To reduce seismic vulnerability and the economic impact of seismic structural damage, it is important to protect structures using supplemental energy dissipation devices. Several types of supplemental damping systems can limit loads transferred to structures and absorb significant response energy without sacrificial structural damage. Lead extrusion dampers are one type of supplemental energy dissipation devices. A smaller volumetric size with high force capacities, called high force to volume (HF2V) devices, have been employed in a large series of scaled and full-scaled experiments, as well as in three new structures in Christchurch and San Francisco. HF2V devices have previously been designed using very simple models with limited precision. They are then manufactured, and tested to ensure force capacities match design goals, potentially necessitating reassembly or redesign if there is large error. In particular, devices with a force capacity well above or below a design range can require more testing and redesign, leading to increased economic and time cost. Thus, there is a major need for a modelling methodology to accurately estimate the range of possible device force capacity values in the design phase – upper and lower bounds. Upper and lower bound force capacity estimates are developed from equations in the metal extrusion literature. These equations consider both friction and extrusion forces between the lead and the bulged shaft in HF2V devices. The equations for the lower and upper bounds are strictly functions of device design parameters ensuring easy use in the design phase. Two different sets of estimates are created, leading to estimates for the lower and upper bounds denoted FLB,1, FUB,1, FUB,2, respectively. The models are validated by comparing the bounds with experimental force capacity data from 15 experimental HF2V device tests. All lower bound estimates are below or almost equal to the experimental device forces, and all upper bound estimates are above. Per the derivation, the (FLB,1, FUB,1) pair provide narrower bounds. The (FLB,1, FUB,1) pair also had a mean lower bound gap of -34%, meaning the lower bound was 74% of device force on average, while the mean upper bound gap for FUB,1 was +23%. These are relatively tight bounds, within ~±2 SE of device manufacture, and can be used as a guide to ensure device forces are in range for the actual design use when manufactured. Therefore, they provide a useful design tool.
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.
Supplemental energy dissipation devices are increasingly used to protect structures, limit loads transferred to structural elements and absorbing significant response energy without sacrificial structural damage. Lead extrusion dampers are supplemental energy dissipation devices, where recent development of smaller volumetric size with high force capacities, called high force to volume (HF2V) devices, has seen deployment in a large series of scaled and full-scaled experiments, as well as in three new structures in Christchurch, NZ and San Francisco, USA. HF2V devices have previously been designed using limited precision models, so there is variation in force prediction capability. Further, while the overall resistive force is predicted, the knowledge of the relative contributions of the different internal reaction mechanisms to these overall resistive forces is lacking, limiting insight and predictive accuracy in device design. There is thus a major need for detailed design models to better understand force generation, and to aid precision device design. These outcomes would speed the overall design and implementation process for uptake and use, reducing the need for iterative experimental testing. Design parameters from 17 experimental HF2V device tests are used to create finite element models using ABAQUS. The analysis is run using ABAQUS Explicit, in multiple step times of 1 second with automatic increments, to balance higher accuracy and computational time. The output is obtained from the time- history output of the contact pressure forces including the normal and friction forces on the lead along the shaft. These values are used to calculate the resistive force on the shaft as it moves through the lead, and thus the device force. Results of these highly nonlinear, high strain analyses are compared to experimental device force results. Model errors compared to experimental results for all 17 devices ranged from 0% to 20% with a mean absolute error of 6.4%, indicating most errors were small. In particular, the standard error in manufacturing is SE = ±14%. In this case, 15 of 17 devices (88%) are within ±1SE (±14%) and 2 of 17 devices (12%) are within ±2SE (±28). These results show low errors and a distribution of errors compared to experimental results that are within experimental device construction variability. The overall modelling methodology is objective and repeatable, and thus generalizable. The exact same modelling approach is applied to all devices with only the device geometry changing. The results validate the overall approach with relatively low error, providing a general modelling methodology for accurate design of HF2V devices.
Hon JUDITH COLLINS to the Prime Minister: Does she stand by all her Government’s statements and actions?
HELEN WHITE to the Minister of Finance: What recent reports has he seen on the New Zealand economy?
Hon PAUL GOLDSMITH to the Minister of Education: Does he stand by all his statements and policies on education?
GINNY ANDERSEN to the Minister of Housing: What recent announcements has she made about the Government’s transitional housing programme?
NICOLA WILLIS to the Minister of Housing: Has the Government kept the commitment made in the 2017 Speech from the Throne to develop a ‘Rent to Own’ scheme; if so, how many families has the scheme helped into houses since then?
ANAHILA KANONGATA'A-SUISUIKI to the Minister for Social Development and Employment: What support has the Ministry of Social Development provided to people and families affected by recent COVID-19 restrictions?
