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.
The demand for a new approach to safeguarding New Zealand’s endangered historic buildings was identified as a result of the recent increase in building code and strengthening requirements following the Christchurch earthquakes of 2010-2011. The Wellington City Council identified 266 heritage buildings in the city that must be either strengthened or demolished to address these increased requirements. This thesis explores this threat as an opportunity for researching how contemporary design interventions can be challenged to both strengthen and become active participants in the ongoing history of New Zealand’s potentially endangered historic buildings. This thesis challenges the current approach of completely ‘restoring’ 19th-20th century historic buildings in New Zealand, to develop techniques that structurally reinforce historic buildings while inviting the progressive weathering of a building to remain as a testament to its history. This thesis proposes a structural intervention that is responsive to the progressive history of historic buildings, simultaneously introducing a contemporary structural intervention that both participates in and compliments the progressive historic transformations of the vehicle. This thesis argues that current historic buildings in semi-decayed states in fact enable visitors to witness multiple stages in the life of a building, while fully restored buildings only enable visitors to witness the original form of the building. This thesis proposes a model for contemporary intervention within historic buildings that draws a design intervention from seismic strengthening.The notion of layering is explored as a design approach to incorporate the contemporary with the historic as an additional layer of exposed on-going history, thereby further exposing the layers of history evident within New Zealand’s historic buildings. This thesis combines layering theories of architects Louis Kahn and Carlo Scarpa with related theories of installation artist Mary Miss. The theoretical imperatives of Scarpa and Kahn are explored as a tool of engagement for the junction between the contemporary and historic building materials, and the work of Marry Miss is explored as a design approach for developing a contemporary intervention that references the layered historic building while inviting new means of occupancy between layers. The selected vehicle for the design research investigation is the Albemarle Hotel on Ghuznee Street in Wellington. The techniques proposed in this thesis to strengthen the Albemarle Hotel suggest an approach that might be applied to New Zealand’s wider body of historic buildings that constitute New Zealand’s heritage fabric, ultimately protecting them from demolition while preserving additional layers of their historic narratives. Over all the design research experiments suggest that contemporary interventions derived from structural strengthening may be a viable and cost-effective method of re-inhabiting New Zealand’s endangered heritage buildings, avoiding demolition and securing New Zealand’s heritage for future generations. Research Questions: This thesis challenges the current economically unsustainable approach of laterally reinforcing and completely ‘restoring’ 19th-20th century historic buildings in New Zealand. This thesis argues that current historic buildings in semi-decayed states in fact enable visitors to witness multiple stages in the on-going life of a building. Can the weathered state of New Zealand's heritage buildings be proactively retained and celebrated as witnesses to their history? Can new lateral reinforcing requirements be conceived as active participants in revealing the on-going history of New Zealand's historic buildings?
The University of Canterbury CEISMIC Canterbury Earthquake Digital Archive draws on the example of the Centre for History and New Media’s (CHNM) September 11 Archive, which was used to collect digital artefacts after the bombing of the World Trade Centre buildings in 2001, but has gone significantly further than this project in its development as a federated digital archive. The new University of Canterbury Digital Humanities Programme – initiated to build the archive – has gathered together a Consortium of major national organizations to contribute content to a federated archive based on principles of openness and collaboration derived directly from the international digital humanities community.
An emerging water crisis is on the horizon and is poised to converge with several other impending problems in the 21st century. Future uncertainties such as climate change, peak oil and peak water are shifting the international focus from a business as usual approach to an emphasis on sustainable and resilient strategies that better meet these challenges. Cities are being reimagined in new ways that take a multidisciplinary approach, decompartmentalising functions and exploring ways in which urban systems can share resources and operate more like natural organisms. This study tested the landscape design implications of wastewater wetlands in the urban environment and evaluated their contribution to environmental sustainability, urban resilience and social development. Black and grey water streams were the central focus of this study and two types of wastewater wetlands, tidal flow (staged planning) and horizontal subsurface flow wetlands were tested through design investigations in the earthquake-affected city of Christchurch, New Zealand. These investigations found that the large area requirements of wastewater wetlands can be mitigated through landscape designs that enhance a matrix of open spaces and corridors in the city. Wastewater wetlands when combined with other urban and rural services such as food production, energy generation and irrigation can aid in making communities more resilient. Landscape theory suggests that the design of wastewater wetlands must meet cultural thresholds of beauty and that the inclusion of waste and ecologies in creatively designed landscapes can deepen our emotional connection to nature and ourselves.
