This research analyses how aesthetic and ecological evaluations of the landscape studied overlap and interrelate in the attitudes of local people and natural resource professionals. The analytical framework adopted, built on Canter's Theory of Place, explores the people-place relationship by examining the interaction of three components: physical attributes, conceptions and activities. The findings show that the two groups differed in how they ascribed meaning to landscape and how they interpreted its ecological and aesthetic qualities. Both groups expected managed landscape to appear well cared for and to some degree understood this appearance as a sign of good ecological management. However, while they shared a positive perception of some signs of care, they differed in their evaluation of other characteristics. Several implications for landscape management, especially in the detected areas of conflict and synergy, are identified.
Residents' concerns about the impact of high-voltage power-lines often lead to conflicts in urban, suburban and rural areas, affecting the acceptance of projects and leading to additional implementation costs. This paper presents analysis which is intended to serve as a useful tool to aid decision-makers in managing these concerns, while taking the economic consequences into account. It was applied in the selection of an alternative to rerouting and/or undergrounding two 220 kV power-lines in the urban fringe. The influence of the power-lines' visual significance on perceived health and safety risks was estimated using visual factors and expert assessment. The estimated effect of visual significance was then integrated in economic analysis that linked the initial investment effort, its effectiveness and potential reinvestment costs. This analysis unblocked the process of selecting routing alternatives, informing the parties involved about the trade-offs of each option. Introducing the above-mentioned variables in the decision-making process helped make decisions more socially sensitive.
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