Collective identity construction in organisations engaged in an inter-organisational collaboration (IOC), especially temporary IOCs set up in disaster situations, has received scant attention in the organisational studies literature yet collective identity is considered to be important in fostering effective IOC operations. This doctoral study was designed to add to our understanding about how collective identity is constituted throughout the entire lifespan of a particular temporary coopetitive (i.e., simultaneously collaborative and competitive) IOC formed in a post-disaster environment. To achieve this purpose, a qualitative case study of the Stronger Christchurch Infrastructure Rebuild Team (SCIRT), a time-bound coopetition formed to repair the horizontal infrastructure in Christchurch, New Zealand after the devastating 2011 Canterbury earthquakes, was undertaken. Using data from semi-structured interviews, field observations, and organisational documents and other artefacts, an inductive analytic method was employed to explore how internal stakeholders engaged with and co- constructed a collective SCIRT identity and reconciled this with their home organization identity. The analysis revealed that the SCIRT collective identity was an ongoing process, involving the interweaving of social, temporal, material and geospatial dimensions constructed through intersecting cycles of senior managers’ sensegiving and employees’ sensemaking across SCIRT’s five and a half years of existence. Senior management deliberately undertook identity work campaigns that used organisational rituals, artefacts, and spatial design to disseminate and encourage a sense of “we are all SCIRT”. However, there was no common sense of “we-ness”. Identification with SCIRT was experienced differently among different groups of employees and across time. Employees’ differing senses of collective identity were accounted for by their past, present, and anticipated future relationships with their home organisation, and also (re)shaped by the geosocial environments in which they worked. The study supports previous research claiming that collective identity is a process of recursive sensegiving and sensemaking between senior managers and employees. However, it extends the literature by revealing the imbricated nature of collective identity, how members’ sense of “who we are” can change across the entire lifetime of a temporary IOC, and how sociomateriality, temporality, and geosocial effects strongly intervene in employees’ emerging senses of collective identity. Moreover, the study demonstrates how the ongoing identity work can be embedded in a time-space frame that further accentuates the influence of temporality, especially the anticipated future, organisational rituals, artefacts, and the geosocial environment. The study’s primary contribution to theory is a processual model of collective identity that applies specifically to a temporary IOC involving coopetition. In doing so, it represents a more finely nuanced and situational model than existing models. At a practical level, this model suggests that managers need to appreciate that organisational artefacts, rituals, and the prevailing organisational geosocial environment are inextricably linked in processes that can be manipulated to enhance the construction of collective identity.
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.
<strong>Natural disasters are often unpredictable and are happening frequently. Some natural disasters cause damage to communities, resulting in displaced individuals. Due to this there is a need for shelter, however, there are many unknown factors. These include unknown demographics, a strain on time, cost, and resources, and the unknown location. This study begins by identifying a lack of identity and personality in existing post-disaster shelter designs, including the example of Linwood Park from the Christchurch 2011 earthquake. Further research shows the lack of personalisation within shelters, along with addressing key requirements needed for shelters. While providing the basic needs is essential, this thesis also addresses how personalisation can impact a space. Taking bach architecture as a driver for a basic, yet unique approach to temporary accommodation, Lake Clearwater Settlement was used as a case study. Through surveys, interviews, and a reflective design process, the importance of embracing identity emerges as a key element in fostering dignity, livelihood, and a sense of self in displaced individuals.</strong>This thesis explores innovative approaches to post-disaster shelter design with a focus on accommodating the unique needs and individuality of displaced individuals. From challenging conventional shelter concepts to embracing self-design and community involvement, the research addresses the question of how interior and exterior features can cater to the diverse requirements of those affected by natural disasters.
