People and Environment 2009 - Landscape Architecture Programme

People and Environment 2009
Department of Work Science, Business Economics and Environmental Psychology in cooperation with Department of Landscape Architecture
Water
Purling water
Hiding place in the reed
Water has many It fascintes, gives play.

2
LK0069
People and Environment,
15 HEC
Människa och fysisk miljö
The course is given as part of the Landscape Architecture Programme (admission
before 1 July 2007); Landscape Architecture Programme, Alnarp; Urban Land-scape
Dynamics - Master´s Programme
Syllabus Approved: 6 November 2007
Subjects: Landscape Architecture/Landscape Planning
Level and Depth: Master D
Marking Scale: 5:Pass with Distinction = A and B / 4:Pass with Credit = C / 3:Pass =
D and E / U:Fail = F and Fx
Objective
The aim of the course is to provide insights into how the interaction between
people and the physical environment functions and what different outdoor en-vironments
can mean for quality of life, well-being and health. The course will
provide training in the ability to analyse and investigate people’s relationships
to their surroundings and to translate this knowledge into design and planning
processes.
After completion of the course, the student should be able to:
- describe perspectives and concepts within social science and behavioural
science, mainly within environmental psychology and urban sociology, that are
relevant for the knowledge area of Landscape Architecture
- apply a selection of the methods used for investigating how people use,
experience and evaluate external environments (e.g. interviews, street walks,
observations or surveys)
- problematise and analyse people’s different needs and interests in external
environments on the basis of e.g. gender, age, social situation, cultural context
and disability
- analyse and critically examine people’s relation to place and use this under-standing
in design and planning contexts
Content
The course is characterised by perspectives of social- and behavioural science
on problem issues within Landscape Architecture, Architecture and Town Plan-ning.
Seminars and exercises will provide training in the ability to investigate
and analyse people’s situation in relation to their surroundings. Students will
also be posed different design problems and will be given the opportunity to
translate their knowledge within environmental psychology and urban sociol-ogy
into planning and design proposals.

3
A course summary
This resport is a summary, a kind of review, of the four different assignments the
students had during this course. These projects were called Street Art, Places for
Memory and Meaning, Spetsamossen and Sommarsol.
The first assignment was made during week 5-6, in the Urban Sociology theme.
Here the students chose wether they wanted to work with Street Art (supervised
by Emma Paulsson) or Places for Memory and Meaning (supervised by Sabina
Jallow) and handed in an individual assignment on it. During week 7-8 all made
individual assignments on Spetsamossen which is an urban playground. In week
9-10 all handed in individual assignments on Sommarsol; a rehabililtation centre
for people with neurological diseases. Finally the students, in eight groups, re-viewed
one of these four projects.
l Street Art
l Places for Memory and Meaning
l Spetsamossen
l Sommarsol
Alnarp, 27 March 2009
Carina Tenngart Ivarsson & Elisabeth von Essen

4
People and Environment
Street Art
Eva-Marie Samuelson, Karolina Bjerler, Jessica MacDonald, Mateja Havlicek, Sona Kralikova

5
Introduction
The intention of this summary is to highlight the main themes and trains of
thought present throughout the various projects. The projects focused on traffic
signs, switchboxes, tags and all street art. This summary analyzes the different
methods and results and compares the discussions between the various groups.
Method
Different methods used were mapping, photographing and categorizing.
Different groups had difficulties making categories and clearly defining
them. Dividing street art from advertising and political messages was hard. A
general comment was that there was not enough time given to develop a more
effective method for gathering the information. Some groups thought it would
be beneficial to go back and see the same area later on or to investigate two
different areas within the city. Also to be able to look up the links included in
some of the art to see if it is actually street art or rather an advertisement for
something. It may have been beneficial as well to write some notes while you are
gathering the information about the different types and materials used as you
might not be able to see it from photographs.
Results
Groups with similar methods interpreted and presented the results in different
ways. Some groups created maps that showed the locations of the different
types of street art. Others created graphs that interpreted the prevalence of
different types of street art as well as the locations that they were observed.
Another group mapped out all of the traffic signs and numbered them on a
map showing their locations. The graphs were effective and presented the
information clearly but this method would not translate perfectly with the
different projects.
Discussion
The intention or message that street art is trying to get across was discussed,
if the message is too hidden or difficult to understand. The message behind the
street art is what makes it significant, however many people either do not look
at the street art or do not understand the message that they are trying to get
across. The length of time that the street art was present was also considered
because if it has been there for a long time the message may not be relevant
any longer. Street art was also seen as a method of communication between the
various residents within the city, it creates a dialogue between people who would
otherwise not communicate with one another.
The reason that stickers were thought to be so prevalent on the traffic signs was
also thought to be because there is such limited space on the signs. This limited
space does not allow for a masterpiece or a large installation so the artwork
adapts to fit the space available.
The right to the public space was considered concerning commercials and
advertising. The thought of how only rich people who can pay to have their
message communicated can have a voice within public space. Some people think
that street art takes up too much public space.
Street art could be considered the life between buildings. Jan Gehl mentions
that life between buildings is not just pedestrian traffic but includes social and
recreational activities (Gehl 2006, p.14). He explains that life between buildings
contains a wide range of activities that make the place have meaning and
aesthetics (Gehl 2006, p.14). Street art could be one of these activities that
create meaning within a residential area and personalize the space.
Different kinds of street art and graffiti.
All images by Karolina Bjerler.

6
The legal wall at parking house Anna
in Malmö
All images by Karolina Bjerler.
Especially concerning the traffic signs and the tags repetition was used to
emphasize their work. Repetition is a marketing tool that is somewhat abused by
those making use of traffic signs for advertising. Tags were repeated to compete
with others and to mark that space as their own.
Stickers were the most common in the traffic signs and tags were the most
common when considering the whole environment. This was thought to be the
case because both mediums are very quick to put up which is helpful when
you are doing something illegal. In the literature seminar concerning street art
the fact that street art is illegal was discussed as something that made it more
appealing. If street art was suddenly made legal it would take away from the
excitement of it. Free zones from the text by Lieberg (1995) were discussed,
opportunities for artists to freely express themselves. This discussion on free
zones or free walls can be interpreted both ways. It can be seen as a great
opportunity for an artist to spend more time on their work and not risk being
caught by the police but at the same time the context of the work is very
important to convey a message. So the message intended by an artist may be
lost if it is confined to the free zone defined by the city.
Something that our group thought was important but not discussed was the
level of street art that is acceptable and how the location also informs if it is
well received or not. One example was given by Emma Paulsson (lecture, 2009)
concerning Nazi symbols and a box said to be containing the gas that was used
to kill the Jewish people located near a Jewish synagogue. This type of work
brings up the question of what level is acceptable and what street has gone too
far. The location of this installation added to the inappropriate material raising the
question of where street art is appropriate and acceptable.
One thing that was discussed were the different surfaces that were used for the
street art and graffiti. Smooth surfaces were more common and fences that were
perceived to be more public were used more often. Places that were more private
such as people’s homes were not as common, this may also be because artwork
and graffiti are removed more rapidly.
Conclusion
The topic of street art exposed those who participated to different levels of graffiti
and street art. The dynamic of public space and the discussions surrounding it
may have brought up more questions than answers.
References
Lieberg, M. (1995). Teenagers and Public Space, Communication Research, vol 22, no 6, 1995
Paulsson, Emma, Street art as a theater or a prospect, 26th of January 2009
Gehl, Jan (2006). Life between buildings: using public space. 6. Ed. København: The Danish
Architectural Press

7
REFLECTION - STREET ART
This is a reflection up on projects carried out during the course People and envi-ronment
LK0069 in 2009.
Method
When approachning a problem, an adequate method is needed. The method has
to be carefully thought through as it will be reflected in and perhaps affect the
results you get. It is also important to carefully describe the method to be able
to evaluate the results in a good way. One way to find a suitable method for a
specific investigation is to start up with a background research and literature
studies, to find out what questions you want to be able to answer. Added to this
useful preparations can be making some kind of checklist to keep in hand when
in field. Further on it is of importance to evaluate the used method as this can
lead to new and better approaches of investigation in the future. In the studies
done during the course project upon street art, a very limited area of Malmö city
was given every group, consisting of a couple of streets. This was probably due
to the very limited time, but as landscape architects, we discussed this in a plan-ners
perspective and wants to point out that it is important to also look at the
city in a broader perspective. It is interesting to study the whole city as a unit and
not only secluded districts, which is important to have in mind for future studies.
What is Street art?
What is art and what is not? This is a very subjective matter that all groups within
these projects have had a hard time striving with. We cannot really define what
art is in general, and therefore not street art. There are a lot of different motives
among artist why they do street art. It could be to send out political messages,
clearly shown or for the observer to interpret. Some artists see the reaction
perceived from people as the actual art. Artists might want to provoke the public
in this way. Street art can also be seen as a way for the artist to show his or
her territory and existence in the city. Some artist might just want to make the
streets more beautiful, like making a hidden corner in the city visible by putting
up a trophy for citizens to find. Art work seams to have some kind of meaning
for the artists but not always for the observer. If the meaning is known to the ob-server
he or she has the possibility to reflect from a different point as compared
to when viewing the art when the meaning is unknown. We as designers are
reflecting upon street art from our point of view and our amount of knowledge in
the subject. That is why it is important to decide on forehand what you want to
investigate to be able to choose a proper method that will take all user groups in
to consideration, when it comes to public spaces.
Street art in the public space
Who has the right to the city was one common issue put forth in reflections. It
is considered to be a problem of democracy, referring to Mitchell (1995), where
the threat is that public space can start to function as a individual property, where
the owner sets the rules (advertisement companies, corporations...). In this way
the ones with financial resources has more control over the city. Furthermore it
was discussed that everyone should thus have the right to express themselves in
the city, but can this really be done everywhere in public spaces and in any way?
Then, if the public space belongs to everyone, what right do street artists have to
do their art in the city in relation to those who does not like street art; they have a
need and right to express themselves as well. We perceive the street art as only
one way to express oneself in the public space, there are many other, such as
with clothes, hairstyle and music for example. What we discussed more, was that
public space in fact is not thouroughly free of charge, where everyone is allowed
to act freely and according to his beliefs. Actually we are paying taxes so in this
way we are paying for the public spaces in cities. There were also some interesting
comparisons made how the public space can be perceived, like for example public
space as a canvas for street artists or the city as a playground and the streets as a
parliament where the street art phenomena takes place (Andersen, 2007). When
does street art take up to much space? When it becomes too much it can start to take
over the city and impede the view of the city, just like advertisement in some cases
do. Then there is no space left for the “empty” spaces that probably appeals to a lot
of people. When it impedes the function of a place it is also considered too much,
like when street art is put up on the front on a traffic sign and impedes the view of
it and in this way disturbs the drivers. It is also less accepted when the street art go
beyond the public realm and into the private. It can perhaps also cause disturbance
among people when it is placed in highly public places, where a lot of people not
only pass by but stay for a longer period of time.