This thesis is about many things, not least of all the September 4th 2010 and February 22nd 2011 earthquakes that shook Christchurch, New Zealand. A city was shaken, events which worked to lay open the normally invisible yet vital objects, processes and technologies which are the focus of inquiry: the sewers, pipes, pumps, the digital technologies, the land and politics which constitute the Christchurch wastewater networks. The thesis is an eclectic mix drawing together methods and concepts from Bruno Latour, John Law, Giles Deleuze and Felix Guattari, Nigel Thrift, Donna Haraway and Patrick Joyce. It is an exploration of how the technologies and objects of sanitation perform the city, and how such things which are normally hidden and obscured, are made visible. The question of visibility is also turned toward the research itself: how does one observe, and describe? How are sociological visibilities constructed? Through the research, the encountering of objects in the field, the processes of method, the pedagogy of concepts, and the construction of risk, the thesis comes to be understood as a particular kind of social scientific artefact which assembles four different accounts: the first regards the construction of visibility; the second explores Christchurch city from the control room where the urban sanitary infrastructures are monitored; the third chapter looks at the formatted and embodied practices which emerge with the correlation of the city and sanitation; the fourth looks at the changing politics of a city grappling with severely damaged essential services, land and structures. The final chapter considers how the differences between romantic and baroque sensibilities mean that these four accounts elicit knowing not through smoothness or uniformity, but in partiality and non-coherence. This thesis is about pipes, pump stations, and treatment plants; about the effluent of a city; about the messiness of social science when confronted by the equally messy world of wastewater.
4th September 2010 a 7.1 magnitude earthquake strikes near Christchurch, New Zealand’s second largest city of approximately 370,000 people. This is followed by a 6.3 magnitude quake on 22nd February 2011 and a 6.4 on 13th June. In February 181 people died and a state of national emergency was declared from 23 February to 30th April. Urban Search and Rescue teams with 150 personnel from New Zealand and 429 from overseas worked tirelessly in addition to Army, Police and Fire services. Within the central business district 1,000 buildings (of 4,000) are expected to be demolished. An estimated 10,000 houses require demolition and over 100,000 were damaged. Meanwhile the over 7,000 aftershocks have become part of the “new normal” for us all. During this time how have libraries supported their staff? What changes have been made to services? What are the resourcing opportunities? This presentation will provide a personal view from Lincoln University, Te Whare Wanaka o Aoraki, Library Teaching and Learning. Lincoln is New Zealand's third oldest university having been founded in 1878. Publicly owned and operated it is New Zealand's specialist land-based university. Lincoln is based on the Canterbury Plains, 22 kilometres south of Christchurch. On campus there was mostly minor damage to buildings while in the Library 200,000 volumes were thrown from the shelves. I will focus on the experiences of the Disaster Team and on our experiences with hosting temporarily displaced staff and students from the Christchurch Polytechnic Institute of Technology, Library, Learning & Information Services. Experiences from two other institutions will be highlighted: Christchurch City Libraries, Ngā Kete Wānanga-o-Ōtautahi. Focusing on the Māori Services Team and the Ngā Pounamu Māori and Ngāi Tahu collections. The Central library located within the red zone cordon has been closed since February, the Central library held the Ngā Pounamu Māori and Ngai Tahu collections, the largest Māori collections in the Christchurch public library network. The lack of access to these collections changed the way the Māori Services Team, part of the larger Programmes, Events and Learning Team at Christchurch City Libraries were able to provide services to their community resulting in new innovative outreach programmes and a focus on promotion of online resources. On 19th December the “temporary” new and smaller Central library Peterborough opened. The retrieved Ngā Pounamu Māori and Ngai Tahu collections "Ngā rakau teitei e iwa”, have since been re-housed and are once again available for use by the public. Te Rūnanga o Ngāi Tahu. This organisation, established by the Te Rūnanga o Ngāi Tahu Act 1996, services the statutory rights for the people of Ngāi Tahu descent and ensures that the benefits of their Treaty Claim Settlement are enjoyed by Ngāi Tahu now and in the future. Ngāi Tahu are the indigenous Māori people of the southern islands of New Zealand - Te Waipounamu. The iwi (people) hold the rangatiratanga or tribal authority to over 80 per cent of the South Island. With their headquarters based in the central business they have also had to be relocated to temporary facilities. This included their library/archive collection of print resources, art works and taonga (cultural treasures).
