| Abstract: | In this paper, landscape is defined as any part of the Earth’s surface in which various aspects, such as terrestrial, aquatic, natural and cultural interact with differing dominance. Within landscapes, energy and material flows over time are major driving forces of landscape dynamics. Such a comprehensive approach to landscape should also be applied in landscape planning, however this is rarely the case in Switzerland. The concept of landscape aesthetics in particular is neglected, therefore, four theses are formulated and discussed in this paper.The tourist industry promotes Switzerland with pictures showing beautiful scenery. Some of the landscape elements shown, e.g. ecclesiastical buildings and historical profane buildings, are widely recognised for their aesthetic values, and scientifically examined by art historians and other disciplines. Strangely enough, this is not the case for cultural landscapes, despite the fact that they also reflect the history of human culture. This paradox evolves from the dichotomy between natural sciences and humanities. There is a lack of multi-, inter-, and trans-disciplinary approaches to studying cultural landscapes. The long-term genesis of the elements of the cultural landscape is illustrated by the typical structure of traditional cultural landscapes, i.e. “the hides of land” (i.e. strip-shaped forest clearings) (Hufenfluren).Between 1750 and 1850, many painters depicted the beauty of the traditional cultural landscape. Their paintings are acknowledged as a part of culture and treated accordingly, but this is not the case for the remains of the cultural landscape they painted. Comparing maps from different points in time reveal the loss of elements of cultural landscapes. Results show how traditional systems of land use led to highly structured landscapes, whereas today’s land-use levels out the scenery. Lack of public support significantly reduces the success of the legal tools to limit this process. |
