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This book deals with the legacy of Norway's garden cities. It tracks the origins of the Norwegian garden city movement and discusses the current status of built examples. Through a detailed study of one example, Sinsen Garden City in Oslo, the book links the garden city heritage to a number of ongoing scholarly debates on topics like densification, sustainability, socio-economic conditions, life quality and neighborhood satisfaction. While the garden city can be criticized for its association with sprawl and its failure to deliver affordable housing for all, it has gained new momentum as a green, resilient resource in light of theoretical platforms like garden ecology and circular heritage. A key argument in the book is that the garden city is a pioneering example of a serious commitment to the environmental cause through architecture and planning. It is a reminder of the importance of environmental awareness today, not least because it accentuates the climate crisis through changing conditions for gardening in the summer and skiing in the winter. A garden city may have its faults and inadequacies, especially in regard to housing prices and social exclusion, but the overall conclusion is that it represents a valuable legacy with endurable qualities that cities will be needing in the future too.

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The volume collects the contributions of the 'study day’ held on June 16, 2010 at the University of Florence on Abbeys and medieval landscapes in Tuscany, that is, on the forms of the territory that have structured the ways of life in the countryside of our region for centuries. Today an infatuation is observed for that kind of landscape, which is confirmed by a lack of interest for its conservation or for transformations respectful of the rules that produced it. It is therefore appropriate to submit to the historic method a synthetic view of the medieval landscape, from the ancient premises to the economic reasons that led to the monastic and feudal forms, up to the appearance of a new structure appreciated for its useful beauty, in a persistent substratum of mysterious storytelling. Tuscany allows multiple evidence of what actually survives of the pervasive order established in the Middle Ages also for its exemplary literary and iconographic representations, both contemporary and of the medieval times.

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Pour la première fois, Martin de la Soudière, ethnologue du « dehors » et du temps qu'il fait, se livre à l'introspection. Cet essai autobiographique sur le paysage est un retour aux origines, une entrée sur le terrain pour l'ethnologue féru de géographie…Véritable « entrée en paysage » qui a pour cadre la montagne, celle des Pyrénées en particulier.Sur le mode du récit, Martin de la Soudière dialogue avec ses pères et ses carnets de travail. Son corpus hors du commun rassemble des écrivains, géographes, paysagistes, peintres, botanistes, mais aussi grimpeurs, militaires, cartographes, taupiers, bergers et autres promeneurs. Tous écrivent leur paysage. Franz Schrader, Élisée Reclus ou Vidal de La Blache habitent l'imaginaire de l'auteur, au même titre que les manuels d'escalades du XIXe siècle ou les livres de géographie du jeune élève des années 1950/1960. Entrer en Pyrénées s'opère aussi à différentes échelles, la vue statique et graphique avec son cadre et sa lumière est indissociable de l'expérience de l'escalade, de la promenade en famille ou de l'expédition aventurière entre frères et soeurs. Comme Martin de la Soudière le dit, on entre en paysage avec le pied et avec la main (on empoigne la matière de la roche pour grimper aux sommets). Mais l'écriture du paysage, en plein vent et en cabinet, est aussi une affaire de rituels. L'auteur scrute les gestes de ses poètes de prédilection : Jean-Loup Trassard arpentant son bocage, Julien Gracq au volant de sa deux-chevaux sur les rives de la Loire, André Dhôtel se perdant dans la forêt des Ardennes, jusqu'à Fernando Pessoa le promeneur immobile de Lisbonne. À travers ses « devanciers » comme il les appelle, l'auteur revendique une intimité du paysage féconde pour la réflexion et pour l'imaginaire.Dans cet ouvrage, Martin de la Soudière « franchit » la montagne en quelque sorte : inaugurant son récit par le souvenir de l'arrivée au seuil des Pyrénées quand il était enfant, le père de famille proclamant au volant de sa 15 chevaux « Et voici nos montagnes », il le termine de l'autre côté du sommet, en Aragon, sur un dialogue avec son frère décédé Vincent, dialogue aux accents d'énigmes sur une vue panoramique.Le récit est accompagné de photos de famille, d'extraits des carnets de Martin, carnets de son enfance jusqu'à aujourd'hui. Pour les amateurs de montagne et randonneurs littéraires, lecteurs d'ethnologie sensible.

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"L'agricoltura è la prima delle arti" was born from a project, from the conscious modification of a context, using knowledge which had been shared and accumulated over time. Contemporary agriculture, the daughter of the 'green revolution', of Fordism and its crisis, turned its back on the knowledge that agriculture was able to produce not only food, but also environmental protection and aesthetic quality. The texts collected in this volume are intended to encourage reflections and practices in the various areas of territory and landscape planning and design - on the university, political, technical, professional and administrative levels - which can lead the world of agriculture to regain a central role in outlining new relationships between inhabitants and territory. In these texts, the agricultural landscape represents an opportunity to produce a context where it is pleasant to live, with an approach far from the aesthetical drift of a 'picturesque' and imaginary misunderstanding; an approach which is however careful towards a contextual aesthetic, arising within and from the rural world.

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