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In the history of 'villages' in Shenzhen, rich traditional cultural resources that are directly related to the folk life in urban corporate community still exist today, synchronously agricultural economy of urban corporate community is transformed into joint-stock economy, and natural villages are transformed into 'heterogeneous' space of city. The most significant fact in the modern social transition is that modern societies have surpassed traditional societies, and cities have surpassed the country. Weber, Durkheim, Tönnies, Simmel and others devoted themselves to cultivating the essence of social transition. The most influential theory to observe and analyze it is the two-tiered approach of ideal type. Tönnies made distinction between 'Gemeinschaft and Gesellschaft', Durkheim distinguished 'mechanical solidarity and organic solidarity', and Redfield analyzed 'folk society and urban society'. In those classical theories, the former transit to the later is considered to be a general rule of transition from traditional society to modern society, and from traditional community to modern community. However, ever since Redfield used the dependent relationship and interactive framework of 'great tradition' and 'little tradition' to explain various complicated phenomena in the transition from tradition to modern in 1950s, he suggested that a folk-urban continuum can be formed in the transition from folk society to urban society. 'Both terms, ‘city’ and ‘country’, are not and have never been limited or restricted to their obvious denotations: ‘city’ is not and has never been only urban. As a category it always encompasses (includes, embodies, embraces) itself and its opposite, the country' (Hassenpflug 2002, 46). Generally, social groups and culture characterized by weak 'potential' will take their own 'little tradition' as 'bridge' and agency, in order to enter or melt themselves into a 'great tradition' that embodies great 'potential' to seek for space to live and develop. There are many different types of transitions that villagers enter and get melt into 'great tradition' through their individual 'little tradition'. There are exploration and development of traditional resources in 'segmentation', such as the frequent relation between a great flow of peasants to cities and the network of kinship, and of earthbound relations; alternatively, there are assistances and utilization of resources of a whole corporate network, such as the traditional corporate community’s organization of local resources during the process of non-agriculturization of villages; and 'villages' in Shenzhen is of the latter situation. The following conclusion can be made based on the above analyses: urban corporate community formed in the process of non-agricultural development and urbanization is an organizing dependency on which villagers melt into city and adapt to urban life. The unique inner-structure and function determine that comparing with other organizations, it has a better performance, efficiency and more humanity care. Firstly, corporate community which is re-organized in the non-agricultural process currently is the only and the most effective organizational resources that can be utilized and has significant meanings in protecting villagers’ interest and benefit; secondly, in the short term, other approaches do not have the advantage and the effect as urban corporate community has on the focusing degree of public affairs in the comprehensive urbanization process; thirdly, the 'new' key connotation of urban corporate community, including its community management functions, is the main reason for which such community has the rationality of being; fourthly, urban corporate community will inevitably face many problems in the urbanization due to its inner fixed characteristics (lack of external support), but to a certain degree it has the ability to self-repair and problem solving under the precondition that, the government and society have a fair, impersonal view of 'villages', and base on this view providing multi-supports, especially providing rational system arrangement and policy supports. Consequently, in order to preserve and protect social system and cultural heritage within the 'villages', and gradually make the coordinative development of 'great tradition' represented by cities and of 'little tradition' represented by 'villages', 'soft reconstruction' rather than 'hard reconstruction' should be adopted by the government, during the recent reconstruction of 'villages' in Shenzhen.
The research examines the system of strategic and territorial planning of St. Petersburg focusing on Lomonosov (Oranienbaum) as its case study. The study provides the analysis of the planning documentation developed for the city in the post-Soviet period. In particular, it elaborates on the currently enforced Strategy of Economic and Social Development of St. Petersburg-2030 (2014) and the City General Plan (2005), discussing the aspects of their development and implementation, as well as complex interrelation.
Thereby, peculiarities of the spatial development of the St. Petersburg agglomeration are also investigated, elaborating on the state policy on agglomerations, historic development of St. Petersburg and relations with the Leningrad Region, governance and imbalances of the St. Petersburg spatial development, including proposed development scenarios.