8
Where does street art occur?
Street art is found everywhere along the streets, on objects, on the ground or on
the walls. Street art in general seems to occur more frequently in semi-public ar-eas
instead of the highly public areas. Repeated objects such as traffic signs and
switch boxes are frequently used. A constantly competition between street art,
advertisements and the ones cleaning the limited surfaces available is a common
scene in the streets. Artists probably think quite differently about the location of
their street art. Some seems to place it very visible so that it is easy to spot for as
many people as possible and some seems to want to place it more hidden as a
surprise for the viewer. The connection with a certain place might also sometimes
be of importance, but in the projects there were no street art showing this con-nection.
The street art could though give a comment on that very specific place,
like environmental issues on switch boxes commenting on the ongoing discus-sion
of the greenhouse effect.
How do people see street art?
We can make a conclusion that the perception of street art (and also what is
treated as such and what isn’t) is in the eyes of viewer and of the individuals
knowledge and background. Is he or she familiar with the special meaning of the
expressed action? Some think that street art enriches the city, but others says
it cheapens places no matter the meaning behind it. Maybe it is also a matter of
scale when accepting something as appropriate to be there. For example, a bus
completely filled with graffiti expressions perhaps might work as an art expres-sion,
but on the other hand just a tag on an otherwise clean street wall can be
perceived as an act of vandalism. An interesting theory about how we percieve
the environment is that we filter out the necessary information from the environ-ment
and disregard the rest, as all would be too much information to process.
(Grahn, P., Stigsdotter, U, 2002 p.62) street art would therefore most likely in
many situations get filtered out as not important information, at least for most of
us.
Appropriate and offensive
Some people perceive street art as vandalism and perhaps find the expressions
of the art frightening and offensive. The art is not affecting only the visual ex-pression
of the room but also the feeling and atmosphere of it. It may also inter-fere
with the movement pattern of people, for those who percieve the street art
as something negative. When people are affected in this way of street art it can
result in segregation, as people might feel that they don’t belong in certain areas.
To divide Street art in accepted and not accepted art is as difficult as describing
art because there are no answers. In the public space where the street art often
occurs, we can discuss democracy and the question of who has the right to the
public space. Is some street art more accepted than other? From the researches
point of view in the studies carried out in Malmö, schablons, stickers and posters
seems to be more accepted than spray tags. One reason can be the effort and
money put into the art and the more careful preparations to create a schablon,
sticker or poster in contrast to spray tags. Seeing the concept of street art as
temporary art installations stickers and poster are also visionary easily to remove
compared to the spray tags which can be another reason to why this kind of
street art is more accepted. Professionally printed stickers can also cost a lot of
money and many people might therefore think of it as more socially accepted.
Temporary art
As it was mentioned above, tags are the ones often seen as an action of van-dalism.
Making a tag more temporary by spraying it on a poster would perhaps
be precieved as more accepted. In relation to temporary art we discussed the
possibilities of using paint that is easily washed away in rainy weather. As it costs
a lot of money to remove spray paint and stickers from the streets, the more
temporary the art is, the more accepted it would probably be; something that
the society do not actively has to remove. The notion of dynamics in the public
space is also an interesting topic widely discussed in the course projects. The
appearance of the city and the street art within the city changes all the time and
agitates the feeling of the art being permanent.

9
Street art vs. advertising
There were the conclusions that advertising occurs probably more frequent in
the streets than street art does. Some groups expressed that they wanted to in-vestigate
this relationship further, which demands more time for deeper research
about it. However, it was found out that advertising consumes public space for
sure. And there were questions about the borders between street art and adver-tisement.
Is it possible for them both to overlap each other? Rather many reflec-tions
resulted in the opinion that advertisement impedes the view of the city. It
is also a matter of relation between size and perception. Huge advertisements
mean that you have no chance to escape. On the other hand the city gets money
from advertising and not from street art.
In relation to city planning
When discussing the role of landscape architects or spatial planners in relation
to street art, we can draw a line that street artists do more temporary things.
One student expressed it as the street art is a way of temporarily tattooing the
cityscape and leaving visual traces behind. Landscape architects and planners
though plan and design the city as a whole and in a more permanent way. It is
also important to mention that these professions have a more objective perspec-tive
and see to the needs of the user groups. One can think of street art as a
beginning of revival of urban wastelands which offer a lot of possibilities for
temporary uses and street artists – areas where less people are affected by their
art. Street artists can be seen as catalysts in planning in the way that they bring
lost places back in people’s minds, as Oswalt (2007) claims. There is perhaps a
need to include this potential in our formal planning to make our surroundings
more interesting and exciting. There was also a notion of Lieberg’s thought of
backstage places in the cities where teenagers can try out new things, like street
art. As we can agree with Oswalt’s statement that spontaneous, temporary uses
could have positive long term effects, we can at the same time discuss that the
strictly defined areas where there is no room for backstage expressions maybe
cannot contribute to a place for all. The public space in the city should represent
the city’s heart and its people.
Conclusion
During our task we came across with lot of further questions. We didn’t feel like
we have the competence to completely answer them but to put them up for
further discussions. In our reflection of the street art theme in the course we
therefore tried to scoop the overall reflections, both from the student assign-ments
and the literature.
L e n a Ag r e l l , E v a - B r i t t K a r l s s o n , Ta d e j a R oz m a n

Places for Memory and Meaning
Nicholas Pettinati, Karolina Alvaker, Marielle Karlsson, Shabnam Gholoobi
10

11
INTRODUCTION
Memory and meaning in public spaces, whether an urban square or a
country road, is a difficult issue to discuss. However, this was the subject for one
of the projects in the course People and the Environment at SLU. The assign-ment
was to design an urban space in the Western Harbor of Malmö as a place
for memory and meaning. The assignment started with a review of some relevant
literature and continued with a walking tour of some different spaces in Malmö.
Ultimately, the students prepared a group presentation about their thoughts on
memory and meaning, and an individual proposal for the site they were asked to
design.
The students read through several relevant texts to gain a deeper un-derstanding
behind the concepts of memory and meaning. The texts dealt with
some very difficult theories regarding memory and provided a general framework
for the students. After a discussion of the texts the students embarked on a
walking tour to try and discover places for memory and meaning that already
existed in Malmö. The goal was to try and photograph places that had charac-teristics
of memory and meaning as a basis for thinking about the site. These
spaces weren’t necessarily meaningful places, but spaces that could have some
elements that create meaning. The walk culminated with a visit to the design
site, and the begining of the design process for the students.
The goal of this paper is to summarize the results from these proposals
and the overall success of the assignment. There is also a brief summary of the
texts that were used for this assignment. We will start with a brief background
of the site, and some of the questions that faced the students as they began the
design process. Then we will move to a discussion of the proposals themselves,
and the themes that we felt emerged from the designs. Finally, we will end with
some of our own thoughts and comments on the project.
Background
The site that was selected for the design is located along the coast in
the Western Harbor of Malmö. The physical site itself is a large square that is
elevated, overlooking the sea and the Oresund Bridge. Also, in the northwest cor-ner
there is a small platform that protrudes from the square and forms an over-look.
This corner has been nicknamed “the Titanic” after the scene in the movie
where the two main characters are hanging off the bow of the boat pretending
to fly. In the center of the square there is a stage that is handicap accessible.
The entire site is handicap accessible via ramps up to the square. The space also
fits into the larger scheme that forms a boardwalk along the coast. The area is
extremely popular in summer, with hundreds of people lounging, swimming, and
diving into the sea.
As was mentioned previously, the goal of the design was to create a
space for memory and meaning. Some of the difficult questions that the students
had to answer are how do you create a space for memory and meaning in the
public realm? Whose memory and/or what meaning should the space have?
Does there have to be an event that occurred to make a space meaningful?
What about the meaning that the space already has? What characteristics or ele-ments
give a space meaning? The design proposals answer all these and many
more questions in amazingly unique ways.
Pictures of the site (provided by Mateja
and Tadjea)

