This article explores the scope of small-scale radio to create an auditory geography of place. It focuses on the short-term art radio project The Stadium Broadcast, which was staged in November 2014 in an earthquake-damaged sports stadium in Christchurch, New Zealand. Thousands of buildings and homes in Christchurch have been demolished since the February 22, 2011, earthquake, and by the time of the broadcast the stadium at Lancaster Park had been unused for three years and nine months, and its future was uncertain. The Stadium Broadcast constructed a radio memorial to the Park’s 130-year history through archival recordings, the memories of local people, observation of its current state, and a performed site-specificity. The Stadium Broadcast reflected on the spatiality of radio sounds and transmissions, memory, postdisaster transitionality, and the impermanence of place.
On the 22nd of February, 2011 the city of Christchurch, New Zealand was crippled by a colossal earthquake. 185 people were killed, thousands injured and what remained was a city left in destruction and ruin. Thousands of Christchurch properties and buildings were left damaged beyond repair and the rich historical architecture of the Canterbury region had suffered irreparably. This research will conduct an investigation into whether the use of mixed reality can aid in liberating Christchurch’s rich architectural heritage when applied to the context of destructed buildings within Christchurch. The aim of this thesis is to formulate a narrative around the embodiment of mixed reality when subjected to the fragmentary historical architecture of Christchurch. Mixed reality will aspire to act as the defining ligature that holds the past, present and future of Christchurch’s architectural heritage intact as if it is all part of the same continuum. This thesis will focus on the design of a memorial museum within a heavily damaged historical trust registered building due to the Christchurch earthquake. It is important and relevant to conceive the idea of such a design as history is what makes everything we know. The memories of the past, the being of the now and the projection of the future is the basis and fundamental imperative in honouring the city and people of Christchurch. Using the technologies of Mixed Reality and the realm of its counter parts the memorial museum will be a definitive proposition of desire in providing a psychological and physical understanding towards a better Christchurch, for the people of Christchurch. This thesis serves to explore the renovation possibilities of the Canterbury provincial council building in its destructed state to produce a memorial museum for the Christchurch earthquake. The design seeks to mummify the building in its raw state that sets and develops the narrative through the spaces. The design intervention is kept at a required minimum and in doing so manifests a concentrated eloquence to the derelict space. The interior architecture unlocks the expression of history and time encompassed within a destructive and industrialised architectural dialogue. History is the inhabitant of the building, and using the physical and virtual worlds it can be set free. This thesis informs a design for a museum in central Christchurch that celebrates and informs the public on past, present and future heritage aspects of Christchurch city. Using mixed reality technologies the spatial layout inside will be a direct effect of the mixed reality used and the exploration of the physical and digital heritage aspects of Christchurch. The use of technology in today’s world is so prevalent that incorporating it into a memorial museum for Christchurch would not only be interesting and exploratory but also offer a sense of pushing forward and striving beyond for a newer, fresher Christchurch. The memorial museum will showcase a range of different exhibitions that formulate around the devastating Christchurch earthquake. Using mixed reality technologies these exhibitions will dictate the spaces inside dependant on their various applications of mixed reality as a technology for architecture. Research will include; what the people of Canterbury are most dear to in regards to Christchurch’s historical environment; the use of mixed reality to visualise digital heritage, and the combination of the physical and digital to serve as an architectural mediation between what was, what is and what there could be.
Cultural heritage is a dynamic concept, incorporating the ideas and values of many different organisations and individuals; it is heavily dependent on the context of the item or site being conserved, and transforms something from an old article into a historically significant object. A formal definition of cultural heritage did not appear in the Antarctic Treaty System until 1995, however Antarctic heritage value has been applied to various sites and monuments since the inception of the Treaty, from Shackleton’s Nimrod Hut to a heavy tractor. This report examines a number of case studies to determine the various ways in which heritage items and sites can be managed – such as the removal of the South Pole Dome – as well as their conservation after natural disasters, for instance the Christchurch earthquakes.
