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Institutional Repository Institutional Repository - Library & Information Centre - University of Thessaly 08/12/2017 21:15:13 EET - 137.108.70.7 ΠΑΝΕΠΙΣΤΗΜΙΟ ΘΕΣΣΑΛΙΑΣ ΠΟΛΥΤΕΧΝΙΚΗ ΣΧΟΛΗ ΤΜΗΜΑ ΜΗΧΑΝΙΚΩΝ ΧΩΡΟΤΑΞΙΑΣ ΠΟΛΕΟΔΟΜΙΑΣ & ΠΕΡΙΦΕΡΕΙΑΚΗΣ ΑΝΑΠΤΥΞΗΣ Διπλωµατική Εργασία Το Βερολίνο και η Techno Χώρος και µουσική Αλέξανδρος Αλεξίου Δάφνη-Ευφροσύνη Δελφάκη Επίβλεψη: Παντελής Σκάγιαννης Βόλος, 2012 Institutional Repository - Library & Information Centre - University of Thessaly 08/12/2017 21:15:13 EET - 137.108.70.7 Αλέξανδρος Αλεξίου | Δάφνη-Ευφροσύνη Δελφάκη Στις πόλεις και στις µουσικές τους i Institutional Repository - Library & Information Centre - University of Thessaly 08/12/2017 21:15:13 EET - 137.108.70.7 Αλέξανδρος Αλεξίου | Δάφνη-Ευφροσύνη Δελφάκη Ευχαριστίες ΕΥΧΑΡΙΣΤΙΕΣ Το τεύχος που κρατάτε στα χέρια σας (sic) περιέχει µια σειρά από αλληλεπιδράσεις που έχουν να κάνουν µε την µουσική, τον χώρο και τις προεκτάσεις του. Για να φθάσει όµως στα χέρια σας µεσολάβησε µια άλλη σειρά από αλληλεπιδράσεις, ανθρώπινες αυτή τη φορά. Ευχαριστούµε θερµά τον επιβλέποντα καθηγητή µας Παντελή Σκάγιαννη για το γεγονός ότι έβαλε σε µια τάξη το χάος των σκέψεών µας και υποστήριξε το ιδιαίτερο θέµα µε το οποίο αποφασίσαµε να καταπιαστούµε. Ιδιαίτερες ευχαριστίες θα θέλαµε να εκφράσουµε στους ανθρώπους µε τους οποίους µοιραστήκαµε τους προβληµατισµούς µας κατά τη διάρκεια του ταξιδιού µας στο Βερολίνο. Στα πρόσωπα των Jan Kühn και Jannes Riemann συναντήσαµε το κοινό ενδιαφέρον για το θέµα που εξετάζουµε. Οι ίδιοι προσπαθούν επίσης να το αποδώσουν βιωµατικά και σε ακαδηµαϊκό επίπεδο, κινούµενοι καθηµερινά στο βερολινέζικο περιβάλλον. Ένα µεγάλο ευχαριστώ στους λαµπρούς µας φίλους: Μηνάς, Γιωργάκος, G, Θέµης ο Πέλλας, Μαρίνα, Μελανή, Ειρήνη, Άµζαντ, Τζίζους, Αλεξάνδρα, Κλεάνθη, Άρης Σαπουνάκης, Αντωνάκης. Ο Αλέξανδρος ευχαριστεί ξεχωριστά τους τρεις σηµαντικότερους ανθρώπους της ζωής του. Τους λατρεµένους του γονείς και τον καταπληκτικό του αδερφό. Για όλα. Η Δάφνη ευχαριστεί ξεχωριστά τη µαµά Μαρία, το µπαµπά Κωστή και τον Θοδωρή που την στηρίζουν, την αγαπάνε και τη µεγαλώνουν. Ένα ακόµα ευχαριστώ στους πνευµατικούς γονείς, Εύη και Κώστα. Ένα ακόµα στο Μάνο. Το µεγαλύτερο ευχαριστώ το οφείλει ο ένας στον άλλον. Α. Δ. Φεβρουάριος 2012 ii Institutional Repository - Library & Information Centre - University of Thessaly 08/12/2017 21:15:13 EET - 137.108.70.7 