The urban environment influences the way people live and shape their everyday lives, and microclimate sensitive design can enhance the use of urban streets and public spaces. Innovative approaches to urban microclimate design will become more important as the world’s population becomes ever more urban, and climate change generates more variability and extremes in urban microclimatic conditions. However, established methods of investigation based upon conventions drawn from building services research and framed by physiological concepts of thermal comfort may fail to capture the social dynamics of urban activity and their interrelationship with microclimate. This research investigates the relationship between microclimate and urban culture in Christchurch, New Zealand, based upon the concept of urban comfort. Urban comfort is defined as the socio-cultural (therefore collective) adaptation to microclimate due to satisfaction with the urban environment. It involves consideration of a combination of human thermal comfort requirements and adaptive comfort circumstances, preferences and strategies. A main methodological challenge was to investigate urban comfort in a city undergoing rapid physical change following a series of major earthquakes (2010-2011), and that also has a strongly seasonal climate which accentuates microclimatic variability. The field investigation had to be suitable for rapidly changing settings as buildings were demolished and rebuilt, and be able to capture data relevant to a cycle of seasons. These local circumstances meant that Christchurch was valuable as an example of a city facing rapid and unpredictable change. An interpretive, integrative, and adaptive research strategy that combined qualitative social science methods with biophysical measures was adopted. The results are based upon participant observation, 86 in-depth interviews with Christchurch residents, and microclimate data measurements. The interviews were carried out in a variety of urban settings including established urban settings (places sustaining relatively little damage) and emerging urban settings (those requiring rebuilding) during 2011-2013. Results of this research show that urban comfort depends on adaptive strategies which in turn depend on culture. Adaptive strategies identified through the data analysis show a strong connection between natural and built landscapes, combined with the regional outdoor culture, the Garden City identity and the connections between rural and urban landscapes. The results also highlight that thermal comfort is an important but insufficient indicator of good microclimate design, as social and cultural values are important influences on climate experience and adaptation. Interpretive research is needed to fully understand urban comfort and to provide urban microclimate design solutions to enhance the use of public open spaces in cities undergoing change.
We present the initial findings from a study of adaptive resilience of lifelines organisations providing essential infrastructure services, in Christchurch, New Zealand following the earthquakes of 2010-2011. Qualitative empirical data was collected from 200 individuals in 11 organisations. Analysis using a grounded theory method identified four major factors that aid organisational response, recovery and renewal following major disruptive events. Our data suggest that quality of top and middle-level leadership, quality of external linkages, level of internal collaboration, ability to learn from experience, and staff well-being and engagement influence adaptive resilience. Our data also suggest that adaptive resilience is a process or capacity, not an outcome and that it is contextual. Post-disaster capacity/resources and post-disaster environment influence the nature of adaptive resilience.
This report provides an understanding of the nature of Canterbury subcontracting businesses operating in the space of earthquake reconstruction in Christchurch. It offers an in-depth look at the factors that influence the development of their capacity and capability to withstand the impact of volatile economic cycles, including the 2008 global financial crisis and the subsequent 2010/11 Canterbury earthquakes. There have been significant changes to the business models of the 13 subcontracting businesses studied since the earthquakes. These changes can be seen in the ways the case study subcontractors have adapted to cope with the changing demands that the rebuild posed. Apart from the magnitude of reconstruction works and new developments that directly affect the capacity of subcontracting businesses in Canterbury, case studies found that subcontractors’ capacity and capability to meet the demand varies and is influenced by the: subcontractors’ own unique characteristics, which are often shaped by changing circumstances in a dynamic and uncertain recovery process; and internal factors in relation to the company’s goal and employees’ needs
This thesis is a creative and critical exploration of how transmedia storytelling meshes with political documentary’s nature of representing social realities and goals to educate and promote social change. I explore this notion through Obrero (“worker”), my independently produced transmedia and transjournalistic documentary project that explores the conditions and context of the Filipino rebuild workers who migrated to Christchurch, New Zealand after the earthquake in 2011. While the project should appeal to New Zealanders, it is specifically targeted at an audience from the Philippines. Obrero began as a film festival documentary that co-exists with strategically refashioned Web 2.0 variants, a social network documentary and an interactive documentary (i-doc). Using data derived from the production and circulation of Obrero, I interrogate how the documentary’s variants engage with differing audiences and assess the extent to which this engagement might be effective. This thesis argues that contemporary documentary needs to re-negotiate established film aesthetics and practices to adapt in the current period of shifting technologies and fragmented audiences. Documentary’s migration to new media platforms also creates a demand for filmmakers to work with a transmedia state of mind—that is, the capacity to practise the old canons of documentary making while comfortably adjusting to new media production praxis, ethics, and aesthetics. Then Obrero itself, as the creative component of this thesis, becomes an instance of research through creative practice. It does so in two respects: adding new knowledge about the context, politics, and experiences of the Filipino workers in New Zealand; and offering up a broader model for documentary engagement, which I analyse for its efficacy in the digital age.
