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Research papers, The University of Auckland Library

This thesis revisits the topic of earthquake recovery in Christchurch City more than a decade after the Canterbury earthquakes. Despite promising visions of a community reconnected and a sustainable and liveable city, significant portions of the city’s core – the Red Zone – remain dilapidated and “eerily empty”. At the same time, new developments in other areas have proven to be alienated or underutilised. Currently, the Canterbury Earthquake Recovery Authority’s plans for the rebuilding highlight the delivery of more residential housing to re-populate the city centre. However, prevalent approaches to housing development in Christchurch are ineffective for building an inclusive and active community. Hence, the central inquiry of the thesis is how the development of housing complexes can revitalise the Red Zone within the Christchurch city centre. The inquiry has been carried out through a research-through-design methodology, recognising the importance of an in-depth investigation that is contextualised and combined with the intuition and embodied knowledge of the designer. The investigation focuses on a neglected site in the Red Zone in the heart of Christchurch city, with significant Victorian and Edwardian Baroque heritage buildings, including Odeon Theatre, Lawrie & Wilson Auctioneers, and Sol Square, owned by The Regional Council Environment Canterbury. The design inquiry argues, develops, and is carried through a place-assemblage lens to housing development for city recovery, which recognizes the significance of socially responsive architecture that explores urban renewal by forging connections within the social network. Therefore, place-assemblage criteria and methods for developing socially active and meaningful housing developments are identified. Firstly, this thesis argues that co-living housing models are more focused on people relations and collective identity than the dominant developer-driven housing rebuilds, as they prioritise conduits for interaction and shared social meaning and practices. Secondly, the adaptive reuse of derelict heritage structures is proposed to reinvigorate the urban fabric, as heritage is seen to be conceived as and from a social assemblage of people. The design is realised by the principles outlined in the ICOMOS charter, which involves incorporating the material histories of existing structures and preserving the intangible heritage of the site by ensuring the continuity of cultural practices. Lastly, design processes and methods are also vital for place-sensitive results, which pay attention to the site’s unique characteristics to engage with local stakeholders and communities. The research explores place-assemblage methods of photographic extraction, the drawing of story maps, precedent studies, assemblage maps, bricolages, and paper models, which show an assembly of layers that piece together the existing heritage, social conduits, urban commons and housing to conceptualise the social network within its place.

Videos, UC QuakeStudies

A video showing brass players from the Christchurch Symphony Orchestra performing an impromptu concert at PAK'nSAVE Wainoni on March 27 2014. The video captures customers' reactions as the players set up and perform. Customers are also shown receiving PAK'nSAVE shopping vouchers, donated by PAK'nSAVE, by three dancing 'All Righties'. The video and impromptu concert were organised for the 'Outrageous Burst of All Right: BYO CSO'. All Right? encouraged their Facebook followers to share the video on social media and enter the prize-draw for eight $250 PAK'nSAVE vouchers. The Press published the video on 28 March 2013 at 5:45pm. All Right? uploaded the video to their YouTube account on 31 March 2014. The video was shared more than 400 times on social media by the time of the prize-draw on 8 April 2014.

Research Papers, Lincoln University

This research investigates creativity in a post-disaster setting. The data explore creativity at the intersection of the affected community of Christchurch, New Zealand and the social processes that followed the earthquakes of 2010 - 2012. Personal and contextual influences on creative ideas implemented for community or commercial benefit are also examined. Viewed as creative, unique approaches to post-disaster problem solving were celebrated locally, nationally and internationally (Bergman, 2014; Wesener, 2015; Cloke & Conradson, 2018). Much has been written about creativity, particularly creativity in organisations and in business. However, little is known with regards to who creates after a disaster, why individuals choose to do so and what impact the post-disaster context has on their creative activity. This exploratory study draws on the literature from the fields of creativity, disasters, psychology, sociology and entrepreneurship to interpret first-hand accounts of people who acted on creative ideas in a physically and socially altered environment. A mixed method - albeit predominantly qualitative - approach to data gathering was adopted that included interviews (n=45) with participants who had been the primary drivers of creative ideas implemented in Christchurch after September 2010 – the first major (7.1 magnitude) earthquake in a prolonged sequence of thousands of aftershocks. Key findings include that a specific type of creativity results from the ‘collision’ between individuals and social processes activated by a disaster situation. This type of creativity could be best categorised as ‘little c’ or socially adaptive and emerges through a prosocial filter. There is wide consensus amongst creativity researchers - principally social psychologists - that for output to be considered creative it must be both novel and useful (Runco & Jaegar, 2012). There is greater tolerance for the novelty component after a disaster as novelty itself has greater utility, either as a distraction or because alternatives are few. Existing creativity models show context as input – an additional component of the creative process – but after a disaster the event itself becomes the catalyst for social processes that result in the creativity seen. Most participants demonstrated characteristics commonly associated with creativity and could be categorised as either a ‘free thinker’ and/or an ‘opportunist’. Some appear preadapted to create and thrive in unstable circumstances. Findings from participants’ completion of a Ten Item Personality Inventory (TIPI) showed an apparent reduced need for extraversion in relation to implementing creative ventures in society. This factor, along with higher levels of agreeableness may indicate a potentially detrimental effect on the success of creative ideas established after a disaster, despite earnest intentions. Three new models are presented to illustrate the key findings of this study. The models imply that disasters enhance both the perceived value of creativity and the desire to act creatively for prosocial ends. The models also indicate that these disaster influenced changes are likely to be temporary.

