domestic material culture of a littoral area that has remained traditional until very recently.
This paper examines some .first results of the CYRE.P. (Cyclades Research Project) and introduces examples concerning the domestic material culture of the late medieval and post-medieval periods (early 13th-late 19th centuries) in the Aegean Islands of the Cyclades, with particular reference to housing, furniture and internal.fittings, costumes and embroideries.

I recently had the opportunity to review Alex Gibson’s thought provoking volume, 'Enclosing the Neolithic: Recent studies in Britain and Europe'. That review, to which the reader is directed for further commentary, identified as a weakness the uneven spread of regional case studies, and in particular the omission of studies from the West Country, Wales and North West England, which are so important in understanding the Irish Sea Zone. The aim of this paper is to address this with regard to the material from the North West of England, and in particular Cumbria. This paper is therefore meant to be read in conjunction with Gibson’s edited volume.

Boathouse Row, in Philadelphia's Fairmount Park, is one of the city's longstanding heritage landscapes. Among this historic collection of buildings stands Turtle Rock Lighthouse, Philadelphia's only remaining lighthouse and one of the few standing in Pennsylvania. Notably, Turtle Rock is embedded within one of the boathouses, the Sedgeley Club, which was the first women's athletic club founded in the United States. This paper traces the co-development of both Turtle Rock Lighthouse and the Sedgeley Club into a single institution as they became significant but lesser-known features of both Philadelphia's social history and heritage landscape. Through this case study's deeper examination of the historical and geographical contexts, I argue that lighthouses are too often overlooked or disregarded elements of cultural landscapes in scholarship and should be better appreciated aspects of our heritage and built environment.