This thesis explores the discussions and perspectives of Christchurch secondary school students in regards to their particular experiences and engagement with Anzac. In this thesis I seek to rigorously and robustly examine these viewpoints through semi-structured focus group interviews and thematic analysis. I seek to situate these youth perspectives within wider debates around Anzac mythology and Anzac resurgence in New Zealand which often do not represent the youth outlook. These debates are seen, on the one hand, to present a resurgence of youth engagement with Anzac and, on the other hand, to present the idea that Anzac has become an exclusionary myth which distorts Australians’ and New Zealanders’ understanding of wider Anzac experiences and educates them in a narrow, militarised way. Youth engagement with Anzac was not something which could be solely situated under either of these debates and, instead, it was seen to be multifaceted and made up of unique ideas and elements. The youth in my study acknowledged that their Anzac education did have mythic elements which made it hard for them to engage with Anzac despite the fact that they were actually interested in learning and understanding it. These mythic elements were the idea that Anzac is taught as a ‘simple narrative’ which does not allow room for critique, that it emphasises a link between Anzac and national identity, that it disregards many alternative Anzac experiences and that it presents a particular New Zealand identity to internalise. These students responded to their mythic Anzac education in a very active way, and instead of accepting it as truth, they were able to have constructive and critical conversations about their education and push against parts of it which they found to be too narrow or skewed in particular directions based on gender, ethnicity and national identity. The students were not passive vessels which internalised their Anzac education as fact; instead, they were able to acknowledge the mythic elements of their education and its negative influence in the classroom. This thesis went further in exploring what factors were seen to enhance this active process of critique and provide students with alternative knowledge and perspectives about Anzac. These factors were ancestral ties to Anzac, research into personal Anzac stories and experiences, unassessed educational units, centenary discussions, an understanding of hardship through the earthquakes and alternative perspectives of the Anzac experience through access to the internet. These factors presented a broader understanding of Anzac perspectives and experiences and students believed that if the mythic elements of their education could be revised and these elements encouraged then their engagement with Anzac would continue long into the future.
When the devastating 6.3 magnitude earthquake hit Christchurch, Aotearoa New Zealand, at 12.51pm on 22nd February 2011, the psychological and physical landscape was irrevocably changed. In the days and weeks following the disaster communities were isolated due to failed infrastructure, continuing aftershocks and the extensive search and rescue effort which focussed resources on the central business district. In such moments the resilience of a community is truly tested. This research discusses the role of grassroots community groups in facilitating community resilience during the Christchurch 2010/11 earthquakes and the role of place in doing so. I argue that place specific strategies for urban resilience need to be enacted from a grassroots level while being supported by broader policies and agencies. Using a case study of Project Lyttelton – a group aspiring towards a resilient sustainable future who were caught at the epicentre of the February earthquake – I demonstrate the role of a community group in creating resilience through self-organised place specific action during a disaster. The group provided emotional care, basic facilities and rebuilding assistance to the residents of Lyttelton, proving to be an invaluable asset. These actions are closely linked to the characteristics of social support and social learning that have been identified as important to socio-ecological resilience. In addition this research will seek to understand and explore the nuances of place and identity and its role in shaping resilience to such dis-placing events. Drawing on community narratives of the displacement of place identity, the potential for a progressive sense of place as instigated by local groups will be investigated as an avenue for adaptation by communities at risk of disaster and place destabilisation.
This paper presents a qualitative study with multiple refugee background communities living in Christchurch, New Zealand about their perspectives and responses to the Canterbury earthquakes of 2010-2011 (32 semi-structured interviews and 11 focus group discussions comprising 112 participants). Whilst the Canterbury earthquakes created significant challenges for the entire region, several refugee background communities found multiple ways to effectively respond to such adversity. Central to this response were their experiences of belonging which were comprised of both ‘civic’ and ‘ethno’ conceptualisations. This discussion includes an analysis on the intersectionality of identity to highlight the gendered, contextual and chronological influences that impact people’s perspectives of and responses to a disaster. As the study was conducted over 18 months, the paper discusses how social capital resources and experiences of belonging can help inform urban disaster risk reduction (DRR) with refugee groups. http://3icudr.org/program
War and natural disasters share many features including great loss of life, traumatised populations and haunting memories. The Christchurch earthquakes were the third most costly event of 2011 with total costs of up to $NZ30 billion. Many homes, communities, families and an established way of life have gone for ever. The paper comes from the Women’s Voices project that documents women’s narratives of earthquake trauma and loss and examines their profiles of emotional expression associated with coping. For these women in Christchurch, solace is not about talking experiences of suffering but by doing practical things that inform and are shaped by existing personal narratives. As they relayed this common arc, they also entered into national (and gendered) narrative themes of being practical, stoic, independent and resourceful in the face of tragedy and loss and so embody communal aspects of coping with loss and grief particular to the New Zealand even ‘the South Island settler’ identity narrative. These narratives suggest it useful to rethink key concepts that inform our understanding of coping with disaster and loss.
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.
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.
