A photograph of a mural depicting ChristChurch Cathedral. The mural is attached to the fence on the site of Christchurch: A Board Game.
A photograph of a street football arena built by Student Volunteer Army volunteers. The walls of the arena are built from recycled timber.
A photograph of people watching a model posing in a large inflatable ball as part of the In Your Face installation at LUXCITY.
A photograph of the Fulton Hogan BMX Pump Track. A mural on the wall reads, 'Pump it!'.
A photograph of the installation titled In Your Face on the corner of Gloucester Street and Manchester Street. The installation is part of LUXCITY.
A photograph of people walking among the large inflatable balls that were part of the installation titled In Your Face. The installation is part of LUXCITY.
A photograph of the installation titled In Your Face on the corner of Gloucester Street and Colombo Street. The installation is part of LUXCITY.
A photograph of the installation titled In Your Face on the corner of Gloucester Street and Colombo Street. The installation is part of LUXCITY.
A photograph of Mike Hewson's artwork, 'Government Life Suspension', on the side of the former Chancery Arcade. The photograph is taken from an angle such that the artwork appears to be a reflection of the Government Life building behind it.
A photograph of Mike Hewson's artwork, 'Government Life Suspension', on the side of the former Chancery Arcade. The photograph is taken from an angle such that the artwork appears to be a reflection of the Government Life building behind it.
A photograph of a paste-up from the Roger Sutton/Man About Town series, created by Nathan Ingram and Jemma Brown. The paste-up is titled "Hip Man", and is on a building on Madras Street.
A photograph of a labyrinth laid out in bricks on the former site of St Luke's church.
A photograph of Mike Hewson's artwork, 'Deconstruction', on the walkway between Ballantyne's and the former bus exchange building. The photograph is taken from an angle such that the artwork gives the illusion that the walkway is transparent.
A photograph of Mike Hewson's artwork, 'Deconstruction', on the walkway between Ballantyne's and the former bus exchange building. The photograph is taken from beneath the walkway, so that the distorted perspective which enables the illusion can be seen.
A photograph of a sign describing the earthquake memorial created on the former site of St Luke's church. The memorial is in the form of 185 pieces of stone recovered from the church.
An entry from Jennifer Middendorf's blog for 21 October 2012 entitled, "Back by maternal demand".
A photograph of a paste-up on the cordon fence surrounding the Crowne Plaza demolition site. The paste-up is in the shape of an awards ribbon, and reads, "Voted Chch best demo 2012".
A photograph of a paste-up from the Roger Sutton/Man About Town series, created by Nathan Ingram and Jemma Brown. The paste-up is titled "Good Man", and is on a building on the corner of Barbadoes Street and Cashel Street.
A photograph of a detail of Mike Hewson's installation 'View from the Studio' in Re:Start Mall. An outline of the cathedral's tower is sketched on plywood, accompanied by the words, "Mike Hewson 2012. 'View From Studio'. (We should try keep some part of the cathedral rather than just demo-ing it)".
A photograph of a paste-up from the Roger Sutton/Man About Town series, created by Nathan Ingram and Jemma Brown. The paste-up is titled "Love Man", and is on the east side of the Victoria Mansions building.
A photograph of the installation 'Upon the Upland Road' on the former site of the Harbour Light in Lyttelton. The installation shows the last three lines of James K Baxter's poem, 'High Country Weather', written in the nautical flag alphabet.
A photograph of the wall of a street football arena built by Student Volunteer Army volunteers. The wall has a sign attached acknowledging the support of Resene, and is painted with the words, 'Red zone timber'.
A photograph of a paste-up from the Roger Sutton/Man About Town series, created by Nathan Ingram and Jemma Brown. The paste-up is titled "Best Man", and is on the Crichton Cobbers building on Fitzgerald Avenue.
A photograph of a paste-up from the Roger Sutton/Man About Town series, created by Nathan Ingram and Jemma Brown. The paste-up is titled "Running Hipster", and is on a building on the corner of Madras Street and St Asaph Street.
A photograph of the installation 'Upon the Upland Road' on the former site of the Harbour Light in Lyttelton. The installation shows the last three lines of James K Baxter's poem, 'High Country Weather', written in the nautical flag alphabet.
