Wall around the Butterfly Gap, where landowner Robyn wanted to activate the gap where a house she owned once stood. This is a Gap Filler project, a space where the public can request to hold markets or stalls
Bench in the Butterfly Gap, where landowner Robyn wanted to activate the gap where a house she owned once stood. This is a Gap Filler project, a space where the public can request to hold markets or stalls
Wall around the Butterfly Gap, where landowner Robyn wanted to activate the gap where a house she owned once stood. This is a Gap Filler project, a space where the public can request to hold markets or stalls
Part of Mike Hewson's installation 'Homage To Lost Spaces' in the Cramner Courts building, photographs of people riding bicycles have been inserted into a gap in the building. The photographer comments, "Cranmer Courts was very badly damaged in the quakes that unexpectedly hit Christchurch. Originally big photographs were put into the holes where the doors and windows were, but now these massive pictures have been put across the boarded up ends of the buildings to keep them alive in the minds of the people of Christchurch. The project was thought up by Mike Hewson".
Years after the earthquakes, Christchurch is still desperately short of theatre space. But now the city council's investment of 30-million dollars to help the Court Theatre replace its very successful temporary home in Addington, is being widely applauded.
The front of Christ Church Cathedral. The upper part of the front wall has crumbled leaving the inside space exposed. Steel bracing has been placed against the wall to limit further damage. The Citizens' Memorial statue stands to the left.
The front of Christ Church Cathedral. The upper part of the front wall has crumbled leaving the inside space exposed. Steel bracing has been placed against the front wall to limit further damage. The Citizens' Memorial statue stands to the left.
An artist's impression of the installation 'Altitude', created as part of the LUXCITY event. Tutors: David Turner, Lester Mismash
An artist's impression of the installation 'Altitude', created as part of the LUXCITY event. Tutors: David Turner, Lester Mismash
A photograph of an installation titled 'Murmur'. The installation is part of the LUXCITY event. Tutor: Craig Moller
An artist's impression of the installation 'Archrobatics', created as part of the LUXCITY event. Tutors: David Turner, Lester Mismash
An artist's impression of the installation 'Archrobatics', created as part of the LUXCITY event. Tutors: David Turner, Lester Mismash
In last week’s blog post, we talked about the use of light in Christchurch’s city streets and public spaces, from oil lamps to gas lights to electricity in the early 20th century. This week, we step out of the street and … Continue reading →
The Canterbury Earthquakes of 2010 and 2011 and subsequent re-organisation and rebuilding of schools in the region is initiating a rapid transitioning from traditional classrooms and individual teaching to flexible learning spaces (FLS’s) and co-teaching. This transition is driven by the Ministry of Education property division who have specific guidelines for designing new schools, re-builds and the five and ten year property plan requirements. Boards of Trustees, school leaders and teachers are faced with the challenge of reconceptualising teaching and learning from private autonomous learning environments to co-teaching in Flexible Learning Spaces provisioned for 50 to 180 children and two to six teachers in a single space. This process involves risks and opportunities especially for teachers and children. This research project investigates the key components necessary to create effective co-teaching relationships and environments. It explores the lessons learnt from the 1970’s open plan era and the views of 40 experienced practitioners and leaders with two or more years’ experience working in collaborative teaching and learning environments in sixteen New Zealand and Australian schools. The research also considers teacher collaboration and co-teaching as evidenced in literature. The findings lead to the identification of eight key components required to create effective collaborative teaching and learning environments which are discussed using three themes of student centeredness, effective pedagogy and collaboration. Six key recommendations are provided to support the effective co-teaching in a flexible learning space: 1. Situate learners at the centre 2. Develop shared understanding about effective pedagogy in a FLS 3. Develop skills of collaboration 4. Implement specific co-teaching strategies 5. Analyse the impact of co-teaching strategies 6. Strategically prepare for change and the future
A video of Prince Charles and Camilla, the Dutchess of Cornwall, at Gap Filler's Dance-O-Mat, 124 Oxford Terrace. Charles and Camilla came to the Dance-O-Mat to meet the staff of Gap Filler, Life in Vacant Spaces, and the Student Volunteer Army.
A photograph of an installation titled 'In Your Face'. The installation is part of the LUXCITY event. Tutor: Fraser Horton
An artist's impression of the installation 'eLITE', created as part of the LUXCITY event. Tutors: Cameron Rowe, Kate Rogan
An artist's impression of the LUXCITY event. The image depicts installations on Gloucester and Colombo Streets. Student: Erica Austin
A photograph of crowds at the LUXCITY event.
An artist's impression of the installation 'In Your Face', created as part of the LUXCITY event. Tutor: Fraser Horton
An artist's impression of the installation 'Atmosphere', created as part of the LUXCITY event. Tutor: Sue Hillery
An artist's impression of the installation 'Tonic', created as part of the LUXCITY event. Tutors: Annabel Pretty, Cesar Wagner, Peter McPherson
An artist's impression of the installation 'In Your Face', created as part of the LUXCITY event. Tutor: Fraser Horton
The susceptibility of precast hollow-core floors to sustain critical damage during an earthquake is now well-recognized throughout the structural engineering community in New Zealand. The lack of shear reinforcement in these floor units is one of the primary reasons causing issues with the seismic performance of these floors. Recent research has revealed that the unreinforced webs of these floor units can crack at drift demands as low as 0.6%. Such observation indicates that potentially many of the existing building stock incorporating hollow-core flooring systems in cities of relatively high seismic activity (e.g. Wellington and Christchurch) that probably have already experienced a level of shaking higher than 0.6% drift in previous earthquakes might already have their floor units cracked. However, there is little information available to reliably quantify the residual gravity load-carrying capacity of cracked hollow-core floor units, highlighting the need to understand the post-cracking behavior of hollow-core floor units to better quantify the extent of the risk that cracked hollow-core floor units pose.