This is an ethnographic case study, tracking the course of arguments about the future of a city’s central iconic building, damaged following a major earthquake sequence. The thesis plots this as a social drama and examines the central discourses of the controversy. The focus of the drama is the Anglican neo-Gothic Christ Church Cathedral, which stands in the central square of Christchurch, New Zealand. A series of major earthquakes in 2010/2011 devastated much of the inner city, destroying many heritage-listed buildings. The Cathedral was severely damaged and was declared by Government officials in 2011 to be a dangerous building, which needed to be demolished. The owners are the Church Property Trustees, chaired by Bishop Victoria Matthews, a Canadian appointed in 2008. In March 2012 Matthews announced that the Cathedral, because of safety and economic factors, would be deconstructed. Important artefacts were to be salvaged and a new Cathedral built, incorporating the old and new. This decision provoked a major controversy, led by those who claimed that the building could and should be restored. Discourses of history and heritage, memory, place and identity, ownership, economics and power are all identified, along with the various actors, because of their significance. However, the thesis is primarily concerned with the differing meanings given to the Cathedral. The major argument centres on the symbolic interaction between material objects and human subjects and the various ways these are interpreted. At the end of the research period, December 2015, the Christ Church Cathedral stands as a deteriorating wreck, inhabited by pigeons and rats and shielded by protective, colourfully decorated wooden fences. The decision about its future remains unresolved at the time of writing.
In the wake of the Canterbury earthquakes, one of the biggest threats to our heritage buildings is the risk of earthquakes and the associated drive to strengthen or demolish buildings. Can Small Town NZ balance the requirements of the EQPB legislation and economic realities of their places? The government’s priority is on safety of building occupants and citizens in the streets. However, maintaining and strengthening privately-owned heritage buildings is often cost prohibitive. Hence, heritage regulation has frequently been perceived as interfering with private property rights, especially when heritage buildings occupy a special place in the community becoming an important place for people (i.e. public benefits are larger than private). We investigate several case studies where building owners have been given green light to demolish heritage listed buildings to make way for modern developments. In two of the case studies developers provided evidence of unaffordable strengthening costs. A new trend that has emerged is a voluntary offer of contributing to an incentive fund to assist with heritage preservation of other buildings. This is a unique example where private owners offer incentives (via council controlled organisations) instead of it being purely the domain of the central or local governments.
Heritage buildings are an important element of our urban environments, representing the hope and aspirations of a generation gone, reminding us of our achievements and our identity. When heritage buildings suffer damage, or fall into disrepair they are either met by one of two extremes; a bulldozer or painstaking repair. If the decision to conserve defeats the bulldozer, current heritage practice favours restoration into a mausoleum-type monument to yesteryear. But what if, rather than becoming a museum, these heritage buildings could live on and become a palimpsest of history? What if the damage was embraced and embodied in the repair? The Cathedral of the Blessed Sacrament on Barbadoes Street, Christchurch is the case study building for this thesis. Suffering damage in the Canterbury earthquakes of 2010 and 2011, the Cathedral sits in ruin waiting for decisions to be made around how it can be retained for future generations. This thesis will propose a reconstruction for the Cathedral through the analysis of precedent examples of reconstructing damaged heritage buildings and guided by a heritage framework proposed in this thesis. The employed process will be documented as an alternative method for reconstructing other damaged heritage buildings.
This dissertation explores the advocacy for the Christchurch Town Hall that occurred in 2012-2015 after the Canterbury Earthquakes. It frames this advocacy as an instance of collective-action community participation in a heritage decision, and explores the types of heritage values it expressed, particularly social values. The analysis contextualises the advocacy in post-quake Christchurch, and considers its relationship with other developments in local politics, heritage advocacy, and urban activism. In doing so, this dissertation considers how collective action operates as a form of public participation, and the practical implications for understanding and recognising social value. This research draws on studies of practices that underpin social value recognition in formal heritage management. Social value is held by communities outside institutions. Engaging with communities enables institutions to explore the values of specific places, and to realise the potential of activating local connections with heritage places. Such projects can be seen as participatory practices. However, these processes require skills and resources, and may not be appropriate for all places, communities and institutions. However, literature has understudied collective action as a form of community participation in heritage management. All participation processes have nuances of communities, processes, and context, and this dissertation analyses these in one case. The research specifically asked what heritage values (especially social values) were expressed through collective action, what the relationship was with the participation processes, communities, and wider situation that produced them, and the impact on institutional rhetoric and decisions. The research analysed values expressed in representations made to council in support of the Town Hall. It also used documentary sources and interviews with key informants to analyse the advocacy and decision-making processes and their relationships with the wider context and other grassroots activities. The analysis concluded that the values expressed intertwined social and professional values. They were related to the communities and circumstance that produced them, as an advocacy campaign for a civic heritage building from a Western architectural tradition. The advocacy value arguments were one of several factors that impacted the decision. They have had a lasting impact on rhetoric around the Town Hall, as was a heritage-making practice in its own right. This dissertation makes a number of contributions to the discussion of social value and community in heritage. It suggests connections between advocacy and participation perspectives in heritage. It recommends consideration of nuances of communities, context, and place meanings when using heritage advocacy campaigns as evidence of social value. It adds to the literature on heritage advocacy, and offers a focused analysis of one of many heritage debates that occurred in post-quake Christchurch. Ultimately, it encourages practice to actively integrate social and community values and to develop self-reflexive engagement and valuation processes. Despite inherent challenges, participatory processes offer opportunities to diversify understandings of value, co-produce heritage meanings with communities, and empower citizens in democratic processes around the places they live with and love.
