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Images for Architecture; more images...

Images, UC QuakeStudies

A photograph of temporary structures, created from scaffolding for CityUps. CityUps was a 'city of the future for one night only', and the main event of FESTA 2014. It was created by architecture students in collaboration with local businesses, artists, performers and innovators.

Images, UC QuakeStudies

A photograph of a temporary structure, created from scaffolding for CityUps. CityUps was a 'city of the future for one night only', and the main event of FESTA 2014. It was created by architecture students in collaboration with local businesses, artists, performers and innovators.

Images, UC QuakeStudies

A photograph of a temporary structure, created from scaffolding for CityUps. CityUps was a 'city of the future for one night only', and the main event of FESTA 2014. It was created by architecture students in collaboration with local businesses, artists, performers and innovators.

Images, UC QuakeStudies

A photograph of a young child playing with a temporary sculpture titled Illuminate, on a vacant site on Worcester Street. The sculpture was created by students from Unitec's Architecture department for Canterbury Tales - a carnivalesque procession which was the main event of FESTA 2013.

Images, UC QuakeStudies

A photograph of an installation on the corner of Manchester Street and Gloucester Street. The installation is titled "60 Lights Market", and is part of the LUXCITY event.

Images, UC QuakeStudies

A photograph of a young child playing with a temporary sculpture titled Illuminate, on a vacant site on Worcester Street. The sculpture was created by students from Unitec's Architecture department for Canterbury Tales - a carnivalesque procession which was the main event of FESTA 2013.

Images, UC QuakeStudies

A photograph of a temporary structure, created from scaffolding for CityUps. CityUps was a 'city of the future for one night only', and the main event of FESTA 2014. It was created by architecture students in collaboration with local businesses, artists, performers and innovators.

Images, UC QuakeStudies

A photograph of people in high visibility gear and hard hats constructing an installation for CityUps. CityUps was a 'city of the future for one night only', and the main event of FESTA 2014. It was created by architecture students in collaboration with local businesses, artists, performers and innovators.

Images, UC QuakeStudies

An artist's impression of an installation that forms part of the '60 Lights Market' at the LUXCITY event. Coordinators: Daniele Abreu e Lima and Sam Stringlen; students: Chi Tran, Aria Jansen, Naomi Snelling, Rebecca Wyborn

Images, UC QuakeStudies

An artist's impression of an installation that forms part of the '60 Lights Market' at the LUXCITY event. Coordinators: Daniele Abreu e Lima and Michael Smith; students: Alex Heperi, Gagan Saini, Shamal Nanji, Xavier Apelinga

Research papers, Victoria University of Wellington

A Line of Best Fit explores weakness and disconnection in the city. Weakness: There are over 600 earthquake prone buildings in Wellington. The urgency to strengthen buildings risks compromising the aesthetic integrity of the city through abrasive strengthening techniques, or losing a large portion of our built environment to demolition. The need for extensive earthquake strengthening in Wellington, Christchurch and other New Zealand cities provides an exciting opportunity for architecture. Disconnection: In Wellington pedestrian activity is focused around three main routes: Cuba Street, Lambton Quay and Courtney Place. The adjacent areas are often disconnected and lack vibrancy due to large building footprints, no-exit laneways and lack of public spaces. The Design proposes a strategy for earthquake strengthening, preserving and upgrading the built environment, and expanding and connecting the pedestrian realm. The site is two earthquake prone buildings on the block between Marion Street and Taranaki Street in central Wellington. A cut through the centre of the Aspro and Cathie Buildings ties the buildings together to strengthen and create a new arcade as public space. The cut aligns with existing pedestrian routes connecting the block with the city. The Design is divided into three components: Void, Curve, and Pattern and Structure. Void investigates the implications of cutting a portion out the existing buildings and the opportunities this provides for connection, urban interaction, and light. Curve discusses the unusual form of The Design in terms of scale, the human response and the surrounding spaces. Pattern and Structure considers the structural requirements of the project and how a void enveloped in perforated screens can strengthen the earthquake prone buildings. The importance of connection, providing strength in the city, a dialogue between old and new, and engagement with the unexpected are evaluated. Opportunities for further development and research are discussed, with particular reference to how the principles of The Design could be implemented on a larger scale throughout our cities. A Line of Best Fit is an architectural proposal that creates strength and connection.

