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@MASTERSTHESIS{Schleimer:958351,
      author       = {Schleimer, Sophie},
      othercontributors = {Naujokat, Anke and Bernhardt, Anne-Julchen and Martin,
                          Felix},
      title        = {{S}uche [{E}milie {W}inkelmann {B}erlin 1914]},
      school       = {Rheinisch-Westfälische Technische Hochschule Aachen},
      type         = {Masterarbeit},
      address      = {Aachen},
      publisher    = {RWTH Aachen University},
      reportid     = {RWTH-2023-05223},
      pages        = {1 Online-Ressource : Illustrationen},
      year         = {2023},
      note         = {Veröffentlicht auf dem Publikationsserver der RWTH Aachen
                      University; Masterarbeit, Rheinisch-Westfälische Technische
                      Hochschule Aachen, 2023},
      abstract     = {"Emilie's work is significant because she was the first
                      female architect in Germany to study and practice
                      independently. But also because she found in her
                      architecture a form that negated neither the achievements of
                      architectural history nor the demands of her wholly new
                      present." The vacuum in architectural history on Emilie
                      Winkelmann's work leads to a search that focuses on her
                      designs for the first German women's movement. Two
                      extraordinary projects are realized in Berlin in 1914 - The
                      Victoria Study House and the House of the German Lyceum
                      Club. The buildings communicate in different ways the
                      program of their users and thus tell of their empowerment
                      within the urban space. The search is dedicated to the
                      architectural history of a woman whose practice spans
                      between the turn of the century and the Great War, between
                      old and new understandings of the world and architecture.
                      This precarious position is evident in her buildings. In her
                      architecture, Emilie Winkelmann preserves the idea of inner
                      function reflected in outward appearance, but unites it with
                      the demands of the new age and the ambitions of the new
                      building tasks. In this way, a modern expression is created
                      on the basis of an awareness of architectural history. The
                      work juxtaposes past and present. The text develops
                      parallelly, feeding not only on the findings of the search,
                      but also on its process. The buildings of Emilie Winkelmann
                      in 1914 Berlin develop into references for the present city.
                      In the process, much more fundamental questions arise.
                      Contemporary architectural intentions and effects are
                      contrasted, dominant values are recognized and scrutinized,
                      and ultimately an architecture following Winkelmann's
                      example is called for.},
      cin          = {217110},
      ddc          = {720},
      cid          = {$I:(DE-82)217110_20160502$},
      typ          = {PUB:(DE-HGF)19},
      doi          = {10.18154/RWTH-2023-05223},
      url          = {https://publications.rwth-aachen.de/record/958351},
}