NICOLE McKEE to the Minister of Police: Will Government actions reduce gang crime and gang numbers this year?
IBRAHIM OMER to the Lead Coordination Minister for the Government's Response to the Royal Commission's Report into the Terrorist Attack on the Christchurch Mosques: What recent engagement has there been with the Muslim and other ethnic communities on the Royal Commission of Inquiry into the terrorist attack on Christchurch masjidain?
SIMEON BROWN to the Minister of Police: Does she stand by her commitment to achieve the Striving Towards 1800 New Police initiative; if so, when will she achieve this initiative?
TEANAU TUIONO to the Minister for Economic and Regional Development: What advice, if any, has he received about the upcoming launch in New Zealand of a satellite that includes the “Gunsmoke-J” payload from the United States Army’s Space and Missile Defense Command?
MARJA LUBECK to the Minister for Workplace Relations and Safety: What recent announcements has he made about improving the Holidays Act 2003?
TIM VAN DE MOLEN to the Minister for Building and Construction: How many applications has the Residential Earthquake-Prone Building Financial Assistance Scheme had since its inception in September last year, and how much has been appropriated for the scheme?
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.
Heritage buildings are an important element of our urban environments, representing the hope and aspirations of a generation gone, reminding us of our achievements and our identity. When heritage buildings suffer damage, or fall into disrepair they are either met by one of two extremes; a bulldozer or painstaking repair. If the decision to conserve defeats the bulldozer, current heritage practice favours restoration into a mausoleum-type monument to yesteryear. But what if, rather than becoming a museum, these heritage buildings could live on and become a palimpsest of history? What if the damage was embraced and embodied in the repair? The Cathedral of the Blessed Sacrament on Barbadoes Street, Christchurch is the case study building for this thesis. Suffering damage in the Canterbury earthquakes of 2010 and 2011, the Cathedral sits in ruin waiting for decisions to be made around how it can be retained for future generations. This thesis will propose a reconstruction for the Cathedral through the analysis of precedent examples of reconstructing damaged heritage buildings and guided by a heritage framework proposed in this thesis. The employed process will be documented as an alternative method for reconstructing other damaged heritage buildings.
While societal messages can encourage an unhealthy strive for perfection, the notion of embracing individual flaws and openly displaying vulnerabilities can appear foreign and outlandish. However, when fallibility is acknowledged and imperfection embraced, intimate relationships built on foundations of acceptance, trust and understanding can be established. In an architectural context, similar deep-rooted connections can be formed between a people and a place through the retention of layers of historical identity. When a building is allowed to age with blemishes laid bare for all to see, an architectural work can exhibit a sense of 'humanising vulnerability' where the bruises and scars it bears are able to visually communicate its contextual narrative. This thesis explores the notion of designing to capitalise on past decay through revitalisation of the former Wood Brothers Flour Mill in Addington, Christchurch (1891). Known as one of the city's last great industrial buildings, the 130-year-old structure remains hugely impressive due to its sheer size and scale despite being abandoned and subject to vandalism for a number of years. Its condition of obsolescence ensured the retention of visible signs of wear and tear in addition to the extensive damage caused by the 2010-12 Canterbury earthquakes. In offering a challenge to renovation and reconstruction as a means of conservation, this thesis asks if 'doing less' has the potential to 'do more'. How can an understanding of architecture as an ongoing process inform a design approach to celebrate ageing and patina? While the complex is undergoing redevelopment at the time of writing, the design project embraces the condition of the historic buildings in the immediate aftermath of the earthquakes and builds upon the patina of the mill and adjacent flour and grain store in developing a design for their adaptation as a micro-distillery. Research into the traditional Japanese ideology of wabi-sabi and its practical applications form the basis for a regenerative design approach which finds value in imperfection, impermanence and incompleteness. The thesis combines a literature review, precedent review and site analysis together with a design proposal. This thesis shows that adaptive reuse projects can benefit from an active collaboration with the processes of decay. Instead of a mindset where an architectural work is considered the finished article upon completion of construction, an empathetic and sensitive design philosophy is employed in which careful thought is given to the continued preservation and evolution of a structure with the recognition that evidence of past wear, tear, patina and weathering can all contribute positively to a building's future. In this fashion, rather than simply remaining as relics of the past, buildings can allow the landscape of their urban context to shape and mould them to ensure that their architectural experience can continue to be enjoyed by generations to come.
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.