This article examines the representation of Christchurch, New Zealand, student radio station RDU in the exhibition Alternative Radio at the Canterbury Museum in 2016. With the intention of ‘making visible what is invisible’ about radio broadcasting, the exhibition articulated RDU as a point of interconnection between the technical elements of broadcasting, the social and musical culture of station staff and volunteers, and the broader local and national music scenes. This paper is grounded in observations of the exhibitions and associated public programmes, and interviews with the key participants in the exhibition including the museum's exhibition designer and staff from RDU, who acted as independent practitioners in collaboration with the museum. Alternative Radio also addressed the aftermath of the major earthquake of 22 February 2011, when RDU moved into a customised horse truck after losing its broadcast studio. The exhibition came about because of the cultural resonance of the post-quake story, but also emphasised the long history of the station before that event, and located this small student radio station in the broader heritage discourse of the Canterbury museum, activating the historical, cultural, and personal memories of the station's participants and audiences.
This paper explores the scope of small-scale radio to create an auditory geography of place. It focuses on the short term art radio project The Stadium Broadcast, which was staged in November 2014 in an earthquake-damaged sports stadium in Christchurch, New Zealand. Thousands of buildings and homes in Christchurch have been demolished since the Februrary 22, 2011 earthquake, and while Lancaster Park sports stadium is still standing, it has been unused since that date and its future remains uncertain. The Stadium Broadcast constructed a radio memorial to the Park’s 130 year history through archival recordings, the memories of local people, observation of its current state, and a performed site-specificity. The Stadium Broadcast reflected on the spatiality of radio sounds and transmissions, memory, post-disaster transitionality, and the im-permanence of place.
The seismic tremor that shook Christchurch on February 22, 2011, not only shattered buildings but also the spirit of the city’s residents. Amidst the ruins, this design-focused thesis unravels two intertwining narratives, each essential to the city’s resurrection. At its core, this thesis probes the preservation of Christchurch’s memory and character, meticulously chronicling the lost heritage architecture and the subsequent urban metamorphosis. Beyond bricks and mortar, it also confronts the silent aftershocks - the pervasive mental health challenges stemming from personal losses and the disfigured cityscape. As a native of Christchurch, intimately connected to its fabric, my lens reflects not just on the architectural reconstruction but also on the emotional reconstruction. My experience as an autistic individual, a recently discovered facet of my identity, infuses this design journey with a distinct prism through which I perceive and interact with the world. The colourful sketches that drive the design process aren’t mere illustrations but manifestations of my interpretation of spaces and concepts, evoking joy and vitality—a testament to embracing diversity in design. Drawing parallels between healing my own traumas with my colourful and joyful neurodivergent worldview, I’ve woven this concept into proposals aimed at healing the city through whimsy, joy, and vibrant colours. Personal experiences during and post-earthquakes profoundly shape my design proposals. Having navigated the labyrinth of my own mental health amid the altered cityscape, I seek avenues for reconciliation, both personal and communal. The vibrant sketches and designs presented in this thesis encapsulate this vision—a fusion of vivid, unconventional interpretations and a dedication to preserving the essence of the original cityscape while still encouraging movement into the future.
<b>Construction and Demolition (C&D) waste contributes to over 50% of New Zealand’s overall waste. Materials such as timber, plasterboard, and concrete make up 81% of the C&D waste that goes into landfills each year. Alongside this, more than 235 heritage-listed buildings have been demolished in Christchurch since the 2011 earthquakes. This research portfolio aims to find a solution to decrease C&D waste produced by demolishing heritage buildings.</b>
With the recent announcement of The Cathedral of the Blessed Sacrament’s demolition, this will be another building added to the list of lost heritage in Christchurch. This research portfolio aims to bridge the relationship between heritage and waste through the recycling and reuse of the demolished materials, exploring the idea that history and heritage are preserved through building material reuse.
