The Maritime Spatial Planning (MSP) Directive was ratified (2014/89/EU) along the Strategy of the European Union (EU) on the Blue Economy to contribute to the effective management of maritime activities and resources and incorporate the principal elements of Integrated Coastal Zone Management (ICZM) (2002/413/EC) into planning at the land-sea interface. There is a need to develop the ICZM approach throughout Europe to realise the potential for both socio-economic and environmental targets set by the EU and national legislations. In this study, we co-developed different approaches for land-sea interactions in four case areas in Estonia and Finland based on the defined characteristics and key interests derived from local or regional challenges by integrating spatial data on human activities and ecology. Furthermore, four ICZM drafts were co-evaluated by stakeholders and the public using online map-based assessment tools (public participatory GIS). The ICZM approaches of the Estonian cases ranged from the diversification of land use to the enhancement of community-based entrepreneurship. The Finnish cases aimed to define the trends for sustainable marine and coastal tourism and introduce the ecosystem service concept in land use planning. During the project activities, we found that increased communication and exchange of local and regional views and values on the prevailing land-sea interactions were important for the entire process. Thereafter, the ICZM plans were applied to the MSP processes nationally, and they support the sustainable development of coastal areas in Estonia and Finland.

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This article continues the discussion on creativity in human geographical research. Drawing on Alain Badiou's writing on “two theatres”, I argue that the theatre–research cooperation as a landscape in motion can bring about creative landscapes. In this article, I discuss a collaborative project of participatory research and theatre that tested drama as a tool for urban planning. In the beginning of the project, theatre appears as a tool of inclusive exclusive politics: the research aims to deal with inter‐cultural relations in a hypothetical planning situation and, further, on theatre's potential to motivate those who usually do not participate in planning. Thus, this initial setting is the first theatre in which the elements of a constellation are seen as static. However, during the process, there were moments of doubt, dealing with the representational politics of multiculturalism. Contrary to Badiou's first theatre, in the second theatre the elements are vivid and capable of breaking the state of a situation. This rupture occurs in the second theatre w hen the spectators feel uncomfortable in their seats, or here when the participatory researcher feel their aims generate an inconvenience. It is in the event that theatre changes from being of the state to saying something about the state. This change represents a rupture in thinking, and brings forth the creative landscape of the theatre–research cooperation.

This article brings glass architecture and geophilosophy into a relationship with one another with the further aim of studying surface aesthetics of urban photography. First I present a selected history of glass architecture and its previous methodological applications. Then, I focus on the characteristics of glass architecture—its permeability/reflectivity and capacity to act with light—in relation to the geophilosophies of Nietzsche and Deleuze. I aim to formulate surface aesthetics through which I contemplate the materialities and the fabulative landscape of urban photography. Urban photography is valued for its characteristic of combining the practices of art and research. In this article, urban photography is also understood as an affectual encounter. However, for urban photography to be seen as a creative medium, it has to be acknowledged as not merely making aesthetic representations of the world but also opening a landscape in order to see it differently and ask new questions.

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