1. "Moors killer begs for a chance," New Zealand Herald(Monday 19 December 1994), section 1, p. 6.
  2. Lesley White, "World's most hated woman," Sunday Star Times (Sunday 1 January 1995), section C, p. 3.
  3. White, "World's most hated woman."
  4. White, "World's most hated woman."
  5. Hindley, quoted "Moors killer begs for a chance."
  6. Debra Miller, "Dietro la Serranda il Patio," Abitare (May 1995), n. 340, p. 100.
  7. Alice Refiti Shopland, "Decade of chaos," Architecture New Zealand (Jan/Feb 1995), p. 63.

    'Kiwi' is a colloquial term for New Zealand or New Zealander.
  8. "[T]he Vernon Brown house looked for all the world like a big bach." David Mitchell & Gillian Chaplin, The Elegant Shed (Auckland: Oxford University Press, 1984), p. 30.

    "Architects like Vernon Brown and Group Architects took advantage of the popularising of the bach." John Durkin, "The Bach and its relationship to landscape," (BArch sub-thesis: University of Auckland, 1981), pp. 47-48.

    "Vernon Brown (1905-65) was a London-born architect who worked in New Zealand from his arrival in New Zealand in 1927. He taught at the School of Architecture at the University of Auckland from 1942 until his death in 1965." The Group were "an association of young graduates of the Auckland School" who initially formed in 1946 as the Architectural Group. They renamed as The Group Construction Company in 1950 and were finally known as Group Architects before the partnership ended in 1958. Peter Shaw, New Zealand Architecture: from Polynesian Beginnings to 1990 (Auckland: Hoddert & Stoughton, 1991), p. 144, 154.
  9. Mike Austin, "Architect's statement," Architecture New Zealand (May/June 1992), p. 33.
  10. Jacques Derrida, "Chora," trans. Mark Wigley (undated manuscript), pp. 2-4.
  11. White, "World's most hated woman."
  12. David Mitchell, "The ugliest house in the bay," Architecture New Zealand (May/June 1992), p. 28.
  13. "It is well known: what Plato in the Timaeus designates by the name of chora seems to defy that 'logic of non-contradiction of the philosophers,' that logic 'of binarity, of the yes or no'." [Derrida, "Chora" p. 1.], "which Plato in the Timaeus defines as 'an invisible and formless being which receives all things and in some mysterious way partakes of the intelligible, and is most incomprehensible" [Leon Roudieuz "Introduction," Julia Kristeva, Desire in Language (Oxford: Blackwell, 1980), p. 6. quoted Toril Moi, Sexual Textual Politics (London & New York: Routledge, 1991), p. 161.]
  14. Durkin, The Bach p. 26.
  15. Durkin, The Bach p. 45.
  16. Wigley argues that New Zealand's "tradition is one of building rather than architecture, a tradition of the unadorned hut." Mark Wigley, "Paradise Lost & Found: Insinuation of Architecture in New Zealand," New Zealand Architect (1986), n. 5, p. 45.
  17. "this distinction between the sensible and the intelligible ... is precisely what the thought of ... chora can no longer get along with - a distinction." Derrida, "Chora," p. 3.
  18. Julia Kristeva, Powers of Horror trans. Leon S Roudiez (New York: Columbia University Press, 1982), p. 4.
  19. White, "World's most hated woman."
  20. White, "World's most hated woman."
  21. White, "World's most hated woman."
  22. "However, we all know how common it is for a bach to become domesticated. The owner-architect lived in this house with his family at one stage and this renovation attempts to recover the bach." Austin, "Architect's statement," p. 33.
  23. Gill Matthewson, personal correspondence (7 July 1995).
  24. "architectural debate ... is conspicuously absent in New Zealand ... Rather it has been actively resisted in order to protect certain assumptions about architecture and what it can be in New Zealand." Wigley, "Paradise Lost & Found," p. 44.
  25. Austin, "Architect's statement," p. 33.
  26. Wigley, "Paradise Lost & Found," p. 44.
  27. Homi K Bhabha, "Signs Taken for Wonders," "Race", Writing and Difference ed. H. L. Gates, (Chicago: University of Chicago Press, 1985), p. 166.