Social media have changed disaster response and recovery in the way people inform themselves, provide community support and make sense of unfolding and past events online. During the Canterbury earthquakes of 2010 and 2011 social media platforms such as Facebook and Twitter became part of the story of the quakes in the region, as well as a basis for ongoing public engagement during the rebuild efforts in Christchurch. While a variety of research has been conducted on the use of social media in disaster situations (Bruns & Burgess, 2012; Potts, Seitzinger, Jones, & Harrison, 2011; Shklovski, Palen, & Sutton, 2008), studies about their uses in long-term disaster recovery and across different platforms are underrepresented. This research analyses networked practices of sensemaking around the Canterbury earthquakes over the course of disaster response, recovery and rebuild, focussing on Facebook and Twitter. Following a mixed methodological design data was gathered in interviews with people who started local Facebook pages, and through digital media methods of data collection and computational analysis of public Facebook pages and a historical Twitter dataset gathered around eight different earthquake-related events between 2010 and 2013. Data is further analysed through discursive and narrative tools of inquiry. This research sheds light on communication practices in the drawn-out process of disaster recovery on the ground in connecting different modes of discourse. Examining the ongoing negotiation of networked identities through technologically mediated social practices during Canterbury’s rebuild, the connection between online environments and the city of Christchurch, as a physical place, is unpacked. This research subsequently develops a new methodology to study social media platforms and provide new and detailed information on both the communication practices in issue-based online publics and the ongoing negotiation of the impact of the Canterbury earthquakes through networked digital means.
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.
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.
Interagency Emergency Response Teams (IERTs) play acrucial role in times of disasters. Therefore it is crucial to understand more thoroughly the communication roles and responsibilities of interagency team members and to examine how individual members communicate within a complex, evolving, and unstable environment. It is also important to understand how different organisational identities and their spatial geographies contribute to the interactional dynamics. Earthquakes hit the Canterbury region on September, 2010 and then on February 2011 a more devastating shallow earthquake struck resulting in severe damage to the Aged Residential Care (ARC) sector. Over 600 ARC beds were lost and 500 elderly and disabled people were displaced. Canterbury District Health Board (CDHB) set up an interagency emergency response team to address the issues of vulnerable people with significant health and disability needs who were unable to access their normal supports due to the effects of the earthquake. The purpose of this qualitative interpretive study is to focus on the case study of the response and evacuation of vulnerable people by interagencies responding to the event. Staff within these agencies were interviewed with a focus on the critical incidents that either stabilised or negatively influenced the outcome of the response. The findings included the complexity of navigating multiple agencies communication channels; understanding the different hierarchies and communication methods within each agency; data communication challenges when infrastructures were severely damaged; the importance of having the right skills, personal attributes and understanding of the organisations in the response; and the significance of having a liaison in situ representing and communicating through to agencies geographically dispersed from Canterbury. It is hoped that this research will assist in determining a future framework for interagency communication best practice and policy.
This topic was chosen in response to the devastation caused to Cathedral Square, Christchurch, New Zealand following earthquakes in 2010 and 2011. Working amongst the demolition bought to attention questions about how to re-conceive the square within the rebuilt city. In particular, it raised questions as to how a central square could be better integrated and experienced as a contemporary addition to Christchurch city. This thesis seeks to investigate the ways in which central squares can be better integrated with the contemporary city and how New Urbanist design principles can contribute toward this union. The research principally focuses on the physical and spatial integration of the square with the contemporary city. A drawing-based analysis of select precedent case studies helped to determine early on that overall integration of the contemporary square could be attributed to several interdependent criteria. The detailed studies are supplemented further with literature-based research that narrowed the criteria to five integrative properties. These are: identity, scale and proportion, use, connectivity and natural landscape. These were synthesised, in part, from the integrative New Urbanist movement and the emerging integrative side of the more contemporary Post Urbanist movement. The literature-based research revealed that a more inclusive approach toward New Urbanist and Post Urbanist design methodologies may also produce a more integrated and contemporary square. Three design case studies, using the redesign of Cathedral Square, were undertaken to test this hypothesis. The case studies found that overall, integration was reliant on a harmonious balance between the five integrative properties, concluding that squares can be better integrated with the contemporary city. Further testing of the third concept, which embraced an allied New Urbanist / Post Urbanist approach to design, found that New Urbanism was limited in its contribution toward the integration of the square.
While some scholarship on refugee youth has focussed on leaving a place that is typically considered ‘home,’ there has been little attention to what ‘home’ means to them and how this is negotiated in the country of (re)settlement. This is particularly the case for girls and women. New Zealand research on refugee settlement has largely focussed on the economic integration of refugees. Although this research is essential, it runs the risk of overlooking the socio-cultural aspects of the resettlement experiences and renders partial our understanding of how particular generations and ethnic groups develop a sense of belonging to their adopted homeland. In order to address these research gaps, this thesis explores the experiences of 12 Afghan women, aged 19-29 years, of refugee background who relocated to Christchurch, New Zealand, during their childhood and early teenage years. This study employed semi-structured, one-to-one, in-depth interviews and photo-elicitation to encourage talk about participants’ experiences of leaving Afghanistan, often living in countries of protracted displacement (Iran and/or Pakistan) and making- and being-at-home in New Zealand. In this thesis, I explore the ways in which they frame Afghanistan, and the ways in which their experiences in Iran and Pakistan disrupt the dichotomisation of belonging in terms of ‘here’ (ancestral land) and ‘there’ (country of residence). Furthermore, I use affect theorising to analyse the participants’ expressions of resettlement and home in New Zealand. Feeling at home is as much about negotiating cultural and gendered identities in Western secular societies as it is about belonging to a particular community. Through their experiences of ‘living in two worlds’, the participants are able to strategically challenge cultural expectations without undermining their reputations as Muslims and as Afghan women. The participants discussed their emotional responses to double-displacement: one as a result of war and the other as a result of 2011 Canterbury earthquakes. Therefore, I suggest that for young Afghan women, Afghanistan was among several markers of home in a long embodied journey of (re)settlement.