12
While each proposal addressed the issues associated with creating
memory and meaning in an urban public space in their own way, there were also
several themes that emerged from the designs. The three main themes focused
on the view of the sea, the element of water, and the use of sculpture.
The proposal by Jenny Åkesson, Johanna Verbaan and Sofia Fribyter
used the view as a major element in their design. They created “cave-like” rooms
(see graphic below) that could be entered and used as a place to quietly reflect.
They wanted to highlight the view of the sea and the powerful meaning associ-ated
with it. and also use silence as a way to create meaning. “...The place could
be decrbied as a parallel reality where an anti sound installation makes you aware
of sounds by creating absolute silence at a place which should have sounds...”
The next proposal, by Tadeja Rozman, also used the view as a driving
force for her design. “To feel its drops, to smell and taste the salt (of life!), to hear
the roaring, to see the ocean`s horizon and its eternal vastness. Just being here
and now, in the present of the preseence of all sense sactivated. It gives a shelter,
a possibility to draw back, be among people, but still alone, hearing stifled sounds
of the ocean and of people´s voices somewhere around...” She talks about using
this space as a place to pause from the everyday flow of life,
Picture from the proposal “Silence” by
Jenny Åkesson, Johanna Verbaan and
Sofia Fribyter
Graphic provided by Tadeja Rozman
THEMES

13
and creating meaning through taking this break. Using this space as a chance to
stop and reflect on whatever we can.
The second theme that emerged from the different proposals revolves
around the element of water and its possible uses on the site. The proposal by
Mateja Havliček focuses on just this element. She wanted to create a space
where the experience of water drives the meaning of the place. She accom-plished
this through a shallow pool that flows into a waterfall off the edge. This
pool can be experienced by all through as many senses as possible, and as such
creates a new meaning for the space through water. “The tactile experiences of
sight, sound and touch have a big value in this project.”
Cordula Gielen also used water as an important element in creating
meaning in the space. Similar to that of Mateja, she brought the predominant
element of the site (the view of the ocean) into the actual physical space. As the
graphic above depicts, the center stage has been turned into a shallow reflect-ing
pool that can be experienced in many different ways. Her main concept was
to use the idea of reflecting, both metaphorically and physically (in the water), to
bring new meaning to the area. “Consequently, this place provides possibilities
for being active as well as being spirtiual. They just happen side by side.”
Finally, the last theme that developed from the different proposals
centered around the use of scupltures, and their ability to create meaning. The
proposal by Emily Hansen used a sculptural element to create activity and mean-ing
simultaneously in the space. She created several different pillars that can be
used for sitting, standing, jumping, demonstrating, and anything else someone
can think of. The focus is on the social interactions that can be created by these
elements and the people in the space, and the possibility for that social narrative
to evolve and change. “The social character of the space exists in an alternate
sort of reality, one that continues to define and redefine the space through ex-periences
and interactions of and between people in the collectively recognized
physical setting.”
The proposal by Eva-Britt Karlsson also uses a sculpture to bring mean-ing
to the site. However, her sculpture is one that has a great cultural significance
and historical background. The idea she had was to have different artists to
create a sculpture of a hand in the center of the stage. This hand could change
through time and the idea of the hand has a great deal of meaning attached to it.
As the
Left: Graphic Provided by
Mateja Havlicek
Middle: Graphic Provided by
Cordula Gielen
Right: Graphic Provided by
Emily Hansen

14
graphic to the left depicts, even the shapeorientation of the hand can alter its
meaning. This simple gesture changes the makeup of this urban square and
accomplishes the goal of creating new meaning. “No one knows who the hands
belong to, (accept the designer). The meaning is to show that all people have the
right to the public space.”
The next proposal by Karolina Alvaker takes in the sense of hearing in
the memorial experience. Echoing sounds and wind passing through the sculp-tural
elements creating music which stimulates the senses and draws upon the
idea of remembrance in a playful way. “With particular focus on sense and spirit,
and with the natural elements as a mirror rather than any connection to a god,
the Titanic Memorial is built to capture the individual person i a vast crowd.”
The proposal by Ann Henrikson also uses the idea of wind and sculp-ture
to define meaning in this urban space. Her concept revolves around the
idea of wind as a way to trigger a fascination about the site. The sculptures force
an extra awareness about the environment that surrounds the users of the site,
and adds a new dimension. The statue of the wind formalizes the idea of the
sculptures and the concept that they symbolize. “...a public meeting place where
the perception of feeling and being a human being is in focus. The memorial of
the wind is in fact a masque of the human perception of the wind...”
Finally, the proposal by Nicholas Pettinati, deals with sculpture in a
slightly different way. He wanted to use the memories of the people who use the
site to add meaning to the space. He accomplished this goal by creating a photo
collage as the paving pattern for the center stage, and on the walls of the space.
The photographs to be used would be donated by people who use the space
and would be constantly evolving, with more and more photographs being added.
This collage is a physical representation of the memories that have occured on
the site, and as such embody the meaning of the place. “The installation has a
pround effect on the meaning of the space. Now, it is not only about what activi-ties
are occuring there, it is also about remembering and re-living those experi-ences
and learning about the experiences of others”
Conclusion
As evidenced by the various proposals, there is no correct answer on
how to add meaning and memory to a space, especially one in the urban public
fabric. However, there are some elements that emerged from this design exer-cise
as possible solutions.
All the proposals dealt with the existing conditions, and those conditions
have a large impact on the design of the site. The themes that developed evolved
from the interpretations of the site, and the conditions that are present there. It
would be interesting to see what would happen if a completely different site was
given for this same exercise.
The question of how to create meaning or memory in a space is still a
difficult one to address, but this assignment helped to shed light on some pos-sible
ways to deal with the very complex issue.
Top: Graphic provided by
Ann Henrikson
Bottom: Graphic provided by
Nicholas Pettinati
Top: Graphic provided by Eva-Britt Karlsson
Bottom: Graphic provided by Karolina Alvaker

15
We want to take this opportunity to share our thoughts and comments
on the project. To start some general thoughts on the process; The literature for
this project was helpful as a starting point, and definately got us thinking about
memory and meaning. However it didn´t directly relate to the site, or the task. For
us, it provided more of a framework for the design, and the design evolved more
from the site conditions and the individual thoughts of the students.
Memory and meaning also occur on a very individual level, and we
question whether you can create a space for everyone that is meaningful in a
spirtual way. The question of religious vs nonreligious is always at the back of
our minds when talking about this issue and another big question is how do we
resolve that?
Getting to the actual proposals, we thought it was incredible how there
were so many different solutions to this problem. Each proposal handled these
difficult questions in a very unique way. It was also really interesting to see how
the themes evolved from the projects. It showed us how while each project was
individual the group discussions had a great impact on how the process was
handled. The discussion with Sabina Jallow also had a very profound impact on
the process. Sabina Jallow talked about how the ocean allows us to be silent, and
even just that comment influenced the designs.
Another really interesting aspect of this project was the requirement to write it as
an article from a third persons view. This was an excellent way to critique our own
proposal, but was difficult for some to get started. It definately added a unique
dimension to the proejct.
Overall, we all really enjoyed this project and would reccomend
doing something similar in another course. It provoked some
very difficult and challenging questions about how people
interact in an environment. Those types of questions
we think are at the core of this course and
should be the ones to be explored
further.
REFLECTION
The Titanic Corner, Picture by Cordula Gielen

16
MEMORY AND MEANING
The following summary is made from reflections on the course
literature made by the students working with “places of memory
and meaning” and from our group discussions.
• Spiritual places can gather people and act as meeting points
in the outdoor environment. The experiences of a tragedy also
often get people in difficult situations which can make them work
together and get stronger. Memorial places can however also act
excluding in the way that they sometimes can have a too directed
design or purpose.
• Memories can be personal and/or public. There have
therefore to be a balance between memorial places for individuals,
which are person-oriented and can be individualized, and places for
the public, which are spiritual and suitable for different people and
cultures. Every person has however their own mourning process and
there are therefore good if it is possible to make room for individual
mourning expressions in places with common monuments.
• Both the past and the future are important for the present
time as the present exists in between the two. Since we can relate
to things in the past it can be a great source of information and
inspiration when forming the future.
For a person who is morning it can be very hard to look into the
future as one wants to remember the past, but it can also be hard as
you see that the future will be different than you had pictured.
• Spiritual and memorial places can be used for all outdoor
activities; necessary, voluntary and social activities. These places can
today also often be more symbolic than religious. As the time goes
on, the use and meaning of a memorial place furthermore changes.
Many memorial objects, such as statues in the city, act for instance
as places for meeting where the original meaning of the object no
longer is important.
• The remembrance can be voluntary, but it can also be
uncontrollable. Memories are often recalled by complex and
individual triggers and not by places themselves. The triggers can
be a certain symbol, feeling, spatiality, detail, etc. Of these triggers,
some can be more effective than others. One of the triggers that
can be very important for our remembrance is the activation of our
senses since they are a primitive part of us.
• Sometimes people want to remember actively, which often
make them connect the memory to a certain thing or a place. The
active remembrance can however be created in a lot of different
ways.
• Memories are not the whole truth, but a creative imagination
of the past. The memory and meaning of an event or thing can
therefore vary a lot between different individuals.
The reviews where based on the literature, which references are on
the next page.
Literature reviews- a summary