Research Papers, Lincoln University

The quality of public space is vital to livable cities. Yet livable cities also require empowered communities. This thesis asks: how is the landscape architect’s design expertise expressed as part of the public participation process, what are the key features of design expertise that lead to an effective design-based participation process and how does quality in the participation process relate to the quality of design outcomes? A theoretical framework is developed from which to clarify the relationship between decision-making processes in design and public participation. Insights from design theory are combined with the findings of key informant interviews with New Zealand and Northern Europe design experts, and with landscape architects, community and Council staff working in post-earthquake Ōtautahi/Christchurch, Aotearoa/New Zealand. Results of a case study of Albion Square in Ōhinehou/Lyttelton reveal that the designer’s interactions with the public play a critical role in shaping elegant design outcomes in public space design. Four key insights reveal that participatory design processes in New Zealand need to be reconsidered in order to enable landscape architects to work more closely with communities in mutual learning, rather than the currently limiting technical problem solving process. Institutional, professional and theoretical implications are drawn from the findings.

Research Papers, Lincoln University

Disasters are a critical topic for practitioners of landscape architecture. A fundamental role of the profession is disaster prevention or mitigation through practitioners having a thorough understanding of known threats. Once we reach the ‘other side’ of a disaster – the aftermath – landscape architecture plays a central response in dealing with its consequences, rebuilding of settlements and infrastructure and gaining an enhanced understanding of the causes of any failures. Landscape architecture must respond not only to the physical dimensions of disaster landscapes but also to the social, psychological and spiritual aspects. Landscape’s experiential potency is heightened in disasters in ways that may challenge and extend the spectrum of emotions. Identity is rooted in landscape, and massive transformation through the impact of a disaster can lead to ongoing psychological devastation. Memory and landscape are tightly intertwined as part of individual and collective identities, as connections to place and time. The ruptures caused by disasters present a challenge to remembering the lives lost and the prior condition of the landscape, the intimate attachments to places now gone and even the event itself.

Research papers, Victoria University of Wellington

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.

Research papers, Victoria University of Wellington

Heritage buildings are an important element of our urban environments, representing the hope and aspirations of a generation gone, reminding us of our achievements and our identity.  When heritage buildings suffer damage, or fall into disrepair they are either met by one of two extremes; a bulldozer or painstaking repair. If the decision to conserve defeats the bulldozer, current heritage practice favours restoration into a mausoleum-type monument to yesteryear. But what if, rather than becoming a museum, these heritage buildings could live on and become a palimpsest of history? What if the damage was embraced and embodied in the repair?  The Cathedral of the Blessed Sacrament on Barbadoes Street, Christchurch is the case study building for this thesis. Suffering damage in the Canterbury earthquakes of 2010 and 2011, the Cathedral sits in ruin waiting for decisions to be made around how it can be retained for future generations.  This thesis will propose a reconstruction for the Cathedral through the analysis of precedent examples of reconstructing damaged heritage buildings and guided by a heritage framework proposed in this thesis. The employed process will be documented as an alternative method for reconstructing other damaged heritage buildings.

Images, UC QuakeStudies

A photograph taken from the corner of Gloucester Street and Colombo Street of people walking to LUXCITY. A large sign detailing the locations of each installation is attached to a wire fence and a temporary 'no left turn' sign has been installed on the corner.

Images, UC QuakeStudies

A photograph of a floating installation on the Avon River. The installation consists of four chairs and a table situated on a grass-covered platform. It was created by students from Lincoln University's School of Landscape Architecture for Canterbury Tales, a carnivalesque procession and the main event of FESTA 2013.

Images, UC QuakeStudies

A photograph of installations being constructed on the corner of Gloucester Street and Colombo Street for the LUXCITY event. In the foreground is the installation titled "In Your Face", and to the right is the installation titled "Etch-a-Sketch".

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.