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Images for street life; more images...

Research Papers, Lincoln University

An often overlooked aspect of urban housing development is the composition of the space between buildings; the streetscape. The pressures of suppressing suburban sprawl have seen housing developments respond by increasing residential density within more centralised city sites. Medium-density housing typologies are often used as urban infill in response to the challenge of accommodating an increasing population. A by-product of these renewed areas is the creation of new open space which serves as the fundamental public space for sociability to develop in communities. Street space should emphasise this public expression by encouraging social exchange and interaction. As a result, a neighbourhood owes its liveliness (or lack thereof) to its streets. The issue of density when applied to the urban housing landscape encompasses two major components: the occupancy of both the private realms, constituting the residential built form, and the public spaces that adjoins them, the streets. STREETSCAPE: dialogues of street + house. Continual transition between the realms of public and private (building and street space) enact active edges, giving way to public stimulation; the opportunity for experiencing other people. The advent of seeing and hearing other people in connection with daily comings and goings encourages social events to evolve, enhancing the notion of neighbourly conduct. Within New Zealand, and specifically in Christchurch as considered here, the compositions of current streetscapes lack the demeanor to really encourage and facilitate the idea of neighbourly interaction and public expression. Here lies the potential for new street design to significantly heighten the interplay of human activity. In response, this research project operates under the notion that the street spaces of urban residential areas are largely underutilised. This lack is particularly evident in the street. Street design should strive to produce spaces which stimulate the public life of residents. There exists a need to reassert eminence of the street as a space for vibrant neighbourhood life. This thesis employs design as a tool for researching and will involve using numerous concept generators to trigger the production of multiple scenarios. These scenarios are to explore the ways in which the streetscapes within medium-density urban communities could respond in the event of (re) development.

Images, UC QuakeStudies

A protest sign painted on a fence shows a bulldozer labelled "Govt." driven by a woman (presumably representing Education Minister Hekia Parata) running over a sheep labelled "Chch schools", next to the words "Every time you close a school you have to build a jail - Mark Twain." The photographer comments, "Due to the earthquakes in Christchurch and parents leaving the area to give their children a quieter and more education friendly life a lot of the local schools especially in the East of Christchurch are to be closed or amalgamated. This was a decision by the government without consultation with any other authorities. Mark Twain actually said 'Every time you stop a school, you will have to build a jail'".

Images, UC QuakeStudies

A montage of photographs of the creation of the installation 'Tonic'. The installation is part of the LUXCITY event. Tutors: Annabel Pretty, Cesar Wagner, Peter McPherson

Images, UC QuakeStudies

A photograph of women sewing felt badges outside the Christchurch City Library in Lyttelton. The felt hearts were a healing outlet during the Canterbury earthquakes. The goal was to create beauty in the midst of chaos, to keep people's hands busy and their minds off the terrifying reality of the earthquakes, as well as to give a gift of love to workers and businesses who helped improve life in Lyttelton.

Images, UC QuakeStudies

A photograph of women sewing felt badges outside the Christchurch City Library in Lyttelton. The felt hearts were a healing outlet during the Canterbury earthquakes. The goal was to create beauty in the midst of chaos, to keep people's hands busy and their minds off the terrifying reality of the earthquakes, as well as to give a gift of love to workers and businesses who helped improve life in Lyttelton.

Images, UC QuakeStudies

Looking south west across Cathedral Square showing the eastern side of Christchurch Cathedral (left), the Godley statue (centre left) with the (from left to right) Chief Post Office, the Regent Theatre Building (directly behind the statue on the corner of Worcester Street), the AMP Building, the Government Life Building and the Grand Theatre.

Images, UC QuakeStudies

Furniture spray-painted with drawings and words by members of the public as part of the Words of Hope project. Messages can be seen, such as, "Hope", "Something for everyone", "Equality street", "Food garden", "Opportunity from disaster", "We can do this Chch", "Chch = home", "Love", "Share the land", "Always time for change", "Life is beautiful", and "Sorry folks, this one is too much high rise!".

Images, eqnz.chch.2010

Christchurch city experienced a magnitude 7.1 earthquake on September 4, at 4:35 am. The epicentre was 40 km west of the city. It is the most damaging earthquake in New Zealand since the Hawke's Bay earthquake in 1931, but there was no loss of life. It was fortunate the earthquake occurred when the central city streets were deserted, as there ...

Images, eqnz.chch.2010

Christchurch city experienced a magnitude 7.1 earthquake on September 4 at 4:35 am. The epicentre was 40 km west of the city. It was the most damaging earthquake in New Zealand since the Hawke's Bay earthquake in 1931, but there was no loss of life. It was fortunate the earthquake occurred when the central city streets were deserted, as there w...

Images, UC QuakeStudies

A sign outside Lyttelton's grassy market on Oxford Street reading "Join us for a chat". This sign was placed by members of the Lyttelton community who were stitching felt hearts to hand out to members of the public. The felt hearts were a healing outlet during the Canterbury earthquakes. The goal was to create beauty in the midst of chaos, to keep people's hands busy and their minds off the terrifying reality of the earthquakes, as well as to give a gift of love to workers and businesses who helped improve life in Lyttelton.