Walter Burley Griffin : residential

An analysis of Walter Burley Griffin's residential planning is presented. 43 plans are described according to the manipulation of triangle, T-square and compass, which support the possibility that Griffin may have been working in accordance with an underlying system of applied geometry based on the square and root 2 diagonal.

Leading lights : the promotion of garden suburb plans and planners in interwar Australia

This thesis explores interwar town planning in Australia, focusing on the period of large-scale urban expansion in the 1920’s. It problematises aspects of Australia’s urban planning history, particularly the 1920s ‘garden suburb. It also investigates the question of the use of international planning ideas in Australia, and the assertion or creation of authority by the Australian planning movement. The thesis additionally investigates the use of authoritative planning rhetoric for commercial or creative advantage. The thesis argues that the majority of innovative planning projects in the interwar years took place in the formation and foundation of the garden suburb. It shows that the garden suburb – assumed in much planning history to be an inferior form of Ebenezer Howard’s ‘garden city’ ideal – has, in fact, a number of precedents in 19th century Australian suburbia, some of which were retained in 20th century commercial estate design. Much of the Australian town planner’s authority at this time required recognition and awareness of the interests and needs of the general public, as negotiated through land vendors. As Australians looked to the future, and to the US for guidance, they were invited to invest in speculative real estate development modelled on this vision. The thesis concentrates primarily on the lives, careers and work of the British-Australian architect-planner Sir John Sulman; the Chicagoan architect-planners Marion Mahony and Walter Burley Griffin; and the Australian surveyor-planner Saxil Tuxen. These individuals were among the most prominent planners in Australia in the interwar years. All designed Australian garden suburbs, and combined advocacy with practice in private and public spheres. The thesis examines images and personas, both generic and individual, of the planner and the vendor. It shows that the formulation of the garden suburb and design practices, and the incorporation of international elements into Australian planning, are important in the creation of planning practice and forms. It also outlines the way these continue to have significant impact, in diverse and important ways, on both the contemporary built environment and planning history itself.

Beyond Simon’s means-ends analysis : natural creativity and the unanswered ‘why’ in the design of intelligent systems for problem-solving

Goal-directed problem solving as originally advocated by Herbert Simon’s means-ends analysis model has primarily shaped the course of design research on artificially intelligent systems for problem-solving. We contend that there is a definite disregard of a key phase within the overall design process that in fact logically precedes the actual problem solving phase. While systems designers have traditionally been obsessed with goal-directed problem solving, the basic determinants of the ultimate desired goal state still remain to be fully understood or categorically defined. We propose a rational framework built on a set of logically interconnected conjectures to specifically recognize this neglected phase in the overall design process of intelligent systems for practical problem-solving applications.

Language, experience and professional learning (what Walter Benjamin can teach us)

This essay raises questions about how language educators might construct and further develop their epistemology of practice in and through the situations in which they work from day to day. The occasion for this paper is our work as guest editors of a special issue of L-1: Educational Studies in Language and Literature, when we invited L1 teachers to reflect on the role that language plays in their professional learning, whether it be in the form of conversations with peers, reflective writing, or by other means. We begin this essay by locating our reflections within our current policy context, namely the standards-based reforms that have come to dominate educational thinking around the world, offering a brief critique of the values and attitudes embedded within them. We then outline a philosophical framework as an alternative to the world-view reflected by such reforms, focusing specifically on the work of Walter Benjamin. In the final sections, we review our work as guest editors of the special issue of L-1, reflecting on what we have learned from the papers we have assembled for this issue, and locating our learning within the philosophical framework that we have drawn from Benjamin. We argue that it is timely for language educators to articulate the assumptions that inhere within their work, in contradistinction to the common sense embedded in standards. Thus we might begin to reconceptualise the relation between language, experience and professional learning in opposition to the hegemony of standards.

Sir Walter Scott in the western district, 1836-1851

A survey of 30 early settlement squatters in Victoria, using their letters, diaries and memoirs to compile a regional history of colonial readers. The resulting reader-responses support the emerging interpretations of Affective Reading, rather than more conventional strategies of literary criticism (New Historicism and Discourse Analysis).

Collaborative authorship in film production: Walter Murch and film editing

Filmmaking is frequently cited as the most collaborative of all arts, yet for the most part, mainstream and scholarly literature have received films as the creative voice of just one artist – the director. The reasons for this are many: general ignorance of how films are made; the hijacking of film theory by literary theory, and the continuing popularity of the myth of the Romantic Artist as solitary genius are some of them. The case for collaborative authorship has gained momentum since the 1980s as studies on the production of individual films, actors, production companies and the history of the film industry as a whole have proliferated and drawn attention to the disparities between how films are perceived and how they are actually made. This article analyses collaboration in film production culture through examination of the role of the film editor. Concentrating specifically on the film/sound editor and mixer Walter Murch, it examines his role as a collaborative author in his early work with director Francis Ford Coppola and his later work with English director Anthony Minghella.