Architecture and music have a long intertwining history.These respective creative forces many times have collaborated into monumental place, harboured rich occasion, been catalyst for cultural movement and defined generations. Together they transcend their respective identities. From dinky local church to monstrous national stadia, together they are an intense concentration, a powerfully addictive dosage where architecture is the place, music is the faith, and people are the reason. Music is a programme that architecture often celebrates in poetic and grand fashion; a superficial excuse to symbolise their creative parallels. But their relationship is much richer and holds more value than just the opportunity to attempt architectural metaphor.While music will always overshadow the architecture in the sense of a singular event, architecture is like the soundman behind the mixing desk. It’s not the star front and centre grabbing your attention, but is responsible for framing the star. It is the foundational backdrop, a critical pillar. Great architecture can help make great music. In this sense music is a communication of architecture, it is the ultimate creative function. Christchurch, New Zealand, is a city whose story changed in an instant. The seismic events of 2010 and 2011 have become the overriding subject of its historical narrative, as it will be for years to come. Disaster redefines place (the town of Napier, struck by an earthquake in 1931, exemplifies this). There is no quantifiable justification for an exploration of architecture and music within the context of Christchurch. The Town Hall, one of New Zealand’s most architecturally significant buildings, is under repair. The Christ Church Cathedral will more than likely be rebuilt to some degree of its former self. But these are echoes of the city that Christchurch was.They are saved because they are artefact. Evidence of history.This thesis makes the argument for the new, the better than before, and for the making of opportunity from disaster, by proposing a ‘new’ town hall, conceived from the sound of old.
The whare whakairo or traditional Māori meeting house plays an important part in Māori society and identity. These whare tell the tale of their origin, and in so doing, the origins of their people. The analysis of the meeting house, the histories expressed in its decorative carvings and structural elements are inextricably linked with and dependent upon the structure of the world created by myth and the Māori worldview. However, due to the deleterious effects of colonisation, the art of wood carving and associated architectural practices - central to Māori identity, suffered decline in many parts of the country, leading to the decline of Māori culture and identity. Sir Apirana Ngata instigated the National Institute of Māori Arts and Crafts to resurrect the dying art of Māori carving and carved houses would be a catalyst for the restoration of Māori culture throughout the country. Ngata saw these whare whakairo as being the heart of Māori communities by establishing a renewed sense of belonging and identification with space for Māori, through the telling of tribal histories and emphasising key geographical features. New threats in the form of global hegemony and urbanisation have further impacted on Māori notions of identity, creating a generation of displaced urban Māori youth. This research proposes to establish an architectural response to capture displaced Māori youth through the resurrection of the Māori carving school and return to them the lost stories of their cultural history and identity. This program will be developed within the complex challenges that exist within post-earthquake Ōtautahi/Christchurch, where many have lost homes and livelihoods, especially Māori youth in the Eastern Suburbs. The building elements of the proposed Māori carving school give reference to the historio-cultural features of the original Ōtautahi/Christchurch landscape that are situated in tribal song and myth. It is envisioned that the development of a Māori carving school will help restore Māori identity and a renewed sense of belonging, and allow for the telling of this generations stories through traditional narratives.
“One of the most basic and fundamental questions in urban master planning and building regulations is ‘how to secure common access to sun, light and fresh air?” (Stromann-Andersen & Sattrup, 2011). Daylighting and natural ventilation can have significant benefits in office buildings. Both of these ‘passive’ strategies have been found to reduce artificial lighting and air-conditioning energy consumption by as much as 80% (Ministry for the Environment, 2008); (Brager, et al., 2007). Access to daylight and fresh air can also be credited with improved occupant comfort and health, which can lead to a reduction of employee absenteeism and an increase of productivity (Sustainability Victoria, 2008). In the rebuild of Christchurch central city, following the earthquakes of 2010 and 2011, Cantabrians have expressed a desire for a low-rise, sustainable city, with open spaces and high performance buildings (Christchurch City Council, 2011). With over 80% of the central city being demolished, a unique opportunity to readdress urban form and create a city that provides all buildings with access to daylight and fresh air exists. But a major barrier to wide-spread adoption of passive buildings in New Zealand is their dependence on void space to deliver daylight and fresh air – void space which could otherwise be valuable built floor space. Currently, urban planning regulations in Christchurch prioritize density, allowing and even encouraging low performance compact buildings. Considering this issue of density, this thesis aimed to determine which urban form and building design changes would have the greatest effect on building performance in Central City Christchurch. The research proposed and parametrically tested modifications of the current compact urban form model, as well as passive building design elements. Proposed changes were assessed in three areas: energy consumption, indoor comfort and density. Three computer programs were used: EnergyPlus was the primary tool, simulating energy consumption and thermal comfort. Radiance/Daysim was used to provide robust daylighting calculations and analysis. UrbaWind enabled detailed consideration of the urban wind environment for reliable natural ventilation predictions. Results found that, through a porous urban form and utilization of daylight and fresh air via simple windows, energy consumption could be reduced as much as 50% in buildings. With automatic modulation of windows and lighting, thermal and visual comfort could be maintained naturally for the majority of the occupied year. Separation of buildings by as little as 2m enabled significant energy improvements while having only minimal impact on individual property and city densities. Findings indicated that with minor alterations to current urban planning laws, all buildings could have common access to daylight and fresh air, enabling them to operate naturally, increasing energy efficiency and resilience.
