Urban Ensembles explores the way in which landscape and architecture can be employed together within the design of a steep, urban site. Lyttelton is a small port town on the border of Christchurch, settled in the foothills of a harbour formed by a major volcanic eruption. This rugged setting, with steeply sloping urban terrain, presents an interesting challenge when designing an urban development. The site was badly damaged in a series of earthquakes in 2010-2011, and many of the town’s oldest buildings, heritage structures dating back to the colonial settlement era, were destroyed. This has left a void in the heart of Lyttelton, and caused the loss of much of the tourism business that the town relies upon for its income. This thesis takes a methodological approach to the design of landscape architecture on such a challenging site. A range of techniques are explored, drawing from both landscape and architecture to explore the roles that each discipline plays in the design of urban spaces. The frequent imbalance between disciplines is addressed both through the literature review and design method, as this landscape architecture thesis draws on architectural design as a tool for generating spaces which fall somewhere in between the two ideals of interior and exterior. The final design proposal is an alternative rebuild plan for the central business area to the south of London St, and also addresses the relationships between that site and the surrounding context, both urban and environmental. The aim of this design is to create a series of interconnected spaces which have a strong relationship to the surrounding harbour setting, and also to facilitate development of the pedestrian spaces throughout the block and encouraging the development of activity at the street level, through the interface between buildings and landscape.
On November 14, 2016 an earthquake struck the rural districts of Kaikōura and Hurunui on New Zealand’s South Island. The region—characterized by small dispersed communities, a local economy based on tourism and agriculture, and limited transportation connections—was severely impacted. Following the quake, road and rail networks essential to maintaining steady flows of goods, visitors, and services were extensively damaged, leaving agrifood producers with significant logistical challenges, resulting in reduced productivity and problematic market access. Regional tourism destinations also suffered with changes to the number, characteristics, and travel patterns of visitors. As the region recovers, there is renewed interest in the development and promotion of agrifood tourism and trails as a pathway for enhancing rural resilience, and a growing awareness of the importance of local networks. Drawing on empirical evidence and insights from a range of affected stakeholders, including food producers, tourism operators, and local government, we explore the significance of emerging agrifood tourism initiatives for fostering diversity, enhancing connectivity, and building resilience in the context of rural recovery. We highlight the motivation to diversify distribution channels for agrifood producers, and strengthen the region’s tourism place identity. Enhancing product offerings and establishing better links between different destinations within the region are seen as essential. While such trends are common in rural regions globally, we suggest that stakeholders’ shared experience with the earthquake and its aftermath has opened up new opportunities for regeneration and reimagination, and has influenced current agrifood tourism trajectories. In particular, additional funding for tourism recovery marketing and product development after the earthquake, and an emphasis on greater connectivity between the residents and communities through strengthening rural networks and building social capital within and between regions, is enabling more resilient and sustainable futures.
At the conclusion of the 2010 and 2011 Canterbury earthquakes more than 5100 homes had been deemed unsafe for habitation. The land and buildings of these were labelled “red zoned” and are too badly damaged for remediation. These homes have been demolished or are destined for demolition. To assist the red zone population to relocate, central government have offered to ‘buy out’ home owners at the Governmental Value (GV) that was last reviewed in 2007. While generous in the economic context at the time, the area affected was the lowest value land and housing in Christchurch and so there is a capital shortfall between the 2007 property value and the cost of relocating to more expensive properties. This shortfall is made worse by increasing present day values since the earthquakes. Red zone residents have had to relocate to the far North and Western extremities of Christchurch, and some chose to move even further to neighbouring towns or cities. The eastern areas and commercial centres close to the red zone are affected as well. They have lost critical mass which has negatively impacted businesses in the catchments of the Red Zone. This thesis aims to repopulate the suburbs most affected by the abandonment of the red zone houses. Because of the relative scarcity of sound building sites in the East and to introduce affordability to these houses, an alternative method of development is required than the existing low density suburban model. Smart medium density design will be tested as an affordable and appropriate means of living. Existing knowledge in this field will be reviewed, an analysis of what East Christchurch’s key characteristics are will occur, and an examination of built works and site investigations will also be conducted. The research finds that at housing densities of 40 units per hectare, the spatial, vehicle, aesthetic needs of East Christchurch can be accommodated. Centralising development is also found to offer better lifestyle choices than the isolated suburbs at the edges of Christchurch, to be more efficient using existing infrastructure, and to place less reliance on cars. Stronger communities are formed from the outset and for a full range of demographics. Eastern affordable housing options are realised and Christchurch’s ever expanding suburban tendencies are addressed. East Christchurch presently displays a gaping scar of devastated houses that ‘The New Eastside’ provides a bandage and a cure for. Displaced and dispossessed Christchurch residents can be re-housed within a new heart for East Christchurch.
