Australians, no matter where they live, need access to affordable, healthy food. Issues of food security in the face of rising food costs are of concern particularly in the current global economic downturn. There is an urgent need to nationally monitor, but also sustainably address the factors affecting the price of healthy foods, particularly for vulnerable groups who suffer a disproportionate burden of poor health.

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Observed speech and interactive behavior of American Hmong students who were attending a northern California high school indicate that Hmong student responses to teacher generated questions were often influenced by culturally based predispositions. In answering certain types of content related questions, these students relied on underlying cultural emphases (pervasive culture specific themes) which were sometimes different from those generally held by Anglo American students and teachers at this school. Because of these differences, Hmong students often provided answers considered "wrong" in academic contexts, although they were essentially correct from a normative Hmong perspective. Moreover, Laotian Hmong students, often described as "shy" by educators, were found to be carrying out normative cultural rules for demonstrating respect and deference to authority figures through silence. This "taciturn style" was evident during numerous open ended question/answer sessions as these exchanges occurred in classroom situations. Constructing answers on the basis of Hmong cultural agendas and remaining silent in classroom situations produced impediments to communication between these students and their teachers. Moreover, many teachers often did not recognize these problems as the result offundamental cultural differences.

Amyas Connell (1901-80) was a New Zealand architect and a leading figure in British modernism. His first commission, High and Over (1929-31) for the archaeologist and classical scholar Bernard Ashmole was described as the first fully worked out modernist house built in England. The project drew attention from a wide range of architectural critics including Howard Robertson and the Country Life writer Christopher Hussey. A short film entitled The House of a Dream made by British Pathé ensured the house was seen by the large cinema audience in 1931. High and Over became more contentious over time when Connell's intention to combine classical and modern design tendencies was criticised by more doctrinaire modernists. High and Over occupies a place where the traditions of classicism and the emergent features of modernism intersect. Connell's path, if taken, may have produced a distinctively British form of classical modernism. [NEW PARAGRAPH] This paper seeks to establish the context for High and Over from a New Zealand perspective and through comparison with other projects by colonial architects in Britain. Connell's critical profile has been shaped by the notion that British modernism was in the hands of "Wild Colonial Boys," a soubriquet used to frame Connell's work in the 1930s by the British writer Dennis Sharp. In this interpretation, the depth of Connell's experience prior to High and Over is overlooked. Connell's partnership with the Australian-born Stewart Lloyd Thomson (1902-90) has not been covered in any previous study of the Connell, Ward and Lucas practice. The High and Over project included a number of related structures set in a landscape plan not usually included in analysis of the complex whole. The relationship between the garden plan and the designs of the Armenian architect Gabriel Guévrékian seen at the Paris Exposition and the Villa Noailles at Hyéres (1927) has also not been traversed.