This research is a creative exploration of transmedia’s ability to offer up a model of distribution and audience engagement for political documentary. Transmedia, as is well known, is a fluid concept. It is not restricted to the activities of the entertainment industry and its principles also reverberate in the practice of political and activist documentary projects. This practice-led research draws on data derived from the production and circulation of Obrero, an independent transmedia documentary. The project explores the conditions and context of the Filipino rebuild workers who migrated to Christchurch, New Zealand after the earthquake in 2011. Obrero began as a film festival documentary that co-exists with two other new media iterations, each reaching its respective target audience: a web documentary, and a Facebook-native documentary. This study argues that relocating the documentary across new media spaces not only expands the narrative but also extends the fieldwork and investigation, forms like-minded publics, and affords the creation of an organised hub of information for researchers, academics and the general public. Treating documentary as research can represent a novel pathway to knowledge generation and the present case study, overall, provides an innovative model for future scholarship.
This article argues that teachers deserve more recognition for their roles as first responders in the immediate aftermath of a disaster and for the significant role they play in supporting students and their families through post-disaster recovery. The data are drawn from a larger study, 'Christchurch Schools Tell Their Earthquake Stories' funded by the United Nations Educational, Scientific and Cultural Organisation and the University of Auckland, in which schools were invited to record their earthquake stories for themselves and for historical archives. Data were gathered from five primary schools between 2012 and 2014. Methods concerned mainly semi-structured individual or group interviews and which were analysed thematically. The approach was sensitive, flexible and participatory with each school being able to choose its focus, participants and outcome. Participants from each school generally included the principal and a selection of teachers, students and parents. In this study, the data relating to the roles of teachers were separated out for closer analysis. The findings are presented as four themes: immediate response; returning to (new) normal; care and support; and long term effects.
This paper explores the responses by a group of children to an art project that was undertaken by a small school in New Zealand after the September 2010 and February 2011 Christchurch earthquakes. Undertaken over a period of two years, the project aimed to find a suitable form of memorialising this significant event in a way that was appropriate and meaningful to the community. Alongside images that related directly to the event of the earthquakes, the art form of a mosaic was chosen, and consisted of images and symbols that clearly drew on the hopes and dreams of a school community who were refusing to be defined by the disaster. The paper 'writes' the mosaic by placing fragments of speech spoken by the children involved in relation to ideas about memory, affect, and the 'sublime', through the work of Jean-Francois Lyotard. The paper explores the mosaic as constituted by the literal and metaphorical 'broken pieces' of the city of Christchurch in ways that confer pedagogic value inscribed through the creation of a public art space by children. AM - Accepted Manuscript
In the aftermath of the 2010-2011 Canterbury earthquakes in New Zealand, the residual capacity and reparability of damaged reinforced concrete (RC) structures was an issue pertinent to building owners, insurers, and structural engineers. Three precast RC moment-resisting frame specimens were extracted during the demolition of the Clarendon Tower in Christchurch after sustaining earthquake damage. These specimens were subjected to quasi-static cyclic testing as part of a research program to determine the reparability of the building. It was concluded that the precast RC frames were able to be repaired and retrofitted to an enhanced strength capacity with no observed reduction in displacement capacity, although the frames with “shear-ductile” detailing exhibited less displacement ductility capacity and energy dissipation capacity than the more conventionally detailed RC frames. Furthermore, the cyclic test results from the earthquake-damaged RC frames were used to verify the predicted inelastic demands applied to the specimens during the 2010-2011 Canterbury earthquakes. https://www.concrete.org/publications/acistructuraljournal.aspx
Following a damaging earthquake, the immediate emergency response is focused on individual collapsed buildings or other "hotspots" rather than the overall state of damage. This lack of attention to the global damage condition of the affected region can lead to the reporting of misinformation and generate confusion, causing difficulties when attempting to determine the level of postdisaster resources required. A pre-planned building damage survey based on the transect method is recommended as a simple tool to generate an estimate of the overall level of building damage in a city or region. A methodology for such a transect survey is suggested, and an example of a similar survey conducted in Christchurch, New Zealand, following the 22 February 2011 earthquake is presented. The transect was found to give suitably accurate estimates of building damage at a time when information was keenly sought by government authorities and the general public. VoR - Version of Record
Churches are an important part of New Zealand's historical and architectural heritage. Various earthquakes around the world have highlighted the significant seismic vulnerability of religious buildings, with the extensive damage that occurred to stone and clay-brick unreinforced masonry churches after the 2010-2011 Canterbury earthquakes emphasising the necessity to better understand this structural type. Consequently, a country-wide inventory of unreinforced masonry churches is here identified. After a bibliographic and archival investigation, and a 10 000 km field trip, it is estimated that currently 297 unreinforced masonry churches are present throughout New Zealand, excluding 12 churches demolished in Christchurch because of heavy damage sustained during the Canterbury earthquake sequence. The compiled database includes general information about the buildings, their architectural features and structural characteristics, and any architectural and structural transformations that have occurred in the past. Statistics about the occurrence of each feature are provided and preliminary interpretations of their role on seismic vulnerability are discussed. The list of identified churches is reported in annexes, supporting their identification and providing their address.