A video made by Julian Vares about FESTA - the Festival of Transitional Architecture. The video includes explanations from FESTA director Jessica Halliday and key collaborators about what FESTA is about, and the important role it plays in the rebuild and recovery of Christchurch. It also includes a compilation of footage from the first three FESTA events of 2012, 2013 and 2014. This footage was shot by Rick Harvie (Belmont Productions), Peter Young (Fisheye Films), Ed Lust and John Chrisstoffels.
The Canterbury earthquake sequence of 2010-2011 wrought ruptures in not only the physical landscape of Canterbury and Christchurch’s material form, but also in its social, economic, and political fabrics and the lives of Christchurch inhabitants. In the years that followed, the widespread demolition of the CBD that followed the earthquakes produced a bleak landscape of grey rubble punctuated by damaged, abandoned buildings. It was into this post-earthquake landscape that Gap Filler and other ‘transitional’ organisations inserted playful, creative, experimental projects to bring life and energy back into the CBD. This thesis examines those interventions and the development of the ‘Transitional Movement’ between July 2013 and June 2015 via the methods of walking interviews and participant observation. This critical period in Christchurch’s recovery serves as an example of what happens when do-it-yourself (DIY) urbanism is done at scale across the CBD and what urban experimentation can offer city-making. Through an understanding of space as produced, informed by Lefebvre’s thinking, I explore how these creative urban interventions manifested a different temporality to orthodox planning and demonstrate how the ‘soft’ politics of these interventions contain the potential for gentrification and also a more radical politics of the city, by creating an opening space for difference.
This paper presents the preliminary conclusions of the first stage of Wellington Case Study project (Regulating For Resilience in an Earthquake Vulnerable City) being undertaken by the Disaster Law Research Group at the University of Canterbury Law School. This research aims to map the current regulatory environment around improving the seismic resilience of the urban built environment. This work provides the basis for the second stage of the project which will map the regulatory tools onto the reality of the current building stock in Wellington. Using a socio-legal methodology, the current research examines the regulatory framework around seismic resilience for existing buildings in New Zealand, with a particularly focus on multi-storey in the Wellington CBD. The work focusses both on the operation and impact of the formal seismic regulatory tools open to public regulators (under the amended Building Act) as other non-seismic regulatory tools. As well as examining the formal regulatory frame, the work also provides an assessment of the interactions between other non-building acts (such as Health and Safety at Work Act 2015) on the requirements of seismic resilience. Other soft-law developments (particularly around informal building standards) are also examined. The final output of this work will presents this regulatory map in a clear and easily accessible manner and provide an assessment of the suitability of this at times confusing and patchy legal environment as Wellington moves towards becoming a resilient city. The final conclusion of this work will be used to specifically examine the ability of Wellington to make this transition under the current regulatory environment as phase two of the Wellington Case Study project.
Disasters are often followed by a large-scale stimulus supporting the economy through the built environment, which can last years. During this time, official economic indicators tend to suggest the economy is doing well, but as activity winds down, the sentiment can quickly change. In response to the damaging 2011 earthquakes in Canterbury, New Zealand, the regional economy outpaced national economic growth rates for several years during the rebuild. The repair work on the built environment created years of elevated building activity. However, after the peak of the rebuilding activity, as economic and employment growth retracts below national growth, we are left with the question of how the underlying economy performs during large scale stimulus activity in the built environment. This paper assesses the performance of the underlying economy by quantifying the usual, demand-driven level of building activity at this time. Applying an Input–Output approach and excluding the economic benefit gained from the investment stimulus reveals the performance of the underlying economy. The results reveal a strong growing underlying economy, and while convergence was expected as the stimulus slowed down, the results found that growth had already crossed over for some time. The results reveal that the investment stimulus provides an initial 1.5% to 2% growth buffer from the underlying economy before the growth rates cross over. This supports short-term economic recovery and enables the underlying economy to transition away from a significant rebuild stimulus. Once the growth crosses over, five years after the disaster, economic growth in the underlying economy remains buoyant even if official regional economic data suggest otherwise.