The first major arts event to be held in Christchurch since the February earthquake kicks off today.
A series of earthquakes has forced Christchurch to re-plan and rebuild. Discussions about rebuilding strategies have emphasized the intention of making it a city for the future, sustainable and vibrant. This paper discusses the relationship between microclimate and urban culture in Christchurch based upon the concept of urban comfort. It explores the relationships between environment, people and culture to help understand the local requirements for urban landscape design. In this paper we claim that cultural requirements also should be taken into account when looking for sustainable strategies. A distinctive feature of this research is its focus on the way people are adapting to both surviving prequake and new post‐quake environments. Preliminary findings from the first year of field work using participant observation and 61 in‐depth interviews with Christchurch residents are presented. The interviews were carried out in a variety of urban settings including: established sites (places sustaining relatively little damage) and emerging sites (those requiring rebuilding) during 2011‐2012. Evidence from the interviews highlight future challenges regarding sustainability and urban comfort issues. Post‐quake Christchurch presents a remarkable opportunity to design an urban landscape which provides environmental, economic, social and cultural sustainability. However, to achieve successful outcomes it is fundamental to respond to the local culture. Field data suggest that the strong connections between urban and rural settings present in local culture, lifestyle and landscape generate a particular aesthetic and recreation preference for urban spaces, which should be considered in the urban landscape design strategies.
A photograph of Mayor Lianne Dalziel holding a postcard depicting Julia Holden's painting 'Containers'.
A photograph of Julia Holden's painting 'Containers'.
A PDF version of the memento book created for those who contributed to the SCIRT programme.
A photograph of a postcard depicting Julia Holden's painting 'Containers'
A photograph of Julia Holden's painting 'Containers'.
An audio documentary created by Kris Vavasour about the multitude of challenge the musicians, performers and venue owners in Lyttelton face in the aftermath of the Canterbury earthquakes. All songs are from the 'Harbour Union' album (2011), in alphabetical order: 'Even Keel' (Lindon Puffin); 'Ghost of this Town' (Marlon Williams); 'How Lucky You Are' (Delaney Davidson & Marlon Williams); 'Human Enough' (Lindon Puffin); 'It's So Good' (Delaney Davidson); 'Little Mountain Town' (Marlon Williams); 'Rocking Bell' (Adam McGrath); 'The Waterside' (Adam McGrath).
A video of a presentation by Richard Conlin during the Community Resilience Stream of the 2016 People in Disasters Conference. The presentation is titled, "Resilience, Poverty, and Seismic Culture".The abstract for this presentation reads as follows: A strategy of resilience is built around the recognition that effective emergency response requires community involvement and mobilization. It further recognizes that many of the characteristics that equip communities to respond most effectively to short term emergencies are also characteristics that build strong communities over the long term. Building resilient communities means integrating our approaches to poverty, community engagement, economic development, and housing into a coherent strategy that empowers community members to engage with each other and with other communities. In this way, resilience becomes a complementary concept to sustainability. This requires an asset-based change strategy where external agencies meet communities where they are, in their own space, and use collective impact approaches to work in partnership. This also requires understanding and assessing poverty, including physical, financial, and social capital in their myriad manifestations. Poverty is not exclusively a matter of class. It is a complex subject, and different communities manifest multiple versions of poverty, which must be respected and understood through the asset-based lens. Resilience is a quality of a community and a system, and develops over time as a result of careful analysis of strengths and vulnerabilities and taking actions to increase competencies and reduce risk situations. Resilience requires maintenance and must be developed in a way that includes practicing continuous improvement and adaptation. The characteristics of a resilient community include both physical qualities and 'soft infrastructure', such as community knowledge, resourcefulness, and overall health. This presentation reviews the experience of some earlier disasters, outlines a working model of how emergency response, resilience, and poverty interact and can be addressed in concert, and concludes with a summary of what the 2010 Chilean earthquake tells us about how a 'seismic culture' can function effectively in communities even when government suffers from unexpected shortcomings.
There is a now a rich literature on the connections between digital media, networked computing, and the shaping of urban material cultures. Much less has addressed the post-disaster context, like we face in Christchurch, where it is more a case of re-build rather than re-new. In what follows I suggest that Lev Manovich’s well-known distinction between narrative and database as distinct but related cultural forms is a useful framework for thinking about the Christchurch rebuild, and perhaps urbanism more generally.
A photograph of Julia Holden's painting 'Containers' displayed on a billboard on Cook Street, Auckland, with the Sky Tower in the background.
A photograph of Julia Holden's painting 'Containers' displayed on a billboard on Cook Street, Auckland, with the Sky Tower in the background.
A photograph of Julia Holden's painting 'Containers' displayed on a billboard on Cook Street, Auckland, with the Sky Tower in the background.
A photograph of Julia Holden's painting 'Containers' displayed on a billboard on Cook Street, Auckland, with the Sky Tower in the background.
A photograph of Julia Holden's painting 'Red Zone Home 1'.
A photograph of Julia Holden's painting 'Containers' displayed on a billboard on Cook Street, Auckland.
A photograph of Julia Holden's painting 'Lichfield Street'.
A photograph of Julia Holden's painting 'Lichfield Street'.
A photograph of Julia Holden's painting 'Containers' displayed on a billboard on Cook Street, Auckland.
A photograph of Julia Holden's painting 'Containers' displayed on a billboard on Cook Street, Auckland.
A photograph of a postcard depicting Julia Holden's painting 'Red Zone Home 1'.
A photograph of Julia Holden's painting 'Containers' displayed on a billboard on Manners Street, Wellington.
A photograph of Julia Holden's painting 'Containers' displayed on a billboard on Cook Street, Auckland.
A photograph of Julia Holden's painting 'Containers' displayed on a billboard on Cook Street, Auckland.
A photograph of Julia Holden's painting 'Containers' displayed on a billboard on Cook Street, Auckland.
A photograph of Julia Holden's painting 'Containers' displayed on a billboard on Cook Street, Auckland.
A photograph of Julia Holden's painting 'Containers' displayed on a billboard on Cook Street, Auckland.
A photograph of a postcard depicting Julia Holden's painting 'High Street'.
A photograph of Julia Holden's painting 'High Street'.
A photograph of Julia Holden's painting 'Cotter Building'.