Bergesfjellet

Siggjo

Siggjo is a cone-shaped, volcano-like mountaintop in the part of Hordaland where one finds the best preserved volcanic rocks. The rock types originate from one or several volcanoes that spewed out glowing lava and ash. But, the shape of the mountain, as it appears today, formed later and by completely different forces.

Urangsvågen-Rubbestadneset

In 1868 the first stone workers came to Rubbestadneset to take out the granite for the Skoltegrunns Pier, predecessor of the Skoltegrunns wharf in Bergen. Later granite was also taken out from the area, around Innværs Fjord and UransvågenN. The activity probably peaked around 1900, with over 40 men at work. 15 years later, it was finished.

Etnedeltaet

During the latter half of the 1900s the big natural river deltas on Westland disappeared. Until the 1980s there was still a small, but significant remnant of the original river delta from the Etneelva river, but today most of this, too, is industrial land.

Rimbareid- Vestbøstad

At nesting time you cannot avoid hearing the calls of the curlew or the snipe along the narrow road through the cultural landscape from Rimbareid to Vestbøstad. And on late summer evenings, the intense song of the sedge warbler rings out over the two characteristic tarns in the area.

Iglatjødno

Tveitavatnet

It is difficult to imagine that a plant can grow at the same place for many thousands of years: Climate and local environment change. Different species grow up and die out. Nonetheless, some plants get established, but don't manage to spread into new areas, because the climate is at the edge of what they can tolerate. Great fen-sedge is just such a plant.

Ådlandsvatnet

Plants that grow in and beside water have to be prepared for marked and rapid changes in their living conditions. They must be able to tolerate living under water without drowning, and getting totally dried out without whithering. Many swamp plants are well adapted to these kinds of changes.

In Memory of Fartein Valen

“Fartein Valen is the key figure within newer Norwegian music. Not by way of being more popular than other younger composers, but because he aims at things higher, which he is fully confident of being able to reach since he commands all techniques. But there is a price to pay for reaching above the ordinary, and there is a price to pay for demanding more than the ordinary from the listeners. This is something Valen has experienced”.

Flakkavågen