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.
It is well established that urban green areas provide a wide range of social, aesthetic, environmental and economic benefits. The importance of urban green spaces has been known for decades; however the relationship between urban livability and green areas, as incorporated in overall urban green structure, has become the focus of international studies during the last 10 to 15 years. The spatial structure of green space systems has important consequences for urban form; configuring urban resources, controlling urban size, improving ecological quality of urban areas and preventing or mitigating natural disasters. However, in the field of architecture or urban design, very little work has been done to investigate the potential for built form to define and differentiate the edge to a green corridor ... This thesis therefore poses the hypothesis that architecture and urban design critically mediate between city and green corridor, through intensification and definition of the built edge, as a means of contributing to an ecological city form.
<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.
The Mѡ=7.1 Darfield (Canterbury) earthquake struck on 4 September 2010, approximately 45 km west of Christchurch, New Zealand. It revealed a previously unknown fault (the Greendale fault) and caused billions of dollars of damage due to high peak ground velocities and extensive liquefaction. It also triggered the Mw=6.3 Christchurch earthquake on 22 February 2011, which caused further damage and the loss of 185 lives. The objective of this research was to determine the relationship between stress and seismic properties in a seismically active region using manually-picked P and S wave arrival times from the aftershock sequence between 8 September 2010-13 January 2011 to estimate shear-wave splitting (SWS) parameters, VP =VS-ratios, anisotropy (delay-time tomography), focal mechanisms, and tectonic stress on the Canterbury plains. The maximum horizontal stress direction was highly consistent in the plains, with an average value of SHmax=116 18 . However, the estimates showed variation in SHmax near the fault, with one estimate rotating by as much as 30° counter-clockwise. This suggests heterogeneity of stress at the fault, though the cause remains unclear. Orientations of the principal stresses predominantly indicate a strike-slip regime, but there are possible thrust regimes to the west and north/east of the fault. The SWS fast directions (ø) on the plains show alignment with SHmax at the majority of stations, indicating stress controlled anisotropy. However, structural effects appear more dominant in the neighbouring regions of the Southern Alps and Banks Peninsula.
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.
Wellington is located on a fault line which will inevitably, one day be impacted by a big earthquake. Due to where this fault line geographically sits, the central city and southern suburbs may be cut off from the rest of the region, effectively making these areas an ‘island’. This issue has absorbed a lot of attention, in particular at a large scale by many different fields: civil engineering, architecture, infrastructure planning & design, policymaking. Due to heightened awareness, and evolved school of practice, contemporary landscape architects deal with post-disaster design – Christchurch, NZ has seen this. A number of landscape architects work with nature, following increased application of ecological urbanism, and natural systems thinking, most notably at larger scales. To create parks that are designed to flood, or implement projects to protect shorelines. A form of resilience less often considered is how design for the small scale - people’s 1:1 relationship with their immediate context in exterior space - can be influential in forming a resilient response to the catastrophe of a major earthquake. This thesis intends to provide a response to address the shift of scales, as a paradigm for preparation and recovery. After a large-scale earthquake, state and civic policies and agencies may or subsequentially not go into action. The most important thinking and acting will be what happens in the minds, and the immediate needs, of each and every person; and how they act communally. This is considered in general social terms in state and civic education programmes of civil defence, for example, but much less considered in how the physical design of the actual spaces we inhabit day-to-day can educate us to be mentally prepared to help each other survive a catastrophe. Specifically, the identification of design of typologies can provide these educative functions. Typology inherently a physical form or manipulation of a generic and substantial prototype applicable in contexts is something that exists in the mind. Working with the physical and social appearance and experience of typologies can also/will change people’s minds. Socially, and economically driven, the community-building power of community gardening is well-proven and documented, and a noticeably large part of contemporary landscape architecture. The designs of this thesis will focus on community gardening specifically to form typologies of resilience preparation and response to disaster. The foundation will remain at the small scale of the local community. The specific question this thesis poses: Can we design local typologies in landscape architecture to integrate community gardens, with public space by preparing for and acting as recovery from a disaster?
Christchurch was struck by a 6.3 magnitude earthquake on the 22 February 2011. The quake devastated the city, taking lives and causing widespread damage to the inner city and suburban homes. The central city lost over half its buildings and over 7000 homes were condemned throughout Christchurch. The loss of such a great number of homes has created the requirement for new housing to replace those that were lost. Many of which were located in the eastern, less affluent, suburbs. The response to the housing shortage is the planned creation of large scale subdivisions on the outskirts of the city. Whilst this provides the required housing it creates additional sprawl to a city that does not need it. The extension of Christchurch’s existing suburban sprawl puts pressure on roading and pushes residents further out of the city, creating a disconnection between them. Christchurch’s central city had a very small residential population prior to the earthquakes with very few options for dense inner city living. The proposed rebuild of the inner city calls for a new ‘dense, vibrant and diverse central hub’. Proposing the introduction of new residential units within the central city. However the placement of the low-rise housing in a key attribute of the rebuild, the eastern green ‘Frame’, diminishes its value as open green space. The proposed housing will also be restrictive in its target market and therefore the idea of a ‘vibrant’ inner city is difficult to achieve. This thesis acts as response to the planned rebuild of inner Christchurch. Proposing the creation of a model for inner city housing which provides an alternative option to the proposed housing and existing and ongoing suburban sprawl. The design options were explored through a design-led process were the options were critiqued and developed. The ‘final’ proposal is comprises of three tall towers, aptly named the Triple Towers, which condense the proposed low-rise housing from an 11000 square metre footprint to combined footprint of 1500 square metres. The result is an expansion of the publicly available green space along the proposed eastern frame of the city. The height of the project challenges the height restrictions and is provocative in its proposal and placement. The design explores the relationships between the occupants, the building, the ‘Frame’ and the central city. The project is discussed through an exploration of the architecture of Rem Koolhaas, Renzo Piano and Oscar Niemeyer. Rather than their architecture being taken as a direct influence on which the design is based the discussion revolves around how and why each piece of comparative architecture is relevant to the designs desired outcome.