References Guidelines and Tip-offs
17
These guidelines are inspired by and canalized of what we have read
in the literature reviews/articles and of our discussion.
TOOLS: TEASE THE SENSES & SYMBOLISM
• TEASE THE SENSES
- To strengthen or weaken one or more senses:
o Stimulate one sense by e.g. using a significant
smell or sound.
o To mute one sense by e.g. make a place quiet.
o Stimulate all the senses by using one phenomenon,
e.g. water that you can touch, smell, taste and hear.
o To emphasize by using contrasts, e.g. dark and
light, loud and quiet, small and big, high and low, etc.
- You can control some senses more than others e.g. you
can decide whether you like to touch something but it’s
harder to not experience a smell or a sound.
• Gehl, J. (2006). Life between buildings: using public space. 6.
ed. København: The Danish Architectural Press. Or in Danish; Gehl,
J. (1996). Livet mellem husene. Udeaktiviteter och udemiljö.3. uppl.
Köpenhamn: Arkitektens Forlag.
• Hillier, J. (2007). Stretching beyond the Horizon. A Multiplanar
Theory of Spatial Planning and Governance. pp 94-95Lieberg, M.
(1995). Teenagers and Public Space, Communication Research, vol
22, no 6, 1995, pp.720 -744.
• Mitchell, D. (2003). The Right to the City. Social Justice and
the Fight for Public Space. New York: The Guilford Press. Chapter 4,
The End of Public Space? , pp 118‐160.
• Parr, A. (2008). Deleuze and Memorial Culture. Desire,
Singular Memory and the Politics of Trauma. Pp 181-189. Edinburgh.
Edinburgh University Press.
• Petersson, A. (2004). The Presence of the Absent. Memorials
and Places of Ritual. Lund University: Dept. of Architecture. Chapter1
and 3.
• Santino, J. (2006) (Ed). Spontaneous Shrines and the Public
Memorialization of Death. Goldstein, D. E. & Tye, D. The Call of
the Ice: Tragedy and Vernacular Responses of Resistance, Heroic
Reconstruction, and Reclamation. New York. Palgrave Macmillan.
• The Wanås Foundation (2008). Loss. Svenle, E. Defining the
Past within the Present: Loss at Wanås. pp 13-32. Laholm. Trydells
Tryckeri. ISBN 978-91-973972-9-2.

18
• SYMBOLISM
- Who will understand the symbolism and what does it
mean if you do not understand the symbolism?
- Use symbolism from the past, the moment or for the
future.
- Beware of the change of symbolism, e.g. the swastika
that was a symbol for sun but now are connected with
Nazism and the christian cross that should be the symbol
for hope but now are perceived as a symbol of death by
many.
- Use the universal symbolism of nature elements, e.g.
water can be recognized as the source of life.
- Use contrasts that make the symbolism clear, e.g. a water
element might have a stronger influence in a dense city
than in direct connection to the seaside.
- Use the written language, e.g. quotations written on a
street in Stockholm that remind you of certain things.
BE AWARE OF: THE PUBLIC SPACE & THE PERSONS
• THE PUBLIC SPACE
- A memorial place can exclude some people e.g. different
religions, different cultures, people who are not mourning,
etc.
- Memorial places can act as meeting points where people
can share a memory with others, e.g. a memorial place of an
accident.
- The accessibility, e.g. for disabled people, wheelchair
users and different genders, ethnicity, religion, age, etc.
- How to raise a memorial.
- How to take a memorial away e.g. build up something
new with another meaning.
- That different places are more or less appropriate for
memory and meaning and that the right design for the place
is important.
• THE PERSONS
- That a traumatic memory can pop up trigged by some
thing in the environment.
- That the memory can be actively evoked, e.g. by some
ritual.
- The fact that a memory is not the whole truth but a
creative imagination of the past, e.g. some childhood
memories of certain happenings get more “pink” after a
period of time.
- Different kinds of stages in for e.g. the mourning.
Is this hope?
...or just Summer?
What happened?
How does the dis-tance
What do we remember?
affect you?

Influences by the literature Influences by the group
19
It was quite interesting to regard the influence of the literature
background on the final design proposals. We figured out that
there is an obvious connection between the given literature and
the proposals. The literature directed the thoughts of the students’
design process. While discussing about the different proposals we
noticed that for us senses could play an important role in triggering
memories. Although senses like the sense of hearing play an
important role in several designs, students hardly discussed about it
perhaps as they had no text to rely on.
Even if the students had the same theoretical background, the
literature was used in different ways. Some students used clear
references to the texts and thus created a proposal with a very
scientific character. Other students however used the literature
more like a first inspiration. Although they did not use strict
references it is obvious that they refer to the same theoretical
background.
We regard it as very important to do either or. If one uses references
one should try to do it in a correct and stringent way because parts
of the proposal without references seem to be one’s own ideas.
Without any references the reader of a text might be aware that the
author draws upon a given theoretical framework.
Every design proposal is based on, first of all, the person’s own
experience of the place and it has the marks of the concerning
literature. As people worked on this task in several groups, and they
had group discussions, the effects of the discussions are noticeable
in each person’s individual work. For example:
• when elements of nature were emphasized on a discussion, it is
noticeable on the students works
• it is the same effect with triggers
• or the importance of public interaction
• the most of students kept the original identity of the traced area
• and a group which discussed the importance of height, view
and freedom, it is mentioned in the individual texts as well.
As we noticed, every work was seemingly completely different,
but looking behind it – reading the text – there were marked signs
which group they belonged to. This shows the importance of
talking to different kind of people, different kind of user groups and
professionals.

20
SPETSAMOSSEN
Group 7: Anna Ekdahl, Anna Stefkova, Hrafnhildur Hrafnkelsdóttir, Karin Ingemansson, Sigrid Lönnerholm

21
THE TASK
Our task was to make proposal for a kind of urban playground in part of Spetsa-mossen
park in Vaxjo. The city is surrounded by water, which is a major element
of this town. The park is located in the downtown. People pass through the site
everyday to get to work or city centre but there is no inviting atmosphere that will
make them stay and spend some time there. The municipality have now decided
to rebuild the park because it is considered to be unsafe and of limited use by
the citizens. The new suggestion for the park structure came from Kragh & Ber-glund
architects.
Difficulties:
One of the difficulties we were confronted with was how we were supposed to
make the proposal if we didn’t know how the place exactly looks like and didn’t
have opportunity to see it.
Another question was the concept of an “urban” playground. An urban play-ground
feels a bit on contrary to what we have learned or read in the literature.
Many people defined urbanity with materials, shapes, vegetation which can give
an urban character to a space.
Safety: A lot of people didn’t consider the park as a safe place. Lighting and also
vegetation were considered as elements to counteract this perception.
Activity was also mentioned according to different age groups. People came up
with question if it is possible to include all age groups to one place and make
everybody satisfied and active. If you try to please everyone you may loose the
fascination of the place.
The term “playground” tends to be used for children and it was confusing to work
with. Also play was included between all age groups- from the children to elderly
and disabled people.
Some people made their assignment as a professional design proposal for the
municipality; the others made it more as a school assignment and were writing
more reflectively about their ideas than promoting them.
Illustration: The proposed activity area
(Kragh and Berglund Architects)

22
THE KRAGH AND
BERGLUND PROPOSAL
In this assignment we were given an overall proposal from the Architect Com-pany
Kragh & Berglund. The students have different attitudes to this concept,
whereas no one has chosen not to work with it all, people have used their con-cept
differently and in varying degrees.
The distinct paths are a subject that many students have mentioned, and many
have seen the paths as an urban shape and something that will contribute to the
desired urban character of the park. Some have decided to work further on these,
also on a more detailed level in the urban activity area that we were given. And
that seems to have worked well, the activity area then look more connected to
the rest of the park.
Some are critical against the elevated paths, that they will direct the movement
too much and prevent people from finding their own way around in the park. And
also that they will give a feeling on being on-stage and possibly make people feel
very visible, vulnerable and exposed.
The Kragh and Berglund concept have raised a discussion about urbanity among
many students. Especially when they mentioned that materials as asphalt and
concrete would contribute to the urban character many students questioned what
urbanity is? The conclusion is that urbanity partly lies in the choice and use of
materials, but also distinct shapes, elements and lighting etc. are important to get
the desired urban feeling. Also it is argued that the many different activities that
will take place in the park can give it an urban feel, that this density of activities is
very urban.
Some think that the Kragh and Berglund proposal have divided the different ac-tivities
in the park and not made the park inclusive enough. They describe it as a
park consisting of different ‘activity islands’. Some have reflected on that it might
be a good idea to extend the ‘Urban activity’ area and lead the main path trough
it so that it will be a natural place for people to stop by at, and thus avoid it to be
another separated ‘activity island’. This division is feared to lead to divided age
groups and less integration in the park.
Illustrations from top: Carina Daubner,
Zita Lándori, Sofia Fribyter

23
THEMES IN DESIGN
PROPOSALS
Illustrations from left: Anna Ekdahl, Erika
Jonasson, Emily Hansen, Jessica Macdonald
A great variation in handed-in material could be noted. Some proposals were very
conceptual whereas others were more detailed, some had illustration plans and
others simple sketches illustrating basic ideas. When looking through the design
proposals we found some common themes and similarities.
Wetland/Bog
A lot of the proposals discussed the context of Spetsamossen as a former
wetland and used this as an inspiration for the design of the activity area. This
background was first introduced in the Kragh & Berglund concept.
Nature-like design or actual biotope
In some proposals the wetland as a biotope or natural elements from it have been
used, for instance:
• Dewatering area with reed and jumping stones
Symbolic
Other proposals have mainly been inspired by the shapes or forms found in wet-lands,
for example:
• Area divided into “islands”
• Inspiration for idiom
Water
Water has been used in almost all of the proposals in one way or another. It is, by
many, considered a playful element that increases well-being just by being pres-ent.
• Water-play
• Fountain
• Streaming water
• Still water
Use of all senses
Exploration with other senses than just vision (touching, tasting, smelling and
listening) affects the experience of place. Activity does not necessarily have to be
physical, it can also be mental.
• Tactile elements
• Exploring with your body and activating your brain

