A photograph of painted bird cut-outs hanging from a tree next to the Avon River on Oxford Terrace, near the Worcester Street bridge. The decorations were part of an installation titled The River, created by students from Lincoln University's School of Landscape Architecture for Canterbury Tales, a carnivalesque procession and the main event of FESTA 2013.
A photograph of a floating installation titled The River on the Avon River. The installation consists of two chairs, a lamp and a table, situated on a grass-covered platform, with net curtains hanging from the frame. It was created by students from Lincoln University's School of Landscape Architecture for Canterbury Tales, a carnivalesque procession and the main event of FESTA 2013.
A video contributed by Hugh, a participant in the Understanding Place research project. The video has the description "Hugh talks about the damage his old house received during the earthquake and also the New Brighton area".
A photograph contributed by Richard, a participant in the Understanding Place research project. The photograph has the description "We miss the foot bridge, it made crossing the river much easier."
A photograph contributed by Richard, a participant in the Understanding Place research project. The photograph has the description "Beautiful native bush area."
A photograph contributed by Richard, a participant in the Understanding Place research project. The photograph has the description "Beautiful native bush area. "
Imagined landscapes find their form in utopian dreaming. As ideal places, utopias are set up according to the ideals of their designers. Inevitably, utopias become compromised when they move from the imaginary into the actual. Opportunities to create utopias rely largely on a blank slate, a landscape unimpeded by the inconveniences of existing occupation – or even topography. Christchurch has seen two utopian moments. The first was at the time of European settlement in the mid-nineteenth century, when imported ideals provided a model for a new city. The earthquakes of 2010 and 2011 provided a second point at which utopian dreaming spurred visions for the city. Christchurch’s earthquakes have provided a unique opportunity for a city to re-imagine itself. Yet, as is the fate for all imaginary places, reality got in the way.
The concept of geoparks was first introduced in the first international conference on geoparks held in China in 2004. Here in New Zealand, Kiwis are accustomed to national parks, land reserves, marine reserves, and urban cities and regional parks. The concept of these protected areas has been long-standing in the country, whereas the UNESCO concept of geoparks is still novel and yet to be established in New Zealand. In this dissertation, I explored the geopark concept for better understanding of its merits and examined the benefits of geotourism attractions as a sustainable economic development strategy to retrieve a declining rural economy. This research is focused on Kaikoura as a case study with geological significance, and emphasizes pre-earthquake existing geological heritages and new existing geological heritages post-earthquake to determine whether the geopark concept is appropriate and what planning framework is available to process this concept proposal should Kaikoura be interested in future.
The increase in urban population has required cities to rethink their strategies for minimising greenhouse gas impacts and adapting to climate change. While urban design and planning policy have been guided by principles such as walkability (to reduce the dependence on cars) and green infrastructure (to enhance the quality of open spaces to support conservation and human values), there have been conflicting views on what spatial strategies will best prepare cities for a challenging future. Researchers supporting compact cities based upon public Transit Oriented Development have claimed that walkability, higher density and mixed-uses make cities more sustainable (Owen, 2009) and that, while green spaces in cities are necessary, they are dull in comparison with shopfronts and street vendors (Speck, 2012, p 250). Other researchers claim that green infrastructure is fundamental to improving urban sustainability and attracting public space users with improved urban comfort, consequently encouraging walkability (Pitman and Ely, 2013). Landscape architects tend to assume that ‘the greener the better’; however, the efficiency of urban greenery in relation to urban comfort and urbanity depends on its density, distribution and the services provided. Green infrastructure can take many forms (from urban forests to street trees) and provide varied services (amended microclimate, aesthetics, ecology and so forth). In this paper, we evaluate the relevance of current policy in Christchurch regarding both best practice in green infrastructure and urban comfort (Tavares, 2015). We focus on the Christchurch Blueprint for rebuilding the central city, and critically examine the post-earthquake paths the city is following regarding its green and grey infrastructures and the resulting urban environment. We discuss the performance and appropriateness of the current Blueprint in post-earthquake Christchurch, particularly as it relates to the challenges that climate change is creating for cities worldwide.
Indigenous Peoples retain traditional coping strategies for disasters despite the marginalisation of many Indigenous communities. This article describes the response of Māori to the Christchurch earthquakes of 2010 and 2012 through analyses of available statistical data and reports, and interviews done three months and one year after the most damaging event. A significant difference between Māori and ‘mainstream’ New Zealand was the greater mobility enacted by Māori throughout this period, with organisations having roles beyond their traditional catchments throughout the disaster, including important support for non-Māori. Informed engagement with Indigenous communities, acknowledging their internal diversity and culturally nuanced support networks, would enable more efficient disaster responses in many countries.
During the 21st century, New Zealand has experienced increasing public concern over the quality of the design and appearance of new developments, and their effects on the urban environment. In response to this, a number of local authorities developed a range of tools to address this issue, including urban design panels to review proposals and provide independent advice. Following the 2010 and 2011 Canterbury earthquake sequence, the commitment to achieve high quality urban design within Christchurch was given further importance, with the city facing the unprecedented challenge of rebuilding a ‘vibrant and successful city’. The rebuild and regeneration reinforced the need for independent design review, putting more focus and emphasis on the role and use of the urban design panel; first through collaboratively assisting applicants in achieving a better design outcome for their development by providing an independent set of eyes on their design; and secondly in assisting Council officers in forming their recommendations on resource consent decisions. However, there is a perception that urban design and the role of the urban design panel is not fully understood, with some stakeholders arguing that Council’s urban design requirements are adding cost and complexity to their developments. The purpose of this research was to develop a better understanding on the role of the Christchurch urban design panel post-earthquake in the central city; its direct and indirect influence on the built environment; and the deficiencies in the broader planning framework and institutional settings that it might be addressing. Ultimately, the perceived role of the Panel is understood, and there is agreement that urban design is having a positive influence on the built environment, albeit viewed differently amongst the varying groups involved. What has become clear throughout this research is that the perceived tension between the development community and urban design well and truly exists, with the urban design panel contributing towards this. This tension is exacerbated further through the cost of urban design to developers, and the drive for financial return from their investments. The panel, albeit promoting a positive experience, is simply a ‘tick box’ exercise for some, and as the research suggests, groups or professional are determining themselves what constitutes good urban design, based on their attitude, the context in which they sit and the financial constraints to incorporate good design elements. It is perhaps a bleak time for urban design, and more about building homes.