Christchurch was struck by a 6.3 magnitude earthquake on the 22 February 2011. The quake devastated the city, taking lives and causing widespread damage to the inner city and suburban homes. The central city lost over half its buildings and over 7000 homes were condemned throughout Christchurch. The loss of such a great number of homes has created the requirement for new housing to replace those that were lost. Many of which were located in the eastern, less affluent, suburbs. The response to the housing shortage is the planned creation of large scale subdivisions on the outskirts of the city. Whilst this provides the required housing it creates additional sprawl to a city that does not need it. The extension of Christchurch’s existing suburban sprawl puts pressure on roading and pushes residents further out of the city, creating a disconnection between them. Christchurch’s central city had a very small residential population prior to the earthquakes with very few options for dense inner city living. The proposed rebuild of the inner city calls for a new ‘dense, vibrant and diverse central hub’. Proposing the introduction of new residential units within the central city. However the placement of the low-rise housing in a key attribute of the rebuild, the eastern green ‘Frame’, diminishes its value as open green space. The proposed housing will also be restrictive in its target market and therefore the idea of a ‘vibrant’ inner city is difficult to achieve. This thesis acts as response to the planned rebuild of inner Christchurch. Proposing the creation of a model for inner city housing which provides an alternative option to the proposed housing and existing and ongoing suburban sprawl. The design options were explored through a design-led process were the options were critiqued and developed. The ‘final’ proposal is comprises of three tall towers, aptly named the Triple Towers, which condense the proposed low-rise housing from an 11000 square metre footprint to combined footprint of 1500 square metres. The result is an expansion of the publicly available green space along the proposed eastern frame of the city. The height of the project challenges the height restrictions and is provocative in its proposal and placement. The design explores the relationships between the occupants, the building, the ‘Frame’ and the central city. The project is discussed through an exploration of the architecture of Rem Koolhaas, Renzo Piano and Oscar Niemeyer. Rather than their architecture being taken as a direct influence on which the design is based the discussion revolves around how and why each piece of comparative architecture is relevant to the designs desired outcome.
A buckling-restrained braced frame (BRBF) is a structural bracing system that provides lateral strength and stiffness to buildings and bridges. They were first developed in Japan in the 1970s (Watanabe et al. 1973, Kimura et al. 1976) and gained rapid acceptance in the United States after the Northridge earthquake in 1994 (Bruneau et al. 2011). However, it was not until the Canterbury earthquakes of 2010/2011, that the New Zealand construction market saw a significant uptake in the use of buckling-restrained braces (BRBs) in commercial buildings (MacRae et al. 2015). In New Zealand there is not yet any documented guidance or specific instructions in regulatory standards for the design of BRBFs. This makes it difficult for engineers to anticipate all the possible stability and strength issues within a BRBF system and actively mitigate them in each design. To help ensure BRBF designs perform as intended, a peer review with physical testing are needed to gain building compliance in New Zealand. Physical testing should check the manufacturing and design of each BRB (prequalification testing), and the global strength and stability of each BRB its frame (subassemblage testing). However, the financial pressures inherent in commercial projects has led to prequalification testing (BRB only testing) being favoured without adequate design specific subassemblage testing. This means peer reviewers have to rely on BRB suppliers for assurances. This low regulation environment allows for a variety of BRBF designs to be constructed without being tested or well understood. The concern is that there may be designs that pose risk and that issues are being overlooked in design and review. To improve the safety and design of BRBFs in New Zealand, this dissertation studies the behaviour of BRBs and how they interact with other frame components. Presented is the experimental test process and results of five commercially available BRB designs (Chapter 2). It discusses the manufacturing process, testing conditions and limitations of observable information. It also emphasises that even though subassemblage testing is impractical, uniaxial