24
Illustrations from left: Mateja Havlicek,
Merle Talviste, Magdalena Galle, Eva-
Britt Karlsson Eye catching objects
Objects that attract attention and evoke curiosity. Work like magnets that draw
people into the area from where they can start-off and discover other parts.
Some examples of this:
• Maze
• Disco-game with musical tiles lighted in different colours.
• High-rope course
• Original swings/hammocks
• Spectacular furniture
• Red path
• Play-sculptures
• Creative lighting
Hills and levels
Arguments for using hills or other differences in height include that they promote
motion and evoke curiosity of what might be behind. They can also provide a
place for overview of the area. Examples of this:
• Rocks or structures to climb
• Large hill as border/viewpoint
• Group of smaller hills
• Modeling of landscape
Multifunctionality
This theme includes objects or elements that have no specific function and can
be used in more than one way. Places can also have multiple functions.
Idiom
Some have used an over-all idiom, like a certain shape or pattern, often devel-oped
from the concept of Kragh & Berglund, others have used objects conse-quently
throughout the area.
Security
The problems with rape and criminality in the park have been considered in many
of the proposals, often by avoiding dense shrubberies and putting emphasis on
lighting. Other aspects of security are all the regulations concerning play equip-ment
and public places. This is not something that is discussed to any larger
extent in the proposals, perhaps because it might be limiting in the conceptual
stage of the design process.
Accessibility
Access for all seems to be an important issue in all of the proposals. It has been
considered in the choice of ground-material, by making paths and by allowing
activities for everyone, including people with disabilities.

25
USE OF REFERENCES
We think it is important to think about who will be reading your proposal. Who is
your target group? Will your use of the references be easily understandable to
those who have not read the literature, or have forgotten what the literature was
about? The references must be presented in such a way that the reader will
know what they are referring to and be able to connect them to your work.
References in individual proposals were used to strengthen and support the
student’s concept in the design proposal. Some were relevant to the literature
we have been reading, while others weren’t.
Reflections on children’s play, public places, the senses, activities, users, objects
and vegetation were the most common ones. The researchers with the most
references to their work were Gehl, Cele, Mårtensson, Kylin and Boldeman.
References - literature for every-one;
Boldeman
o better motor skills in natural environments
o different height levels important
o a green environments triggers activity
o vegetation protect children from dangerous sun radiation
o physical qualities of outdoor places important to trigger healthy behav
iour in children
o physical elements like sculptures result in more spontaneous play than
prefabricated equipment
o fenced-in surfaces can have a hindering affect on physical activity
Cele
o object
o problems with creating labelled places
Illustration: Lavanya Asogamoorthy
o three elements: the permanent, the changeable, the momentary
o provide a feeling of freedom and keep play going
o use of all senses when experiencing place
o awareness of geography, concrete place and not just abstract
o gender perspective, boys do not necessarily need more space than girls
Cooper Marcus and Barnes
o gardens must convey a sense of security
o positive effects of water
o positive effects of being outdoors
Gehl
o people gather where the main attractions are
o primary seats and secondary seating
o new activities begin in the vicinity of events that are already in
progress
o people as social creatures
o activities grow from the edge to the middle
o people are attracted to other people, especially if they are active
o public places have changed from being used because of needs to being
places for optional, recreational activities
o human scale
o other people are the main attraction of public spaces
o public spaces need to have opportunities for people and meetings
Gifford
o passive observation most of the time
o people have different experience and thoughts of place
o if groups feel welcome and use it, there will be more life

26
Grahn and Stigsdotter
o elements that allow you to test your senses
o benefits of being outdoors
Kylin
o absence of large green areas
o children, special place, special meaning
o children’s need to manipulate environments
o dens – hidden places where children can observe without being
observed
o possibilities to climb, hide, meet with friends
o layers of vegetation is important to play
o dens vary from very secret to very social
o vegetation promotes activity
o children needs a more intimate scale, this triggers them to create their
own space
o teenagers need to have opportunities to feel free and independent
o step-by-step, smaller children keep closer to parents
o respect for children’s own creativity and needs is necessary when
planning for them
Lieberg
o on stage, offstage
o teenagers seek to avoid adult supervision
o teenagers have few places in the city in which they can hang out
o in between/ free zones
o places to retreat
Illustration: Emma Ekdahl

27
References - from lectures:
Grahn
o easier to find something they like if the place offers one function, and
easier to find something to do if one part is used for a particular
play or activity
o usage of the eight park characters
o using an orange colour as stimulation of activity- white and bluish co
lours are good in relaxing environments
Mårtensson
o objects
o objects, something to touch, things to do
o own rules, play and usage of space
o vegetation promotes activity
o vegetation should be emphasized in the outskirts of the area, focus on
edges which promote play
o children create their own world in which they define roles, places that
can be related to each other like high or low, dense or open support this
kind of play
o areas for children are often too organized
o children need to have places for their own
Nebelong
o stimulate the senses
Illustration: Cordula Gielen
References – for further reading:
Jacobs
o the mixture of users and uses is what changes a place into an urban
place
Ward
o defining aspect of a park is accessibility
References - from other than those in our literature
list:
Appelton
o prospect, refuge
Delshammar, Tim
o user participation
Diarmuid Gavin
o wooden platforms inspired one student
F.L.Right
o quotation:” form follows function “
Gaventa
o traditional public places are not enough to meet the needs and wishes
of people today
Kaplan and Kaplan
o sitting places with open front and closed back make you feel
comfortable

Integrated sitting facilities gives the possibility to rest, observe, listen, meet randomly a friend. These one of the activities that can take place next to a urban playground. Children are experiencing the rubber
human figures. The figures in a active poses can trigger others also be active in this park.
Spetsamossen playground
Illustration by Merle Talvieste. 28
Rubber element next to the playground (first characteristics). It function as a space in its own. It opens up

29
This project holds the summary and reflection of the project Spetsamossen.
The ideas, opinions, and discussions are that of spring 2009 students of the
class People and Environment. This student project took place in the campus of
Alnarp, SLU Agricultural Sciences. The results and reflection are those concern-ing
the design of the site Spetsomossen and general design elements that may
be effective elsewhere. We tried to provide an impression of all these proposals
without evaluating each design proposal. Thus, we wanted to reflect and maybe
provide some feedback on how to incorporate the design of Spetsomesson to
future design proposals. What were the basic questions asked by students? How
can this be related to the current understanding of the public’s view? What is
the outlook on future designs concerning the matters discussed in this project?
What elements are repeated? These are some questions that are addressed in this
report.
Our given proposal site is in the Spetsamossen Park. Our task for the site was to
create an untraditional urban playground. This space had previously been very
unsafe and more of a forgotten nature area. It has been neglected and underap-preciated.
The municipality would like to change the park to something that all
citizens can use and take pride in. Kragh & Berglund are the landscape architects
taking part in this project and have provided a proposed plan for the entire site.
However, our task was to look into this one specific part located south of the
skateboard area. We were supposed to create a suitable design considering the
context and requirements of the site. In this process questions and discussions
were formulated to provide a better understanding of the task at hand. This sum-mary
and reflection is a conclusion of our findings, of our questions and future
design possibilities.
INTRODUCTION
The proposed urban pathways for
the Spetsamossen park illustrated by
Kragh&Berglund.
SPETSAMOSSEN PROJECT

