A series of earthquakes has forced Christchurch to re-plan and rebuild. Discussions about rebuilding strategies have emphasized the intention of making it a city for the future, sustainable and vibrant. This paper discusses the relationship between microclimate and urban culture in Christchurch based upon the concept of urban comfort. It explores the relationships between environment, people and culture to help understand the local requirements for urban landscape design. In this paper we claim
that cultural requirements also should be taken into account when looking for sustainable strategies. A distinctive feature of this research is its focus on the way people are adapting to both surviving prequake and new post‐quake environments. Preliminary findings from the first year of field work using participant observation and 61 in‐depth interviews with Christchurch residents are presented. The interviews were carried out in a variety of
urban settings including: established sites (places sustaining relatively little damage) and emerging
sites (those requiring rebuilding) during 2011‐2012. Evidence from the interviews highlight future challenges regarding sustainability and urban comfort issues. Post‐quake Christchurch presents a remarkable opportunity to design an urban landscape which provides environmental, economic, social and cultural sustainability. However, to achieve successful outcomes it is fundamental to respond to the local culture. Field data suggest that the strong connections between urban and rural settings present in local culture, lifestyle and landscape generate a particular aesthetic and recreation preference for urban spaces, which should be considered in the urban landscape design strategies.
There is a now a rich literature on the connections between digital media, networked computing, and the shaping of urban material cultures. Much less has addressed the post-disaster context, like we face in Christchurch, where it is more a case of re-build rather than re-new. In what follows I suggest that Lev Manovich’s well-known distinction between narrative and database as distinct but related cultural forms is a useful framework for thinking about the Christchurch rebuild, and perhaps urbanism more generally.
The quality of public space is vital to livable cities. Yet livable cities also require empowered communities. This thesis asks: how is the landscape architect’s design expertise expressed as part of the public participation process, what are the key features of design expertise that lead to an effective design-based participation process and how does quality in the participation process relate to the quality of design outcomes? A theoretical framework is developed from which to clarify the relationship between decision-making processes in design and public participation. Insights from design theory are combined with the findings of key informant interviews with New Zealand and Northern Europe design experts, and with landscape architects, community and Council staff working in post-earthquake Ōtautahi/Christchurch, Aotearoa/New Zealand. Results of a case study of Albion Square in Ōhinehou/Lyttelton reveal that the designer’s interactions with the public play a critical role in shaping elegant design outcomes in public space design. Four key insights reveal that participatory design processes in New Zealand need to be reconsidered in order to enable landscape architects to work more closely with communities in mutual learning, rather than the currently limiting technical problem solving process. Institutional, professional and theoretical implications are drawn from the findings.
Meeting the Sustainable Development Goals by 2030 involves transformational change in the business of business, and social enterprises can lead the way in such change. We studied Cultivate, one such social enterprise in Christchurch, New Zealand, a city still recovering from the 2010/11 Canterbury earthquakes. Cultivate works with vulnerable youth to transform donated compost into garden vegetables for local restaurants and businesses. Cultivate’s objectives align with SDG concerns with poverty and hunger (1 & 2), social protection (3 & 4), and sustainable human settlements (6 & 11). Like many grant-supported organisations, Cultivate is required to track and measure its progress. Given the organisation’s holistic objectives, however, adequately accounting for its impact reporting is not straightforward. Our action research project engaged Cultivate staff and youth-workers to generate meaningful ways of measuring impact. Elaborating the Community Economy Return on Investment tool (CEROI), we explore how participatory audit processes can capture impacts on individuals, organisations, and the wider community in ways that extend capacities to act collectively. We conclude that Cultivate and social enterprises like it offer insights regarding how to align values and practices, commercial activity and wellbeing in ways that accrue to individuals, organisations and the broader civic-community.