This research portfolio mainly focuses on reducing construction and demolition waste in New Zealand, using the design of a new Catholic Cathedral as a vessel. This thesis will challenge how the construction and design industry deals with the demolition of heritage buildings and their contribution to New Zealand’s waste. It aims to explore the idea of building material reuse not only to reduce waste but also to retain the history and heritage of the demolished building within the materials.
This thesis revisits the topic of earthquake recovery in Christchurch City more than a decade after the Canterbury earthquakes. Despite promising visions of a community reconnected and a sustainable and liveable city, significant portions of the city’s core – the Red Zone – remain dilapidated and “eerily empty”. At the same time, new developments in other areas have proven to be alienated or underutilised. Currently, the Canterbury Earthquake Recovery Authority’s plans for the rebuilding highlight the delivery of more residential housing to re-populate the city centre. However, prevalent approaches to housing development in Christchurch are ineffective for building an inclusive and active community. Hence, the central inquiry of the thesis is how the development of housing complexes can revitalise the Red Zone within the Christchurch city centre. The inquiry has been carried out through a research-through-design methodology, recognising the importance of an in-depth investigation that is contextualised and combined with the intuition and embodied knowledge of the designer. The investigation focuses on a neglected site in the Red Zone in the heart of Christchurch city, with significant Victorian and Edwardian Baroque heritage buildings, including Odeon Theatre, Lawrie & Wilson Auctioneers, and Sol Square, owned by The Regional Council Environment Canterbury. The design inquiry argues, develops, and is carried through a place-assemblage lens to housing development for city recovery, which recognizes the significance of socially responsive architecture that explores urban renewal by forging connections within the social network. Therefore, place-assemblage criteria and methods for developing socially active and meaningful housing developments are identified. Firstly, this thesis argues that co-living housing models are more focused on people relations and collective identity than the dominant developer-driven housing rebuilds, as they prioritise conduits for interaction and shared social meaning and practices. Secondly, the adaptive reuse of derelict heritage structures is proposed to reinvigorate the urban fabric, as heritage is seen to be conceived as and from a social assemblage of people. The design is realised by the principles outlined in the ICOMOS charter, which involves incorporating the material histories of existing structures and preserving the intangible heritage of the site by ensuring the continuity of cultural practices. Lastly, design processes and methods are also vital for place-sensitive results, which pay attention to the site’s unique characteristics to engage with local stakeholders and communities. The research explores place-assemblage methods of photographic extraction, the drawing of story maps, precedent studies, assemblage maps, bricolages, and paper models, which show an assembly of layers that piece together the existing heritage, social conduits, urban commons and housing to conceptualise the social network within its place.
In 2010 Neil Challenger, Head of the School of Landscape Architecture at Lincoln University, stated that the malls surrounding Christchurch drove the life out of the inner city of Christchurch. His economic and sociological concerns were expressed even before the earthquake occurred, and this forms the current hesitation on the rebuilding of Christchurch’s inner city. The position of this research proposal is to establish whether an urban architectural intervention can address these economic and sociological concerns and the potentially devastating effects the suburban mall has had on urban life within Christchurch. The thesis specifically asks whether establishing a mall typology as a landmark building within the inner city can strategically engage the damaged historic buildings of post-earthquake Christchurch in ways that actively preserve these historic remnants. The main intention of this research is to engage the damaged historic buildings of post-earthquake Christchurch in ways that actively preserve these remnants and are also economically viable. By preserving the remnants as active, working elements of the urban fabric, they act as historic reminders or memorials of the event and associated loss, while also actively participating in the regrowth of the city. The thesis argues that contemporary architecture can play a strategic role in these imperatives. Overall this research argues that there exists a distinct requirement for large-scale retail in the inner city urban environment that recognises and responds to the damaged cultural and historic architecture of inner city Christchurch. The objective of the thesis is to propose means to rejuvenate not only the economic vitality of central Christchurch,but also its historic character.
