Search

found 119 results

Images for Auckland City; more images...

Images, UC QuakeStudies

A photograph of a temporary installation titled Continuum, which was created by students from the University of Auckland, in partnership with Excuse My French Crepe Cart. Continuum was part of CityUps - a 'city of the future for one night only', and the main event of FESTA 2014.

Research papers, The University of Auckland Library

The city of Christchurch has experienced over 10,000 aftershocks since the 4th of September 2010 earthquake of which approximately 50 have been greater than magnitude 5. The damage caused to URM buildings in Christchurch over this sequence of earthquakes has been well documented. Due to the similarity in age and construction of URM buildings in Adelaide, South Australia and Christchurch (they are sister cities, of similar age and heritage), an investigation was conducted to learn lessons for Adelaide based on the Christchurch experience. To this end, the number of URM buildings in the central business districts of both cities, the extent of seismic strengthening that exists in both cities, and the relative earthquake hazards for both cities were considered. This paper will report on these findings and recommend strategies that the city of Adelaide could consider to significantly reduce the seismic risk posed by URM buildings in future earthquake.

Images, UC QuakeStudies

A photograph of cakes made by Cakes By Anna. The cakes are being sold at a temporary installation titled Antigravity, which was created by students from the University of Auckland, in partnership with Cakes by Anna. em>Antigravity was part of CityUps - a 'city of the future for one night only', and the main event of FESTA 2014.

Research papers, The University of Auckland Library

This study is a qualitative investigation into the decision-making behaviour of commercial property owners (investors and developers) who are rebuilding in a city centre after a major disaster. In 2010/2011, Christchurch, the largest city in the South Island of New Zealand, was a site of numerous earthquakes. The stronger earthquakes destroyed many buildings and public infrastructure in the commercial inner city. As a result, affected property owners lost all or most of their buildings, a significant proportion of which were old and in the last phase of their life span. They had to negotiate pay-outs with insurance companies and decide, once paid out, whether they should rebuild in Christchurch or sell up and invest elsewhere. The clear majority of those who decided to reinvest in and rebuild the city are ‘locals’, almost all of whom had no prior experience of property development. Thus, in a post-disaster environment, most of these property owners have transitioned from being just being passive investors to active property developers. Their experience was interpreted using primary data gathered from in-depth and semi-structured interviews with twenty-one “informed property people” who included commercial property owners; property agents or consultants; representatives of public-sector agencies and financial institutions. The study findings showed that the decision-making behaviour of property investors and developers rebuilding after a major disaster did not necessarily follow a strict financial or profit motive as prescribed in the mainstream or neo-classical economics property literature. Rather, their decision-making behaviour has been largely shaped by emotional connections and external factors associated with their immediate environment. The theoretical proposition emerging from this study is that after a major disaster, local urban property owners are faced with two choices “to stay” or “to go”. Those who decide to stay and rebuild are typically very committed individuals who have a feeling of ownership, belonging and attachment to the city in which they live and work. These are people who will often take the lead in commercial property development, proactively making decisions and seeking positive investment outcomes for themselves which in turn result in revitalised commercial urban precincts.

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.

Research papers, The University of Auckland Library

This paper analyses the city of Christchurch, New Zealand, which has been through dramatic changes since it was struck by a series of earthquakes of different intensities between 2010 and 2011. The objective is to develop a deeper understanding of resilience by looking at changes in green and grey infrastructures. The study can be helpful to reveal a way of doing comparative analysis using resilience as a theoretical framework. In this way, it might be possible to assess the blueprint of future master plans by considering how important the interplay between green and grey infrastructure is for the resilience capacity of cities.

Research papers, The University of Auckland Library

Two days after the 22 February 2011 M6.3 earthquake in Christchurch, New Zealand, three of the authors conducted a transect of the central city, with the goal of deriving an estimate of building damage levels. Although smaller in magnitude than the M7.1 4 September 2010 Darfield earthquake, the ground accelerations, ground deformation and damage levels in Christchurch central city were more severe in February 2011, and the central city was closed down to the general public. Written and photographic notes of 295 buildings were taken, including construction type, damage level, and whether the building would likely need to be demolished. The results of the transect compared favourably to Civil Defence rapid assessments made over the following month. Now, more than one year and two major aftershocks after the February 2011 earthquake these initial estimates are compared to the current demolition status to provide an updated understanding of the state of central Christchurch.