War and natural disasters share many features including great loss of life, traumatised populations and haunting memories. The Christchurch earthquakes were the third most costly event of 2011 with total costs of up to $NZ30 billion. Many homes, communities, families and an established way of life have gone for ever. The paper comes from the Women’s Voices project that documents women’s narratives of earthquake trauma and loss and examines their profiles of emotional expression associated with coping. For these women in Christchurch, solace is not about talking experiences of suffering but by doing practical things that inform and are shaped by existing personal narratives. As they relayed this common arc, they also entered into national (and gendered) narrative themes of being practical, stoic, independent and resourceful in the face of tragedy and loss and so embody communal aspects of coping with loss and grief particular to the New Zealand even ‘the South Island settler’ identity narrative. These narratives suggest it useful to rethink key concepts that inform our understanding of coping with disaster and loss.
This paper explores the scope of small-scale radio to create an auditory geography of place. It focuses on the short term art radio project The Stadium Broadcast, which was staged in November 2014 in an earthquake-damaged sports stadium in Christchurch, New Zealand. Thousands of buildings and homes in Christchurch have been demolished since the Februrary 22, 2011 earthquake, and while Lancaster Park sports stadium is still standing, it has been unused since that date and its future remains uncertain. The Stadium Broadcast constructed a radio memorial to the Park’s 130 year history through archival recordings, the memories of local people, observation of its current state, and a performed site-specificity. The Stadium Broadcast reflected on the spatiality of radio sounds and transmissions, memory, post-disaster transitionality, and the im-permanence of place.
With origins in the South Bronx area of New York in the early 1970s, hip-hop culture is now produced and consumed globally. While hip-hop activities can be varied, hip-hop is generally considered to have four forms or “elements”: DJing, MCing, b-boying/b-girling, and graffiti. Although all four elements of hip-hop have become a part of many youth work initiatives across the globe, public debate and controversy continue to surround hip-hop activities. Very little research and literature has explored the complexities involved in the assembling of hip-hop activities in youth work sites of practice using these hip-hop elements. This study attends to the gap in hip-hop and human service literature by tracing how hip-hop activities were assembled in several sites of youth work activity in Christchurch, New Zealand. Actor-network theory (ANT) is the methodological framework used to map the assemblage of hip-hop-youth work activities in this study. ANT follows how action is distributed across both human and non-human actors. By recognising the potential agency of “things”, this research traces the roles played by human actors, such as young people and youth workers, together with those of non-human actors such as funding documents, social media, clothing, and youth venue equipment. This ethnographic study provides rich descriptions or “snapshots” of some of the key socio-material practices that shaped the enactment of hip-hop-youth work activities. These are derived from fieldwork undertaken between October 2009 and December 2011, where participant observation took place across a range of sites of hip-hop-youth work activity. In addition to this fieldwork, formal interviews were undertaken with 22 participants, the majority being youth workers, young people, and youth trust administrators. The ANT framework reveals the complexity of the task of assembling hip-hop in youth work worlds. The thesis traces the work undertaken by both human and non-human actors in generating youth engagement in hip-hop-youth work activities. Young people’s hip-hop interests are shown to be varied, multiple, and continually evolving. It is also shown how generating youth interest in hip-hop-youth work activities involved overcoming young people’s indifference or lack of awareness of the hip-hop resources a youth trust had on offer. Furthermore, the study highlights where hip-hop activities were edited or “tinkered” with to avoid hip-hop “bads”. The thesis also unpacks how needed resources were enlisted, and how funders’ interests were translated into supporting hip-hop groups and activities. By tracing the range of actors mobilised to enact hip-hop-youth work activities, this research reveals how some youth trusts could avoid having to rely on obtaining government funds for their hip-hop activities. The thesis also includes an examination of one youth trust’s efforts to reconfigure its hip-hop activities after the earthquakes that struck Christchurch city in 2010 and 2011. Working both in and on the world, the text that is this thesis is also understood as an intervention. This study constitutes a deliberate attempt to strengthen understandings of hip-hop as a complex, multiple, and fluid entity. It therefore challenges traditional media and literature representations that simplify and thus either stigmatise or celebrate hip-hop. As such, this study opens up possibilities to consider the opportunities, as well as the complexities of assembling hip-hop in youth work sites of practice.