Local independent radio stations in Christchurch, New Zealand, had their operations severely disrupted by major earthquakes in September 2010 and February 2011. This article examines the experiences of three radio stations that were shut out of their central city premises by the cordon drawn around the city after the 22 February quake. One of the stations continued broadcasting automatically, while the others were unable to fully get back on air for several weeks afterwards. All of the stations had to manage access to workspaces, the emotional needs of staff and volunteers, the technical ability to broadcast, and the need to adapt content appropriately when back on air. For the locally based radio managers decisions had to be made about the future of the stations in a time of significant emotional, physical, and geological upheaval. The article explores how these radio stations were disrupted by the earthquake, and how they returned to air through new combinations and interconnections of people, workspace, technology, content and transmission.
The Manchester Courts building was a heritage building located in central Christchurch (New Zealand) that was damaged in the Mw 7.1 Darfield earthquake on 4 September 2010 and subsequently demolished as a risk reduction exercise. Because the building was heritage listed, the decision to demolish the building resulted in strong objections from heritage supporters who were of the opinion that the building had sufficient residual strength to survive possible aftershock earthquakes. On 22 February 2011 Christchurch was struck by a severe aftershock, leading to the question of whether building demolition had proven to be the correct risk reduction strategy. Finite element analysis was used to undertake a performance-based assessment, validating the accuracy of the model using the damage observed in the building before its collapse. In addition, soil-structure interaction was introduced into the research due to the comparatively low shear wave velocity of the soil. The demolition of a landmark heritage building was a tragedy that Christchurch will never recover from, but the decision was made considering safety, societal, economic and psychological aspects in order to protect the city and its citizens. The analytical results suggest that the Manchester Courts building would have collapsed during the 2011 Christchurch earthquake, and that the collapse of the building would have resulted in significant fatalities.
A Transitional Imaginary: Space, Network and Memory in Christchurch is the outcome and the record of a particular event: the coming together of eight artists and writers in Ōtautahi Christchurch in November 2015, with the ambitious aim to write a book collaboratively over five days. The collaborative process followed the generative ‘book sprint’ method founded by our facilitator for the event, Adam Hyde, who has long been immersed in digital practices in Aotearoa. A book sprint prioritises the collective voice of the participants and reflects the ideas and understandings that are produced at the time in which the book was written, in a plurality of perspectives. Over one hundred books have been completed using the sprint methodology, covering subjects from software documentation to reflections on collaboration and fiction. We chose to approach writing about Ōtautahi Christchurch through this collaborative process in order to reflect the complexity of the post-quake city and the multiple paths to understanding it. The city has itself been a space of intensive collaboration in the post-disaster period. A Transitional Imaginary is a raw and immediate record, as much felt expression as argued thesis. In many ways the process of writing had the character of endurance performance art. The process worked by honouring the different backgrounds of the participants, allowing that dialogue and intensity could be generative of different forms of text, creating a knowledge that eschews a position of authority, working instead to activate whatever anecdotes, opinions, resources and experiences are brought into discussion. This method enables a dynamic of voices that merge here, separate there and interrupt elsewhere again. As in the contested process of rebuilding and reimagining Christchurch itself, the dissonance and counterpoint of writing reflects the form of conversation itself. This book incorporates conflict, agreement and the activation of new ideas through cross-fertilisation to produce a new reading of the city and its transition. The transitional has been given a specific meaning in Christchurch. It is a product of local theorising that encompasses the need for new modes of action in a city that has been substantially demolished (Bennett & Parker, 2012). Transitional projects, such as those created by Gap Filler, take advantage of the physical and social spaces created by the earthquake through activating these as propositions for new ways of being in the city. The transitional is in motion, looking towards the future. A Transitional Imaginary explores the transitional as a way of thinking and how we understand the city through art practices, including the digital and in writing.
The Catholic Cathedral of the Blessed Sacrament is a category 1 listed heritage building constructed largely of unreinforced stone masonry, and was significantly damaged in the recent Canterbury earthquakes. The building experienced ground shaking in excess of its capacity leading to block failures and partial collapse of parts of the building, which left the building standing but still posing a significant hazard. In this paper we discuss the approach to securing the building, and the interaction of the structural, heritage and safety demands involved in a dynamic seismic risk environment. We briefly cover the types of failures observed and the behaviour of the structure, and investigate the performance of both strengthened and un-strengthened parts of the building. Seismic strengthening options are investigated at a conceptual level. We draw conclusions as to how the building performed in the earthquakes, comment on the effectiveness of the strengthening and securing work and discuss the potential seismic strengthening methods.
