Architecture and music have a long intertwining history.These respective creative forces many times have collaborated into monumental place, harboured rich occasion, been catalyst for cultural movement and defined generations. Together they transcend their respective identities. From dinky local church to monstrous national stadia, together they are an intense concentration, a powerfully addictive dosage where architecture is the place, music is the faith, and people are the reason. Music is a programme that architecture often celebrates in poetic and grand fashion; a superficial excuse to symbolise their creative parallels. But their relationship is much richer and holds more value than just the opportunity to attempt architectural metaphor.While music will always overshadow the architecture in the sense of a singular event, architecture is like the soundman behind the mixing desk. It’s not the star front and centre grabbing your attention, but is responsible for framing the star. It is the foundational backdrop, a critical pillar. Great architecture can help make great music. In this sense music is a communication of architecture, it is the ultimate creative function. Christchurch, New Zealand, is a city whose story changed in an instant. The seismic events of 2010 and 2011 have become the overriding subject of its historical narrative, as it will be for years to come. Disaster redefines place (the town of Napier, struck by an earthquake in 1931, exemplifies this). There is no quantifiable justification for an exploration of architecture and music within the context of Christchurch. The Town Hall, one of New Zealand’s most architecturally significant buildings, is under repair. The Christ Church Cathedral will more than likely be rebuilt to some degree of its former self. But these are echoes of the city that Christchurch was.They are saved because they are artefact. Evidence of history.This thesis makes the argument for the new, the better than before, and for the making of opportunity from disaster, by proposing a ‘new’ town hall, conceived from the sound of old.
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.
This thesis examines the opportunities for young citizens in Christchurch to be engaged in city planning post-disaster. This qualitative study was conducted eight years after the 2010-2011 earthquakes and employed interviews with 18 young people aged between 12-24 years old, 14 of whom were already actively engaged in volunteering or participating in a youth council. It finds that despite having sought out opportunities for youth leadership and advocacy roles post-disaster, young people report frustration that they are excluded from decision-making and public life. These feelings of exclusion were described by young people as political, physical and social. Young people felt politically excluded from decision-making in the city, with some youth reporting that they did not feel listened to by decision-makers or able to make a difference. Physical exclusion was also experienced by the young people I interviewed, who reported that they felt excluded from their city and neighbourhood. This ranged from feeling unwelcome in certain parts of the city due to perceived social stratification, to actual exclusion from newly privatised areas in a post-quake recovery city. Social exclusion was reported by young people in the study in regard to their sense of marginalisation from the wider community, due to structural and social barriers. Among these, they observed a sense of prejudice towards them and other youth due to their age, class and/or ethnicity. The barriers to their participation and inclusion, and their aspirations for Christchurch post-disaster are discussed, as well as the implications of exclusion for young people’s wellbeing and sense of belonging. Results of this study contribute to the literature that challenges the sole focus on children and young peoples’ vulnerability post-disaster, reinforcing their capacity and desire to contribute to the recovery of their city and community (Peek, 2008). This research also challenges the narrative that young people are politically apathetic (Norris, 2004; Nissen, 2017), and adds to our understandings of the way that disasters can concentrate power amongst certain groups, in this case excluding young people generally from decision-making and public life. I conclude with some recommendations for a more robust post-disaster recovery in Christchurch, in ways that are more inclusive of young people and supportive of their wellbeing.
This thesis explores the lived experiences of a group of young Bhutanese former refugees between the ages of 18 to 24 years who were resettled in Christchurch between 2008 and 2010 – prior to the first major earthquake. The main goal of the thesis was to gain an understanding of their ways of coping and a second goal was to explore whether their participation in up to five mindfulness infused counselling sessions had influenced their ways of coping. A qualitative research methodology was used to guide the thesis. Participants were interviewed about the major events in their life and how they coped with them. They were then invited to participate in five sessions of mindfulness infused counselling. Approximately five weeks after their final session had ended they were invited to one final interview to explore the influence of the sessions on their ways of coping. Interviews were recorded and transcribed and research notes were taken of the mindfulness infused counselling sessions. Max van Manen’s method of phenomenology was adopted to interpret the narratives of the youth. Three main themes emerged from the data analysis and these are described as essences of lived coping experiences. The first captures their strong sense of community back in the refugee camp. The second presents the sense of resilience that exists among the Bhutanese former refugees. The third essence indicated the inner strengths of the participants which they said helped them deal with the challenging circumstances that life cast in their direction. This meant that their first experience of an earthquake was not considered the biggest event in their lives. After attending the mindfulness infused counselling sessions’ participants reported positive benefits from giving non-judgemental attention to their thoughts and feelings and they found themselves dealing with their issues proactively. For some participants their ‘accepting’ attitude facilitated better control over their emotions while others reported being able to form deeper connections with nature and other people as a result of being mindful. Other participants reported being able to make peace with the events in their past and even found that they were able to forgive those who tormented their community. However, in the absence of any major event in any of the participants’ lives in the time period following their final counselling session, the research was not able to definitely conclude that using mindful-based counselling facilitates better coping in the face extremely stressful events. There is currently very little research that focuses on the experiences of former refugee youth within New Zealand and how they utilize their capacities to deal with adversities. When this thesis commenced, the Bhutanese were the newest refugee community to be accepted for resettlement in New Zealand. This research partly addresses the limited voice of this community.
