Akaroa is a small township situated within Akaroa Harbour, on the southern side of Banks Peninsula. It is approximately 75 kilometres, or 90 minutes by car, from Christchurch City. At the 2006 Census of Population and Dwellings, the ‘usually resident’ population of the township was 510 people. In addition to the usually resident population, Akaroa has a large number of non-resident property owners/ratepayers, many of whom own holiday homes. Many of these holiday homes are available as
casual rentals (i.e., they may be occupied by people other than the property owners). The township acts as a service centre for the scattered population of the outer bays area of Akaroa Harbour, many
of whom work in Akaroa. Akaroa is a popular day trip or short stay destination for Christchurch residents. Akaroa is also known as a destination which draws upon the French heritage of its pioneer
settlers and the associated village charm derived from this heritage. Not unexpectedly, given the size and village character of Akaroa, the increase in cruise ship arrivals and passenger numbers has had an impact upon the town’s community.This research was commissioned and funded by Christchurch and Canterbury Tourism (CCT).
There is strong consensus in the civil defence and emergency management literature that public participation is essential for a 'good' recovery. However, there is a paucity of research detailing how this community-led planning should be carried out in the real world. There are few processes or timelines for communities to follow when wanting to plan for themselves, nor is there a great deal of advice for communities who want to plan for their own recovery. In short, despite this consensus that community involvement is desireable, there is very little information available as to the nature of this involvement or how communities might facilitate this. It is simply assumed that communities are willing and able to participate in the recovery process and that recovery authorities will welcome, encourage, and enable this participation. This is not always the case, and the result is that community groups can be left feeling lost and ineffective when trying to plan for their own recovery.
In attempting to address this gap, my study contributes to a better understanding of community involvement in recovery planning, based on research with on particular a community group (SPRIG), who has undertaken their own form of community-led planning in a post-disaster environment. Through group observations and in-depth interviews with members of SPRIG, I was able to identify various roles for such groups in the post-disaster recovery process. My research also contributes to an enhanced understanding of the process a community group might follow to implement their own form of post-disaster recovery planning, with the main point being that any planning should be done side by side with local authorities. Finally, I discovered that a community group will face organisational, community and institutional challenges when trying to plan for their area; however, despite these challenges, opportunities exist, such as the chance to build a better future.
Urban Ensembles explores the way in which landscape and architecture can be employed together within the design of a steep, urban site. Lyttelton is a small port town on the border of Christchurch, settled in the foothills of a harbour formed by a major volcanic eruption. This rugged setting, with steeply sloping urban terrain, presents an interesting challenge when designing an urban development. The site was badly damaged in a series of earthquakes in 2010-2011, and many of the town’s oldest buildings, heritage structures dating back to the colonial settlement era, were destroyed. This has left a void in the heart of Lyttelton, and caused the loss of much of the tourism business that the town relies upon for its income. This thesis takes a methodological approach to the design of landscape architecture on such a challenging site. A range of techniques are explored, drawing from both landscape and architecture to explore the roles that each discipline plays in the design of urban spaces. The frequent imbalance between disciplines is addressed both through the literature review and design method, as this landscape architecture thesis draws on architectural design as a tool for generating spaces which fall somewhere in between the two ideals of interior and exterior. The final design proposal is an alternative rebuild plan for the central business area to the south of London St, and also addresses the relationships between that site and the surrounding context, both urban and environmental. The aim of this design is to create a series of interconnected spaces which have a strong relationship to the surrounding harbour setting, and also to facilitate development of the pedestrian spaces throughout the block and encouraging the development of activity at the street level, through the interface between buildings and landscape.
Elevated levels of trace elements in the environment are of great concern because of their persistence, and their high potential to harm living organisms. The exposure of aquatic biota to trace elements can lead to bioaccumulation, and toxicity can result. Furthermore, the transfer of these elements through food chains can result in exposure to human consumers. Sea-fill or coastal fill sites are among the major anthropogenic sources of trace elements to the surrounding marine environment. For example, in the Maldives, Thilafushi Island is a sea-fill site consisting of assorted municipal solid waste, with multiple potential sources of trace elements. However, there is limited data on environmental trace element levels in the Maldives, and although seafood is harvested from close to this site, there is no existing data regarding trace element levels in Maldivian diets. Following the Christchurch earthquakes of 2011,
Small, tight-knit communities, are complex to manage from outside during a disaster. The township of Lyttelton, New Zealand, and the communities of Corsair Bay, Cass Bay, and Rapaki to the east, are especially more so difficult due to the terrain that encloses them, which caused them to be cut-off from Christchurch, the largest city in the South Island, barely 10 km away, after the Mw 7.1 Darfield Earthquake and subsequent Canterbury Earthquake Sequence. Lyttelton has a very strong and deep-rooted community spirit that draws people to want to be a part of Lyttelton life. It is predominantly residential on the slopes, with retail space, service and light industry nestled near the harbour. It has heritage buildings stretching back to the very foundation of Canterbury yet hosts the largest, modern deep-water port for the region. This study contains two surveys: one circulated shortly before the Darfield Earthquake and one circulated in July 2011, after the Christchurch and Sumner Earthquakes. An analytical comparison of the participants’ household preparedness for disaster before the Darfield Earthquake and after the Christchurch and Sumner Earthquakes was performed. A population spatiotemporal distribution map was produced that shows the population in three-hourly increments over a week to inform exposure to vulnerability to natural hazards. The study went on to analyse the responses of the participants in the immediate period following the Chrsitchurch and Sumner Earthquakes, including their homeward and subsequent journeys, and the decision to evacuate or stay in their homes. Possible predictors to a decision to evacuate some or all members of the household were tested. The study also asked participants’ views on the events since September 2010 for analysis.
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.