30
DISPONERINGSPLAN
Spetsamossen
Gräs Gräs
Amfi_ Sittplattformar
Lekplats_Gummibeläggning
Sten med vide
Cirkusplats
Parkering
Minigolfbana
Parkering
Parkering
Allmänning
Dagvattenbassäng
_ Vasskog
Elefantgräs
Bollbanor
Græs
Skärmar
Gräs
Sten med vide
Skärmar
Paviljong
Skatebane
Petangue
Sittsten
Sittsten
Sittsten
Lekplats
Avvattning_ Hoppstenar
Avvattning_Vasskog
Grillplats
Ankomst
Sittsten
Sittsten
Dagvattenbassäng
_Gräs
Gräs
Gräs
Gräs
Gräs
Energipil
Energipil
Gräs
Gräs
Gräs
Sand
Sand
Sand
Grus
Grus
Grus
Grus
Grus
Gräs
Gräs
Gräs
Sten med vide
Sten med vide
Sten med vide
Sten med vide
Gräs
Bladvass
Sten med siv
Sten med vide
Gräs
Tuvtåtel
Gräs
Projektorer
Projektorer
Projektorer
Projektorer
Projektorer
Skärmar
Skärmar
Gräs
Gräs
Gräs
Gräs
Gräs
Gräs
Paviljong
Paviljong
Paviljong
Paviljong
Gräs
Gräs
Gräs
Gräs
KRAGH&BERGLUND
PROPOSAL
General ideas
The proposal from Kragh & Berglund is to create an urban park that offers many
different activities. Spetsamossen should be a place for everyone; a park where
people can meet and integrate.
Kragh & Berglund main idea is that the park should have an urban feeling and
being a central meeting place. They state that a functioning urban space should
consist of three elements; permanent, changeable and passing elements. This
means the park should contain solid objects and interior that is permanent as
well as having a possibility to arrange temporary social events. But there is also a
wish for creating a place where spontaneous activities and meetings can occur.
The design proposal features a system of irregular concrete pathways that will
connect the different parts of the park with each other. The main idea with these
paths, besides getting an urban feeling, is to encourage movement in the park
and to divide the park into different zones, where every zone has its own activi-ties.
The range of different activity-zones provides an opportunity for every
group to have a place to go to. The main road will go through the park instead
from around it and this will bring more people to the park, even though they are
just passing through. Some other elements in the park will be storm-water basins
and a wetland character in the choice of plant material.
Thoughts about the proposal
The students had a lot of thoughts about the proposal of Kragh&Berglund and
formed different opinions about their design-ideas.
In general, the proposed design seems to be too determined, inflexible and not
open for spontaneous movement and play. Every area has a certain function.
Kragh & Berglund separated different activities from each other and thus there is
less possibility that different people can meet and interact spontaneously. Differ-ent
groups have their “own” area that likely causes a lack of integration.
In this context there were doubts about an appropriate choice of the activities’
locations (skatepark next to barbecue and pentague area).
When having a closer look at certain elements there
might be too less lighting to animate people to use
this area in the night as well.
The shape of the paths was something people had
contrarily opinions about. On the one hand, it creates
an urban character and provides an interesting design.
On the other hand, the elevated paths probably will
cause a problem of accessibility for elderly and disabled
persons. They might even prevent spontaneous move-ment
and animate the people to stay on the paths and
not to go into the single parts because they direct too
much. Furthermore, the elevation creates a feeling of
being on-stage and therefore being vulnerable. People
feel uncomfortable.
The uncommon pathways might even induce people
to avoid the park at all because shortcuts are not easy
to be done and people always think about the shortest
way.
How students worked
with the ideas
Resulting out of these thoughts, there have been dif-ferent
ways of dealing with the proposed design.
A lot of students tried to integrate Kragh & Ber-glund’s
ideas. To work with the paths, the dewater-ing
zone, certain materials and elements (stepping
stones) and vegetation can be taken as few ex-amples.
There have been also ideas of how to solve weak
points of the Kragh & Berglund’s design. Putting attrac-tive
elements into the “islands” might trigger people to step
from the paths and therefore to foster a more intense interac-tion
between people and this place.
There was also the idea of changing certain activities or to locate them at
a different place.
The proposal plan for Stetsamossen by Kragh & Ber-glund
Landscape architects.

31
impression at the same time as they
are flexible and versatile; making
the basic blocks for many different
and changing surroundnings.
WHAT IS ACTIVITY?
Sit-
Jump
Because we were supposed to make a proposal for an untraditional playground,
more like an activity park, everyone was struggling with the question: What is
activity? What does activity mean for different people and groups?
Activity is a broad concept and can mean both play and calm activities which
means that we can create activity for the body as well as for the mind. Even
though passive is the opposite word of active most of us were in common
thought that there is both an active activity and a passive activity. Is there any
way you can create both active and passive activation in the same place?
Climb
How to define activity is based on different factors like age and physical ability.
But overall does active activities mean more advanced physical activities like
playing and sports and the passive activity is calmer and includes observing and
sitting, listening, talking; evoking our senses and just being in the present and
being aware Illuminated of yourself in »here the and night
now«.. Social interaction is another activity,
and it is important that children are a part of the social life (Cele, 2006). It’s impor-tant
that there is room for passive activities like observing, because if we cannot
see people we might not go to a place, although the place offers attractions
(Gehl, 2006).Furthermore, if there is not room for basic activities - that are more
passive - the advanced activities do not proceed (Gehl, 2006).
The difference between user groups is that children are more physically active;
they become active through interaction environment and use their whole body
in their play. They run around, climb and searching. For kids play is a way of living
and through that they learn and sense the world (Kylin, 2003; Cele, 2006). Even
though they are mainly active, they also do more passive activities. Children need
calm places too where they can withdraw and be by themselves (Kylin, 2003;
Cele, 2006).
Adults and elderly do more passive activities like sitting and observing, talking.
But they can do more active activities if they wish and have the strength. Adults
play could be described more as an entertainment. Usually it is conceive as a
pleasure where the competition moment adds the adrenalin. Many of us com-mented
that it is difficult to know how adults see at activity and play since there
is hardly any literature about the subject.
Teenagers are both active and passive. They are looking for specific activities like
sports and skateboarding, as well as being out of reach of adults’ supervision and
“hang out”. They need both on-stage and off-stage places in their environment
(Lieberg, 1995).
holiday (Wikipedia, 2009-
and total freedom to
they also invites you to
least in your garden,
material I think that they
serve as the necessary
way to all the other
friends, rest for a while or
LeŌ : Placing of the hammocks
Below: How it can look
Activating your body and challenge yourself as
illustrated by Jessica MacDonald.
0 10 20 30 40m
An example of hammocks that invites you to lie in them
and relax but also to act more active by swinging in
them as illustrated by Maria Malmstöm.
VARIOUS SWINGS | Everybody can do it if the
DESIGN of the swing fits the user group.
And it´s social too.
STEP1: Irresistible SWINGING.
UNIFORM SWING CHARACTERS | Visible from a
distance, perhaps lending the shape from
the street lamps.

PAGE 5
Water
Grove
Square
Entrence
the reed
Jumping stones Play and hide in the grove
Water has many different qualities.
It fascintes, gives relaxion and en-courages
play.
Nature is an important element
in the urban environment. Here
children can play freely and cre-ate
their own little hide-aways.
In this, the concret boxes make
an exciting element.
Observing is an important passive activity as illustrated
by Magdalena Galle Rambe.
Social integration by cooperation illustrated by Emma
Ekdahl.
Playing for children is more than running around. It’s
also about calm play and learning about the world as
illustrated by Lavanya Asogamoorthy.

32
o hilly landscape is interesting and makes people curious
Michaela Lica
o colour affection
Mitchel
o grass root activity
Moore & Cosco
o safe and security can sometimes result in a loss of play opportunities
for children
Osberger
o colour affection
Skovbakke Villadsen, Kielgast
o strongly specialized spaces can become destination places for
networking in the neighbourhood and the city
Sullivan
o quotation: ” form follows function “
Villarreal, Edgar L.
o stormwater in an urban context
Worpole
o users need protection from each other
Illustration: Anna Stefkova
Walker
o public spaces are for everyone- question of accessibility

33
Activity and User groups
3HRSOHDQG(QYLURQPHQW/N
Assignment: An urban playground
Children Adults Older people Teengers
Main target group Secundary target group Secundary target group Secundary target group
Mainly active but
also passive activity
Mainly passive but also ac-tive
activity if wished.
Mainly passive but also ac-tive
activity if wished.
Both passive and active
activity, depending on the
time of the day and the
amount and type of people
in the area.
Johanna Verbaan

Who is the target group and what are their needs? The target group can be any
group of people divided by age, gender, social status, background, disability,
illness, and so on. Each of these target groups has their special needs such as
considering physical challenges, accommodation, and culture to name a few. Be-cause
of each target group’s special needs conflicts can occur when facing other
groups because of differing views and interests. For example, children like to play
and be noisy but adults desire peace and quiet.
Is it appropriate to integrate all user groups into one space or it is better to divide
the space? Focusing on a single target group means their individual needs are
met but when shared with other users it means that the needs of the whole are
met rather than the individual group. If one separates the target groups there is
the loss of interaction with other users. There are fewer challenges in the social
realm.
To bring together different users invites greater social interaction in which one af-ter
effect is influence. Thus, is it better to force different users to interact through
creative activity? If so, then how to bring about multiple target groups into one
space? This might mean we need to generalize the interests of each user or vice
versa and include many activities and alternatives so that all interests are met. It
might mean using one user group to invite or force other user groups to partici-pate
within the space. For example, to create a place for children might influence
the space used by parents and grandparents.
We should also keep in mind that people attract other people to come to a space.
Maybe, understanding that adults need play as well can bring together various
user groups. How to incorporate challenges that satisfies all target groups? Many
in their review of Spetsamossen have explained that maybe nature is the answer.
Nature provides interest for all audiences and provides play through the imagina-tion.
TARGET GROUPS
Illustration by Johanna Verbaan.