The suburb of New Brighton in Christchurch Aotearoa was once a booming retail sector until the end of its exclusivity to Saturday shopping in 1980 and the aftermath of the devastating 2011 Christchurch earthquake. The suburb of New Brighton was hit particularly hard and fell into economic collapse, partly brought on by the nature of its economic structure. This implosion created an urban crisis where people and businesses abandoned the suburb and its once-booming commercial economy. As a result, New Brighton has been left with the residue of abandoned infrastructure and commercial propaganda such as billboards, ATM machines, commercial facades, and shopping trolleys that as abandoned fragments, no longer contribute to culture, society and the economy. This design-led research investigation proposes to repurpose the broken objects that were left behind. By strategically selecting objects that are symbols of the root cause of the economic devastation, the repurposed and re-contextualised fragments will seek to allegorically expose the city’s destructive economic narrative, while providing a renewed sense of place identity for the people. This design-led thesis investigation argues that the seemingly innocuous icons of commercial industry, such as billboards, ATM machines, commercial facades, and shopping trolleys, are intended to act as lures to encourage people to spend money; ultimately, these urban and architectural lures can contribute to economic devastation. The aim of this investigation is to repurpose abandoned fragments of capitalist infrastructure in ways that can help to unveil new possibilities for a disrupted community and enhance their awareness of what led to the urban disruption. The thesis proposes to achieve this research aim by exploring three principal research objectives: 1) to assimilate and re-contextualise disconnected urban fragments into new architectural interventions; 2) to anthropomorphise these new interventions so that they are recognisable as architectural ‘inhabitants’, the storytellers of the urban context; and 3) to curate these new architectural interventions in ways that enable a community-scale allegorical and didactic experience to be recognised.
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 Avon-Heathcote Estuary is of significant value to Christchurch due to its high productivity, biotic diversity, proximity to the city, and its cultural, recreational and aesthetic qualities. Nonetheless, it has been subjected to decades of degradation from sewage wastewater discharges and encroaching urban development. The result was a eutrophied estuary, high in nitrogen, affected by large blooms of nuisance macroalgae and covered by degraded sediments. In March 2010, treated wastewater was diverted from the estuary to a site 3 km offshore. This quickly reduced water nitrogen by 90% within the estuary and, within months, there was reduced production of macroalgae. However, a series of earthquakes beginning in September 2010 brought massive changes: tilting of the estuary, changes in channels and water flow, and a huge influx of liquefied sediments that covered up to 65% of the estuary floor. Water nitrogen increased due to damage to sewage infrastructure and the diversion pipeline being turned off. Together, these drastically altered the estuarine ecosystem. My study involves three laboratory and five in situ experiments that investigate the base of the food chain and responses of benthic microalgae to earthquake-driven sediment and nutrient changes. It was predicted that the new sediments would be coarser and less contaminated with organic matter and nutrients than the old sediments, would have decreased microalgal biomass, and would prevent invertebrate grazing and bioturbation activities. It was believed that microalgal biomass would become similar across new and old sediments types as the unstable new sediments were resuspended and distributed over the old sediments. Contact cores of the sediment were taken at three sites, across a eutrophication gradient, monthly from September 2011 to March 2012. Extracted chlorophyll a pigments showed that microalgal biomass was generally lower on new liquefied sediments compared to old sediments, although there was considerable site to site variation, with the highly eutrophic sites being the most affected by the emergence of the new sediments. Grazer experiments showed that invertebrates had both positive and negative site-specific effects on microalgal biomass depending on their identity. At one site, new sediments facilitated grazing by Amphibola crenata, whereas at another site, new sediments did not alter the direct and indirect effects of invertebrates (Nicon aestuariensis, Macropthalmus hirtipes, and A. crenata) on microalgae. From nutrient addition experiments it was clear that benthic microalgae were able to use nutrients from within both old and new sediments equally. This implied that microalgae were reducing legacy nutrients in both sediments, and that they are an important buffer against eutrophication. Therefore, in tandem with the wastewater diversion, they could underpin much of the recovery of the estuary. Overall, the new sediments were less favourable for benthic microalgal growth and recolonisation, but were less contaminated than old sediments at highly eutrophic sites. Because the new sediments were less contaminated than the old sediments, they could help return the estuary to a noneutrophic state. However, if