Diverse Density proposes an alternative housing strategy to the idealistic top-down process of housing development. The term ‘Top – down’ refers to a situation in which decisions are made by a few people in authority rather than by the people who are affected by the decisions (Cambridge). Problems/Position/Question: New Zealand’s urban housing is in a period of flux. Pressures of densification have permitted the intervention of medium density housing development schemes but these are not always successful. These typically top-down processes often result in internally focused design schemes that do not adhere to their specific context. The subsequent design outcomes can cause detrimental impacts to the local, urban and architectural conditions. With vast quantities of council regulations, building restrictions and design guidelines clouding over the housing sector, commonly referred to as ‘red tape’, occupant participation in the housing development sector is dwindling. A boundless separation between top-down and traditional housing processes has occurred and our existing neighbourhoods and historic architectural character are taking on the brunt of the problem. The thought-provoking, alternative housings strategies of key research theorists Alejandro Aravena and John Habraken frame positions that challenge contemporary densification methods with an alternative strategy. This position is addressed by endeavoring to answer; How can demands for denser housing achieve dynamic design responses that adhere to changes in occupancy, function and local site conditions? Aim: The aim of this thesis is to challenge New Zealand’s current housing densification methods by proposing an alternative densification strategy. Explicit devotion will be attributed to opposing top-down building developments. Secondly, this thesis aims to test a speculative site-specific housing model. The implementation of a Christchurch housing scenario will situate an investigative study to test the strategy and its ability to stimulate greater diversity, site responsiveness, functional adaptability and occupancy permutation. The post-earthquake housing conditions of Christchurch provide an appropriate scenario to test and implement design-led investigations. Objectives: The primary objectives of this design-led research investigation it to challenge the idealistic top-down method of developing density with a new method to: - Develop contextual architectural cohesion - Encourage residential diversity - Reinvigorate architectural autonomy - Respond to, and recognise, existing site conditions - Develop a housing model that: - Adapts to occupant functionality preferences - Caters to occupancy diversity - Achieves contextual responsiveness The proposition is addressed through a speculative design-led scenario study. A well-established Christchurch urban environment is adopted to implement and critique the envisioned alternative strategy. Development of the designs responsiveness, adaptability, and functionality produce a prototype housing model that actively adheres to its particular context. Implication: The implications of this research would be an alternative densification strategy to perceive the advancement of punctual assessment of building compliance. With accelerated building processes, the research may have implications for addressing New Zealand’s housing crisis whilst simultaneously providing diverse, personable and responsive architectural solutions. A more dynamic, up-to-date and responsive housing development sector would be informed.
In the aftermath of the 2011 earthquake, a state of polycentric urbanity was thrust upon New Zealand’s second largest city. As the city-centre lay in disrepair, smaller centres started to materialise elsewhere, out of necessity. Transforming former urban peripheries and within existing suburbs into a collective, dispersed alternative to the city centre, these sub-centres prompted a range of morphological, socio-cultural and political transformations, and begged multiple questions: how to imbue these new sub-centres with gravity? How to render them a genuine alternative to the CBD? How do they operate within the wider city? How to cope with the physical and cultural transformations of this shifting urbanscape and prevent them occurring ad lib? Indeed, the success and functioning of the larger urban structure hinges upon a critical, informed response to these sub-centre urban contexts. Yet, with an unrelenting focus on the CBD rebuild - effectively a polycentric denial - little such attention has been granted. Taking this urban condition as its premise and its provocation, this thesis investigates architecture’s role in the emergent sub-centre. It asks: what can architecture do in these urban contexts; how can architecture act upon the emergent sub-centre in a critical, catalytic fashion? Identifying this volatile condition as both an opportunity for architectural experimentation and a need for critical architectural engagement, this thesis seeks to explore the sub-centre (as an idea and actual urban context) as architecture’s project: its raison d’etre, impetus and aspiration. These inquiries are tested through design-led research: an initial design question provoking further, broader discursive research (and indeed, seeking broader implications). The first section is a site-specific, design for Sumner, Christchurch. Titled ‘An Agora Anew’; this project - both in conception and outcome - is a speculative response to a specific sub-centre condition. The second section ‘The Sub-centre as Architecture’s Project’ explores the ideas provoked by the design project within a discursive framework. Firstly it identifies the sub-centre as a context in desperate need of architectural attention (why architecture?); secondly, it negotiates a possible agenda for architecture in this context through terms of engagement that are formal, critical and opportunistic (how architecture?): enabling it to take a position on and in the sub-centre. Lastly, a critical exegesis positions the design in regards to the broader discursive debate: critiquing it an architectural project predicated upon the idea of the sub-centre. The implications of this design-led thesis are twofold: firstly, for architecture’s role in the sub-centre (especially to Christchurch); secondly for the possibilities of architecture’s productive engagement with the city (largely through architectural form), more generally. In a century where radical, new urban contexts (of which the sub-centre is just one) are commonplace, this type of thinking – what can architecture do in the city? - is imperative.
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.