Αλέξανδρος Αλεξίου | Δάφνη-Ευφροσύνη Δελφάκη Περίληψη ΠΕΡΙΛΗΨΗ Η µουσική, ως βιωµατική εµπειρία, αποτελεί τρόπο αντίληψης του κόσµου. Αποτελεί επίσης τρόπο διαµόρφωσης του χώρου και δη του αστικού. Στο Βερολίνο της πτώσης του Τείχους και των πρώτων χρόνων της επανένωσης, η νεοαφιχθείσα από το Ντιτρόιτ techno µουσική αναπτύσσει µια διαλεκτική σχέση µε το δοµηµένο περιβάλλον. Με όχηµα το κύµα εξερεύνησης που επικρατεί στην ενοποιηµένη πόλη, υποβοηθούµενη από τις πρόσφορες κοινωνικοοικονοµικές συνθήκες, την ανοχή και το πνεύµα πειραµατισµού, επαναχρησιµοποιεί εγκαταλελειµµένους χώρους και τους προσδίδει νέα χρήση και λειτουργία. Η παραγωγή και κατανάλωση της techno, παράγει και καταναλώνει χώρο διαµορφώνοντας κατά την δεκαετία του 1990 το αστικό τοπίο ολόκληρης της πόλης. Ο νέος αιώνας, µε την ραγδαία ανάπτυξη του διαδικτύου και των φθηνών αεροπορικών πτήσεων επαναπροσδιορίζει τις στρατηγικές σχεδιασµού και αστικής ανάπτυξης, κάνοντας το Βερολίνο µέρος ενός ευρύτερου διεθνούς δηµιουργικού δικτύου πόλεων. Η «χωρική µουσικοποίηση» που ασυνείδητα διαµόρφωσε την εικόνα της πόλης από το 1990 και έπειτα, είναι και πάλι παρούσα υπό νέους όρους και µαζί µε νέους συµµετέχοντες συνεχίζει να «δοµεί σκηνικά και να προβάλει εικόνες». Λέξεις κλειδιά: Αστικός χώρος, Βερολίνο, techno, παραγωγή χώρου, «χωρική µουσικοποίηση», αστική κουλτούρα. ABSTRACT Music, as an experiential procedure, is a way of perceiving the world. It is also a way of forming urban space. In reunified Berlin, the newly arrived Detroit-techno music develops a dialectic relation with the city’s built environment. Through an urban exploration wave that prevails at that point all around the city, aided at the same time by the appropriate socioeconomic conditions, the spirit of tolerance and experimentation, it reuses abandoned urban spaces introducing them to new uses and functions. The production and consumption of techno causes the production and consumption of space and consequently forms the nineties’ urban landscape of the city. iii Institutional Repository - Library & Information Centre - University of Thessaly 08/12/2017 21:15:13 EET - 137.108.70.7 Αλέξανδρος Αλεξίου | Δάφνη-Ευφροσύνη Δελφάκη Περίληψη During the dawn of the new century, the rapid growth of internet and cheap flights redefine planning strategies and urban development, making Berlin part of an expanded creative cities network. The so-called “musification” procedure