Wall around the Butterfly Gap, where landowner Robyn wanted to activate the gap where a house she owned once stood. This is a Gap Filler project, a space where the public can request to hold markets or stalls
Wall around the Butterfly Gap, where landowner Robyn wanted to activate the gap where a house she owned once stood. This is a Gap Filler project, a space where the public can request to hold markets or stalls
Wall around the Butterfly Gap, where landowner Robyn wanted to activate the gap where a house she owned once stood. This is a Gap Filler project, a space where the public can request to hold markets or stalls
Wall around the Butterfly Gap, where landowner Robyn wanted to activate the gap where a house she owned once stood. This is a Gap Filler project, a space where the public can request to hold markets or stalls
Bench in the Butterfly Gap, where landowner Robyn wanted to activate the gap where a house she owned once stood. This is a Gap Filler project, a space where the public can request to hold markets or stalls
Wall around the Butterfly Gap, where landowner Robyn wanted to activate the gap where a house she owned once stood. This is a Gap Filler project, a space where the public can request to hold markets or stalls
Research in the governance of urban tourist spaces is characterized by a lack of argumentative inquiry and scant use of critical theory. This is evident, particularly, in the study of tourism and post-disaster urban recovery, with very few contributions assessing the phenomenon from a social theory perspective. This thesis examines the complex phenomenon of planning and governance for urban tourism spaces in contexts facing physical recovery from natural disasters. It does so by looking at the governance dynamics and the mechanism of decision- making put in place before and after triggering events like earthquakes and tsunamis. This thesis provides evidence from Christchurch, New Zealand, by focusing on the policies and strategies for the regeneration of the city centre put in place before and after the disruptive earthquakes of 2010 and 2011. The thesis looks at power relations, structures and ideologies through a Lukesian appraisal of pre-and-post disaster governance from two relevant urban tourist spaces located in the Christchurch central city area: the Arts Centre of Christchurch and the Town Hall and Performing Arts Precinct. The research strategy adopted for the study combined archival research, interviews with key stakeholders and fieldwork notes over a period of two years. The research deployed a comparative case study methodology that focuses on projects taking place within a spatially defined area of the city centre where special legislation was enacted as result of the earthquakes. The findings from the interviews and their triangulation with documents retrieved from national and local authorities suggest that the earthquakes affected the engagement among stakeholders and the mechanisms of decision-making. Also, the findings show patterns of disaster capitalism in post-earthquake governance for urban tourist spaces in the Christchurch CBD, with episodes of exclusion, lobbying and amendment of rules and legislation that directly benefited the interests of a narrow group of privileged stakeholders. Overall, the study shows that the earthquakes of 2010 and 2011 accelerated neoliberal practices of site development in Christchurch, with the seismic events used as a pretext to implement market-oriented site projects in the CBD area.
A photograph of an installation titled 'Halo', which is part of the LUXCITY event.
This week we are treating you to a photographic tale of the life of a Cantabrian abode. Come with us now on a journey through time and space, to the wonderful world of dilapidated Victorian villas… Despite its grandiose design, Mr. … Continue reading →
Years after the earthquakes, Christchurch is still desperately short of theatre space. But now the city council's investment of 30-million dollars to help the Court Theatre replace its very successful temporary home in Addington, is being widely applauded.
The front of Christ Church Cathedral. The upper part of the front wall has crumbled leaving the inside space exposed. Steel bracing has been placed against the wall to limit further damage. The Citizens' Memorial statue stands to the left.
The front of Christ Church Cathedral. The upper part of the front wall has crumbled leaving the inside space exposed. Steel bracing has been placed against the front wall to limit further damage. The Citizens' Memorial statue stands to the left.
A photograph of street art by DTR on a factory wall depicting two green blob monsters. There is also tag writing and orange text that reads "So live". In front of the artwork, there are cars parked in parking spaces.
A photograph of a large-scale puppet titled The Knight. The puppet is outside the Free Theatre warehouse space on Lismore Street. The puppet was created by Free Theatre Christchurch for Canterbury Tales, which was the main event of FESTA 2013.
A photograph of a large-scale puppet titled The Merchant. The puppet is outside the Free Theatre warehouse space on Lismore Street. The puppet was created by Free Theatre Christchurch for Canterbury Tales, which was the main event of FESTA 2013.
