A submission produced by the consultancies for the ACENZ Innovate NZ Awards of Excellence 2016, providing details about how the design team supporting SCIRT was formed, and how successful design delivery was achieved.
The Earthquake Commission has settled with a Christchurch homeowner, just days before their test case was due to be heard at the High Court. Jamie Gibling used his KiwiSaver to buy his first family home in New Brighton after the quakes, believing it had been properly repaired. He later learned the repairs were botched and would cost $300,000 to fix. His "onsold" test case was supposed to be heard on Monday to clarify who was liable. But today EQC announced it had reached a settlement with the family and that agreement would provide a framework for the 54 other claimants also with Shine Lawyers. Finance and EQC Minister Grant Robertson last week announced an "onsold" settlement kitty of $300 million for the next 12 months but legal experts working with claimants have told Checkpoint it could cost taxpayers much much more. EQC's Deputy Chief Executive is Renee Walker. On Thursday she came into the studio and Lisa Owen asked her if the Giblings got what they asked for and if the 54 others who signed up to the class action would get the same.
Questions to Ministers 1. Hon ANNETTE KING to the Minister for Social Development and Employment: How many working-age people are currently receiving a main benefit and how does this compare to July 2010? 2. AMY ADAMS to the Minister of Finance: What reports has he received on the cost of damage from the Canterbury earthquake? 3. Hon DAVID CUNLIFFE to the Minister of Finance: Will he agree to a full public and independent Commission of Inquiry into the collapse of South Canterbury Finance? 4. METIRIA TUREI to the Attorney-General: Does he stand by his statement that the Marine and Coastal Area (Takutai Moana) Bill "treats all New Zealanders including Māori without discrimination"? 5. Hon DARREN HUGHES to the Minister of Transport: Does he stand by his statement that "the Government is totally committed to the SuperGold Card"? 6. TIM MACINDOE to the Minister for Social Development and Employment: What is the Government doing to support the Canterbury community through the earthquake recovery? 7. Hon TREVOR MALLARD to the Minister of Education: Does she stand by all of her statements in answer to oral question No. 8 yesterday? 8. Dr PAUL HUTCHISON to the Minister of Health: What reports has he received on the Canterbury District Health Board's actions following the Canterbury earthquake? 9. Hon DAVID PARKER to the Attorney-General: Given his answer yesterday that he agreed with the Prime Minister's statement earlier this year, "in the end if we can't reach an agreement then the status quo will remain", what acknowledgement, if any, has he received from the Māori Party that the new legal framework for settling foreshore and seabed claims will be "durable"? 10. Dr JACKIE BLUE to the Minister of Transport: What updates has he received on transport in and around Canterbury following the earthquake and numerous aftershocks? 11. DARIEN FENTON to the Minister of Labour: Is she currently considering any changes to employment law that were not included in the changes announced at the National Party Conference; if so, what are they? 12. KATRINA SHANKS to the Minister of Housing: How is the Department of Building and Housing working to keep landlords and tenants informed of their rights and responsibilities following the Christchurch earthquake?
A Transitional Imaginary: Space, Network and Memory in Christchurch is the outcome and the record of a particular event: the coming together of eight artists and writers in Ōtautahi Christchurch in November 2015, with the ambitious aim to write a book collaboratively over five days. The collaborative process followed the generative ‘book sprint’ method founded by our facilitator for the event, Adam Hyde, who has long been immersed in digital practices in Aotearoa. A book sprint prioritises the collective voice of the participants and reflects the ideas and understandings that are produced at the time in which the book was written, in a plurality of perspectives. Over one hundred books have been completed using the sprint methodology, covering subjects from software documentation to reflections on collaboration and fiction. We chose to approach writing about Ōtautahi Christchurch through this collaborative process in order to reflect the complexity of the post-quake city and the multiple paths to understanding it. The city has itself been a space of intensive collaboration in the post-disaster period. A Transitional Imaginary is a raw and immediate record, as much felt expression as argued thesis. In many ways the process of writing had the character of endurance performance art. The process worked by honouring the different backgrounds of the participants, allowing that dialogue and intensity could be generative of different forms of text, creating a knowledge that eschews a position of authority, working instead to activate whatever anecdotes, opinions, resources and experiences are brought into discussion. This method enables a dynamic of voices that merge here, separate there and interrupt elsewhere again. As in the contested process of rebuilding and reimagining Christchurch itself, the dissonance and counterpoint of writing reflects the form of conversation itself. This book incorporates conflict, agreement and the activation of new ideas through cross-fertilisation to produce a new reading of the city and its transition. The transitional has been given a specific meaning in Christchurch. It is a product of local theorising that encompasses the need for new modes of action in a city that has been substantially demolished (Bennett & Parker, 2012). Transitional projects, such as those created by Gap Filler, take advantage of the physical and social spaces created by the earthquake through activating these as propositions for new ways of being in the city. The transitional is in motion, looking towards the future. A Transitional Imaginary explores the transitional as a way of thinking and how we understand the city through art practices, including the digital and in writing.