    By assuming the bach is the origin of New Zealand architecture a "common ground between the high architecture of the professional designer and the folk building of the amateur" [Mitchell & Chaplin, The Elegant Shed p. 17.] is found. It is a device which negotiates and entices architecture and building - which easily moves, deceives, seeps, slips into the semiotic, reemerging displaced within the symbolic. It is here New Zealand traces an architectural lineage through "[t]he early modernists of the 1950s in New Zealand, ... [who] drew for their forms on a vernacular of which the bach and its simple, functional forms were a part. Architects like Vernon Brown and Group Architects took advantage of the popularising of the bach." [Durkin, The Bach, pp. 47-8.] denying other cultural possibilities or its tainting by other cultural and architectural possibilities.
  28. Paul Thompson, The Bach (Wellington: V. R. Ward Government Printer, 1985), p. 3.
  29. Mitchell & Chaplin, The Elegant Shed, p. 103-104.

    Mitchell and Chaplin are more specific about the relation of the bach to New Zealand architecture, citing it as an architectural source particular to Auckland architects. They "reject the bach as a source for Canterbury architecture. [As n]either the rich nor those who looked for their roots in England could accept it as an appropriate model ... Wherever it appears in New Zealand the house that is formed like a bach or a shed is almost aways designed by an educated liberal for people of a similar kind. Canterbury architects, forever reminded of the Englishness of their city, and of their own high architectural heritage, warmed more to the model of the steep-roofed English cottage." [Mitchell & Chaplin, The Elegant Shed p. 48.] Unable to deny English origins Canterbrians are unable to locate an architectural tradition related to the New Zealand bach. Instead they find their architectural heritage in English forms. Aucklanders ("in a city in which no sustained architectural tradition exists," Mitchell, "The ugliest house in the bay," p. 31.), unable to identify a post-colonial architecture, site their building within a transitional state of colonialisation, indulging in a nostalgic retreat to the rudimentary, the unregulated and the corrugated.
  30. It is a displacement which hides the snakes, the "uncanny snake ... hidden within the building tradition [which] cannot be expelled from it as it makes that tradition possible" Wigley, "Paradise Lost & Found," p. 45.
  31. "the assumedly civilising influences of a wife," Thompson, The Bach p. 7.
  32. "With the modernist attempt to turn architecture back into building, by removing the corruptions of ornament and returning to function, New Zealand architects were able to participate in the international debate while preserving their regional tradition." Wigley, "Paradise Lost & Found," p. 44.
  33. Austin, "Architect's statement," p. 33.
  34. Austin, "Architect's statement," p. 33.
  35. "Nostalgia cannot be sustained without loss." Susan Stewart, On Longing (Baltimore & London: Johns Hopkins University Press, 1984), p. 145.
  36. Austin, "Architect's statement," p. 33.
  37. "With the owner often being the builder (and that in itself was and remains part of the pleasure of the bach), the level of design and building skill has been rudimentary." Thompson, The Bach p. 8.
  38. Austin, "Architect's statement," p. 33.
  39. Refiti Shopland, "Decade of chaos," p. 63.
  40. Bateman New Zealand Encyclopedia ed. Gordon McLauchlan (Auckland: David Bateman Ltd, 1984), p. 222.
  41. "The nature of New Zealand society earlier this century may also have something to do with the rugged look and the primitive standard of the bach" Thompson, The Bach p. 9.
  42. Thompson, The Bach p. 6.
  43. Thompson, The Bach p. 6.
  44. What emerges as an effect of such "incomplete signification" is a turning of boundaries and limits into the in-between spaces through which the meanings of cultural and political authority are negotiated." Homi K Bhabha, "Introduction," Nation and Narration ed. Homi K Bhabha (London: Routledge, 1990), p. 4.
  45. "at once, a moment of originality and authority, as well as a process of displacement" Bhabha, "Signs Taken for Wonders," p. 163.
  46. White, "World's most hated woman."
  47. Thompson, The Bach p. 7.
  48. Austin, "Architect's statement," p. 33.
  49. White, "World's most hated woman."
  50. White, "World's most hated woman."
  51. "Moors killer begs for a chance."
  52. White, "World's most hated woman."
  53. White, "World's most hated woman."
  54. White, "World's most hated woman."
  55. White, "World's most hated woman."
  56. "Murderer Myra: NZ is the Place for Me" New Zealand's Woman's Weekly (11 April 1994), p. 34.