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This article examines the representation of Christchurch, New Zealand, student radio station RDU in the exhibition Alternative Radio at the Canterbury Museum in 2016. With the intention of ‘making visible what is invisible’ about radio broadcasting, the exhibition articulated RDU as a point of interconnection between the technical elements of broadcasting, the social and musical culture of station staff and volunteers, and the broader local and national music scenes. This paper is grounded in observations of the exhibitions and associated public programmes, and interviews with the key participants in the exhibition including the museum's exhibition designer and staff from RDU, who acted as independent practitioners in collaboration with the museum. Alternative Radio also addressed the aftermath of the major earthquake of 22 February 2011, when RDU moved into a customised horse truck after losing its broadcast studio. The exhibition came about because of the cultural resonance of the post-quake story, but also emphasised the long history of the station before that event, and located this small student radio station in the broader heritage discourse of the Canterbury museum, activating the historical, cultural, and personal memories of the station's participants and audiences.
The Civil Defense understanding of the role of radio in disaster tends to focus on its value in providing essential information during and after the event. However this role is compromised when a station’s premises are destroyed, or rendered inaccessible by official cordons. The Radio Quake study examines how radio stations in Christchurch managed to resume broadcasting in the aftermath of the earthquake of February 22, 2011. In New Zealand’s heavily networked and commercialised radio environment there is a significant disparity between networked and independent stations’ broadcast commitments and resourcing. All Christchurch radio broadcasters were forced to improvise new locations, complex technical workarounds, and responsive styles of broadcasting after the February 22 earthquake, but the need to restore, or maintain, a full on air presence after the earthquake, rested entirely on often financially tenuous, locally owned and staffed independent radio: student, Iwi, community access, and local commercial stations. This paper will explore the resourcefulness and resilience of broadcasters riding out the aftershocks in hotels, motels, bedrooms, and a horse truck, using digital technologies in new ways to reimagine the practice of radio in Christchurch.
This report presents the experiences of Tangata Whaiora (Mental health clients) through the disastrous earthquakes that struck Otautahi/Christchurch in 2010-11. It further analysis these experience to how show the social networks these individuals, their whānau, supporting staff respond and recover to a significant urban disaster.
The disaster challenged the mental health of those individuals who are impacted and the operations of organisations and networks that support and care for the mentally ill. How individuals and their families navigate a post-disaster landscape provides an unfortunate but unique opportunity to analyse how these support networks respond to severe disruption.
Tangata Whaiora possess experiences of micro-scale personal and family disasters and were not necessarily shocked by the loss of normality in Ōtautahi as a result of the earthquakes. The organic provision of clear leadership, outstanding commitment by staff, and ongoing personal and institutional dedication in the very trying circumstances of working in a post-disaster landscape all contributed to Te Awa o te Ora’s notable response to the disaster.
The devastating earthquakes of September 2010 and February 2011 have without question upset the Christchurch City way of life for all. Families and businesses, as well as the natural and built environments have been directly affected, and our social landscapes have since evolved to accommodate the visible changes. Though not perhaps seen as a priority, the Christchurch nightlife has been profoundly altered by the quakes and the once popular CBD clubbing scene has ceased to exist. The concern highlighted in this article is the way in which this has put pressure on suburban bars and the the implications of this for local residents.