This thesis explores the discussions and perspectives of Christchurch secondary school students in regards to their particular experiences and engagement with Anzac. In this thesis I seek to rigorously and robustly examine these viewpoints through semi-structured focus group interviews and thematic analysis. I seek to situate these youth perspectives within wider debates around Anzac mythology and Anzac resurgence in New Zealand which often do not represent the youth outlook. These debates are seen, on the one hand, to present a resurgence of youth engagement with Anzac and, on the other hand, to present the idea that Anzac has become an exclusionary myth which distorts Australians’ and New Zealanders’ understanding of wider Anzac experiences and educates them in a narrow, militarised way. Youth engagement with Anzac was not something which could be solely situated under either of these debates and, instead, it was seen to be multifaceted and made up of unique ideas and elements. The youth in my study acknowledged that their Anzac education did have mythic elements which made it hard for them to engage with Anzac despite the fact that they were actually interested in learning and understanding it. These mythic elements were the idea that Anzac is taught as a ‘simple narrative’ which does not allow room for critique, that it emphasises a link between Anzac and national identity, that it disregards many alternative Anzac experiences and that it presents a particular New Zealand identity to internalise. These students responded to their mythic Anzac education in a very active way, and instead of accepting it as truth, they were able to have constructive and critical conversations about their education and push against parts of it which they found to be too narrow or skewed in particular directions based on gender, ethnicity and national identity. The students were not passive vessels which internalised their Anzac education as fact; instead, they were able to acknowledge the mythic elements of their education and its negative influence in the classroom. This thesis went further in exploring what factors were seen to enhance this active process of critique and provide students with alternative knowledge and perspectives about Anzac. These factors were ancestral ties to Anzac, research into personal Anzac stories and experiences, unassessed educational units, centenary discussions, an understanding of hardship through the earthquakes and alternative perspectives of the Anzac experience through access to the internet. These factors presented a broader understanding of Anzac perspectives and experiences and students believed that if the mythic elements of their education could be revised and these elements encouraged then their engagement with Anzac would continue long into the future.
The demand for a new approach to safeguarding New Zealand’s endangered historic buildings was identified as a result of the recent increase in building code and strengthening requirements following the Christchurch earthquakes of 2010-2011. The Wellington City Council identified 266 heritage buildings in the city that must be either strengthened or demolished to address these increased requirements. This thesis explores this threat as an opportunity for researching how contemporary design interventions can be challenged to both strengthen and become active participants in the ongoing history of New Zealand’s potentially endangered historic buildings. This thesis challenges the current approach of completely ‘restoring’ 19th-20th century historic buildings in New Zealand, to develop techniques that structurally reinforce historic buildings while inviting the progressive weathering of a building to remain as a testament to its history. This thesis proposes a structural intervention that is responsive to the progressive history of historic buildings, simultaneously introducing a contemporary structural intervention that both participates in and compliments the progressive historic transformations of the vehicle. This thesis argues that current historic buildings in semi-decayed states in fact enable visitors to witness multiple stages in the life of a building, while fully restored buildings only enable visitors to witness the original form of the building. This thesis proposes a model for contemporary intervention within historic buildings that draws a design intervention from seismic strengthening.The notion of layering is explored as a design approach to incorporate the contemporary with the historic as an additional layer of exposed on-going history, thereby further exposing the layers of history evident within New Zealand’s historic buildings. This thesis combines layering theories of architects Louis Kahn and Carlo Scarpa with related theories of installation artist Mary Miss. The theoretical imperatives of Scarpa and Kahn are explored as a tool of engagement for the junction between the contemporary and historic building materials, and the work of Marry Miss is explored as a design approach for developing a contemporary intervention that references the layered historic building while inviting new means of occupancy between layers. The selected vehicle for the design research investigation is the Albemarle Hotel on Ghuznee Street in Wellington. The techniques proposed in this thesis to strengthen the Albemarle Hotel suggest an approach that might be applied to New Zealand’s wider body of historic buildings that constitute New Zealand’s heritage fabric, ultimately protecting them from demolition while preserving additional layers of their historic narratives. Over all the design research experiments suggest that contemporary interventions derived from structural strengthening may be a viable and cost-effective method of re-inhabiting New Zealand’s endangered heritage buildings, avoiding demolition and securing New Zealand’s heritage for future generations. Research Questions: This thesis challenges the current economically unsustainable approach of laterally reinforcing and completely ‘restoring’ 19th-20th century historic buildings in New Zealand. This thesis argues that current historic buildings in semi-decayed states in fact enable visitors to witness multiple stages in the on-going life of a building. Can the weathered state of New Zealand's heritage buildings be proactively retained and celebrated as witnesses to their history? Can new lateral reinforcing requirements be conceived as active participants in revealing the on-going history of New Zealand's historic buildings?
