This dissertation explores the advocacy for the Christchurch Town Hall that occurred in 2012-2015 after the Canterbury Earthquakes. It frames this advocacy as an instance of collective-action community participation in a heritage decision, and explores the types of heritage values it expressed, particularly social values. The analysis contextualises the advocacy in post-quake Christchurch, and considers its relationship with other developments in local politics, heritage advocacy, and urban activism. In doing so, this dissertation considers how collective action operates as a form of public participation, and the practical implications for understanding and recognising social value. This research draws on studies of practices that underpin social value recognition in formal heritage management. Social value is held by communities outside institutions. Engaging with communities enables institutions to explore the values of specific places, and to realise the potential of activating local connections with heritage places. Such projects can be seen as participatory practices. However, these processes require skills and resources, and may not be appropriate for all places, communities and institutions. However, literature has understudied collective action as a form of community participation in heritage management. All participation processes have nuances of communities, processes, and context, and this dissertation analyses these in one case. The research specifically asked what heritage values (especially social values) were expressed through collective action, what the relationship was with the participation processes, communities, and wider situation that produced them, and the impact on institutional rhetoric and decisions. The research analysed values expressed in representations made to council in support of the Town Hall. It also used documentary sources and interviews with key informants to analyse the advocacy and decision-making processes and their relationships with the wider context and other grassroots activities. The analysis concluded that the values expressed intertwined social and professional values. They were related to the communities and circumstance that produced them, as an advocacy campaign for a civic heritage building from a Western architectural tradition. The advocacy value arguments were one of several factors that impacted the decision. They have had a lasting impact on rhetoric around the Town Hall, as was a heritage-making practice in its own right. This dissertation makes a number of contributions to the discussion of social value and community in heritage. It suggests connections between advocacy and participation perspectives in heritage. It recommends consideration of nuances of communities, context, and place meanings when using heritage advocacy campaigns as evidence of social value. It adds to the literature on heritage advocacy, and offers a focused analysis of one of many heritage debates that occurred in post-quake Christchurch. Ultimately, it encourages practice to actively integrate social and community values and to develop self-reflexive engagement and valuation processes. Despite inherent challenges, participatory processes offer opportunities to diversify understandings of value, co-produce heritage meanings with communities, and empower citizens in democratic processes around the places they live with and love.
A poster created by Empowered Christchurch to advertise their submission to the CERA Draft Transition Recovery Plan on social media.The poster reads, "Submission. CERA Draft Transition Recovery Plan. After nearly five years of 'Emergency Response' where sustainability has been sacrificed in the interests of speed, we can assume that this phase is now behind us. We see no reason why this period should be extended until April 2016. Lessons must be learned from the past. It is time to move into the 'Restoration Phase'. Once seismic and building standards are corrected, and risks are notified, mapped and accepted, sustainability will be ensures. We need a city that is driven by the people that live in it, and enabled by a bureaucracy that accepts and mitigates risks, rather than transferring them to the most vulnerable residents. We support option 3+."
Our poster will present on-going QuakeCoRE-founded work on strong motion seismology for Dunedin-Mosgiel area, focusing on ground motion simulations for Dunedin Central Business District (CBD). Source modelling and ground motion simulations are being carried out using the SCEC (Southern California Earthquakes Center) Broad Band simulation Platform (BBP). The platform computes broadband (0-10 Hz) seismograms for earthquakes and was first implemented at the University of Otago in 2016. As large earthquakes has not been experienced in Dunedin in the time of period of instrumental recording, user-specified scenario simulations are of great value. The Akatore Fault, the most active fault in Otago and closest major fault to Dunedin, is the source focused on in the present study. Simulations for various Akatore Fault source scenarios are run and presented. Path and site effects are key components considered in the simulation process. A 1D shear wave velocity profile is required by SCEC BBP, and this is being generated to represent the Akatore-to-CBD path and site within the BBP. A 3D shear velocity model, with high resolution within Dunedin CBD, is being developed in parallel with this study (see Sangster et al. poster). This model will be the basis for developing a 3D shear wave velocity model for greater Dunedin-Mosgiel area for future ground motion simulations, using Canterbury software (currently under development).
An edited video of Betty and Michael's second earthquake story, captured by the UC QuakeBox Take 2 project. Please note that the final 3 minutes, 49 seconds of the original video are corrupted and have thus been edited out of this video. Interviewer: Samuel Hope.
Photograph captioned by BeckerFraserPhotos, "16 Blue Lagoon Drive, a red zoned property in Brooklands. Many of the homeowners in this area believe that their homes should not be red zoned as the damage is much less than in other red zoned areas".
Photograph captioned by BeckerFraserPhotos, "8 Blue Lagoon Drive, a red zoned property in Brooklands. Many of the homeowners in this area believe that their homes should not be red zoned as the damage is much less than in other red zoned areas".
Christchurch Mayor Bob Parker handling a jackhammer on Kingsford Street in Burwood. This was part of the opening of the Stronger Christchurch Infrastructure Rebuild Team (SCIRT). Earthquake Recovery Minister Jerry Brownlee and a contractor are looking on.
