Добірка наукової літератури з теми "Knox Church (Dunedin, New Zealand)"

Edmund Anscombe (1874-1948) was an important New Zealand architect, well known for his design of the 1925 New Zealand and South Seas International Exhibition (Logan Park, Dunedin) and the 1940 New Zealand Centennial Exhibition (Rongotai, Wellington), as well as for his art deco buildings in Hawkes Bay (especially Hastings), and in Wellington.This article explores Anscombe’s contribution to New Zealand’s early twentieth-century church design by presenting new archival research and examining his distinctive use of secular imagery, notably the architectures of the house and schoolhouse. The article locates these designs simultaneously within traditions of Nonconformist architecture and within a Victorian interest in the home as productively informing a spiritual understanding of church building. While some architectural examples of this thinking were apparent in late nineteenth-century America, there are no other known examples in New Zealand. Anscombe’s use of this secular and domestic imagery in his church design enabled fashionable and theologically-informed architectures to co-exist.

Introduction: Falls are a common cause of injury in New Zealand. However, falls risk and prevalence have not been investigated in Pacific peoples. To address this knowledge gap, a literature review, falls risk screening, and attitudes towards exercise as falls prevention questionnaires were conducted in a Pacific population in the southern regional town of Dunedin. Aims: To identify the attitudes towards strength and balance exercise as falls prevention within Pacific Islands peoples in Dunedin, New Zealand. Methods: Participants aged 55+ were recruited from Pacific Trust Otago, flyers, at church groups and existing exercise classes. Falls screening was assessed by the New Zealand Health Quality and Safety Commission’s Ask, Assess, Act questionnaire. Attitudes towards exercise as falls prevention intervention, was assessed using a culturally adapted version of the Attitudes to Falls-Related Intervention Scales (AFRIS). Both questionnaires were verbally administered in the participants’ native tongue. Results: Fifty respondents (mean age: 68.69, males: 39.58%, females: 60.42%) completed the questionnaires. Just over 56% indicated falls risk (62.07% female and 52.63% male) and 30% reported a fall in the last 12 months (31.03% females and 21.05% males). AFRIS highest mean score, was 6.69 (out of 7) for readiness to engage in strength and balance exercise to prevent falls. The lowest score (6.4) was ease of exercise participation. The total mean AFRIS score was 38.96 out of a possible 42. Conclusions: Self-reported falls in the past year and risk within this population was comparable to other groups and highlights the need for falls prevention that caters to cultural needs. The positive response to adding strength and balance exercise provides supporting evidence of incorporating strength and balance exercises into existing programmes

Edmund Anscombe is reputed to have begun his architectural career in Dunedin with the success of the University of Otago School of Mines competition, after spending five years in America (1902-1906) studying architecture. His early career is characterised by consistent success in architectural competitions over a short period of time. He won competitions for the University of Otago School of Mines (1908), the Young Men's Christian Association Building (1909), the Hanover Street Baptist Church (1910), and the Dunedin Girls' High School (1909) - where he won first and second place. This competition work chronologically culminates in an unsuccessful entry in the 1911 competition for a new New Zealand Parliament, which was won by John Campbell and Claude Paton.

Tasmanian-born architect William Henry Dunning (1872-1933) commenced his New Zealand practice in Timaru in 1907. Initially trained in Hobart, under the notable church designer Alexander North, Dunning's experience as a colonial architect was further extended in Cape Town. His association with fellow Tasmanians Alfred and Sidney Luttrell drew him to Dunedin where he supervised the construction of the New Zealand Express Company Building. Dunning was an ambitious architect. His competition entries included designs for the New Zealand Parliament Buildings (1911) and the Auckland War Memorial Museum (1922). Despite the quality of his work, and efforts towards self-promotion, Dunning's most significant contribution to the city's architecture, the National Bank (1911) has been frequently attributed to another designer. The remainder of his work is also little known. This paper seeks to explore the ways in which architects asserted authorship during the period and will attempt to map the shifting responsibilities between architects and builders that allowed Dunning's contribution to the National Bank project to become obscured.

Emigrants arriving in New Zealand in the 1840s who had some architectural training were rarely able to find full‐time employment in that profession. Some sought to make a living in related fields where their drafting skills could be used (as artists or surveyors); others changed completely to become farmers or real estate agents. A few sought civil service positions or moved into politics. The most persistent bided their time in other employment but moved back to architecture when conditions became more favourable. Here we describe a number of examples of these categories. Edward Ashworth arrived in Auckland in 1842. Unable to find architectural work, he taught drawing to the Governorʹs children and also produced several paintings of early Auckland. Henry St Hill arrived in Wellington as the New Zealand Companyʹs Architect ‐ but followed a career as magistrate and sheriff. W Robertson practised as an architect in Auckland from 1847 ‐ but also advertised as a real estate agent. S Kempthorne arrived in 1842 as a church architect but did not adapt well to New Zealand conditions and fell out of favour with Bishop Selwyn. By 1864 he was Secretary of a Public Buildings Commission. Reader Gillson Wood, famous or infamous for New Zealandʹs first parliament building, the "Shedifice" in Auckland, became a well‐known politician ‐ but returned to practising as an architect several times during a long career. William Mason thought he was coming to New Zealand as Colonial Architect in 1840. Downgraded to Superintendent of Public Works, he resigned after two years. Mason then moved into auctioneering and farming for the next ten years before returning to architecture and, later, a highly successful career in Dunedin. T O'Meara of Wellington claimed to be an architect but was probably a builder. Either way his drafting ability was found to be wanting when he forged a series of government debentures and tried to pass them for payment. (This resulted in a ten‐year jail sentence, with transportation to Tasmania). We also explore some of the social reasons for the apparent lack of work for early skilled architects, including the slow‐growing economy, immediate needs for basic shelter/food production and major differences in building material resources compared with settlersʹ countries of origin.

One relatively distinct group in the British empire were the millions of Scots who extended their cultural networks in the various new worlds. From New Zealand to Australia and Canada, Scottish settlers used their books and reading as a means of replicating and promoting their own cultural values far from home. This chapter examines a number of pioneer communities settled by Scots, particularly members of the Free Church, established after the Disruption of 1848. Under the fiercely sectarian leadership of a number of prominent church ministers in Dunedin, Waipu, and elsewhere, institutional libraries were established that reflected the cultural and religious affiliations of home. Later in the nineteenth century, even in these enclaves of Scottishness these same communities became increasingly integrated into an overseas colonial identity. A key figure in this regard was the pastoralist, George Russell of Victoria. An important colonial representation of Scottishness in this stage of transition was articulated by Catherine Helen Spence in her novel Handfasted. By the twentieth century, almost in direct proportion to their distance from their national origins, colonial Scots remained faithful to a number of cultural practices, not least of which was the keen promotion of literary works by their countrymen and women.