34
To be able to choose where you would like to go and who you want to
meet is important for the personal feeling of freedom (Cele, Gifford).
The viewpoints are important for the fascination keep to the interest
of what is happening around the corner but struggling with the fear of
violence in the park the balance between open and closed have to be
carefully considered. The main character is according to Kragh and
Berglund open and fl at.
The pavilion is considered to be a roof, for sun or rain protection.
The benches are partly movable, tracks in the concrete fl oor makes it
possible to furniture the scene. To be able to change a place gives this
area a dynamic design, and its satisfying to be able to change your
environment (Mårtensson,Kylin). I have a vision where I see different
age groups as Lieberg or Gifford says hanging out here and socialize.
URBANITY











The assignment was to create an active place for everybody in an urban context
for the park of Spetsamossen. Therefore, every student asked about the term of
urbanity.
There have been thoughts about the use of certain materials (concrete, asphalt,
glass, plastic), and shapes (sharp, strict, determined) but also colours (grey or
more intensive ones like blue, red, green, yellow). But it has to be mentioned that
some students really defined urbanity in this way and some asked about if this is
meant to be urban.
For a lot of students urbanity goes together with a high density of (mixed)
people who meet and interact with each other. Furthermore, urbanity might
be connected with a lot of activities that happen in one place, different activi-ties






     
grass
that
them
Too
impression
of




according to activities in natural environments (skateboarding, etc) and a
lot of movement and happenings in general. KraghBerglund proposed special
lighting for this park of Spetsamossen. The huge lamps initiated thoughts about
lighting and urbanity. When considering the sun as the natural light, (such) artifi-cial
lights create an urban feeling anyway.
Some groups thought about the need of an urban park in this place of Spet-samossen,
if it suitable at all. On the one hand, there was the municipality’s
demand for an urban park and the central location that might make an urban
character eligible. But on the other hand, there were proposals that struggled
with an urban character being aware of Mårtensson’s (2009) statement of a
natural environment that is more suitable for children’s play. Some even negated
urbanity for this place.
It was often the case that urbanity has been put in relation to natural/rural envi-ronment.
Some were thinking about if urban character excludes nature or how it is pos-sible
to integrate nature in an urban way. Maybe just to shape vegetation in a
sharp or geometric form, or to use uncommon species for the certain location
instead of planting common species in more layers, can be one way of how
to bring the two terms together. Urban seems to be more determined, more
shaped, more defined and natural more complex, unordered, undirected, more
open for creativity and fantasy. Thus, there was this notion that it has been
difficult to decide how to integrate urbanity when it is more determined, less
flexible and seems to have a certain function. When designing an active place
for everybody the environment has to be multifunctional and open for different
kinds of fantasy and creativity.
There has been also the opinion that urbanity excludes nature, that urbanity
means less greenery or that nature does not fit into an urban context at all.
As one can see, there are different opinions about urbanity and that it can mean
different things to different people. One group stated the difficulty to handle this
as planners because everybody has his/her own image of urbanity and one never
knows if it meets other opinions and if this urban character is recognizable and
appreciated by others at all.
When looking at the single proposals it becomes obvious that the discussion
about urbanity and the results of it lead to design-ideas.
The use of defined shapes and certain materials like Magdalena’s concrete boxes,
the eye-catching-effect of intensive colours (Johanna’s cubes or Merle’s red rub-ber
objects) the importance of social interaction (Jenny’s dancefloor, Cordula’s
ferries) as illustrated by images.

Urban shapes and materials as illustrated by Eva-Britt
Karlsson.
The more people
you are, the fast-er
it goes and the
sounds will become
a melody.


The dynamic lighting and colors of the dance floor fosters social
integration as illustrated by Jenny Åkesson.
Ferries fostering cooperation in the design by Cordula
Gielen.
Movable, multifunctional, plastic cubes
in bright colors evoke creativity illus-trated
by Johanna Bilfeldt.
CUBS
The cubs are made by plastic and should be hollow heavy. The cubs will be placed where the pathways is that the cubs can be moved around and people can kind of purpose. I was also thinking that the cubs children to experience their body, use their balance, see the world from different angles. For example children or jumping around and playing don’t touch the ground. on the cubs, watching the children, the vegetation way also can be seen as artwork that have different place will change and it will be interesting do go happened, what have other people create. Some of the ground and on the night there will be light inside I will also put some of the stucked cubs into the vegetation. the feeling that the rised pathways give the feeling that to go on them and and not in the vegetation. Through things into the vegetation I think that people will feel in the vegetation. The cubs can then be used as lie down watching the sky, reading a book or study around. They can also be meeting places for teenagers

35
Multifunctional use
Is it better to have a flexible or more specified design? A place and elements
that can be used in many different ways can evoke creativity and fantasy. There
may also be a risk of, when using very defined functions or elements, that it may
distract some user groups negatively since they feel that it’s not made for them.
Consequently, a more open-ended design can therefore be an advantage. When
being able to transform the place yourself, perhaps there is a better possibility to
generate place attachment because you have the opportunity to make the place
whatever you want it to be.
On the other hand, a few people raised the question that very open-ended de-sign
could make people uncertain about how to behave. Perhaps more defined
elements, where it’s clear what the purpose of the function is, might make it
easier for some people. For example, adults might not be as used to as children in
interacting deeply with their natural environment.
Attracting people and plan for
social interaction
Seeing, meeting and talking to other people is not only an important part of
being activated – people are also very attracted by other people and especially
when other people are active. A good way of creating activity is therefore to plan
for a good meeting place. This might include choosing a good setting close to a
main path and providing good places for seating. Another way is to design some-thing
spectacular, fascinating or irresistable. This, in itself, will attract people and
make them want to explore the place. Another way is to plan for activities that
fosters cooperation, and which gives people a reason to interact.
Stone islands
1) Transparant surfaces mixed mysterious expression. Different ways which gives the place 2) Natural stones have a very stones are unique. Natural stones which makes them very pleasant Stimulate different senses
A design that stimulates different senses has many advantages. It creates a closer
and deeper interaction with the environment. It means that there are more di-mensions
to explore. It can also be a very successfull method when dealing with a
variety of user-groups because it has something to give people regardless of dis-ability
or limitations. It can be choosing different materials or materials that have
many different qualities, like fruit-trees, soft leaves, pouring water and rounded
stones. Plants and vegetation is very useful because it stimulates so many differ-ent
senses and also provide diverse qualities throughout the year.
Create variation and possibilities
A design which has variation in rooms and possible experiences can serve differ-ent
Some stone islands only consist of one
material other of different materials,
shapes and sizes.
uses and user-groups at the same time. It is also likely that a variated place
Some of the stone islands are mixed up
with vegetation that can work as screens
that divides the place into smaller rooms.
will hold people’s interest for a longer time. It also evokes a sense of freedom
when one can choose where to go. People need both on-stage and off-stage
places which a design should take into account (Lieberg).
Heights and levels
When the ground plane varies, this can motivate people to activate too. Climbing
hills, walls, steps or benches provide different challenges and healthy physical
movement and body-awareness. Hills are a well-used element in playgrounds for
children, but can be an enjoyment for adults as well.
Benches
Sitting is a very important activity, perhaps especially for adults and elderly. It
gives possibilities to rest, to observe other people, to read a book or talk to a
friend. Strategically placed benches is therefore an important part of the design
and should provide different possibilities in privacy, sun/shade and on-stage/
off-stage. Light, movable chairs has even more possibilities for people to choose
the perfect spot and to interact with each other. Seating is very important in the
public square as it one of the requirements suggested by William Whyte.
DESIGN FOR ACTIVITY
This sketch could illustrate my visioned first characteristic
area. It is a rather open area next to the water collecting
pond. There is a combination with rubber balls and stones.
The surface here is sand. I found it very important because
a lot of people make this relation to beach, maybe vacation,
relation. So this could work for a adult as a restorative area,
sunny spot or make a will to clime? As in the research (lec-ture
with P.Grahn) with the children the sand is very impor-tant
play tool. So here it isn’t putted in a box, it allows to act
everywhere.
The wooden pathway leads to a hidden place on the water.
A lot of research has shown that water is a very pleasing
element in the landscape. The wooden pathway allows to
access to this spot fort every one, even elderly people.
larger are on the way, where
could rest, meet other person or
observe what is happening.
On the left side the wood sticks
thicket creates see trough
screen.
Stones next to the wooden
pathway allows to enter differ-ent
room. The red rubber form
catches the eye from the dis-tance.
The use of it depends
on the user groups. It could be
a meeting place, sitting area or
used as a slide or climbing tool.
Entry to a water
platform. Bend-ing
pathway
makes wonder
what is behinf the
corner.
is also
have de-cided
their loca-tion
shapes
accordance
different kinds
sitting, hid-ing.
different
that , but I
different
be the
object
Red rubber spheres, undefined objects for
creative play and imagination as illustrated
by Merle Talvieste.
Ground
The concret boxes give an urban
impression at the same time as they
are flexible and versatile; making
the basic blocks for many different
and changing surroundnings.
Sit-
Jump
Grove
Entrence
Hide-and-seek Temporary activities like exhibitions
or letting the children paint
Climb
Illuminated in the night
0 10 20 30 40m
Nature is an important element
in the urban environment. Here
children can play freely and cre-ate
their own little hide-aways.
In this, the concret boxes make
an exciting element.
Jumping stones Play and hide in the grove
FORM, MATERIALS ACTIVITIES
The main thoughts for the levels are that they should function like lanes with
the same form expression as the ordinary paths in the park, but with dif-ferent
heights, widths, materials and uses/activities. The edgy form of the
ordinary paths is not just taken in the horizontal plane but also in the verti-cal
plane. That is, the lanes height changes in an edgy way, like it is made of
ramps (see view images). The direction of the lanes is irregular and made
so that the end of them cannot be seen. The beneϐits from this are that the
attention is directed on the surrounding environment, the atmosphere gets
a stronger spatial feeling and the lanes can be experienced as longer than
they really are. Although the lanes only run in one direction it is possible to
go between them by smaller paths perpendicular to the lanes. These small
paths could either be done in less urban materials (for example in sand, bark
or wood chips) or be created by the use of the visitors themselves. In some
places these paths could start by a narrow ϐlight of stairs over a larger height
difference and in some on places where the height difference is none or very
small.
To make people start spending time in and experiencing the level landscape
there are some usual activities integrated in the lanes. In one glade next to
the water there is a grill area and in another glade there is a pentangue/
boule area. From the arrival crossing in the very south part to the skate park
there is also a lane for the skaters. Here youths can skate and practice some
of their tricks on edges made in the ground and on the corners of the lane
walls (corners have to be strengthened by metal). In this lane the lane walls
could also be made extra high and function as “legal walls” for grafϐiti.
Each lane has a special character that either is the same throughout the
whole lane or changes along the way. Some of them consists of water, some
of concrete paths and some of vegetation. The lanes of concrete paths are
in a darker color than the main paths and with a rougher surface treat-ment,
of the vegetation does however differ between children and older In some places the vegetation lanes therefore have a very natural look, many plant layers and different kinds of species. This kind of vegetation perfect for children’s play and it encourages them to build dens as ϐind good places that correspond to their size and the environment with the material that they need in their construction (Kylin Cele S., 2006). In other places the vegetation is more cultivated and since adults often prefer more tidy looking vegetation. The most important
thing for the plants is though, as mentioned earlier, that they have variations in qualities throughout the year as possible. The vegetation to the pentangue/boule area and the main paths should be lower more open due to security (mostly experienced security). Next to boule plants should also be used that have ϐlowers during as well as spring and autumn.
Textures
1 2
Stones can also work the important meaning like chairs and benches like stairs, fountains these seating as abandoned benches, and of which makes them stand out from the ordinary system of paths. All
of the lane walls (the sides that take up the height differences) are made of
the same light (white) concrete as in the main paths. The vegetation in the
lanes does in some of them only consist of cut grass while in other of trees,
shrubs and/or perennials. As the form of the lanes has an urban character
the vegetation can be more natural without losing the urban feel. Although
more urban vegetation (as trees in hard surfaces etc.) can be very nice, much
research establishes a general preference of more natural vegetation (Kap-lan
Stone islands
Stones are other objects that can be used to experi-ment
Kaplan, 1998; Ottosson Ottosson, 2006). The amount of naturalness
with different height levels and also be used by
children in their play by climbing up and down the
VWRQHVRUOLQJGRZQRU¿QGVSRWVEHWZHHQWKHVWRQHV
where they make their own “private” places.
I’ve thought of creating stone islands and by using
Modules that can be put together to create
“changing chairs” as illustrated by Michael
Schmölz.
Versatile concrete boxes as illustrated by Magdalena
Galle Rambe.
Various objects to stimulate the senses illustrated by
Erica Jonasson.
Elevation changes providing interest and activation for
the users illustrated by Carina Daubner.
A variation in ground materials, like wood, turf, gravel,
sand and rubber illustrated by Lavanya Asogamoorthy.

