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Images for design; more images...

Images, UC QuakeStudies

A photograph of a crowd gathered on the corner of St Asaph Street and Madras Street for a public talk about ArtBox gallery by Andrew Just and Martin Trusttum. The talk was part of FESTA 2012.

Images, UC QuakeStudies

A photograph of a crowd gathered on the corner of St Asaph Street and Madras Street for a public talk about ArtBox gallery by Andrew Just and Martin Trusttum. The talk was part of FESTA 2012.

Images, UC QuakeStudies

A photograph of a crowd gathered on the corner of St Asaph Street and Madras Street for a public talk about ArtBox gallery by Andrew Just and Martin Trusttum. The talk was part of FESTA 2012.

Images, UC QuakeStudies

A photograph of Martin Trusttum, CPIT Faculty of Creative Arts, giving a public talk about ArtBox on the corner of St Asaph Street and Madras Street. The photograph was taken during a public talk about the temporary studio and gallery space. The event was part of FESTA 2012.

Images, UC QuakeStudies

A photograph of a crowd gathered on the corner of St Asaph Street and Madras Street for a public talk about ArtBox gallery by Andrew Just and Martin Trusttum. The talk was part of FESTA 2012.

Articles, UC QuakeStudies

A PDF copy of a billboard design advertising All Right?, including the All Right? smartphone app. The advertisement featuring a smartphone appeared on a hoarding opposite C1 cafe, and on Marshlands Road.

Research papers, The University of Auckland Library

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.