A pdf copy of the SCIRT Learning Legacy Story, "ProjectCentre: Central approach to projects".
The city centre and Tuahiwi Marae, the home of Ngāi Tūāhuriri, are now linked by names. The Anglican cathedral and Tuahiwi’s church, both called St Stephens, sit on land called Whitireia. Whitireia was the house of Paekia, the ancestor who landed on the North Island on the back of a whale at Tūranga, which is now the name of Christchurch’s city library.
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.
This is where Tuahiwi people fished, eeled and gathered other kaimoana until the waterways were blocked and the land confiscated for public works in 1956. Getting land back in Christchurch was a key part of the Treaty claim lodged in 1986.
Claimed as a fishing reserve by the Tuahiwi chief Te Aika but sold by government, this area used to have eel weirs and eel drying. The land within the horseshoe lake also contains an urupā (cemetery).
The story of the city’s urban marae, Ngā Hau e Whā, built from 1981 onwards, begins in the migration of Māori from their tūrangawaewae to cities. The marae project is linked to a desire among city elders to move Māori out of the city centre to the east.
The name Omeka for the Justice Precinct comes from the Biblical omega. Dating back to the prophecy of Ratana early last century, it is testimony to Ngāi Tahu’s faith that their claims for justice would be settled.
INTRODUCTION This project falls under the Flagship 3: Wellington Coordinated Project. It supports other projects within FP3 to create a holistic understanding of risks posed by collapsed buildings due to future earthquake/s and the secondary consequences of cordoning in the short, mid and long term. Cordoning of the Christchurch CBD for more than two years and its subsequent implications on people and businesses had a significant impact on the recovery of Christchurch. Learning from this and experiences from the Kaikōura earthquake (where cordons were also established around selected buildings, Figure 3) have highlighted the need to understand the effects of cordons and plan for it before an earthquake occurs
A document which describes SCIRT's framework, principles and process of defining projects and the process of prioritising those projects.
A document which outlines how SCIRT prioritised the 634 construction projects within its programme of work.
A document which outlines the processes involved in the Multi Criteria Analysis Asset Prioritisation tool. It also talks about assumptions made and potential gaps.
A map showing the actual construction start dates.
An example of the five year rebuild schedule map created as part of the prioritisation process detailing where and when construction would start. The data behind this map was updated every quarter.
A presentation given at the New Zealand Geospatial Research Conference 2015.
A volunteer painting a piano for Gap Filler's Painted Piano project.
A volunteer painting a piano for Gap Filler's Painted Piano project.
A volunteer painting a piano for Gap Filler's Painted Piano project.
A report created by the University of Canterbury Quake Centre and the University of Auckland, funded by the Building Research Levy. It shows how an innovation process was initiated and managed throughout the rebuilding of the horizontal infrastructure after the Canterbury earthquakes.
A plan which describes the framework, principles and process for determining project prioritisation and the sequence in which those projects are carried out. The first version of this plan was produced on 23 September 2011.
Poster inviting potential participants to contact researchers engaged in the Young Women's Experiences of COVID-19 research project.
A woman photographed with the piano she painted for Gap Filler's Painted Piano project.
The transportation of a piano which will be part of Gap Filler's Painted Piano project.
A musician's shadow projected onto the rear wall of Mitre 10 at Gap Filler's "Film in the Gap!" project.
A document which describes SCIRT's approach to creating business systems to aid the rebuild of horizontal infrastructure.
Students from the University of Canterbury photographed in front of one of the pianos they painted for Gap Filler's Painted Piano project.
A truck with a mechanical arm picking up a piano. The piano is to be part of Gap Filler's Painted Piano project.
A truck with a mechanical arm picking up a piano. The piano is to be part of Gap Filler's Painted Piano project.
A truck with a mechanical arm preparing to transport a piano. The piano is to be part of Gap Filler's Painted Piano project.
A truck with a mechanical arm picking up a piano. The piano is to be part of Gap Filler's Painted Piano project.
A truck with a mechanical arm picking up a piano. The piano is to be part of Gap Filler's Painted Piano project.