testing of the BRB only is not enough, as this does not check global strength or stability. As an alternative to physical testing, this research uses computer simulation to model BRB behaviour. To overcome the traditional challenges of detailed BRB modelling, a strategy to simulate the performance of generic BRB designs was developed (Chapter 3). The development of nonlinear material and contact models are important aspects of this strategy. The Chaboche method is employed using a minimum of six backstress curves to characterize the combined isotropic and kinematic hardening exhibited by the steel core. A simplified approach, adequate for modelling the contact interaction between the restrainer and the core was found. Models also capture important frictional dissipation as well as lateral motion and bending associated with high order constrained buckling of the core. The experimental data from Chapter 2 was used to validate this strategy. As BRBs resist high compressive loading, global stability of the BRB and gusseted connection zone need to be considered. A separate study was conducted that investigated the yielding and buckling strength of gusset plates (Chapter 4). The stress distribution through a gusset plate is complex and difficult to predict because the cross-sectional area of gusset plate is not uniform, and each gusset plate design is unique in shape and size. This has motivated design methods that approximate yielding of gusset plates. Finite element modelling was used to study the development of yielding, buckling and plastic collapse behaviour of a brace end bolted to a series of corner gusset plates. In total 184 variations of gusset plate geometries were modelled in Abaqus®. The FEA modelling applied monotonic uniaxial load with an imperfection. Upon comparing results to current gusset plate design methods, it was found that the Whitmore width method for calculating the yield load of a gusset is generally un-conservative. To improve accuracy and safety in the design of gusset plates, modifications to current design methods for calculating the yield area and compressive strength for gusset plates is proposed. Bolted connections are a popular and common connection type used in BRBF design. Global out-of-plane stability tends to govern the design for this connection type with numerous studies highlighting the risk of instability initiated by inelasticity in the gussets, neck of the BRB end and/or restrainer ends. Subassemblage testing is the traditional method for evaluating global stability. However, physical testing of every BRBF variation is cost prohibitive. As such, Japan has developed an analytical approach to evaluate out-of-plane stability of BRBFs and incorporated this in their design codes. This analytical approach evaluates the different BRB components under possible collapse mechanisms by focusing on moment transfer between the restrainer and end of the BRB. The approach have led to strict criteria for BRBF design in Japan. Structural building design codes in New Zealand, Europe and the United States do not yet provide analytical methods to assess BRB and connection stability, with prototype/subassemblage testing still required as the primary means of accreditation. Therefore it is of interest to investigate the capability of this method to evaluate stability of BRBs designs and gusset plate designs used in New Zealand (including unstiffened gusset connection zones). Chapter 5 demonstrates the capability of FEA to study to the performance of a subassemblage test under cyclic loading – resembling that of a diagonal ground storey BRBF with bolted connections. A series of detailed models were developed using the strategy presented in Chapter 3. The geometric features of BRB 6.5a (Chapter 2) were used as a basis for the BRBs modelled. To capture the different failure mechanisms identified in Takeuchi et al. (2017), models varied the length that the cruciform (non-yielding) section inserts into the restrainer. Results indicate that gusset plates designed according to New Zealand’s Steel Structures Standard (NZS 3404) limit BRBF performance. Increasing the thickness of the gusset plates according to modifications discussed in Chapter 4, improved the overall performance for all variants (except when Lin/ Bcruc = 0.5). The effect of bi-directional loading was not found to notably affect out-of-plane stability. Results were compared against predictions made by the analytical method used in Japan (Takeuchi method). This method was found to be generally conservative is predicting out-of-plane stability of each BRBF model. Recommendations to improve the accuracy of Takeuchi’s method are also provided. The outcomes from this thesis should be helpful for BRB manufacturers, researchers, and in the development of further design guidance of BRBFs.