College of Education Academic Manager, Emma Newman, in the temporary office space set up in the NZi3 building. The photographer comments, "University of Canterbury administration all fits into one building! Emma Newman keeping the College of Education enrolments happening".
Part of Mike Hewson's installation 'Homage To Lost Spaces' in the Cramner Courts building, photographs of people riding bicycles have been inserted into a gap in the building. The photographer comments, "Cranmer Courts was very badly damaged in the quakes that unexpectedly hit Christchurch. Originally big photographs were put into the holes where the doors and windows were, but now these massive pictures have been put across the boarded up ends of the buildings to keep them alive in the minds of the people of Christchurch. The project was thought up by Mike Hewson".
The increase in urban population has required cities to rethink their strategies for minimising greenhouse gas impacts and adapting to climate change. While urban design and planning policy have been guided by principles such as walkability (to reduce the dependence on cars) and green infrastructure (to enhance the quality of open spaces to support conservation and human values), there have been conflicting views on what spatial strategies will best prepare cities for a challenging future. Researchers supporting compact cities based upon public Transit Oriented Development have claimed that walkability, higher density and mixed-uses make cities more sustainable (Owen, 2009) and that, while green spaces in cities are necessary, they are dull in comparison with shopfronts and street vendors (Speck, 2012, p 250). Other researchers claim that green infrastructure is fundamental to improving urban sustainability and attracting public space users with improved urban comfort, consequently encouraging walkability (Pitman and Ely, 2013). Landscape architects tend to assume that ‘the greener the better’; however, the efficiency of urban greenery in relation to urban comfort and urbanity depends on its density, distribution and the services provided. Green infrastructure can take many forms (from urban forests to street trees) and provide varied services (amended microclimate, aesthetics, ecology and so forth). In this paper, we evaluate the relevance of current policy in Christchurch regarding both best practice in green infrastructure and urban comfort (Tavares, 2015). We focus on the Christchurch Blueprint for rebuilding the central city, and critically examine the post-earthquake paths the city is following regarding its green and grey infrastructures and the resulting urban environment. We discuss the performance and appropriateness of the current Blueprint in post-earthquake Christchurch, particularly as it relates to the challenges that climate change is creating for cities worldwide.
An artist's impression of the installation 'Altitude', created as part of the LUXCITY event. Tutors: David Turner, Lester Mismash
An artist's impression of the installation 'Altitude', created as part of the LUXCITY event. Tutors: David Turner, Lester Mismash
A photograph of an installation titled 'Murmur'. The installation is part of the LUXCITY event. Tutor: Craig Moller
An artist's impression of the installation 'Archrobatics', created as part of the LUXCITY event. Tutors: David Turner, Lester Mismash
An artist's impression of the installation 'Archrobatics', created as part of the LUXCITY event. Tutors: David Turner, Lester Mismash
In last week’s blog post, we talked about the use of light in Christchurch’s city streets and public spaces, from oil lamps to gas lights to electricity in the early 20th century. This week, we step out of the street and … Continue reading →
A photograph of children and parents painting rocks for Rock on Eastside on the corner of Linwood Avenue and Aldwins Road. Rock on Eastside was an outdoor lounge and art space facilitated by Gap Filler and Youthtown. The paint was donated by Resene.
A photograph of students enjoying Rock on Eastside, an outdoor lounge and art space on the corner of Aldwins Road and Linwood Avenue. The students have decorated the site by painting rocks they found throughout Christchurch and laying them out in patterns.
A photograph of large-scale puppets: one of The Friars (left) and The Knight. The puppets are outside the Free Theatre warehouse space on Lismore Street. The puppets were part of the Canterbury Tales procession, which was the main event of FESTA 2013.
A photograph of two large-scale puppets, The Knight (left) and The Merchant (right). The puppets are outside the Free Theatre warehouse space on Lismore Street. The puppets were part of the Canterbury Tales procession, which was the main event of FESTA 2013.
A photograph of one of the large-scale puppets titled The Friars. The puppet is in the Free Theatre warehouse space on Lismore Street. The puppet was created by Free Theatre Christchurch for Canterbury Tales, which was the main event of FESTA 2013.
A photograph of one of the large-scale puppets titled The Friars. The puppet is outside the Free Theatre warehouse space on Lismore Street. The puppet was created by Free Theatre Christchurch for Canterbury Tales, which was the main event of FESTA 2013.