Diverse Density proposes an alternative housing strategy to the idealistic top-down process of housing development. The term ‘Top – down’ refers to a situation in which decisions are made by a few people in authority rather than by the people who are affected by the decisions (Cambridge). Problems/Position/Question: New Zealand’s urban housing is in a period of flux. Pressures of densification have permitted the intervention of medium density housing development schemes but these are not always successful. These typically top-down processes often result in internally focused design schemes that do not adhere to their specific context. The subsequent design outcomes can cause detrimental impacts to the local, urban and architectural conditions. With vast quantities of council regulations, building restrictions and design guidelines clouding over the housing sector, commonly referred to as ‘red tape’, occupant participation in the housing development sector is dwindling. A boundless separation between top-down and traditional housing processes has occurred and our existing neighbourhoods and historic architectural character are taking on the brunt of the problem. The thought-provoking, alternative housings strategies of key research theorists Alejandro Aravena and John Habraken frame positions that challenge contemporary densification methods with an alternative strategy. This position is addressed by endeavoring to answer; How can demands for denser housing achieve dynamic design responses that adhere to changes in occupancy, function and local site conditions? Aim: The aim of this thesis is to challenge New Zealand’s current housing densification methods by proposing an alternative densification strategy. Explicit devotion will be attributed to opposing top-down building developments. Secondly, this thesis aims to test a speculative site-specific housing model. The implementation of a Christchurch housing scenario will situate an investigative study to test the strategy and its ability to stimulate greater diversity, site responsiveness, functional adaptability and occupancy permutation. The post-earthquake housing conditions of Christchurch provide an appropriate scenario to test and implement design-led investigations. Objectives: The primary objectives of this design-led research investigation it to challenge the idealistic top-down method of developing density with a new method to: - Develop contextual architectural cohesion - Encourage residential diversity - Reinvigorate architectural autonomy - Respond to, and recognise, existing site conditions - Develop a housing model that: - Adapts to occupant functionality preferences - Caters to occupancy diversity - Achieves contextual responsiveness The proposition is addressed through a speculative design-led scenario study. A well-established Christchurch urban environment is adopted to implement and critique the envisioned alternative strategy. Development of the designs responsiveness, adaptability, and functionality produce a prototype housing model that actively adheres to its particular context. Implication: The implications of this research would be an alternative densification strategy to perceive the advancement of punctual assessment of building compliance. With accelerated building processes, the research may have implications for addressing New Zealand’s housing crisis whilst simultaneously providing diverse, personable and responsive architectural solutions. A more dynamic, up-to-date and responsive housing development sector would be informed.
