Pain management skills of regional nurses caring for older people with dementia: a needs analysis

An exploratory survey of the pain management education needs of 197 nurses working with older people with dementia was undertaken in a regional area of Queensland, Australia. The analysis indicated that nurses in this setting might not have the knowledge base to manage pain effectively; and that respondents have essentially negative perceptions of the availability and appropriateness of current pain management education programs. Consistent with non-metropolitan nurses generally, respondents expressed a preference for pain management education that had a significant face-to-face component allied with ongoing mentorship and support on completion of the program. The obstacles to attending such programs were also typical of the problems facing regional and rural nurses throughout Australia. These were identified as inability to pay for courses; lack of information on what is available; distance to travel to education; and a perceived lack of employer support due to an inability to replace those staff attending education. Positive aspects include the degree to which participants were responsive and interested in dementia pain management and their access to, and acceptance of, non-medical pain therapies. The findings suggest a definite need for a dementia pain management program for aged care nurses, specifically tailored to their needs and to the constraints of the regional practice setting

Domestic Wallpaper in New Zealand: a Literature Survey

This paper summarises the existing literature on New Zealand wallpaper. It draws on material from contemporary sources, architectural histories, archaeolgical research on specific buildings, and guides to building restoration. The paper focuses exclusively on research on New Zealand use of wallpaper, and divides this material into four sections: early nineteenth century to the c1860s, the 1870s to the early twentieth century, early twentieth century to the 1960s, and a final section on the design, manufacture and importing of wallpaper in New Zealand

Bicultural Architecture

The 1980s appears to be the first time in New Zealand that "biculturalism," a term first coined in Canada in 1940, became linked to New Zealand architecture. The 1980s was a period when the significance of Māori art and culture was increasingly apparent. Te Kōhanga Reo was established in Wainuiomata in 1982, Keri Hulme's The Bone People won the 1985 Booker Prize. The enormously successsful "Te Māori" exhibition, the first international exhibition of Māori taonga, opened at the Metropolitan Museum of Art, New York in 1984, later touring New Zealand in 1986 renamed: "Te Māori: Te Hokinga mai. The Return home." The cultural and political inevitabilities of the Tangata Whenua (1974) television series, the establishment of the Waitangi Tribunal (1975), the Māori Land March (1975), the republication of Dick Scott's The Parihaka Story (1954) as Ask that Mountain (1975), the Bastion Point protests (1977-78), the occupation of Raglan Golf Course (1978), and the Springbok Tour (1981), meant that by the 1980s Pākehā and Māori were questioning their relative postions in New Zealand society. In architecture the success of urban marae, the construction of institutional marae (e.g. Waipapa Marae, University of Auckland by Ivan Mercep, Jasmax, 1988), and the recognition of John Scott's Futuna Chapel as bicultural, twinned with a growing awareness of the asymmetrical privileging of Pākehā over Māori, would all contribute to a greater motivation for biculturalism in architecture. This paper examines the development of the use of the term "bicultural architecture" in New Zealand, and the architecture proposed as warranting it, during this period of New Zealand's history

Elegance and excesses: War, Gold and Borrowings: New Zealand Architecture in the 1860s

The 1860s were an eventful time for architecture in New Zealand. On the eve of the decade, in 1859, William Mason became the first person to be a registered architect in New Zealand. The scene was thus set for the English idea of architecture as a profession to more substantially impact on our land. From the decade's beginning were the start of civil wars and the discovery of gold, with New Zealand's first major gold rush in Otago. It was war and gold which crudely distinguished the decade's histories of the North Island and South Islands