A large number of businesses that used to be in the centre of Christchurch relocated after the earthquakes. Are they satisfied with their new locations and do they intend to return to the central city? We questioned 209 relocated businesses about their relocation history, present circumstances and future intentions. Many businesses were content with their new premises, despite having encountered a range of problems; those businesses that were questioned later in our survey period were more content. The average business in our sample rated the chances of moving back to the central city as around 50 %, but this varies with the type of business. Building height did not emerge as a major issue, but rents may be. The mix of types of business is likely to be different in the new city centre.
The city of Christchurch has experienced over 10,000 aftershocks since the 4th of September 2010 earthquake of which approximately 50 have been greater than magnitude 5. The damage caused to URM buildings in Christchurch over this sequence of earthquakes has been well documented. Due to the similarity in age and construction of URM buildings in Adelaide, South Australia and Christchurch (they are sister cities, of similar age and heritage), an investigation was conducted to learn lessons for Adelaide based on the Christchurch experience. To this end, the number of URM buildings in the central business districts of both cities, the extent of seismic strengthening that exists in both cities, and the relative earthquake hazards for both cities were considered. This paper will report on these findings and recommend strategies that the city of Adelaide could consider to significantly reduce the seismic risk posed by URM buildings in future earthquake.
The UC CEISMIC Canterbury Earthquakes Digital Archive contains tens of thousands of high value cultural heritage items related to a long series of earthquakes that hit Canterbury, New Zealand, from 2010 - 2012. The archive was built by a Digital Humanities team located at the center of the disaster in New Zealand's second largest city, Christchurch. The project quickly became complex, not only in its technical aspects but in its governance and general management. This talk will provide insight into the national and international management and governance frameworks used to successfully build and deliver the archive into operation. Issues that needed to be managed included human ethics, research ethics, stakeholder management, communications, risk management, curation and ingestion policy, copyright and content licensing, and project governance. The team drew heavily on industry-standard project management methods for the basic approach, but built their ecosystem and stakeholder trust on principles derived directly form the global digital humanities community.
Over 900 buildings in the Christchurch central business district and 10,000 residential homes were demolished following the 22nd of February 2011 Canterbury earthquake, significantly disrupting the rebuild progress. This study looks to quantify the time required for demolitions during this event which will be useful for future earthquake recovery planning. This was done using the Canterbury Earthquake Recovery Authority (CERA) demolition database, which allowed an in-depth look into the duration of each phase of the demolition process. The effect of building location, building height, and the stakeholder which initiated the demolition process (i.e. building owner or CERA) was investigated. The demolition process comprises of five phases; (i) decision making, (ii) procurement and planning, (iii) demolition, (iv) site clean-up, and (v) completion certification. It was found that the time required to decide to demolish the building made up majority of the total demolition duration. Demolition projects initiated by CERA had longer procurement and planning durations, but was quicker in other phases. Demolished buildings in the suburbs had a longer decision making duration, but had little effect on other phases of the demolition process. The decision making and procurement and planning phases of the demolition process were shorter for taller buildings, though the other phases took longer. Fragility functions for the duration of each phase in the demolition process are provided for the various categories of buildings for use in future studies.
