The washing machine on Gap Filler's "Dance-O-Mat". The washing machine is coin operated. When a two dollar coin is fed into the machine, it lights up the stage and plays a music device.
Photograph captioned by BeckerFraserPhotos, "Dance-O-Mat, corner Manchester/St Asaph Streets, music machine built in an old washing machine".
Photograph captioned by BeckerFraserPhotos, "The remains of a removed cash machine in the Westpac building, Cashel Street".
A photograph of a crowd watching Struan Ashby from Tape Art NZ create the 'Dream Machine'. The 'Dream Machine' was a 9-day long creative project that used dream stories from the audience to turn a shipping container into a 40-foot mural. The photograph was taken at the 2014 SCIRT World Buskers Festival in Hagley Park.
A photograph of Struan Ashby from Tape Art NZ creating the 'Dream Machine'. The 'Dream Machine' was a 9-day long creative project that used dream stories from the audience to turn a shipping container into a 40 foot mural. The photograph was taken at the 2014 SCIRT World Buskers Festival in Hagley Park.
A photograph of Erica Duthy and Struan Ashby from Tape Art NZ creating the 'Dream Machine'. The 'Dream Machine' was a 9-day long creative project that used dream stories from the audience to turn a shipping container into a 40-foot mural. The photograph was taken at the 2014 SCIRT World Buskers Festival in Hagley Park.
A machine pumping sewage into the Avon River on Avonside Drive.
A digitally altered photograph of a child next to the "Dance-O-Mat" washing machine. The washing machine is coin operated. When a two dollar coin is fed in, it lights up the "Dance-O-Mat" and plays a plugged-in music device.
Photograph captioned by BeckerFraserPhotos, "Road working machines blocking the entrance to Ottawa Street".
Photograph captioned by BeckerFraserPhotos, "Dallington Terrace. Dirty groundwater is pumped into the Siltbuster, the silt filtered out, and clean water pumped out into the river".
A photograph of a damaged Coca Cola vending machine outside Peaches and Cream on Tuam Street.
A photograph of a damaged Coca Cola vending machine outside Peaches and Cream on Tuam Street.
Director of Gap Filler, Coralie Winn, decorating the sides of a washing machine with information about Gap Filler's "Dance-O-Mat".
A machine pumps sewage into the river in Kaiapoi. This is a temporary solution while the sewage system is being repaired.
Gap Filler's "Dance-O-Mat" photographed at night. Somebody has put money in the washing machine so that the lights are shining.
Natural catastrophes are increasing worldwide. They are becoming more frequent but also more severe and impactful on our built environment leading to extensive damage and losses. Earthquake events account for the smallest part of natural events; nevertheless seismic damage led to the most fatalities and significant losses over the period 1981-2016 (Munich Re). Damage prediction is helpful for emergency management and the development of earthquake risk mitigation projects. Recent design efforts focused on the application of performance-based design engineering where damage estimation methodologies use fragility and vulnerability functions. However, the approach does not explicitly specify the essential criteria leading to economic losses. There is thus a need for an improved methodology that finds the critical building elements related to significant losses. The here presented methodology uses data science techniques to identify key building features that contribute to the bulk of losses. It uses empirical data collected on site during earthquake reconnaissance mission to train a machine learning model that can further be used for the estimation of building damage post-earthquake. The first model is developed for Christchurch. Empirical building damage data from the 2010-2011 earthquake events is analysed to find the building features that contributed the most to damage. Once processed, the data is used to train a machine-learning model that can be applied to estimate losses in future earthquake events.
Photograph captioned by BeckerFraserPhotos, "Gloucester Street - this big machine munches concrete rubble and reduces it to aggregate for hard fill on building sites".
A photograph of Whole House Reuse item 266. This item was salvaged from 19 Admiral Way in New Brighton as part of the Whole House Reuse project.
A thumbnail photograph of Whole House Reuse item 266, cropped for the catalogue. This item was salvaged from 19 Admiral Way in New Brighton as part of the Whole House Reuse project.
Photograph captioned by BeckerFraserPhotos, "Concrete munching jaws in Madras Street".
People dance on Gap Filler's Dance-O-Mat, a dance floor set up in a demolished building site, with a coin operated washing machine offering lighting and music.
People dance on Gap Filler's Dance-O-Mat, a dance floor set up in a demolished building site, with a coin operated washing machine offering lighting and music.
A photograph of people in Cathedral Square on the night of Canterbury Tales, during FESTA 2013. A smoke machine and theatre lights are being used to set the scene.
A photograph of people in Cathedral Square on the night of Canterbury Tales, during FESTA 2013. A smoke machine and theatre lights are being used to set the scene.
Information sheet about the Gap Filler Dance-O-Mat, a dance floor set up in a demolished building site, with a coin operated washing machine offering lighting and music.
A photograph of cast iron bath feet sitting on top of a washing machine.Crack'd for Christchurch comments, "Jenny bought eight Victorian cast iron bath feet from Trade Me."
Photograph captioned by BeckerFraserPhotos, "Large scale roadworks at the intersection of Avonside Drive, Woodham Road, and Linwood Avenue".
Photograph captioned by BeckerFraserPhotos, "Looking east along Beach Road towards Bower Avenue. Machine is pumping out groundwater and filtering silt. This piece of road is zoned orange on the left and green on the right".
Photograph captioned by BeckerFraserPhotos, "Looking east along Beach Road towards Bower Avenue. Machine is pumping out groundwater and filtering silt. This piece of road is zoned orange on the left and green on the right".
The suburb of New Brighton in Christchurch Aotearoa was once a booming retail sector until the end of its exclusivity to Saturday shopping in 1980 and the aftermath of the devastating 2011 Christchurch earthquake. The suburb of New Brighton was hit particularly hard and fell into economic collapse, partly brought on by the nature of its economic structure. This implosion created an urban crisis where people and businesses abandoned the suburb and its once-booming commercial economy. As a result, New Brighton has been left with the residue of abandoned infrastructure and commercial propaganda such as billboards, ATM machines, commercial facades, and shopping trolleys that as abandoned fragments, no longer contribute to culture, society and the economy. This design-led research investigation proposes to repurpose the broken objects that were left behind. By strategically selecting objects that are symbols of the root cause of the economic devastation, the repurposed and re-contextualised fragments will seek to allegorically expose the city’s destructive economic narrative, while providing a renewed sense of place identity for the people. This design-led thesis investigation argues that the seemingly innocuous icons of commercial industry, such as billboards, ATM machines, commercial facades, and shopping trolleys, are intended to act as lures to encourage people to spend money; ultimately, these urban and architectural lures can contribute to economic devastation. The aim of this investigation is to repurpose abandoned fragments of capitalist infrastructure in ways that can help to unveil new possibilities for a disrupted community and enhance their awareness of what led to the urban disruption. The thesis proposes to achieve this research aim by exploring three principal research objectives: 1) to assimilate and re-contextualise disconnected urban fragments into new architectural interventions; 2) to anthropomorphise these new interventions so that they are recognisable as architectural ‘inhabitants’, the storytellers of the urban context; and 3) to curate these new architectural interventions in ways that enable a community-scale allegorical and didactic experience to be recognised.