36
Vegetation and nature
When it comes to childrens’ play, nature and vegetation has proved to be very
stimulating and provide many possibilites. Plants provide places to hide, to
observe other people, it can be manipulated into paths and dens and it activa-tes
many different senses. Vegetation can have restorative effects and activate
people, even if it’s not be as physically engaging as it may be for children. To
include plants in the design is therefore very useful in most places, but perhaps
even more so where you want people to activate.
Water
Water is a very useful element offering many different experiences and activities
if added to a place. It can be a very calming material and at the same time be
a good element to transform and use in activities; touching it, making it move,
hearing it, making things float or sink to the bottom. Combined with bridges or
stepping stones over the water, it can add a challenge to the ordinary activity of
walking.
Dens
Dens are an important part of childrens’ play, making them create a world of
their own, feel freedom and observe other people while hiding. A place where
there is possibility to create dens will be a good place for children, and the use of
vegetation is especially good for this purpose. Could there be something similar
to dens which adults may want to use?

Stepping stones in water brings
excitement and closeness to water as
Jessica MacDonald.
PA G E 4

37
For the different design proposals the students used various kind of literature
that has also been discussed in the literature seminars.
To mention only some, Cele (2006), Mårtensson (2009), Kylin (2003), Boldemann
et al.(2006) provided a broad spectrum of what planners have to consider when
designing environments for children. It was very helpful to work with it. The
discussion of a natural environment being more suitable for people’s well-beings
and children’s play than an urban environment often occurred and was mainly
fed by the various authors’ statements.
The place in the Spetsamossen Park was supposed to be an active place for
everybody. Therefore, it was interesting to think about activity for adults and
elderly as well. Unfortunately, there was literature missing that gave us a deeper
insight in what kind of features and elements can activate them.
When having a look at the single proposals, there are other works that have been
helpful to refer to (not an entire list):
Jan Gehl
Robert Gifford
Mats Lieberg
References
Kragh and Berglund Landskapsarkitekter A/S Köpenhamn. (2007) Program for
Spetsamossen Växjö.
Boldeman, C. et al. (2006). Impact of preschool environment upon children’s
physical activity and sun expo¬sure. Prev Med 42(4), pp 301-308.
Cele, S., (2006). Communicating Place. Methods for Understanding Children’s
Experience of Place. Doct Diss, Stockholm University pp 9-80.
Gehl, J. (2006). Life between buildings: using public space. 6.
ed. København: The Danish Architectural Press.
Gifford, R. (1987). Environmental Psychology, principles and practice. Allyn and
Bacon, Boston. Chapter 10: “Community environmental psychology”
Kylin, M. (2003). Children’s Dens. Children, Youth and Environment. 13(1), Spring
2003.
Lieberg, M (1995) Teenagers and Public Space, Communication Research, vol 22,
no 6, 1995, pp. 720-744
Mårtsensson, F., (2009). Lectures “Place attachment – from childhood to adult-hood”
and “Health promoting outdoor settings”, 2009-02-16, Alnarp.
LITERATURE

38
People and Environment
ASSIGNMENT SOMMARSOL
Emma Ekdahl, Soa Fribyter, Erika Jonasson, Merle Talviste and Johanna Verbaan

2
39
How does the design process aect the nal result of a design?
What are the possible approaches of a design process and what are
the denitions and representative features of these? We have gone
through the projects of Sommarsol, trying to analyze and spot
possible categories and types of approaches for this task. Finally we
ended up with four categories which we interpreted as dierent
ways of dealing with the rather intricate and complex assignment
of Sommarsol.
This analyze is one way of reecting of what has been done in the
Sommarsol project and such an analyze could create an awareness
of possible ways of approaching this type of project in the future.
The four categories
Structural/general focus (12%)
Conceptual view (40%)
Detailed focus (28%)
Focusing on Details (20%)
Introduction

3
40
The approach of a structural/general focus in a design process
seems to aims towards an overall analyze, to nd arguments and
guidelines further on in the design process. This point of view
emphasises the importance of connecting desired environment to
the most preferable location through analyze and structuring. By
analyzing the basic conditions, considering the wants and needs of
the users, looking into desired features and elements in the envi-ronment,
the designer aims to dene zones to clarify what has to
be done in this dierent zones to create a design which applies to
the whole structure. The structural/general focus requires a visual
material which shows the site in a greater context with its sur-roundings.
Representative features: .Maps with colour schemes connected to
denitions are the most common representative features.
Most frequently used literature within this category
Bell, P.A., Greene, T.C., Fischer, J.F. Baum, A. (2001) Public space and territoriality.
pp251-292. Environmental Psychology. Thomson Wadsworth, Belmont CA.
Bengtsson, A Carlsson,C. (2006). Outdoor Environments at Three Nursing
Homes: Focus Group Interviews with Sta. Journal of Housing for the Elderly,
19(3), 49-69
Ottosson, J. (2007). The Importance of Nature in Coping: Creating increased un-derstanding
of the importance of pure experiences of nature to human health.
SLU Reproenheten, Alnarp.
Ulrich, Roger S; (1999). Eects of Gardens on Health Outcomes: Theory and Re-search.
In: red, Cooper Marcus, Clare., Barnes, Marni. Healing Gardens, Therapeu-tic
Benets and Design Recommendations. pp235-322. New York.
Stigsdotter, U.and Grahn, P. (2002) What makes a garden a healing garden. Jour-nal
of Therapeutic Horticulture, AHTA, Volume XIII
Structural/General focus
Illustrations:
Emma Ekdahl and Carina Daubner
People with neurological diseases further require an environment that supports
activities for learning basic functions (Bengtsson, 2006). By connecting possible outdoor
rehab activities and place those close to the existing indoor rehab activities, the rehab
garden is probably more likely to be used by staff as a complement to the different
indoor programs.
Finally, in making sure that this new healing garden at
Sommarsol will be used as both a therapeutic garden
containing physical training as well as a restorative garden
for passive enjoyment, I believe it should be created where
the major existing lawns are today. This is a much larger
area with greater possibilities to attend to all those
different characters needed in a healing garden.
Preferably it could be divided into two smaller gardens; one
inner and one outer related to the pool area in between.
The inner garden could hold a more therapeutic approach,
focusing on activities, security and social meetings. The
outer garden could then have a more restorative approach
with possibilities of finding a private secluded place,
including paths for walking that could be connected to the
way to the beautiful surroundings; the sea and the forest.
Placing the garden here, it would also be visible for all
visitors and could strengthen the identity for Sommarsol. If
there were more time for this assignment, now the process
of planning the gardens in detail could begin together with
the staff working at the facility...
.
The outer restorative
and private garden
The inner therapeutic
and social garden
The pool area

People and Environment 2009 - Landscape Architecture Programme

People and Environment 2009 - Landscape Architecture Programme

Recommended

Recommended

More Related Content

Similar to People and Environment 2009 - Landscape Architecture Programme

Similar to People and Environment 2009 - Landscape Architecture Programme (20)

More from School Vegetable Gardening - Victory Gardens

More from School Vegetable Gardening - Victory Gardens (20)

Recently uploaded

Recently uploaded (20)

People and Environment 2009 - Landscape Architecture Programme