Excerpt: Architecture in Hebron, West Bank, presents such a complex array of colonial strategies that the following analysis covers only partially. Since the establishment of Israeli settlements, military presence has gradually intensified to protect the latter from the alleged threat that Palestinian communities represent. Palestinian individuals are therefore subjected to a violent military regime that impacts their bodies, through physical persecution by the IDF and algorithmic profiling; their communal spaces, destroyed through targeted demolition or fragmented by checkpoints and settler-exclusive infrastructure; and their homes, through intensive surveillance and military raids. Life as a Palestinian resident in Hebron is deprived of collectivity, civic participation, and social life. The attempt to neglect Palestinians is materialized in the establishment of two differential temporal regimes. However, despite the clear-cut separation into enclaves and archipelagos, Israelis and Palestinians still inhabit the same spaces. The lives of both communities are still inevitably and violently intertwined. Despite the State of Israel’s justifications of such conditions based on a felt security threat posed by Islamist terrorism, a deeper look into how daily life unfolds in Palestinian communities in Hebron reveals a further settler colonial agenda. Building on the theoretical framework of security and military landscapes (Minghi, 1986; Pearson, 2012), and urban warfare (Coward, 2009), this paper aims to examine the goals and impact of military penetration into urbanity through the qualitative method of case study. Subsequent to the presentation of the literature’s framework applied to the case of Hebron, the following sections will disentangle the question of the blurred lines between military and civilian, war and peace, security and oppression: specifically, the differential mobility questions established by military checkpoints are highlighted, to further move into a reflection over the use of high-tech biometric surveillance systems as a disciplinary tool.  The work concludes with a critical reflection on the role of architecture in perpetrating violence and in finalizing a settler colonial project.





Abstract: Organised under the aegis of New Zealand Premier Richard Seddon (1845–1906), the 19061907 New Zealand International Exhibition was held to demonstrate the colony’s progress to the world and its achievements as a ‘Better Britain’. There were many different facets to the Exhibition, however this thesis examines the British Art Section, an art exhibit arranged by the British government and paid for by the New Zealand government, and its place in New Zealand art history. Featuring almost 2,000 artworks shipped directly from London for the occasion, it remains the largest exhibition of British art in New Zealand’s history. A principal motivation of the exhibit was to educate colonial viewers on what ‘good’ art was within the Empire, and to cater to a market of middle-class art buyers nostalgic for ‘Home’. The exhibition of popular British artists left an indelible impression on visitors, along with a substantial contribution to New Zealand art collection development. Nearly 600 artworks were purchased, with over £17,000 spent by art societies and galleries in Christchurch, Wellington, Auckland and Dunedin, by the Art Gallery of New South Wales and the Art Gallery of South Australia, and by numerous private collectors. Although these acquisitions are of considerable significance for the development of public art collections in Australasia, their impact has been little explored in recent New Zealand art history literature. This thesis addresses this gap in current scholarship, providing an in-depth examination of the British Art Section from its inception to conclusion, arguing that it played a pivotal role in shaping both public and private taste and nascent art collections, and reinforced the desire to have British art in New Zealand.