that during the nineties affected and formed unconsciously the city image, is still present - under different circumstances and with new partners - and goes on “creating sets and projecting images”. Key words: Urban space, Berlin, techno, production of space, “musification”, urban culture. ZUSAMMENFASSUNG Musik, als Erfahrungsprozess, ist ein Weg, die Welt wahrzunehmen. Sie ist auch ein Weg zur Bildung des Stadtraumes. Im wiedervereinigten Berlin, entwickelt die, aus Detroit neu angekommene, Techno Musik eine dialektische Beziehung mit der erbauten Umwelt der Stadt. Durch eine urban Exploration Welle, die an diesem Punkt in der ganzen Stadt herrscht, die von den entsprechenden sozioökonomischen Bedingungen, dem Geist der Toleranz und dem Experimentieren unterstützt wird, wiederverwendet die Musik aufgegebene Stadträume und macht sie sie mit neuen Nutzungen und Funktionen bekannt. Die Produktion und der Verbrauch von Techno bewirkt die räumliche Produktion und Verbrauch und bildet somit die urbane Landschaft der Stadt der 90er Jahre. Während der Beginn des neuen Jahrhunderts, das schnelle Wachstum des Internets und der günstigen Flüge wiederdefiniert die Planungsstrategien und der Stadtentwicklung Prozess. Als Folge, wird Berlin Teil eines erweiterten Creative Cities Netzwerkes. Das sogennante “Musifizierung” Verfahren, das in den neunziger Jahren das Bild der Stadt unbewusst beeinflusste und bildete, noch vorhanden ist - unter verschiedenen Umständen und mit neuen Partnern - und geht weiter “Sets zu schaffen und Bilder zu projizieren”. Schlüsselwörter: Urbaner Raum, Berlin, Techno, räumliche Produktion, “Musifizierung”, urbane Kultur. iv Institutional Repository - Library & Information Centre - University of Thessaly 08/12/2017 21:15:13 EET - 137.108.70.7 Αλέξανδρος Αλεξίου | Δάφνη-Ευφροσύνη Δελφάκη Περιεχόµενα ΠΙΝΑΚΑΣ ΠΕΡΙΕΧΟΜΕΝΩΝ ΚΑΤΑΛΟΓΟΣ ΠΙΝΑΚΩΝ ix ΚΑΤΑΛΟΓΟΣ ΔΙΑΓΡΑΜΜΑΤΩΝ x ΚΑΤΑΛΟΓΟΣ ΣΧΗΜΑΤΩΝ xi ΚΑΤΑΛΟΓΟΣ ΕΙΚΟΝΩΝ xi ΚΑΤΑΛΟΓΟΣ ΧΑΡΤΩΝ xii ΑΡΤΙΚΟΛΕΞΑ xii ΕΙΣΑΓΩΓΗ 1 ΚΕΦΑΛΑΙΟ 1. ΓΙΑΤΙ ΣΤΟ ΒΕΡΟΛΙΝΟ; ΜΙΑ ΜΟΥΣΙΚΗ ΙΣΤΟΡΙΚΗ ΑΝΑΔΡΟΜΗ ΣΤΟ ΠΑΡΕΛΘΟΝ 7 1.1 Η ΠΕΡΙΟΔΟΣ ΑΠΟ ΤΟ 1700 ΚΑΙ ΕΠΕΙΤΑ 7 1.2 ΜΟΝΤΕΡΝΟΙ ΚΑΙΡΟΙ. Η ΠΕΡΙΟΔΟΣ ΑΠΟ ΤΟ 1920 ΜΕΧΡΙ ΤΟ 1940 15 1.3 Η ΜΕΤΑΠΟΛΕΜΙΚΗ ΠΕΡΙΟΔΟΣ ΜΕΧΡΙ ΤΟ 1960 27 1.4 ΤΑ ΧΡΟΝΙΑ ΤΟΥ ΤΕΙΧΟΥΣ. Η ΠΕΡΙΟΔΟΣ ΑΠΟ ΤΟ 1961 ΜΕΧΡΙ ΤΟ 1989 32 ΚΕΦΑΛΑΙΟ 2. THE HOUSE OF THE RISING TECHNO 40 2.1 ΕΙΣΑΓΩΓΙΚΑ 40 2.1.1 WE CALL IT TECHNO! 