Geological research in the immediate aftermath of the 2016 Kaikōura Earthquake, New Zealand, was necessary due to the importance and perishability of field data. It also reflects a real desire on the part of researchers to contribute not only to immediate scientific understanding but also to the societal recovery effort by enhancing knowledge of the event for the benefit of affected communities, civil defence organizations and regional and national decision makers. This commitment to outreach and engagement is consistent with the recent IAPG statement of Geoethics. More immediately, it was informed by experience of the 2010-2011 Canterbury Earthquake sequence. After that earlier disaster, intense interactions between researchers and various response agencies as well as local communities informed the development and dissemination of a set of ethical guidelines for researchers immediately following the Mw7.8 14 November 2016 Kaikōura Earthquake. In this presentation, I argue that ethical engagement of this kind is the key to gathering high quality research data immediately after the event. Creating trusting and mutually respectful, mutually beneficial relationships is also vital to ongoing engagement to facilitate further “in depth” research in collaboration with communities.
Oarai is a coastal town in Ibaraki Prefecture, Japan, affected by the Great East Japan Earthquake in 2011. The disaster severely damaged local industries, and the local tourism sector faced a sharp decline followed the event. To overcome the conundrum, the local tourism businesses have taken the opportunity to collaborate with an anime called Girls und Panzer, which has been developed by an external animation production studio. This collaboration has resulted in huge success, and the drop in the local tourism industry had been largely reversed, but has resulted in a significant change to the tourism system. This thesis explores the activities and outcomes of this tourism industry reimagining. A mixed-method approach was used to investigate the perception of local tourism businesses to the current Oarai tourism system, and examine the transformative effect of the disaster and its aftermath. Perceptions of disaster impact and anime tourism development were analysed through surveys (n=73) and interviews (n=2) which focused on tourism business operators, while participant observation was conducted to create the image of anime tourism operation in Oarai. Results show that the development of anime tourism in Oarai successfully helped the local tourism businesses to recover from the disaster. As new agencies and organisations joined the anime tourism network, anime tourism increased communication between stakeholders, and improved the resilience of the community. The new tourism development has transformed the local tourism industry, to some extent, however. the future trajectory of anime tourism in Oarai is difficult to forecast, and there is scope for longitudinal research of this tourism system.
For some people, religion, spirituality and faith (RSF) serves an important function, helping them deal with difficult everyday life challenges. This qualitative ethnographic study examines how and in what ways a group of Cantabrians engaged with RSF in dealing with diverse forms of significant trauma – from moments of crisis through to more extended processes of recovery. The research is located within the context of post-earthquake Christchurch, and is based on fieldwork undertaken in 2012–2013. It explores the experiences of respondents representing traditional Christian and non-orthodox, non-Christian faith paths. The thesis draws on data from participant stories to emphasise the subjective experience of RSF and trauma. It argues that in times of crisis, some people draw on RSF to help them address difficult life challenges. The study demonstrates the breadth, diversity and significance of such resourcing, as well as the sometimes surprising, unanticipated forms that this engagement with RSF may take. Contrary to theories that emphasise the marginalisation of religion during times of intense distress, the thesis shows that in varying moments of crisis, people for whom RSF is important, may draw on diverse forms of RSF as a matter of priority to help them.
This thesis is a theoretical exploration of ‘remembrance’ and its production in the interactions between people/s and the landscape. This exploration takes place in the broad context of post earthquake Christchurch with a focus on public spaces along the Ōtākaro – Avon river corridor. Memory is universal to human beings, yet memories are subjective and culturally organized and produced - the relationship between memory and place therefore operates at individual and collective levels. Design responses that facilitate opportunities to create new memories, and also acknowledge the remembered past of human – landscape relationships are critical for social cohesion and wellbeing. I draw on insights from a range of theoretical sources, including critical interpretive methodologies, to validate subjective individual and group responses to memory and place. Such approaches also allowed me, as the researcher, considerable freedom to apply memory theory through film to illustrate ways we can re-member ourselves to our landscapes. The Ōtākaro-Avon river provided the site through and in which film strategies for remembrance are explored. Foregrounding differences in Māori and settler cultural orientations to memory and landscape, has highlighted the need for landscape design to consider remembrance - those cognitive and unseen dimensions that intertwine people and place. I argue it is our task to make space for such diverse relationships, and to ensure these stories and memories, embodied in landscape can be read through generations. I do not prescribe methods or strategies; rather I have sought to encourage thinking and debate and to suggest approaches through which the possibilities for remembrance may be enhanced.
