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Food embodies our most intimate relationship with nature. We ingest it to survive. Without it, perish. Through time humans have physically distanced the places of food cultivation from human inhabitation. In recent decades green planning initiatives embraced urban agriculture as a critical element of sustainable communities. However, current approaches to bring food cultivation into cities require labor, capital, and physical resources that are often unavailable in sufficient quantity, quality, or duration for provisioning sites to be considered sustainable. Within each pillar of sustainability - economy, ecology, and equity - barriers exist. Rooted in indigenous land stewardship and food provisioning practices, permaculture (permanent agriculture) offers strategies and tactics to overcome those barriers. Despite mounting evidence that permaculture will result in more sustainable food systems, adoption is limited. Social aesthetics is the term employed by cultural theorists to describe how institutions, social groups, and collective projects codify their values and beliefs. The diffusion of innovation theory suggests that ideas and information from a highly specialized world require translation into a language the rest of society understands to reach widespread adoption. This thesis translates permaculture to contribute to a sustainable social aesthetic for food provisioning and change American food culture. The translation occurs on iconic public land - 'America's front yard'. In 1901 the National Mall was envisaged to serve as a stage on which democratic values are expressed and became the prototype for America's City Beautiful movement. Today, its carpet of lawn framed by American Elm trees epitomizes the economic, ecological, and equity challenges of monoculture landscapes. This project aims to express democratic values through polyculture. It invites every citizen to participate in acts of justice rather than submit to illusions of order and control. From site selection through design, spatial and temporal scale is critical. This thesis explores food's past to understand our present and imagine our future. The design creates an immersive food experience that equips visitors with the knowledge and resources to apply permaculture at the homestead, neighborhood, city, and regional scales. The remade front yard becomes the symbol of a country where places of food cultivation and human inhabitation are one and the same. / Master of Landscape Architecture / Food embodies our most intimate relationship with nature. We ingest it to survive. Without it, perish. Through time humans have slowly increased the distance between where we grow our food (the country) and where we live (the city). In the process, we have built a system where millions of people either suffer from diet-related illnesses or experience hunger on a regular basis. We have damaged our soils and introduced chemicals that have contaminated our waters and polluted our air. We have built a system that both contributes to and is threatened by climate change. Our relationship with nature has become toxic. For decades there have been movements to change, transform, or replace the food system. In cities across the country, these movements appear as organic food in grocery stores, community gardens, urban farms, farmers' markets, farm-to-table restaurants, and more recently, food forests. The problem is each requires labor, capital, and physical resources that are often unavailable in sufficient quantity, quality, or duration for them to be sustainable, let alone scalable. What if there is another way to grow food - a way that heals the soil, decontaminates water, supports biodiversity, and provides enough for everyone? Rooted in indigenous land stewardship and food provisioning practices, permaculture (permanent agriculture) offers strategies and tactics to reverse the negative impacts of the existing food system. Despite mounting evidence that permaculture will result in more sustainable food systems, adoption is limited. For it to become mainstream, someone has to translate it into a language society understands. I try to do that through this thesis. My translation occurs on iconic public land - 'America's front yard'. In 1901 the National Mall was imagined to serve as a stage on which democratic values are expressed and became the prototype for America's City Beautiful movement. Today, its carpet of lawn framed by American Elm trees epitomizes the economic, ecological, and equity challenges of monoculture landscapes. This project aims to express democratic values through polyculture. This thesis explores food's past to understand our present and imagine our future. The design creates an immersive food experience that equips visitors with the knowledge and resources to apply permaculture at the homestead, neighborhood, city, and regional scales. The remade front yard becomes the symbol of a country where places of food cultivation and human inhabitation are one and the same.

<p>This thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”).</p><p>Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson.</p><p>Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist.</p><p>Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society.</p><p>Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press.</p><p>Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.</p>

This thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”). Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson. Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist. Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society. Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press. Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.