In the aftermath of the 2011 earthquake, a state of polycentric urbanity was thrust upon New Zealand’s second largest city. As the city-centre lay in disrepair, smaller centres started to materialise elsewhere, out of necessity. Transforming former urban peripheries and within existing suburbs into a collective, dispersed alternative to the city centre, these sub-centres prompted a range of morphological, socio-cultural and political transformations, and begged multiple questions: how to imbue these new sub-centres with gravity? How to render them a genuine alternative to the CBD? How do they operate within the wider city? How to cope with the physical and cultural transformations of this shifting urbanscape and prevent them occurring ad lib? Indeed, the success and functioning of the larger urban structure hinges upon a critical, informed response to these sub-centre urban contexts. Yet, with an unrelenting focus on the CBD rebuild - effectively a polycentric denial - little such attention has been granted. Taking this urban condition as its premise and its provocation, this thesis investigates architecture’s role in the emergent sub-centre. It asks: what can architecture do in these urban contexts; how can architecture act upon the emergent sub-centre in a critical, catalytic fashion? Identifying this volatile condition as both an opportunity for architectural experimentation and a need for critical architectural engagement, this thesis seeks to explore the sub-centre (as an idea and actual urban context) as architecture’s project: its raison d’etre, impetus and aspiration. These inquiries are tested through design-led research: an initial design question provoking further, broader discursive research (and indeed, seeking broader implications). The first section is a site-specific, design for Sumner, Christchurch. Titled ‘An Agora Anew’; this project - both in conception and outcome - is a speculative response to a specific sub-centre condition. The second section ‘The Sub-centre as Architecture’s Project’ explores the ideas provoked by the design project within a discursive framework. Firstly it identifies the sub-centre as a context in desperate need of architectural attention (why architecture?); secondly, it negotiates a possible agenda for architecture in this context through terms of engagement that are formal, critical and opportunistic (how architecture?): enabling it to take a position on and in the sub-centre. Lastly, a critical exegesis positions the design in regards to the broader discursive debate: critiquing it an architectural project predicated upon the idea of the sub-centre. The implications of this design-led thesis are twofold: firstly, for architecture’s role in the sub-centre (especially to Christchurch); secondly for the possibilities of architecture’s productive engagement with the city (largely through architectural form), more generally. In a century where radical, new urban contexts (of which the sub-centre is just one) are commonplace, this type of thinking – what can architecture do in the city? - is imperative.
As cities evolve, change and grow, the need and desire for adaptable architecture becomes evident across the nation. Architecture needs to undertake techniques that are flexible in order to adapt and align with the development of future generations in New Zealand. The Education industry is a primary example of a sector which requires flexibility within both classroom architectural form and interior configuration. This is a resultant of the recently updated Ministry of Education requirements; which state that every new classroom built or renovated nationwide, must implement the MoE classroom design standards for Innovative Learning Environments. ILE teaching spaces are configured as an open plan interior, supporting flexibility in classroom arrangement and teaching techniques. ILE classrooms are capable of evolving and adapting as educational practices evolve and change, allowing schools to remain modern and future focused. As part of this movement to ILE, the Ministry of Education has also recently made an attempt to improve the quality of temporary classrooms. This has been done by looking into the initiation of a programme that utilizes relocatable classroom buildings. Relocatable classrooms have been selected for multiple reasons, primarily flexibility. Flexibility is key for a school environment as it allows the school to actively respond to fluctuating school rolls. It is anticipated that the programme will provide a faster delivery process with a standardised design that allows the classrooms to be relocated from one school to another with relative ease. Following the devastating February 2011 earthquake the Greater Christchurch Region, the Education sector is in the midst of the Canterbury Schools Rebuild Programme. As a repercussion of this natural disaster, the majority of Christchurch schools have redevelopment or rebuild projects in progress, with preliminary design phases already in action for a small group of select schools regarded as high priority. The primary funding for these projects are sourced from insurance money, implementing tight budget restrictions, affecting the architectural design, quality and speed of the construction and repair works. The available funding limits the affordable classroom options to basic teaching spaces that have been stripped back to simple architectural forms, dictating not only the re-design, but also how our future generations will learn. Thus causing the development of the new student-led learning ILE concept to become controlled by existing construction techniques and the Rebuild Programmes budget restrictions. This thesis focuses on the future proofing of New Zealand schools by providing an affordable and time efficient alternative option to the current static, traditional construction, an option that has the ability to cater to the unpredictable fluctuating school rolls across the nation. This has been done by developing a prefabricated system for standalone classroom blocks. These blocks have the ability to be relocated between different school sites, dynamically catering to the unpredictable school roll numbers experienced across New Zealand. This site flexibility is reflected with the interior flexibility in the classrooms, enhancing the internal teaching space composition and challenges the existing design standards set by the Ministry of Education for Innovative Learning Environments. This system is called “Flexi-Ed”. Flexibility has been a key driver for this thesis, as the prefabricated structure is have to be flexible in three ways; first in the sense of being easy to assemble and disassemble. Second by offering flexible interior learning environments and thirdly the joints of the structure are designed with the ability to be flexible in order to cope with seismic activity. These three principles will provide schools with long term flexibility, minimal on-site interruption and heighten the standard of ILE across the nation. I strive to provide schools with long term flexibility and minimal site interruption, whilst heightening the standard of Innovative Learning Environments across New Zealand.
