This paper explores the responses by a group of children to an art project that was undertaken by a small school in New Zealand after the September 2010 and February 2011 Christchurch earthquakes. Undertaken over a period of two years, the project aimed to find a suitable form of memorialising this significant event in a way that was appropriate and meaningful to the community. Alongside images that related directly to the event of the earthquakes, the art form of a mosaic was chosen, and consisted of images and symbols that clearly drew on the hopes and dreams of a school community who were refusing to be defined by the disaster. The paper 'writes' the mosaic by placing fragments of speech spoken by the children involved in relation to ideas about memory, affect, and the 'sublime', through the work of Jean-Francois Lyotard. The paper explores the mosaic as constituted by the literal and metaphorical 'broken pieces' of the city of Christchurch in ways that confer pedagogic value inscribed through the creation of a public art space by children AM - Accepted Manuscript
The contents of this dissertation explores the renovation of Noah’s hotel which was left abandoned after the 2011 Christchurch earthquake. With the current state of New Zealand as of now, rent prices plummeting, and the ongoing mass emigration proves the country’s increased cost of living. A trend of ‘hidden homelessness’ in the forms of couch surfing and overcrowding tenancies evinces a mass economic displacement. This thesis is driven by means of speculation and of hope that by utilising Christchurch’s dilapidated sites can be transformed into safe havens for those evicted. Guided by the six principles of heterotopia introduced by Michel Foucault, the proposed co-living hotel determines to attest societal perception of hotels, and introduce a reality that alleviates a community from political and economical instability. In terms of Christchurch’s landscape, the hotel itself lies within Maltese Cross, layout planned in 1850 which defines the CBD’S unique urbanscape. Historic landmarks and erected projects use the cross as a guide in tandem with legislative policies strictly imposing the importance of view protection for heritage buildings - a notion made compulsory especially after the earthquake. By taking inspiration from Gordon Matta-Clark’s methodology of Conical Intersects, voids through the building act as viewshafts, each introducing key sites important to Christchurch. These voids simultaneously house integral communal areas and narrates a timeline of Ōtautahi’s crucial events