the new sediments, which are less favourable for microalgal growth, disperse over the old sediments at highly eutrophic sites, they could become contaminated and interfere with estuarine recovery. Therefore, recovery of microalgal communities and the estuary was expected to be generally long, but variable and site-specific, with the least eutrophic sites recovering quickly, and the most eutrophic sites taking years to return to a pre-earthquake and non-eutrophied state. changes in channels and water flow, and a huge influx of liquefied sediments that covered up to 65% of the estuary floor. Water nitrogen increased due to damage to sewage infrastructure and the diversion pipeline being turned off. Together, these drastically altered the estuarine ecosystem. My study involves three laboratory and five in situ experiments that investigate the base of the food chain and responses of benthic microalgae to earthquake-driven sedimen tand nutrient changes. It was predicted that the new sediments would be coarser and less contaminated with organic matter and nutrients than the old sediments, would have decreased microalgal biomass, and would prevent invertebrate grazing and bioturbation activities. It was believed that microalgal biomass would become similar across new and old sediments types as the unstable new sediments were resuspended and distributed over the old sediments. Contact cores of the sediment were taken at three sites, across a eutrophication gradient, monthly from September 2011 to March 2012. Extracted chlorophyll a pigments showed that microalgal biomass was generally lower on new liquefied sediments compared to old sediments, although there was considerable site to site variation, with the highly eutrophic sites being the most affected by the emergence of the new sediments. Grazer experiments showed that invertebrates had both positive and negative site-specific effects on microalgal biomass depending on their identity. At one site, new sediments facilitated grazing by Amphibola crenata, whereas at another site, new sediments did not alter the direct and indirect effects of invertebrates (Nicon aestuariensis, Macropthalmus hirtipes, and A. crenata) on microalgae. From nutrient addition experiments it was clear that benthic microalgae were able to use nutrients from within both old and new sediments equally. This implied that microalgae were reducing legacy nutrients in both sediments, and that they are
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.
While societal messages can encourage an unhealthy strive for perfection, the notion of embracing individual flaws and openly displaying vulnerabilities can appear foreign and outlandish. However, when fallibility is acknowledged and imperfection embraced, intimate relationships built on foundations of acceptance, trust and understanding can be established. In an architectural context, similar deep-rooted connections can be formed between a people and a place through the retention of layers of historical identity. When a building is allowed to age with blemishes laid bare for all to see, an architectural work can exhibit a sense of 'humanising vulnerability' where the bruises and scars it bears are able to visually communicate its contextual narrative. This thesis explores the notion of designing to capitalise on past decay through revitalisation of the former Wood Brothers Flour Mill in Addington, Christchurch (1891). Known as one of the city's last great industrial buildings, the 130-year-old structure remains hugely impressive due to its sheer size and scale despite being abandoned and subject to vandalism for a number of years. Its condition of obsolescence ensured the retention of visible signs of wear and tear in addition to the extensive damage caused by the 2010-12 Canterbury earthquakes. In offering a challenge to renovation and reconstruction as a means of conservation, this thesis asks if 'doing less' has the potential to 'do more'. How can an understanding of architecture as an ongoing process inform a design approach to celebrate ageing and patina? While the complex is undergoing redevelopment at the time of writing, the design project embraces the condition of the historic buildings in the immediate aftermath of the earthquakes and builds upon the patina of the mill and adjacent flour and grain store in developing a design for their adaptation as a micro-distillery. Research into the traditional Japanese ideology of wabi-sabi and its practical applications form the basis for a regenerative design approach which finds value in imperfection, impermanence and incompleteness. The thesis combines a literature review, precedent review and site analysis together with a design proposal. This thesis shows that adaptive reuse projects can benefit from an active collaboration with the processes of decay. Instead of a mindset where an architectural work is considered the finished article upon completion of construction, an empathetic and sensitive design philosophy is employed in which careful thought is given to the continued preservation and evolution of a structure with the recognition that evidence of past wear, tear, patina and weathering can all contribute positively to a building's future. In this fashion, rather than simply remaining as relics of the past, buildings can allow the landscape of their urban context to shape and mould them to ensure that their architectural experience can continue to be enjoyed by generations to come.