Research papers, University of Canterbury Library

Social media have changed disaster response and recovery in the way people inform themselves, provide community support and make sense of unfolding and past events online. During the Canterbury earthquakes of 2010 and 2011 social media platforms such as Facebook and Twitter became part of the story of the quakes in the region, as well as a basis for ongoing public engagement during the rebuild efforts in Christchurch. While a variety of research has been conducted on the use of social media in disaster situations (Bruns & Burgess, 2012; Potts, Seitzinger, Jones, & Harrison, 2011; Shklovski, Palen, & Sutton, 2008), studies about their uses in long-term disaster recovery and across different platforms are underrepresented. This research analyses networked practices of sensemaking around the Canterbury earthquakes over the course of disaster response, recovery and rebuild, focussing on Facebook and Twitter. Following a mixed methodological design data was gathered in interviews with people who started local Facebook pages, and through digital media methods of data collection and computational analysis of public Facebook pages and a historical Twitter dataset gathered around eight different earthquake-related events between 2010 and 2013. Data is further analysed through discursive and narrative tools of inquiry. This research sheds light on communication practices in the drawn-out process of disaster recovery on the ground in connecting different modes of discourse. Examining the ongoing negotiation of networked identities through technologically mediated social practices during Canterbury’s rebuild, the connection between online environments and the city of Christchurch, as a physical place, is unpacked. This research subsequently develops a new methodology to study social media platforms and provide new and detailed information on both the communication practices in issue-based online publics and the ongoing negotiation of the impact of the Canterbury earthquakes through networked digital means.

Audio, Radio New Zealand

DAVID SHEARER to the Prime Minister: Does he stand by all his statements in relation to Kim Dotcom and the inquiry into the actions of the Government Communications Security Bureau? METIRIA TUREI to the Minister for Social Development: Does she have confidence that the Ministry of Social Development can keep private information it holds confidential? KATRINA SHANKS to the Minister of Finance: What are the main features of the Government's plan to build a more competitive economy based on more savings, higher exports and less debt? JACINDA ARDERN to the Minister for Social Development: Has the Ministry of Social Development competently managed the private information in its charge? Peseta SAM LOTU-IIGA to the Minister for Social Development: What children will the White Paper for Vulnerable Children be targeting? CHRIS HIPKINS to the Minister of Education: What specific criteria were used to determine whether a school in Christchurch was identified for restoration, consolidation or rejuvenation? Dr RUSSEL NORMAN to the Minister responsible for the GCSB: What were the dates of the three cases that the Government Communications Security Bureau audit highlighted, because they could not assure him "that the legal position is totally clear", as referred to in his statement of 3 October 2012? Rt Hon WINSTON PETERS to the Prime Minister: Does he stand by his answer to my Question for Written Answer 3326 (2012)? Hon LIANNE DALZIEL to the Minister of Civil Defence: Why did he reject the independent Civil Defence Emergency Management earthquake review's recommendation, which was made in response to the finding that duplication of control was "not only inefficient but put people and property at risk", and that "the same situation could arise in a number of different parts of New Zealand"? MIKE SABIN to the Minister of Veterans' Affairs: What is the Government doing to improve the support and recognition given to veterans? GRANT ROBERTSON to the Prime Minister: Does he have confidence in Hon John Banks; if so, why? NICKY WAGNER to the Minister responsible for the Earthquake Commission: What is the objective of the Government review of the EQC?