The Canterbury earthquake sequence of 2010-2011 wrought ruptures in not only the physical landscape of Canterbury and Christchurch’s material form, but also in its social, economic, and political fabrics and the lives of Christchurch inhabitants. In the years that followed, the widespread demolition of the CBD that followed the earthquakes produced a bleak landscape of grey rubble punctuated by damaged, abandoned buildings. It was into this post-earthquake landscape that Gap Filler and other ‘transitional’ organisations inserted playful, creative, experimental projects to bring life and energy back into the CBD. This thesis examines those interventions and the development of the ‘Transitional Movement’ between July 2013 and June 2015 via the methods of walking interviews and participant observation. This critical period in Christchurch’s recovery serves as an example of what happens when do-it-yourself (DIY) urbanism is done at scale across the CBD and what urban experimentation can offer city-making. Through an understanding of space as produced, informed by Lefebvre’s thinking, I explore how these creative urban interventions manifested a different temporality to orthodox planning and demonstrate how the ‘soft’ politics of these interventions contain the potential for gentrification and also a more radical politics of the city, by creating an opening space for difference.
Architecture and music have a long intertwining history.These respective creative forces many times have collaborated into monumental place, harboured rich occasion, been catalyst for cultural movement and defined generations. Together they transcend their respective identities. From dinky local church to monstrous national stadia, together they are an intense concentration, a powerfully addictive dosage where architecture is the place, music is the faith, and people are the reason. Music is a programme that architecture often celebrates in poetic and grand fashion; a superficial excuse to symbolise their creative parallels. But their relationship is much richer and holds more value than just the opportunity to attempt architectural metaphor.While music will always overshadow the architecture in the sense of a singular event, architecture is like the soundman behind the mixing desk. It’s not the star front and centre grabbing your attention, but is responsible for framing the star. It is the foundational backdrop, a critical pillar. Great architecture can help make great music. In this sense music is a communication of architecture, it is the ultimate creative function. Christchurch, New Zealand, is a city whose story changed in an instant. The seismic events of 2010 and 2011 have become the overriding subject of its historical narrative, as it will be for years to come. Disaster redefines place (the town of Napier, struck by an earthquake in 1931, exemplifies this). There is no quantifiable justification for an exploration of architecture and music within the context of Christchurch. The Town Hall, one of New Zealand’s most architecturally significant buildings, is under repair. The Christ Church Cathedral will more than likely be rebuilt to some degree of its former self. But these are echoes of the city that Christchurch was.They are saved because they are artefact. Evidence of history.This thesis makes the argument for the new, the better than before, and for the making of opportunity from disaster, by proposing a ‘new’ town hall, conceived from the sound of old.
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.
A city’s planted trees, the great majority of which are in private gardens, play a fundamental role in shaping a city’s wild ecology, ecosystem functioning, and ecosystem services. However, studying tree diversity across a city’s many thousands of separate private gardens is logistically challenging. After the disastrous 2010–2011 earthquakes in Christchurch, New Zealand, over 7,000 homes were abandoned and a botanical survey of these gardens was contracted by the Government’s Canterbury Earthquake Recovery Authority (CERA) prior to buildings being demolished. This unprecedented access to private gardens across the 443.9 hectares ‘Residential Red Zone’ area of eastern Christchurch is a unique opportunity to explore the composition of trees in private gardens across a large area of a New Zealand city. We analysed these survey data to describe the effects of housing age, socio-economics, human population density, and general soil quality, on tree abundance, species richness, and the proportion of indigenous and exotic species. We found that while most of the tree species were exotic, about half of the individual trees were local native species. There is an increasing realisation of the native tree species values among Christchurch citizens and gardens in more recent areas of housing had a higher proportion of smaller/younger native trees. However, the same sites had proportionately more exotic trees, by species and individuals, amongst their larger planted trees than older areas of housing. The majority of the species, and individuals, of the larger (≥10 cm DBH) trees planted in gardens still tend to be exotic species. In newer suburbs, gardens in wealthy areas had more native trees than gardens from poorer areas, while in older suburbs, poorer areas had more native big trees than wealthy areas. In combination, these describe, in detail unparalleled for at least in New Zealand, how the tree infrastructure of the city varies in space and time. This lays the groundwork for better understanding of how wildlife distribution and abundance, wild plant regeneration, and ecosystem services, are affected by the city’s trees.