40 2.1.2 TERRITORIES OF TECHNO MENTALITY 42 2.1.2.1 Walking Side by Side 42 2.1.2.2 Κοινό Έδαφος 44 2.1.2.3 Berlin-Detroit Alliance 45 2.2 ΜΙΑ «ΠΤΩΣΗ» ΠΡΙΝ ΤΗΝ ΠΤΩΣΗ 46 2.2.1 BERLIN: TEKKNO CITY 46 2.2.2 HAUSBESETZUNG 47 2.2.3 EPHEMERA. ABANDONED PLACES-LOST FACES 51 v Institutional Repository - Library & Information Centre - University of Thessaly 08/12/2017 21:15:13 EET - 137.108.70.7 Αλέξανδρος Αλεξίου | Δάφνη-Ευφροσύνη Δελφάκη Περιεχόµενα 2.2.4 ΠΡΟΣ ΤΗΝ ΠΤΩΣΗ 53 2.3 THIS WALL WILL FALL. BELIEFS BECOME REALITY 54 2.4 1990-1992: TECHNO 1.0 55 2.4.1 ΚΟΥΛΤΟΥΡΑ, ΥΠΟΚΟΥΛΤΟΥΡΑ, ΑΝΤΙΚΟΥΛΤΟΥΡΑ 55 2.4.2 SUBCULTURE? 57 2.4.3 ΑΠΟ ΤΗΝ (ΥΠΟ)ΚΟΥΛΤΟΥΡΑ ΣΤΟ ΒΙΩΜΕΝΟ ΧΩΡΟ 59 2.4.4 TOWARDS A COUNTERCULTURE 61 ΚΕΦΑΛΑΙΟ 3. TECHNO GOES MAINSTREAM 65 3.1 1993-1997: TECHNO 2.0 65 3.1.1 MAINSTREAMING COUNTERCULTURE 66 3.1.2 LOVE PARADE 68 3.1.3 POLITICS WITHOUT A HEAD 69 3.2 TECHNO 2.5 73 ΚΕΦΑΛΑΙΟ 4. Η ΠΕΡΙΟΔΟΣ ΑΠΟ ΤΟ 2000 ΚΑΙ ΕΠΕΙΤΑ 78 4.1 ΑΦΗΝΟΝΤΑΣ ΠΙΣΩ ΤΗΝ LOVE PARADE. Η ΜΟΥΣΙΚΗ ΒΙΟΜΗΧΑΝΙΑ ΤΟΥ ΒΕΡΟΛΙΝΟΥ ΣΤΗΝ ΑΥ Γ Η ΤΟΥ 21ΟΥ ΑΙΩΝΑ 78 4.2 Η ΠΕΡΙΟΔΟΣ 1998 - 2002 80 4.2.1 ΜΟΥΣΙΚΕΣ ΕΠΙΧΕΙΡΗΣΕΙΣ 80 4.2.2 ΚΕΡΔΗ 83 4.2.3 ΑΠΑΣΧΟΛΟΥΜΕΝΟΙ 84 4. 3 Η ΕΞΕΛΙΞΗ ΤΗΣ ΜΟΥΣΙΚΗΣ ΒΙΟΜΗΧΑΝΙΑΣ ΑΠΟ ΤΟ 2002-2006 87 4.4 Η ΦΥΣΙΟΓΝΩΜΙΑ ΤΗΣ ΜΟΥΣΙΚΗΣ ΒΙΟΜΗΧΑΝΙΑΣ ΤΟ 2006 88 ΚΕΦΑΛΑΙΟ 5. Η ΚΛΑΜΠ ΣΚΗΝΗ ΤΟΥ ΒΕΡΟΛΙΝΟΥ 90 5.1 ΕΙΣΑΓΩΓΗ 90 5.2 Η ΦΥΣΙΟΓΝΩΜΙΑ ΤΩΝ ΕΠΙΧΕΙΡΗΣΕΩΝ 91 5.2.1 ΕΤΟΣ ΙΔΡΥΣΗΣ ΤΩΝ ΚΛΑΜΠ 91 vi Institutional Repository - Library & Information Centre - University of Thessaly 08/12/2017 21:15:13 EET - 137.108.70.7 Αλέξανδρος Αλεξίου | Δάφνη-Ευφροσύνη Δελφάκη Περιεχόµενα 5.2.2 ΙΔΙΑΙΤΕΡΑ ΧΑΡΑΚΤΗΡΙΣΤΙΚΑ ΤΩΝ ΕΠΙΧΕΙΡΗΣΕΩΝ 92 5.2.2.1 Είδος Επιχειρήσεων της Μουσικής Σκηνής 92 5.2.2.2 Είδος των Εκδηλώσεων στα Κλαµπ του Βερολίνου 93 5.2.2.3 Είδος Μουσικής στα Κλαµπ του Βερολίνου 94 5.2.2.4 Αριθµός Εκδηλώσεων ανά Μήνα 95 5.2.3 ΜΕΓΕΘΟΣ ΤΩΝ ΕΠΙΧΕΙΡΗΣΕΩΝ 97 5.2.4 ΤΟ ΚΟΙΝΟ ΤΗΣ ΚΛΑΜΠ ΣΚΗΝΗΣ 99 5.2.5 ΠΗΓΕΣ ΧΡΗΜΑΤΟΔΟΤΗΣΗΣ 100 5.2.6 ΚΕΡΔΗ, ΑΠΑΣΧΟΛΟΥΜΕΝΟΙ ΚΑΙ ΣΥΝΕΡΓΑΣΙΕΣ 102 5.2.6.1 Κυριότερες Πηγές Κερδών και Απασχολούµενοι 102 5.2.6.2 Συνεργασίες µε Καλλιτέχνες 103 5.2.6.3 Συνεργασίες µε Άλλους Δηµιουργικούς Τοµείς 104 ΚΕΦΑΛΑΙΟ 6. MEDIASPREE 108 6.1 WHEN MEDIA MET SPREE 108 6.2 ΧΑΡΑΚΤΗΡΙΣΤΙΚΑ ΤΗΣ ΠΕΡΙΟΧΗΣ 109 6.2.1 ΟΛΟΚΛΗΡΩΜΕΝΑ ΠΡΟΓΡΑΜΜΑΤΑ 111 6.2.2 ΠΡΟΓΡΑΜΜΑΤΑ ΠΡΟΣ ΟΛΟΚΛΗΡΩΣΗ 115 6.3 KOLLEKTIVE RÄUME STATT INVESTOREN TRÄUME 118 6.3.1 ΚΡΙΤΙΚΗ ΚΑΙ ΔΙΑΜΑΡΤΥΡΙΕΣ 118 6.3.2 ΑΠΟ ΤΗ LOVE PARADE ΣΤΗ SPREE PARADE 120 6.4 MEDIASPREE ΚΑΙ ΘΕΩΡΗΤΙΚΕΣ ΑΝΑΖΗΤΗΣΕΙΣ
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