An emerging water crisis is on the horizon and is poised to converge with several other impending problems in the 21st century. Future uncertainties such as climate change, peak oil and peak water are shifting the international focus from a business as usual approach to an emphasis on sustainable and resilient strategies that better meet these challenges. Cities are being reimagined in new ways that take a multidisciplinary approach, decompartmentalising functions and exploring ways in which urban systems can share resources and operate more like natural organisms. This study tested the landscape design implications of wastewater wetlands in the urban environment and evaluated their contribution to environmental sustainability, urban resilience and social development. Black and grey water streams were the central focus of this study and two types of wastewater wetlands, tidal flow (staged planning) and horizontal subsurface flow wetlands were tested through design investigations in the earthquake-affected city of Christchurch, New Zealand. These investigations found that the large area requirements of wastewater wetlands can be mitigated through landscape designs that enhance a matrix of open spaces and corridors in the city.
Wastewater wetlands when combined with other urban and rural services such as food production, energy generation and irrigation can aid in making communities more resilient. Landscape theory suggests that the design of wastewater wetlands must meet cultural thresholds of beauty and that the inclusion of waste and ecologies in creatively designed landscapes can deepen our emotional connection to nature and ourselves.
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.
To the casual observer, community gardens may look like places where people just come to grow fruit and vegetables. Through digging beneath surface appearances, however, the research literature suggests that there is more to the creation of and participation in community gardens than that which is immediately apparent.
The overall aim of this research was to explore and interpret the meaning of community gardens in terms of the sought and experienced well-being of the individuals who participate, and their associated communities. This research was undertaken in the Christchurch/Selwyn district, in the aftermath of the Christchurch earthquakes of 2010-2011.
This research utilised the technique of photo-elicitation interviews to study the meanings attributed to community gardening, in the post-earthquake environment. Five gardens were investigated. Results show that a range of meanings, and well-being outcomes are experienced through a combination of physical, educational, aesthetic appreciation, contemplative, creative and social connections within the garden and within the overall context of nature. Significantly, within the post-earthquake environment, the community gardens can offer participants the opportunity to appreciate life and what it means for them.
The increase in urban population has required cities to rethink their strategies for minimising greenhouse gas impacts and adapting to climate change. While urban design and planning policy have been guided by principles such as walkability (to reduce the dependence on cars) and green infrastructure (to enhance the quality of open spaces to support conservation and human values), there have been conflicting views on what spatial strategies will best prepare cities for a challenging future. Researchers supporting compact cities based upon public Transit Oriented Development have claimed that walkability, higher density and mixed-uses make cities more sustainable (Owen, 2009) and that, while green spaces in cities are necessary, they are dull in comparison with shopfronts and street vendors (Speck, 2012, p 250). Other researchers claim that green infrastructure is fundamental to improving urban sustainability and attracting public space users with improved urban comfort, consequently encouraging walkability (Pitman and Ely, 2013). Landscape architects tend to assume that ‘the greener the better’; however, the efficiency of urban greenery in relation to urban comfort and urbanity depends on its density, distribution and the services provided. Green infrastructure can take many forms (from urban forests to street trees) and provide varied services (amended microclimate, aesthetics, ecology and so forth). In this paper, we evaluate the relevance of current policy in Christchurch regarding both best practice in green infrastructure and urban comfort (Tavares, 2015). We focus on the Christchurch Blueprint for rebuilding the central city, and critically examine the post-earthquake paths the city is following regarding its green and grey infrastructures and the resulting urban environment. We discuss the performance and appropriateness of the current Blueprint in post-earthquake Christchurch, particularly as it relates to the challenges that climate change is creating for cities worldwide.