Case study unreinforced masonry (URM) buildings that were seismically retrofitted prior to the 2010/11 Canterbury earthquake sequence and exhibited successful performance during these earthquakes are presented herein. Selected buildings were divided into the following categories based on size and complexity: (1) simple, single storey box type buildings (i.e. electrical substations), (2) common and simple commercial buildings, and (3) large and complex clay brick and stone URM buildings. The retrofitted case study URM buildings were evaluated based on overall structural seismic performance as well as the categories of initial seismic design, heritage preservation, architectural appeal, and cost. Detailed observations of 4 representative case study buildings and a summary of findings are reported herein. http://db.nzsee.org.nz/2017/Orals.htm
As the future of the world’s oil reserves becomes progressively more uncertain, it is becoming increasingly important that steps are taken to ensure that there are viable, attractive alternatives to travel by private motor vehicle. As with many of New Zealand’s major urban centres, Christchurch is still exceptionally reliant on private motor vehicles; although a significant proportion of the population indicate that they would like to cycle more, cycling is still an underutilised mode of transport. Following a series of fatal earthquakes that struck the city in 2010 and 2011, there has been the need to significantly redevelop much of the city’s horizontal infrastructure – subsequently providing the perfect platform for significant changes to be made to the road network. Many of the key planning frameworks governing the rebuild process have identified the need to improve Christchurch’s cycling facilities in order to boost cycling numbers and cyclist safety. The importance of considering future growth and travel patterns when planning for transport infrastructure has been highlighted extensively throughout literature. Accordingly, this study sought to identify areas where future cycle infrastructure development would be advantageous based on a number of population and employment projections, and likely future travel patterns throughout the city. Through the use of extensive GIS analysis, future population growth, employment and travel patterns for Christchurch city were examined in order to attain an understanding of where the current proposed major cycleways network could be improved, or extended. A range of data and network analysis were used to derive likely travel patterns throughout Christchurch in 2041. Trips were derived twice, once with a focus on simply finding the shortest route between each origin and destination, and then again with a focus on cyclist safety and areas where cyclists were unlikely to travel. It was found that although the proposed major cycleways network represents a significant step towards improving the cycling environment in Christchurch, there are areas of the city that will not be well serviced by the current proposed network in 2041. These include a number of key residential growth areas such as Halswell, Belfast and Prestons, along with a number of noteworthy key travel zones, particularly in areas close to the central city and key employment areas. Using network analysis, areas where improvements or extensions to the proposed network would be most beneficial were identified, and a number of potential extensions in a variety of areas throughout the city were added to the network of cycle ways. Although it has been found that filling small gaps in the network can have considerable positive outcomes, results from the prioritisation analysis suggested that initially in Christchurch demand is likely to be for more substantial extensions to the proposed major cycleways network.
The earthquake sequence has resulted in significant physical and reputational damage to the Canterbury tourism industry. Eighteen months after the earthquakes inbound tourism data is still below pre-earthquake levels, with Canterbury operators reporting that the industry has not bounced back to where it was before September 2010. Outcomes of the earthquakes on business performance highlight there were winners and losers in the aftermath. Recovery of inbound tourism markets is closely tied to the timeframe to rebuild the CBD of Christchurch. Reinstating critical tourism infrastructure will drive future tourism investment, and allow tourism businesses to regenerate and thrive into the future. A blueprint for rebuilding the CBD of Christchurch was released by the Christchurch City Council in July 2012, and has been well received by tourism stakeholders in the region. The challenge now is for city officials to fund the development projects outlined in the blueprint, and to rebuild the CBD as quickly as possible in order to help regenerate the tourism industry in Christchurch, Canterbury and the rest of the South Island
The level of destruction from the 2011 Christchurch earthquakes led to changes in the New Zealand seismic building code. The destruction showed that the NZ building codes did not fully performed to expectation and needed Improvement to ensure that impact of future earthquakes would be minimised. The building codes have been amended to improve buildings resilience to earthquake and other related extreme loading conditions. Rebuilding Christchurch with the new modifications in the seismic building code comes with its own unique challenges to the entire system. This project investigates the impact of rebuilding Christchurch with the new seismic Building codes in terms of how the new changes affected the building industry and the management of construction.
Liquefaction during the 4th September 2010 Mw 7.1 Darfield earthquake and large aftershocks in 2011 (Canterbury earthquake sequence, CES) caused severe damage to land and infrastructure within Christchurch, New Zealand. Approximately one third of the total CES-induced financial losses were directly attributable to liq- uefaction and thus highlights the need for local and regional authorities to assess liquefaction hazards for present and future developments. This thesis is the first to conduct paleo-liquefaction studies in eastern Christchurch for the purpose of de- termining approximate return times of liquefaction-inducing earthquakes within the region. The research uncovered evidence for pre-CES liquefaction dated by radiocarbon and cross-cutting relationships as post-1660 to pre-1905. Additional paleo-liquefaction investigations within the eastern Christchurch suburb of Avon- dale, and the northern township of Kaiapoi, revealed further evidence for pre-CES liquefaction. Pre-CES liquefaction in Avondale is dated as post-1321 and pre-1901, while the Kaiapoi features likely formed during three distinct episodes: post-1458 and possibly during the 1901 Cheviot earthquake, post-1297 to pre-1901, and pre-1458. Evaluation of the liquefaction potential of active faults within the Can- terbury region indicates that many faults have the potential to cause widespread liquefaction within Avondale and Kaiapoi. The identification of pre-CES liquefac- tion confirms that these areas have previously liquefied, and indicates that residen- tial development in eastern Christchurch between 1860 and 2005 occurred in areas containing geologic evidence for pre-CES liquefaction. Additionally, on the basis of detailed field and GIS-based mapping and geospatial-statistical analysis, the distribution and severity of liquefaction and lateral spreading within the eastern Christchurch suburb of Avonside is shown in this study to be strongly in uenced by geomorphic and topographic variability. This variability is not currently ac- counted for in site-specific liquefaction assessments nor the simplified horizontal displacement models, and accounts for some of the variability between the pre- dicted horizontal displacements and those observed during the CES. This thesis highlights the potential applications of paleo-liquefaction investigations and ge- omorphic mapping to seismic and liquefaction hazard assessments and may aid future land-use planning decisions.