Christchurch Mayor Bob Parker handling a jackhammer on Kingsford Street in Burwood. This was part of the opening of the Stronger Christchurch Infrastructure Rebuild Team (SCIRT). Earthquake Recovery Minister Jerry Brownlee and a contractor are looking on.
Christchurch Mayor Bob Parker handling a jackhammer on Kingsford Street in Burwood. This was part of the opening of the Stronger Christchurch Infrastructure Rebuild Team (SCIRT). Earthquake Recovery Minister Jerry Brownlee and a contractor are looking on.
Christchurch Mayor Bob Parker handling a jackhammer on Kingsford Street in Burwood. This was part of the opening of the Stronger Christchurch Infrastructure Rebuild Team (SCIRT). Earthquake Recovery Minister Jerry Brownlee and a contractor are looking on.
A photograph of tents and shipping containers in Hagley Park which were to be part of the Ellerslie International Flower Show. The show was cancelled in the aftermath of the 22 February 2011 earthquake. In the foreground of this photograph, liquefaction can still be seen on the grass.
A sign outside the Croydon House Bed and Breakfast Hotel on Armagh Street reading, "Don't touch this lady without owner's permission". The east side of the building has collapsed, the bricks falling into the neighbouring property. Tape reading, "Restricted area, please keep out" has been placed around the property.
Christchurch Mayor Bob Parker handling a jackhammer on Kingsford Street in Burwood. This was part of the opening of the Stronger Christchurch Infrastructure Rebuild Team (SCIRT). Earthquake Recovery Minister Jerry Brownlee and a contractor are looking on.
Photograph captioned by BeckerFraserPhotos, "The All Saints Church in Sumner. The traditional building materials and style of this church makes it look older than 1963. At the moment it is hidden behind a long line of containers protecting the road from potential rock fall hazards".
An image used as a cover photo on the All Right? Facebook page. The image reads, "What could you do to take notice this winter?" All Right? posted the image on their Facebook page on 31 July 2014 at 3:28pm.
A photograph submitted by Raymond Morris to the QuakeStories website. The description reads, "The New Zealand Express Co. Ltd. building (Manchester Courts) built in 1906 on the corner of Manchester and Hereford Sts. In its time it was Christchurch’s tallest office building. This painting is from the Raymond Morris Collection of earthquake demolished buildings.".
A photograph submitted by Sarndra to the QuakeStories website. The description reads, "Lyttelton Cemetery, Reserve Terrace, Lyttelton. Damage obvious in several areas. Christchurch’s cemeteries have suffered widespread damage to plots and headstones since 4 September 2010. This photo was snapped 10 April 2011. My pioneering ancestors will be turning in their graves :,-(".
A photograph of people drawing at a table at the Pallet Pavilion during Supernova City, a drawing workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.
A photograph of people drawing at a table at the Pallet Pavilion during Supernova City, a drawing workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.
Photograph captioned by BeckerFraserPhotos, "The street signs and way-marking board place this scene at the intersection of Manchester, High and Lichfield Streets, even if you struggle to find other landmarks that place it there".
A photograph of a young girl at the Pallet Pavilion during Supernova City, a drawing workshop led by Melbourne-based New Zealand artist and architect Byron Kinnaird. This event was part of FESTA 2013, and invited people to make new, imaginative drawings of Christchurch city.
A photograph of a section of a piece of street art on the side of the Funky Pumpkin building in New Brighton. This section of the artwork includes the Funky Pumpkin logo and other symbols in bubbles.
Puari is a longstanding fishing area for Ngāi Tūāhuriri. It was claimed by chief Pita Te Hori for the hapū in 1868 but denied by the Crown, because the land had been allocated to settlers. This site is now owned by Ngāi Tahu and a building named after Te Hori stands here.
A photograph taken from the top of the BNZ building. The photograph is captioned by BeckerFraserPhotos, "Clarendon Towers, Rydges Hotel, Grant Thornton, Brannigans Building (under demolition), former Government Life Building and Farmers are the high buildings dominating the view in this picture".
Photograph captioned by BeckerFraserPhotos, "The Avon River is at this point on Avonside Drive 10 km from the estuary. At high tide the river now overflows its banks showing that the ground has sunk by about 40 cm".
Photograph captioned by BeckerFraserPhotos, "This building labelled Poplar Crescent was one of a group of buildings paid for by Thomas Edmonds and was initially used to store band instruments when the Edmonds Rotunda was used for band concerts. Cambridge Terrace".
A photograph captioned by BeckerFraserPhotos, "The painted piano at 636 Ferry Road. This is one of a group of painted pianos which were placed on the sites of demolished building by Gap Filler to enable impromptu and planned neighbourhood concerts".
A photograph of street art by several artists, including the DTR crew and Wongi. The artwork depicts Doctor Who in his Tardis. This city centre street is walled off by temporary fencing, road cones, and a road sign.
A photograph of a section of a piece of street art on the wall of a building between Brighton Mall and Hawke Street. This section of the artwork depicts symbols and cartoon characters in bubbles.
A photograph of a section of a piece of street art on the side of a building between Brighton Mall and Hawke Street. This section of the artwork depicts images and messages in bubbles.