In this paper Paul Millar outlines the development of the University of Canterbury Quakebox project, a collaborative venture between the UC CEISMIC Canterbury Earthquakes Digital Archive and the New Zealand Institute of Language Brain and Behaviour to preserve people’s earthquake stories for the purposes of research, teaching and commemoration. The project collected over 700 stories on high definition video, and Millar is now looking at using the corpus to underpin a longitudinal study of post-quake experience.
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.
The whare whakairo or traditional Māori meeting house plays an important part in Māori society and identity. These whare tell the tale of their origin, and in so doing, the origins of their people. The analysis of the meeting house, the histories expressed in its decorative carvings and structural elements are inextricably linked with and dependent upon the structure of the world created by myth and the Māori worldview. However, due to the deleterious effects of colonisation, the art of wood carving and associated architectural practices - central to Māori identity, suffered decline in many parts of the country, leading to the decline of Māori culture and identity. Sir Apirana Ngata instigated the National Institute of Māori Arts and Crafts to resurrect the dying art of Māori carving and carved houses would be a catalyst for the restoration of Māori culture throughout the country. Ngata saw these whare whakairo as being the heart of Māori communities by establishing a renewed sense of belonging and identification with space for Māori, through the telling of tribal histories and emphasising key geographical features. New threats in the form of global hegemony and urbanisation have further impacted on Māori notions of identity, creating a generation of displaced urban Māori youth. This research proposes to establish an architectural response to capture displaced Māori youth through the resurrection of the Māori carving school and return to them the lost stories of their cultural history and identity. This program will be developed within the complex challenges that exist within post-earthquake Ōtautahi/Christchurch, where many have lost homes and livelihoods, especially Māori youth in the Eastern Suburbs. The building elements of the proposed Māori carving school give reference to the historio-cultural features of the original Ōtautahi/Christchurch landscape that are situated in tribal song and myth. It is envisioned that the development of a Māori carving school will help restore Māori identity and a renewed sense of belonging, and allow for the telling of this generations stories through traditional narratives.
The aim of this study is to explore the main contributors and obstacles to employee learning in the context of an alliance using the framework of a complex embedded multiple-case study. The two participant alliance partner organisations (APOs) are natural competitors that have joined to respond to urgent community needs of the city of Christchurch following the major earthquakes in September 2010 and February 2011. At the moment of the in-depth interviews, it had been about four years since those events occurred. There are continuous, unexpected circumstances that still require attention. However, the alliance has an expiry date, thus reinforcing the uncertain work environment. The main enablers found were participative, collaborative learning encouraged by leaders who embraced the alliance’s “learning organisational culture”. Employees generated innovations mostly in social interaction with others, while taking on responsibility for their learning by learning from mistakes. The main obstacle found is competition, as inhibitor of collaboratively sharing their knowledge out of fear of losing their competitiveness.
Interagency Emergency Response Teams (IERTs) play acrucial role in times of disasters. Therefore it is crucial to understand more thoroughly the communication roles and responsibilities of interagency team members and to examine how individual members communicate within a complex, evolving, and unstable environment. It is also important to understand how different organisational identities and their spatial geographies contribute to the interactional dynamics. Earthquakes hit the Canterbury region on September, 2010 and then on February 2011 a more devastating shallow earthquake struck resulting in severe damage to the Aged Residential Care (ARC) sector. Over 600 ARC beds were lost and 500 elderly and disabled people were displaced. Canterbury District Health Board (CDHB) set up an interagency emergency response team to address the issues of vulnerable people with significant health and disability needs who were unable to access their normal supports due to the effects of the earthquake. The purpose of this qualitative interpretive study is to focus on the case study of the response and evacuation of vulnerable people by interagencies responding to the event. Staff within these agencies were interviewed with a focus on the critical incidents that either stabilised or negatively influenced the outcome of the response. The findings included the complexity of navigating multiple agencies communication channels; understanding the different hierarchies and communication methods within each agency; data communication challenges when infrastructures were severely damaged; the importance of having the right skills, personal attributes and understanding of the organisations in the response; and the significance of having a liaison in situ representing and communicating through to agencies geographically dispersed from Canterbury. It is hoped that this research will assist in determining a future framework for interagency communication best practice and policy.