This thesis looks at the protocols museums and galleries adopt for the safeguarding of art, artefacts and cultural heritage. In particular, it analyses these procedures in relation to the 2010 and 2011 earthquakes in Christchurch, and considers how these events shaped the preventative conservation measures in place in museum and gallery institutions. Through gathering, assessing, and comparing this information about Christchurch’s institutions to disaster management best practices in national and international organisations, this thesis gauges the extent to which disaster management was changed in response to the events in Christchurch. This thesis first considers the growth in disaster management as a field, before examining what are considered best practices within this sector. Finally, it looks at specific institutions in Christchurch, including the Christchurch Art Gallery Te Puna o Waiwhetu, Canterbury Museum, and the Air Force Museum of New Zealand.
<b>In the late 1960s the Wellington City Council surveyed all the commercial buildings in the city and marked nearly 200 as earthquake prone. The owners were given 15 years to either strengthen or demolish their buildings. The end result was mass demolition throughout the seventies and eighties.¹ Prompted by the Christchurch earthquakes, once again the council has published a list of over 630 earthquake prone buildings that need to be strengthened or demolished by 2030.²Of these earthquake prone buildings, the majority were built between 1880 and 1930, with 125 buildings appearing on the Wellington City Council Heritage Building List.³ This list accounts for a significant proportion of character buildings in the city. There is a danger that the aesthetic integrity of our city will be further damaged due to the urgent need to strengthen these buildings. Many of the building owners are resistant because of the high cost. By adapting these buildings to house co-workspaces, we can gain more than just the retention of the building’s heritage. The seismic upgrade provides the opportunity for the office space to be redesigned to suit changes in the ways we work. Through a design-based research approach this thesis proposes a framework that clarifies the process of adapting Wellington’s earthquake prone heritage buildings to accommodate co-working. This framework deals with the key concepts of program, structure and heritage. The framework is tested on one of Wellington’s earthquake prone heritage buildings, the Wellington Working Men’s Club, in order to demonstrate what can be gained from this strengthening process. ¹ Reid, J., “Hometown Boomtown,” in NZ On Screen (Wellington, 1983).</b>
² Wellington City Council, List of Earthquake Prone Buildings as at 06/03/2017. (Wellington: Absolutely Positively Wellington. 2017).
³ ibid.
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.
This study followed two similarly affected, but socio-economically disparate suburbs as residents responded to and attempted to recover from the devastating 6.3 magnitude earthquake that struck Christchurch, New Zealand, on February 22, 2011. More specifically, it focuses on the role of local churches, community-based organisations (CBOs) and non-governmental organisations (NGOs), here referred to broadly as civil society, in meeting the immediate needs of local residents and assisting with the longer-term recovery of each neighbourhood. Despite considerable socioeconomic differences between the two neighbourhoods, civil society in both suburbs has been vital in addressing the needs of locals in the short and long term following the earthquake. Institutions were able to utilise local knowledge of both residents and the extent of damage in the area to a) provide a swifter local response than government or civil defence and then help direct the relief these agencies provided locally; b) set up central points for distribution of supplies and information where locals would naturally gather; c) take action on what were perceived to be unmet needs; and d) act as a way of bridging locals to a variety of material, informational, and emotional resources. However the findings also support literature which indicates that other factors are also important in understanding neighbourhood recovery and the role of civil society, including: local leadership; a shared, place-based identity; the type and form of civil society organizations; social capital; and neighbourhood- and household-level indicators of relative vulnerability and inequality. The intertwining of these various factors seems to influence how these neighbourhoods have coped with and taken steps in recovering from this disaster. It is recommended that future research be directed at developing a better understanding of how this occurs. It is suggested that a model similar to Yasui’s (2007) Community Vulnerability and Capacity model be developed as a useful way to approach future research in this area.