Consequently, the study employs a highly indicative case of the Lomonosov town municipal unit aiming to illustrate the practical implementation of administrative, territorial and strategic policies in a given context within a system of the state planning adopted in St. Petersburg, in particular, taking into consideration recently proclaimed necessity for the transition to a polycentric city model following an innovative scenario for the socioeconomic and spatial development.
In particular, Lomonosov (Oranienbaum) is explored egarding its current socio-economic situation and development scenarios: industrial site and cultural tourism. The Oranienbaum museum and nature-reserve is also thoroughly assessed with regard to its cultural tourism potential.
Finally, the urban environment of Lomonosov (Oranienbaum) is comprehensively scrutinized in terms of its historic development, residential housing typology, UNESCO World Heritage preservation and local urban heritage. In conclusion, the data on Lomonosov present in the St. Petersburg strategic and territorial planning documents is provided.
Die Dissertation „Hey! I’m an Angel! Zum Verhältnis von Medium, Subjekt und Wirklichkeit in Eija-Liisa Ahtilas Videoinstallationen“ untersucht in der Hauptsache vier zentrale Videoinstallationen Ahtilas aus den Jahren 1995 bis 2014. Grundlegend ist die These, dass Ahtilas Arbeiten nicht, wie bisher angenommen, in den Kontext einer medien-, erkenntnis- und subjektkritischen Videokunst einzuordnen sind. Stattdessen werden sie als mediale Vehikel intersubjektiv geprägter Wirklichkeitserfahrungen für das Subjekt bereitgestellt: Entgegen dem aktuellen Forschungsstand arbeitet sich Ahtila nicht an der Kritik des Mediums Film/Video ab, das einen wirklichkeitsverfälschenden oder -ersetzenden Einfluss auf das manipulierte Subjekt nimmt. Vielmehr nutzt die Künstlerin das Potenzial des Mediums Film/Video aus, um einem relativ stabilen Subjekt die Wirklichkeitserfahrungen Anderer zu öffnen und auf diese Weise seinen Erfahrungshorizont zu erweitern.
Der systematische Schwerpunkt der Arbeit liegt erstens darauf, ein sich durch Ahtilas bisheriges Schaffen ziehendes ‚Ziel‘ der Integration der Betrachterin in eine intersubjektive Erfahrungssphäre nachvollziehbar zu machen. Hierfür wird insbesondere eine Perspektive auf die frühen Arbeiten entwickelt, in der die Brüche in Ahtila Arbeiten integrative statt distanzierende Wirkung haben. Zweitens wird in eingehenden Analysen der Wandel verständlich, der sich zwischen Ahtilas früher Schaffensphase (1995 – 2002) und der aktuellen Schaffensphase (seit 2010) hinsichtlich der Art und Weise vollzieht, wie diese Integration gelingt. Es zeigt sich, dass der Einstieg in die intersubjektiv geprägten Erfahrungssphären in der frühen Phase ästhetisch konstituiert ist. Mit der aktuellen Schaffensphase werden hingegen alltägliche Formen der Empathie und Mimesis zentral, sowie deren leibliche Konsequenzen für die Betrachterin. Drittens wird eine zunehmende pragmatische Tendenz darin deutlich, die Integration der Betrachterin in die Erfahrungen Anderer zu ermöglichen. Dies wird vor dem Hintergrund eines allgemeinen pragmatischen Zuges aktueller zeitgeistiger Bewegungen erläutert. Viertens wird gezeigt, dass Ahtilas Arbeiten auf der Annahme einer Kontinuität in gewisser Hinsicht von der außerfilmischen Wirklichkeit in die filmische Fiktion hinein basieren, sowie auf dem Verständnis filmischer Fiktionen als virtuelle Weltfassungen. Ahtila fragt auf der Grundlage dieses Verständnisses filmischer Fiktion nicht nach der Wahrheit dieser Fiktion als These über die Wirklichkeit, wie es dem Forschungskanon über die Künstlerin zu entnehmen ist. Sondern nach der Wirksamkeit der filmischen Fiktion für die Wirklichkeit.