Local independent radio stations in Christchurch, New Zealand, had their operations severely disrupted by major earthquakes in September 2010 and February 2011. This article examines the experiences of three radio stations that were shut out of their central city premises by the cordon drawn around the city after the 22 February quake. One of the stations continued broadcasting automatically, while the others were unable to fully get back on air for several weeks afterwards. All of the stations had to manage access to workspaces, the emotional needs of staff and volunteers, the technical ability to broadcast, and the need to adapt content appropriately when back on air. For the locally based radio managers decisions had to be made about the future of the stations in a time of significant emotional, physical, and geological upheaval. The article explores how these radio stations were disrupted by the earthquake, and how they returned to air through new combinations and interconnections of people, workspace, technology, content and transmission.
To address the provocation provided by the editors I wish to reflect upon the ongoing civic and artistic responses to the earthquakes in Christchurch, New Zealand, 2010-11, in which 185 people lost their lives (largely due to poor engineering and construction practices). Whilst the example is very different in character from that of efforts to memorialize July 22, 2011, I wish to use the case to briefly respond to the issue of temporality as raised by Jacques Rancière in his critique of the ‘endless work of mourning’ produced by testimonial art. The orientation of this mourning, he argues, is always backward-looking, characterized by, ‘a reversal of the flow of time: the time turned towards an end to be accomplished – progress, emancipation or the Other – is replaced by that turned towards the catastrophe behind us.’ How might memorial practices divide their gaze between remembered pasts and possible futures? AM - Accepted Manuscript
This exhibition, eight years in the planning, had the misfortune to open one week before the 22 February 2011 Christchurch earthquake; the exhibition was immediately taken down and never went up again – the Christchurch Art Gallery has still not reopened. Although in my book Fantastica: The World of Leo Bensemann (NRO1) I covered the whole of Bensemann’s career, in the exhibition I took responsibility for the paintings (portraits and landscapes) , while Dr. Noel Waite (University of Otago) looked after Bensemann’s graphic work, book design and printing. This was the most extensive exhibition of Bensemann’s work ever mounted and together with Fantastica will compel a major reassessment of his place in New Zealand culture. Art New Zealand wrote of it: ‘The exhibition (including more than 100 items) is significant in bringing together what has in the past appeared disparate and unrelated; here Bensemann's entire oeuvre - the output of a painter, illustrator, calligrapher, typographer, designer and publisher is given equal billing. Although this exhibition is an important re-assessment and valuable for a new generation unfamiliar with his work, a national touring show would have precipitated an even greater awareness’.
This article discusses the use of radio after major earthquakes in Christchurch, New Zealand, in 2010 and 2011. It draws on archival sources to retrospectively research post-quake audiences in the terms people used during and soon after the earthquakes through personal narratives and Twitter. Retrospective narratives of earthquake experiences affirm the value of radio for communicating the scale of disaster and comforting listeners during dislocation from safe home spaces. In the narratives radio is often compared with television, which signifies electricity supply and associated comfort but also visually confirms the city’s destruction. Twitter provides insights into radio use from within the disaster period, but its more global reach facilitates reflection on online and international radio from outside the disaster-affected area. This research demonstrates the value of archival audience research, and finds that the combination of online radio and Twitter enables a new form of participatory disaster spectatorship from afar.
