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Images, eqnz.chch.2010

Demolition of the relatively new seven-storey Waters Edge Apartments in Ferrymead continues. CERES Environmental NZ are doing the job for CERA (Canterbury Earthquake Recovery Authority). Some will be pleased to see this block go as there was lot of resentment to it being built on the site of the old Ferrymead Tavern, Selected for Explore, #347...

Research papers, Victoria University of Wellington

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.

Research papers, Victoria University of Wellington

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?