Research papers, The University of Auckland Library

The region in and around Christchurch, encompassing Christchurch city and the Selwyn and Waimakariri districts, contains more than 800 road, rail, and pedestrian bridges. Most of these bridges are reinforced concrete, symmetric, and have small to moderate spans (15–25 m). The 22 February 2011 moment magnitude (Mw) 6.2 Christchurch earthquake induced high levels of localized ground shaking (Bradley and Cubrinovski 2011, page 853 of this issue; Guidotti et al. 2011, page 767 of this issue; Smyrou et al. 2011, page 882 of this issue), with damage to bridges mainly confined to the central and eastern parts of Christchurch. Liquefaction was evident over much of this part of the city, with lateral spreading affecting bridges spanning both the Avon and Heathcote rivers.

Research papers, The University of Auckland Library

The seismic tremor that shook Christchurch on February 22, 2011, not only shattered buildings but also the spirit of the city’s residents. Amidst the ruins, this design-focused thesis unravels two intertwining narratives, each essential to the city’s resurrection. At its core, this thesis probes the preservation of Christchurch’s memory and character, meticulously chronicling the lost heritage architecture and the subsequent urban metamorphosis. Beyond bricks and mortar, it also confronts the silent aftershocks - the pervasive mental health challenges stemming from personal losses and the disfigured cityscape. As a native of Christchurch, intimately connected to its fabric, my lens reflects not just on the architectural reconstruction but also on the emotional reconstruction. My experience as an autistic individual, a recently discovered facet of my identity, infuses this design journey with a distinct prism through which I perceive and interact with the world. The colourful sketches that drive the design process aren’t mere illustrations but manifestations of my interpretation of spaces and concepts, evoking joy and vitality—a testament to embracing diversity in design. Drawing parallels between healing my own traumas with my colourful and joyful neurodivergent worldview, I’ve woven this concept into proposals aimed at healing the city through whimsy, joy, and vibrant colours. Personal experiences during and post-earthquakes profoundly shape my design proposals. Having navigated the labyrinth of my own mental health amid the altered cityscape, I seek avenues for reconciliation, both personal and communal. The vibrant sketches and designs presented in this thesis encapsulate this vision—a fusion of vivid, unconventional interpretations and a dedication to preserving the essence of the original cityscape while still encouraging movement into the future.

Images, UC QuakeStudies

A photograph of a visitor to Gap Filler's Inconvenience Store standing beside his favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of visitors to the 'Present Tense' project which was held in Gap Filler's Inconvenience Store. The project consisted of ten paintings which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of Nikki Wallace at Gap Filler's Inconvenience Store, standing beside her favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of Catherine Morganti at Gap Filler's Inconvenience store, standing beside her favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of Jeni Reveley at Gap Filler's Inconvenience Store, standing beside her favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of a visitor to Gap Filler's Inconvenience Store standing beside his favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of a visitor to Gap Filler's Inconvenience Store standing beside her favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of a visitor to Gap Filler's Inconvenience Store standing beside his favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of a visitor to Gap Filler's Inconvenience Store standing beside his favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of visitors to the 'Present Tense' project which was held in Gap Filler's Inconvenience Store. The project consisted of ten paintings which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of visitors to the 'Present Tense' project which was held in Gap Filler's Inconvenience Store. The project consisted of ten paintings which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of a visitor to Gap Filler's Inconvenience Store standing beside her favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of a visitor to Gap Filler's Inconvenience Store standing beside her favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.

Images, UC QuakeStudies

A photograph of visitors to Gap Filler's Inconvenience Store standing beside their favourite painting. The painting was part of the 'Present Tense' project which sought to highlight the inconvenience of the city in the present day. Visitors to the store were asked to choose five paintings they would like to see presented as a billboard installation in Auckland.