This report focuses on the Waimakariri District Council's approach to earthquake recovery which was developed as an Integrated, Community-based Recovery Framework. This approach has been held up as exemplary in a number of fora and has received a great deal of interest and support both nationally and internationally. It has evolved as a result of the September earthquake and the thousands of aftershocks that have followed, along with the regulatory changes that have impacted on building safety and land availability since, but it builds on a set of pre-existing competencies and a well-established organisational culture that focusses on:
* Working with communities and each other;
* Keeping people informed;
* Doing better everyday;
* Taking responsibility;
* Acting with integrity, honesty and trust.
The report identifies, and speaks to, three themes or tensions drawn from either the disaster/emergency management literature or actual cases of recovery practice observed here in Canterbury over the last 2 years. These themes are the:
1. unique position of local government to undertake integrated or ‘holistic’ recovery work with community at the centre, versus the lack of clarity around both community and local government’s role in disaster recovery; 2. general consensus that good local government-community relationships are crucial to recovery processes, versus the lack of practical advice on how best to engage, and engage with, communities post-disaster; and 3. balancing Business as Usual (BaU) with recovery issues.Ministry of Civil Defence and Emergency Management.
The aftermath of three earthquakes has forced Christchurch to re-plan and rebuild. New perspectives of a sustainable city have arisen granting Christchurch the chance of becoming an example to the world. This work is centred on bioclimatic landscape design as a base for greening strategies. It deals with strategic landscape design adapted to a specific climate, from a user’s perspective. The investigation will be applied to Christchurch’s urban centres, assessing cultural adaptability to the local climate and implications for landscape design. Climatic data shows that humidity is not a local problem. However, the wind is the determinant. In Christchurch the solar radiation and the prevailing winds are the most important microclimatic variables, the latter intensifying the loss of surface heat, decreasing the radiant temperature and affecting thermal sensation.
The research objective is to explore design parameters at the street-scale and identify ways to maximise thermal comfort in outdoor spaces through design-based strategies. The investigation will apply methods of participant observation, depth interviews, climatic data collection and design experimentation based on thermal comfort models and computer simulation tools. Case study sites chosen for investigation are places with current levels of activity that may be anticipated in the rebuild of the central city. The research will have two main outcomes: improved understanding of local urban culture adaptation to microclimate, and a demonstration of how design can enhance adaption. These outcomes will inform designers and city managers about good design practices and strategies that can be used to ensure a long term liveable city.
Natural disasters are highly traumatic for those who experience them, and they can have an immense and often lasting emotional impact (Cox et al., 2008). Emotion has been studied in linguistics through its enactment in language, and this field of research has increased over the past decades. Despite this, the expression of emotion in post-disaster narratives is a largely unexplored field of research. This thesis investigates how emotion is expressed in narratives taken from the QuakeBox corpus (Walsh et al., 2013), recorded, following the Christchurch earthquakes, in 2012 and rerecorded in 2019. I take a mixed methods approach, combining computer-based emotion recognition software and discourse analytic techniques, to explore the expression of emotion at both a broad and narrow level. Two emotion recognition programs, Empath (Fast et al., 2016) and Speechbrain (Ravanelli et al., 2021), are employed to measure the levels of positive and negative emotion detected in a wide dataset of participants, which are investigated in relation to the gender and age of participants, and the temporal difference between the first and second QuakeBox recordings. In a second phase, a subset of these participants’ narratives was analysed qualitatively, exploring the co-construction of emotion and identity through a social constructionist lens and examining the societal Discourses present in the earthquake narratives. The findings highlight the relevance of gender in the expression of emotion. Female speakers have higher levels of positive emotion than non-female speakers in the findings of both emotion recognition programs, and there is a clear gendered difference in the construction of identity in the narratives, influencing the expression of emotion. The expression of emotion also appears to be mediated by New Zealand culture. Within this, a Discourse of the Christchurch earthquakes emerges, with motifs of luck, gratitude, and community, which reflects the values of the people of Christchurch at the time. Findings reinforced in both phases of the analysis also indicate differences between the lexical content and acoustic features in the emotion expressions, supporting previous research that argues that the expression of emotion, as a performative act, does not reflect the speaker’s inner state directly. This research adds a new dimension to (socio)linguistic research on emotion, as well as providing insight into how crisis survivors display emotion in their post-disaster narratives.
