Movement and figurality: The circulation diagram and the history of the architectural plan

Knowledge of the plan competes with self-consciousness of experience. The less we are able to understand our spatio-visual experience by the abstract coordinates of the plan, the more we are thrust back into a lived experience of the building in duration. This formula, frequently unacknowledged, has been one of the main precepts of the experientialist modernism which arises out of the picturesque and which stands in critique of classical idealism. One of the paths to critique this formula is by showing that the attention to the experience of the spaces in duration is predicated on obscuring, complicating and weakening the apprehension of the plan as a figure. Another development in the practice of modern planning has been architects using a kind of over-drawing where human circulation diagrams or 'movement lines' are drawn expressively across the orthographic plane; thus representing the lived experience of buildings. We will show that these two issues are linked; the plan's weak figure and the privilege this supposes for durational experience has a corollary - experience itself demands to be visible in the plan, and this is one origin of the present fascination with 'diagramming'. In this paper we explore the practice of architectural planning and its theoretical underpinnings in an attempt to show the viability of a history of architectural planning methods.

Australian Newspaper History Group Newsletter

Current findings related to the history of Australian newspapers.

Australian Newspaper History Group Newsletter

Current findings, news and announcements related to the history of Australian newspapers.

Australian Newspaper History Group Newsletter

Current findings, news and announcements related to the history of Australian newspapers.

A Critical Appraisal of Narrative in Sport History: Reading the Surf Lifesaving Debate

All debates in history—who started the Cold War, how successful were the Chartists in achieving their aims, to what extent was the recession of the American frontier culturally significant in American history— are debates between competing narrative interpretations. Moreover, because the historical imagination itself exists intertextually within our own social and political environment, the past is never discovered set aside from everyday life. History is designed and composed in the here and now.

Deconstructing sport history: The postmodern challenge

The crisis in the historical profession today is both conceptual and political, both methodological and practical. To the crises of the decline of great narrative history for the popular audience, the multiculturalist challenge to Eurocentric history, and the loss of faith in grand themes of progress and liberation that provided moral and political guidance through history’s lessons, must be added the crisis created by the implications of literary and rhetorical theory for the very practice of history itself.

Remembering sport history: Narrative, social memory and the origins of the rugby league in Australia

This study examines the historiography of the origins of rugby league in Australia. By accepting the inclusive nature of representation of the past as found in social memory theory, a wide range of sources ranging from histories written by academics to annuals, yearbooks and newspaper books are consulted. These sources reveal that there are several competing and conflicting accounts of the emergence of rugby league in Australia. These divergent accounts are used to facilitate a discussion of the role of narrative in sport history This article argues that narrative is an integral, not optional, feature of the production of history and that the historography of the origins of rugby league highlight the problematic nature of objectivity in history and the unavoidable, impositionalist role of the historian.

Research, knowledge and design

The discussion about relations between research and design has a number of strands, and presumably motivations. Putting aside the question whether or not design or “creative endeavour” should be counted as research, for reasons to do with institutional recognition or reward, the question remains how, if at all, is design research? This question is unlikely to have attracted much interest but for matters external to Architecture within the modern university. But Architecture as a discipline now needs to understand research much better than in the past when ‘research’ was whatever went on in building science, history or people/environment studies. In this paper, I begin with some common assumptions about design, considered in relation to research, and suggest how the former can constitute or be a mode of the latter. Central to this consideration is an understanding of research as the production of publicly available knowledge. The method is that of conceptual analysis which is much more fruitful than is usually appreciated. This work is part of a larger project in philosophy of design, in roughly the analytical tradition.

Australian Newspaper History Group Newsletter

Current findings, news and announcements related to the history of Australian newspapers.