Museums around the world are often affected by major catastrophes, and yet planning for these disasters is an often neglected aspect of museum practice. New Zealand is not immune from these events, as can be seen in the recent series of serious earthquakes in Christchurch in 2010 and 2011. This dissertation considers how prepared the New Zealand museum sector is to handle unexpected events that negatively affect its buildings, staff, operations and treasured collections. The central research question was: What is the overall state of emergency planning in the New Zealand museum sector? There was a significant gap in the literature, especially in the local context, as there has been only one other comparable study conducted in Britain, and nothing locally. This dissertation makes a valuable contribution to the field of museum studies by drawing on theory from relevant areas such as crises management literature and by conducting original empirical research on a topic which has received little attention hitherto. The research employed a number of methods, including a review of background secondary sources, a survey and interviews. After contextualising the study with a number of local examples, Ian online survey was then developed an which enabled precise understanding of the nature of current museum practices and policies around emergency planning. Following this I conducted several interviews with museum professionals from a variety of institutional backgrounds which explored their thoughts and feelings behind the existing practices within the industry. The findings of the research were significant and somewhat alarming: almost 40% of the museum and galleries in New Zealand do not have any emergency plan at all, and only 11% have what they considered ‘complete’ plans. The research revealed a clear picture of the current width and depth of planning, as well as practices around updating the plans and training related to them. Within the industry there is awareness that planning for emergencies is important, but museum staff typically lack the knowledge and guidance needed to conduct effective emergency planning. As a result of the analysis, several practical suggestions are presented aimed at improving emergency planning practices in New Zealand museums. However this study has implications for museum studies and for current museum practice everywhere, as many of the recommendations for resolving the current obstacles and problems are applicable anywhere in the world, suggesting that New Zealand museums could become leaders in this important area.
As cities evolve, change and grow, the need and desire for adaptable architecture becomes evident across the nation. Architecture needs to undertake techniques that are flexible in order to adapt and align with the development of future generations in New Zealand. The Education industry is a primary example of a sector which requires flexibility within both classroom architectural form and interior configuration. This is a resultant of the recently updated Ministry of Education requirements; which state that every new classroom built or renovated nationwide, must implement the MoE classroom design standards for Innovative Learning Environments. ILE teaching spaces are configured as an open plan interior, supporting flexibility in classroom arrangement and teaching techniques. ILE classrooms are capable of evolving and adapting as educational practices evolve and change, allowing schools to remain modern and future focused. As part of this movement to ILE, the Ministry of Education has also recently made an attempt to improve the quality of temporary classrooms. This has been done by looking into the initiation of a programme that utilizes relocatable classroom buildings. Relocatable classrooms have been selected for multiple reasons, primarily flexibility. Flexibility is key for a school environment as it allows the school to actively respond to fluctuating school rolls. It is anticipated that the programme will provide a faster delivery process with a standardised design that allows the classrooms to be relocated from one school to another with relative ease. Following the devastating February 2011 earthquake the Greater Christchurch Region, the Education sector is in the midst of the Canterbury Schools Rebuild Programme. As a repercussion of this natural disaster, the majority of Christchurch schools have redevelopment or rebuild projects in progress, with preliminary design phases already in action for a small group of select schools regarded as high priority. The primary funding for these projects are sourced from insurance money, implementing tight budget restrictions, affecting the architectural design, quality and speed of the construction and repair works. The available funding limits the affordable classroom options to basic teaching spaces that have been stripped back to simple architectural forms, dictating not only the re-design, but also how our future generations will learn. Thus causing the development of the new student-led learning ILE concept to become controlled by existing construction techniques and the Rebuild Programmes budget restrictions. This thesis focuses on the future proofing of New Zealand schools by providing an affordable and time efficient alternative option to the current static, traditional construction, an option that has the ability to cater to the unpredictable fluctuating school rolls across the nation. This has been done by developing a prefabricated system for standalone classroom blocks. These blocks have the ability to be relocated between different school sites, dynamically catering to the unpredictable school roll numbers experienced across New Zealand. This site flexibility is reflected with the interior flexibility in the classrooms, enhancing the internal teaching space composition and challenges the existing design standards set by the Ministry of Education for Innovative Learning Environments. This system is called “Flexi-Ed”. Flexibility has been a key driver for this thesis, as the prefabricated structure is have to be flexible in three ways; first in the sense of being easy to assemble and disassemble. Second by offering flexible interior learning environments and thirdly the joints of the structure are designed with the ability to be flexible in order to cope with seismic activity. These three principles will provide schools with long term flexibility, minimal on-site interruption and heighten the standard of ILE across the nation. I strive to provide schools with long term flexibility and minimal site interruption, whilst heightening the standard of Innovative Learning Environments across New Zealand.