The demand for a new approach to safeguarding New Zealand’s endangered historic buildings was identified as a result of the recent increase in building code and strengthening requirements following the Christchurch earthquakes of 2010-2011. The Wellington City Council identified 266 heritage buildings in the city that must be either strengthened or demolished to address these increased requirements. This thesis explores this threat as an opportunity for researching how contemporary design interventions can be challenged to both strengthen and become active participants in the ongoing history of New Zealand’s potentially endangered historic buildings. This thesis challenges the current approach of completely ‘restoring’ 19th-20th century historic buildings in New Zealand, to develop techniques that structurally reinforce historic buildings while inviting the progressive weathering of a building to remain as a testament to its history. This thesis proposes a structural intervention that is responsive to the progressive history of historic buildings, simultaneously introducing a contemporary structural intervention that both participates in and compliments the progressive historic transformations of the vehicle. This thesis argues that current historic buildings in semi-decayed states in fact enable visitors to witness multiple stages in the life of a building, while fully restored buildings only enable visitors to witness the original form of the building. This thesis proposes a model for contemporary intervention within historic buildings that draws a design intervention from seismic strengthening.The notion of layering is explored as a design approach to incorporate the contemporary with the historic as an additional layer of exposed on-going history, thereby further exposing the layers of history evident within New Zealand’s historic buildings. This thesis combines layering theories of architects Louis Kahn and Carlo Scarpa with related theories of installation artist Mary Miss. The theoretical imperatives of Scarpa and Kahn are explored as a tool of engagement for the junction between the contemporary and historic building materials, and the work of Marry Miss is explored as a design approach for developing a contemporary intervention that references the layered historic building while inviting new means of occupancy between layers. The selected vehicle for the design research investigation is the Albemarle Hotel on Ghuznee Street in Wellington. The techniques proposed in this thesis to strengthen the Albemarle Hotel suggest an approach that might be applied to New Zealand’s wider body of historic buildings that constitute New Zealand’s heritage fabric, ultimately protecting them from demolition while preserving additional layers of their historic narratives. Over all the design research experiments suggest that contemporary interventions derived from structural strengthening may be a viable and cost-effective method of re-inhabiting New Zealand’s endangered heritage buildings, avoiding demolition and securing New Zealand’s heritage for future generations. Research Questions: This thesis challenges the current economically unsustainable approach of laterally reinforcing and completely ‘restoring’ 19th-20th century historic buildings in New Zealand. This thesis argues that current historic buildings in semi-decayed states in fact enable visitors to witness multiple stages in the on-going life of a building. Can the weathered state of New Zealand's heritage buildings be proactively retained and celebrated as witnesses to their history? Can new lateral reinforcing requirements be conceived as active participants in revealing the on-going history of New Zealand's historic buildings?
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.
Brooklands Lagoon / Te Riu o Te Aika Kawa (‘Brooklands’) is an important wetland and estuarine ecosystem in Canterbury. It is a site of cultural significance to Ngāi Tūāhuriri, and is also valued by the wider community. Home to an array of life, it is connected to the Pūharakekenui/Styx and Waimakariri rivers, and is part of a wetland landscape complex that includes the Avon-Heathcote / Ihutai estuary to the south and the Ashley / Rakahuri estuary to the north. Notionally situated within the territorial boundary of Christchurch City Council and jurisdictionally encompassed by the regional council Environment Canterbury, it has been legally determined to be part of the coastal marine area. The complicated administrative arrangements for the lagoon mirror the biophysical and human challenges to this surprisingly young ecosystem since its formation in 1940.
Here we present a synthesis of the historical events and environmental influences that have shaped Brooklands Lagoon. Before existing as an intertidal ecosystem, the Waimakariri river mouth was situated in what is now the southern end of the lagoon. A summary timeline of key events is set out in the table below. These included the diversion of the Waimakariri River mouth via the construction of Wrights Cut in the 1930s, which influenced the way that the lower reaches of the river interacted with the land and sea. A large flood in 1940 shifted the river mouth ~2 to 3 kilometres north, that created the landscape that we see today. However, this has not remained stable, as the earthquake sequence in 2010 and 2011 subsided the bed of the estuary.
The changes are ongoing, as sea level rise and coastal inundation will place ongoing pressure on the aquatic ecosystem and surrounding land. How to provide accommodation space for Brooklands as an estuary will be a key planning and community challenge, as Environment Canterbury begins the engagement for the review of its Regional Coastal Plan. There is also a requirement to safeguard its ecological health under the 2020 National Policy Statement on Freshwater Management. This will necessitate an integrated mountains to sea (ki uta ki tai) management approach as the lagoon is affected by wider catchment activities. We hope that this report will contribute to, and inform these processes by providing a comprehensive historical synthesis, and by identifying considerations for the future collaborative management of Brooklands Lagoon, and protection of its values. In essence, we suggest that Te Riu o Te Aika Kawa deserves some sustained aroha.
