scholarly journals An Eye for Detail: the Dallard years

2021 ◽  
Vol 18 ◽  
pp. 117-125
Author(s):  
Christine McCarthy

It is often considered that the 1930s was a mundane period in the history of New Zealand prison architecture. This paper re-evaluates this conclusion by examining the specific aspect of prison interior architecture and the incremental changes that occurred to prison buildings during this period of New Zealand's prison history.

2021 ◽  
Author(s):  
◽  
Ariana Pia

<p>This research questions whether considering Māori concepts of architecture and space within the design of New Zealand prisons can help in the rehabilitation process of inmates of Māori descent.   First, the general concept of prison architecture will be researched. The panopticon as a general diagram as well as specific case studies will frame an understanding of the characteristics of prison architecture in the western sphere. A specific attention to interior architecture will be established.  Second, the link between cultural experience and rehabilitation will be distinguished primarily through analysis of Māori Focus Units.  Third, the notions of Māori perception and understanding of architectural space will be explored in a general context. More particularly, characteristics of interior architecture will be researched.  Fourth, a site will be selected to reflect the contentious issues of incarceration of the Māori population. Matiu/Somes Island, located in the Wellington harbour, is a reflection of historical Māori culture and lifestyles that form a base of beliefs and mythology that modern Māori can identify with. The island itself is a provocation due to its history of incarceration.  This thesis is of interior architecture; hence the design will be developed within the constraints of a given architectural envelope. While this is an assumed position, the interior architecture will challenge the given envelope and its contextual site. As a consequence, further interventions into the landscape and the architecture will be developed to sustain the interior architecture here developed.  It is anticipated that this research will therefore support the idea that interior architecture of New Zealand prisons must be developed as an integral part of a holistic spatial intervention in view of supporting the rehabilitation process of Māori inmates.</p>


2021 ◽  
Author(s):  
◽  
Ariana Pia

<p>This research questions whether considering Māori concepts of architecture and space within the design of New Zealand prisons can help in the rehabilitation process of inmates of Māori descent.   First, the general concept of prison architecture will be researched. The panopticon as a general diagram as well as specific case studies will frame an understanding of the characteristics of prison architecture in the western sphere. A specific attention to interior architecture will be established.  Second, the link between cultural experience and rehabilitation will be distinguished primarily through analysis of Māori Focus Units.  Third, the notions of Māori perception and understanding of architectural space will be explored in a general context. More particularly, characteristics of interior architecture will be researched.  Fourth, a site will be selected to reflect the contentious issues of incarceration of the Māori population. Matiu/Somes Island, located in the Wellington harbour, is a reflection of historical Māori culture and lifestyles that form a base of beliefs and mythology that modern Māori can identify with. The island itself is a provocation due to its history of incarceration.  This thesis is of interior architecture; hence the design will be developed within the constraints of a given architectural envelope. While this is an assumed position, the interior architecture will challenge the given envelope and its contextual site. As a consequence, further interventions into the landscape and the architecture will be developed to sustain the interior architecture here developed.  It is anticipated that this research will therefore support the idea that interior architecture of New Zealand prisons must be developed as an integral part of a holistic spatial intervention in view of supporting the rehabilitation process of Māori inmates.</p>


2014 ◽  
Vol 76 ◽  
pp. 25-28
Author(s):  
D.R. Stevens ◽  
J.P. Garden

The Central Otago region, with its cold winters and hot summers, and valley floors with uplift mountains is definitely "a world of difference". At the NZGA conference in Alexandra in 1966 John Hercus stated "Central Otago has a lure which sets it apart from the rest of New Zealand. Its characteristics of geology, topography and climate, its history of occupation and exploitation, its scenery at once forbidding and yet strangely fascinating - these features combine to cast a spell which few who have been exposed, can ever fully escape" (Hercus 1966). The region and its high country have an iconic status epitomised by the "Southern Man" stereotype. This places Central Otago deep in the psyche of the nation. With this goes a unique and significant set of conditions under which farming must take place. Not only does the region have the biophysical challenges of soils, water and climate to contend with, but a wider set of values, often imposed from elsewhere. Fifty years after that first conference we remain challenged. What are the opportunities in front of us and how should we best accommodate the challenge of maintaining a viable enterprise and at the same time, respecting the intense public and customer interest in our use of land and livestock? Central Otago and the associated high country of the Lakes district and McKenzie basin can be divided into three farming types. These are the valley floor irrigable type, the flat and downland dryland regions, and the high country. Each of these has challenges that are at times unique, but often overlap with problems faced in other regions.


1997 ◽  
Vol 24 (3) ◽  
pp. 397-421 ◽  
Author(s):  
JOHN C. YALDWYN ◽  
GARRY J. TEE ◽  
ALAN P. MASON

A worn Iguanodon tooth from Cuckfield, Sussex, illustrated by Mantell in 1827, 1839, 1848 and 1851, was labelled by Mantell as the first tooth sent to Baron Cuvier in 1823 and acknowledged as such by Sir Charles Lyell. The labelled tooth was taken to New Zealand by Gideon's son Walter in 1859. It was deposited in a forerunner of the Museum of New Zealand, Wellington in 1865 and is still in the Museum, mounted on a card bearing annotations by both Gideon Mantell and Lyell. The history of the Gideon and Walter Mantell collection in the Museum of New Zealand is outlined, and the Iguanodon tooth and its labels are described and illustrated. This is the very tooth which Baron Cuvier first identified as a rhinoceros incisor on the evening of 28 June 1823.


Perfect Beat ◽  
2015 ◽  
Vol 1 (4) ◽  
pp. 111-121
Author(s):  
Bruce Sheridan ◽  
Philip Hayward
Keyword(s):  

Author(s):  
James Meffan

This chapter discusses the history of multicultural and transnational novels in New Zealand. A novel set in New Zealand will have to deal with questions about cultural access rights on the one hand and cultural coverage on the other. The term ‘transnational novel’ gains its relevance from questions about cultural and national identity, questions that have particularly exercised nations formed from colonial history. The chapter considers novels that demonstrate and respond to perceived deficiencies in wider discourses of cultural and national identity by way of comparison between New Zealand and somewhere else. These include Amelia Batistich's Another Mountain, Another Song (1981), Albert Wendt's Sons for the Return Home (1973) and Black Rainbow (1992), James McNeish's Penelope's Island (1990), Stephanie Johnson's The Heart's Wild Surf (2003), and Lloyd Jones's Mister Pip (2006).


Author(s):  
Jennifer Lawn

This chapter discusses the history of genre fiction in New Zealand since 1950. Crime writers such as Vanda Symon and Paul Cleave exploit the phenomenon of ‘glocalization’ by locating an international genre in distinctively local settings. Others, like Nalini Singh and Phillip Mann, embrace the alternative worlds of science fiction and fantasy without any sense that a local referent is necessary or desirable. The chapter first considers how New Zealand crime writers add distinctively Kiwi twists to their work before turning to crime thrillers by Paul Thomas and others. It also examines fiction featuring female detectives, including those written by Vanda Symon, as well as genre hybrids such as historical crime and domestic fiction. Finally, it analyses examples of literary noir by Charlotte Grimshaw, Carl Nixon, and Chad Taylor and political dystopias from C. K. Stead to Bernard Beckett.


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