Inside Paremoremo

The idea of imprisonment, which substantially dates from the mid-eighteenth-century, is both integral to many societies today and fervently challenged, as criminological research has unquestionably demonstrated that prisons do not effectively achieve aims of protecting society, nor reform or rehabilitation. Over the last 50 years, the history of our prison architecture is bracketed by the building of Paremoremo (in the aftermath of the 1965 Mt Eden prison riot) and the more recent adoption of the American-derived New Generation prisons (e.g. Auckland Central Remand (2000), Mt Eden Corrections Facility (2011), and Kohuora (Auckland South Corrections Facility), Wiri (2015)). Paremoremo (1963-1969; archt: J.R.B. Blake-Kelly), was, at the time, "arguably the most modern and technologically sophisticated gaol in the world." It was influenced by the designs of: Blundeston prison, Suffolk, England (1961-63); Kumla prison, Sweden (1965); and Marion prison, Illinois (1963). The New Generation prisons interiorised the thinking behind 1960s campus-style prisons that displaced the cell to primarily nocturnal habitation. This paper will consider the historical consequences of 1960s prison design and Paremoremo on New Zealand prison architecture

Architectural style spreads its wings: New Zealand Architecture in the 1880s

The 1880s was a period in New Zealand of economic depression. It caused "unemployment, family distress, ragged children and exploited women workers, general business collapse, a crash in the property market, a ten-year banking crisis, bankruptcies and unstable ministries." But despite this Hodgson identifies this period in New Zealand's architectural history as one when: "Architectural style ... started to spread its wings and this period contains some fine examples of building design which was definitely out of the mainstream.

Ground-floor Attics: Canterbury's V-huts

Alfred C. Barker's 1864 photograph of V-huts amidst unkempt grasses bracketted by flax bushes is well-known. Less often reproduced are his drawings of his own V-hut: Studdingsail Hall, though texts, such as Anna Petersen's New Zealanders At Home and the Drummonds' At Home in New Zealand, reproduce two similar Barker sketches drawn on the 27th and the 28th February 1851. The drawings were also reproduced three dimensionally, almost 100 years after they were drawn, as part of Canterbury Museum's "Canterbury Colonists Exhibition" (1950-1951). This paper examines the references to V-huts which permeate 1850s journals, diaries and newspapers, concluding with an examination of the Barker drawings and the Canterbury Museum replication of one of them

"... ponderously pedantic pediments prevail ... good, clean fun in a bad, dirty world": New Zealand Architecture in the 1980s

The 1980s in New Zealand started with Robert Muldoon as Prime Minister: "Think Big," the Springbok Tour, the price freeze, and the establishment of Kōhanga Reo. These conflicting messages of expansion, contraction, and of race and politics were contextualised by high inflation (15.7% in 1981, 17.6% in 1982) and increasing unemployment (over 70,000 in 1981; c130,000 in 1983). In 1983 the CER (Closer Economic Relations) agreement with Australia was signed. In 1986 a GST (Goods and Services Tax) was first introduced. In October 1987, the sharemarket crash devastated many and reduced the number of cranes dominating the skylines of New Zealand's major cities. Building sites became car parks, and a new era of economic rationalisation would occur. In 1988 Broadcasting was de-regulated, NZPost (now an SOE) closed 432 post offices, and the selling of state assets to private interests was put in train. In 1989 GST increased to 12.5% and the Serious Fraud Office was established.It was also a decade of drama in New Zealand architecture. Significant controversies arose over buildings being built or being demolished, the economies of land value and building worth were in constant comparision. Of note were the discussions around the unrealised National Art Gallery, Roger Walker's now demolished Wellington Club the Aotea Centre in Auckland,the destruction of William Pitt's His Majesty's Theatre, and finally the National Museum of New Zealand, known these days as Te Papa. Controversies included protests against the recurring lack of open competitions for major public buildings, as well as the dominant disregard for architectural heritage

"everything tastes better with cream": New Zealand architecture in the 1950s

Philippa Mein Smith's reference to the official marketing advice that "everything tastes better with cream," reflected a 1950s' abundance: eggs and produce, full employment (for men), and the baby boom, which "boosted the market for children's toys and obliged fathers to build sandpits to encourage creative toddler play." In professional architecture, a confident modernism of curtain walling, air conditioning and prefabrication might have looked, on the surface, to have been counter to a cream-laden Pavlovian mentality, but there appears to be no shyness regarding construction innovation and technological advancement

Edmund Anscombe (1874-1948): early competition work

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