Research on responses to trauma has historically focused on the negative repercussions of a struggle with adversity. However, more recently, researchers have begun to examine posttraumatic growth: the positive psychological change that emerges from the struggle with a potentially traumatic event. Associations have been found between posttraumatic growth and greater peritraumatic distress, greater objective severity of trauma exposure, greater perceived stressfulness of events, social support, female gender, cognitive and behavioural responses to trauma, and personality measures. Posttraumatic growth has been measured typically in individuals with varying levels of posttraumatic stress disorder symptoms and other psychological difficulties, such as depression and anxiety. Although some theory and research posits that higher resilience would prohibit posttraumatic growth, no studies have examined posttraumatic growth in a resilient sample. The Canterbury earthquake sequence of 2010 and 2011 involved potentially traumatic events that saw the community struggle with a variety of challenges. However, in the midst of earthquake destruction, some positive initiatives emerged, driven by locals. The Gap Filler project (using city spaces left empty from fallen buildings for art and interactive community projects) and the Student Volunteer Army (groups of volunteers coordinated to help others in need) are examples of this. In this context, it seemed likely that posttraumatic growth was occurring and might be seen in individuals who were coping well with challenges. Culture is theorised to influence the posttraumatic growth process (Calhoun, Cann, & Tedeschi, 2010), and the nature of the trauma undergone is also likely to influence the process of growth. The current thesis measures posttraumatic growth quantitatively and qualitatively in a New Zealand sample. It measures and describes posttraumatic growth in a resilient population after the earthquake sequence of 2010 and 2011 in Canterbury, New Zealand. Findings are used to test current models of posttraumatic growth for individuals coping well after trauma and to elaborate on mechanisms proposed by models such as the comprehensive model of posttraumatic growth (Calhoun et al., 2010) and the organismic valuing theory of growth through adversity (Joseph & Linley, 2005). Correlates of posttraumatic growth are examined and likely supporting factors of posttraumatic growth are identified for this population. Study 1 used quantitative analysis to explore correlates of posttraumatic growth and found that greater posttraumatic growth related to greater peritraumatic distress, greater perceived stressfulness of earthquake events, greater objective stressfulness of earthquake events, greater difficulty with stressful life events, less satisfaction with social support, and female gender. Findings from Study 1 give important detail about the nature of distress included in the comprehensive model of posttraumatic growth (Calhoun et al., 2010) for this population. Levels of posttraumatic growth were lower than those in North American studies but similar to those in a Chinese study. The current sample, however, showed lower endorsement of Relating to Others than the Chinese study, perhaps because of cultural differences. Study 2 used qualitative analysis to examine the experience of posttraumatic growth in the sample. The theme of ‘a greater sense of community’ was found and adds to the comprehensive model of posttraumatic growth, in that an expression of posttraumatic growth (a greater connection with others) can inform ongoing social processing in the posttraumatic growth process. Having a formal or informal role in earthquake recovery appeared to influence self-concept and reflection; this elaborates on the influence of role on reflection in Calhoun et al.’s model. Findings illustrate possible mechanisms of the organismic valuing process theorised by Joseph and Linley (2005). Implications include the importance of providing opportunities for individuals to take on a role after a crisis, encouraging them to act to respond to difficulties, and encouraging them to meet personal needs for relatedness, competence, and autonomy. Finding positive aspects to a difficult situation, as well as acknowledging adversity, can be supported in future to help individuals process their traumas. As a society, we can help individuals cope with adversity by providing ways they can meet their needs for relatedness, competence, and autonomy. Community groups likely provide opportunities for members to act in ways that meet such needs. This will allow them to effectively act to meet their needs in times of crisis.
