Studienarbeit aus dem Jahr 2002 im Fachbereich Geowissenschaften / Geographie - Bevouml;lkerungsgeographie; Stadt- u. Raumplanung; Note: 1;0; Ludwig-Maximilians-Universitauml;t Muuml;nchen (Sozialgeographie); Veranstaltung: Nutzungsmischung im Stauml;dtebau; Sprache: Deutsch; Abstract: Die Qualitauml;t des ouml;ffentlichen Raums ist nicht nur eine Frage des Designs. In besonderem Maszlig;e ist auch die Nutzungsmischung der anliegenden Gebauml;ude ausschlaggebend. Die Bedeutung des ouml;ffentlichen Raumes und seiner Nutzung verauml;nderte sich im Laufe der Jahrhunderte fundamental. Zudem existieren vielfauml;ltige kulturelle Unterschiede. Nach einer kurzen Definition von ouml;ffentlichem Raum und Nutzungsmischung gibt der Autor in dieser Arbeit zunauml;chst einen historischen Abriss uuml;ber die Verauml;nderung der Bedeutung des ouml;ffentlichen Raumes und der Nutzungsmischung in Stauml;dten. Hiernach wird anhand einer Gegenuuml;berstellung zweier stauml;dtebaulicher Prinzipien ndash; Funktionstrennung und autogerechte Stadt versus New Urbanism - allgemein erlauml;utert; inwiefern Nutzungsmischung den ouml;ffentlichen Raum beeinflussen kann. Im Anschluss daran zeigt der Autor anhand eines konkreten Beispiels in einem Vergleich von zwei sehr unterschiedlich strukturierten Muuml;nchner Stadtteilen ndash; Haidhausen versus Hasenbergl -; inwiefern das zuvor Erlauml;uterte tatsauml;chlich in Muuml;nchen sichtbar erfahrbar ist. In einem Fazit werden schlieszlig;lich Perspektiven fuuml;r die Zukunft aufgezeigt.
#3045228 in eBooks 2014-12-03 2014-12-03File Name: B00QP16MF0
Review
6 of 8 people found the following review helpful. Difficult to decide if this is usefulBy D. ChalouxLarsons book is filled with much literature review on cognition and perception. Essentially chapters 1; 2; and 4 are pure literature review. Chapter 3 introduces his own ideas; but ideas rehashed from a previous publication ("Musical forces and melodic expectations: Comparing computer models and experimental results").My biggest issue with this book is that it doesnt tell me anything new about how to approach music. What unique ideas there are in this book are personal to Larson and are difficult to subscribe to if you are skeptical with any portion of the book. For instance; Larson reconciles that even though inertia isnt a real force that musical inertia is a musical force--describing motion that continues in a pattern (mostly used for sequences). I; for one; have an issue with this since Larson says that musical inertia and musical gravity can occur at the same time (descending sequence). Personally; these terms are loaded ones and thus I have difficulty agreeing with Larson and therefore have difficulty accepting his personal ideas.Another one of his areas that looks interesting is his equation for quantifying how strong a musical force is. Larson compares his equation with other equations that have been created in the past. The major issue with this is that this equation; under the guise of being something real; tangible; quantifiable; is just Larsons own opinion on how strong a certain force can be at that particular moment. This certainly gives us a good idea of how Larson understands music; but it would be almost impossible for anyone else to use this formula to describe their own hearing of music.Thus; Larsons book has interesting ideas and it certainly gives you Larsons commentary on previous literature interspersed with his own ideas--yet I personally find none of these terribly useful except for Larson. In addition; this book does seem a little rushed and unfinished which imaginably is due to Larsons unfortunately early departure from us. One can imagine what this book could have been with more of Larsons original ideas and more time spent synthesizing the information to make it useful to more than himself.1 of 26 people found the following review helpful. I hate itBy ESBAfter I bought this book I thought in put it in the trash. Perhaps Ill never read this book because I dont like the way like this subject is discussed.