Memorial design in the West has been explored in depth (Stevens and Franck, 2016; Williams, 2007), and for landscape architects it presents opportunities and challenges. However, there is little in the English language literature about memorial design in China. How have Chinese designers responded to the commemorative settings of war and disaster? This study will adopt the method of case study to analyse two of the most representative memorials in China: Nanjing Massacre Memorial Hall (war) and Tangshan Earthquake Memorial Hall (disaster). Both landscapes have undergone three or four renovations and extensions in the last four decades, demonstrating the practical effects of the Chinese landscape theory. These examples of responses to trauma through memorial landscape interventions are testimonies to the witnesses, victims, abusers, ordinary people, youth and the place where the tragedy took place. This study will explore the reconstruction and expansion of the two memorials under the background of China's policies on memorial landscapes in different periods, as well as their functions of each stage. The research will examine how existing Chinese memorial theories exhibit unique responses at different times in response to the sadness and needs experienced by different users. Key Words:memorial landscape; memorial language; victims; descriptive; architecture; experence; disaster; memorial hall; landscape development; Chinese memorial; war.
Disasters are a critical topic for practitioners of landscape architecture. A fundamental role of the profession is disaster prevention or mitigation through practitioners having a thorough understanding of known threats. Once we reach the ‘other side’ of a disaster – the aftermath – landscape architecture plays a central response in dealing with its consequences, rebuilding of settlements and infrastructure and gaining an enhanced understanding of the causes of any failures. Landscape architecture must respond not only to the physical dimensions of disaster landscapes but also to the social, psychological and spiritual aspects. Landscape’s experiential potency is heightened in disasters in ways that may challenge and extend the spectrum of emotions. Identity is rooted in landscape, and massive transformation through the impact of a disaster can lead to ongoing psychological devastation. Memory and landscape are tightly intertwined as part of individual and collective identities, as connections to place and time. The ruptures caused by disasters present a challenge to remembering the lives lost and the prior condition of the landscape, the intimate attachments to places now gone and even the event itself.
Members of the University of Canterbury's E-Learning team in their temporary office in the NZi3 building. The photographer comments, "E-learning group had one bay of desks to work from for 3 weeks".
University of Canterbury ICT staff members prepare to be escorted to buildings by Civil Defence members in order to retrieve computers from offices. The photographer comments, "ICT staff head out to retrieve computers from buildings".
Paul Nicholls from the University of Canterbury's E-Learning team and Digital Media Group Manager Wayne Riggall in their temporary office in KB02 in Kirkwood Village, the complex of prefabs set up after the earthquakes to provide temporary office and classroom space for the university. The photographer comments, "The e-learning group and the video conferencing team are now located in the Kirkwood Village at the University of Canterbury. It's a very impressive project, about 60 buildings arranged in various configurations with some used for teaching or computer labs, and others as staff offices. We will probably stay here for several years now. Adjoining our area is a space for Wayne, the Digital Media Group Manager, who will organise a sitting area for visitors and small meetings. Beyond Wayne is a closed-off meeting room".
Paul Nicholls, a member of the University of Canterbury's E-Learning team, in their temporary office in KB02 in Kirkwood Village, the complex of prefabs set up after the earthquakes to provide temporary office and classroom space for the university. The photographer comments, "The e-learning group and the video conferencing team are now located in the Kirkwood Village at the University of Canterbury. It's a very impressive project, about 60 buildings arranged in various configurations with some used for teaching or computer labs, and others as staff offices. We will probably stay here for several years now. Closer view of our corner of the building. We will have some cubicle partitions soon, but I don't know how we'll configure the space then. It's quite nice being so open, but it may be too noisy".
Members of the University of Canterbury's E-Learning team in their temporary office space in the NZi3 building. The photographer comments, "E-Learning group meeting; Jess Hollis, Antoine Monti, Susan Tull, Alan Hoskin, Herbert Thomas".
Tents set up in the Fine Arts car park at the University of Canterbury, used for teaching while lecture theatres were closed for structural testing. The photographer comments, "The 'tent city' on the Arts car park".
A document outlining the history of the Townsend Telescope and Observatory at the Christchurch Arts Centre. The document was written by Karen Pollard, Associate Professor in the Department of Physics and Astronomy at the University of Canterbury.
Staff meet in temporary office space set up in the NZi3 building. The photographer comments, "University of Canterbury administration all fits into one building! Well, sort of. Two meeting spaces in the middle of the floor".
A woman sits reading beside the "University of Canterbury" sign on Clyde Road. In the background are the tents used while lecture theatres were closed for structural testing. The photographer comments, "From Clyde Rd, all seemed intact".
Photograph captioned by BeckerFraserPhotos, "The food caravans that used to operate in the Arts Centre, now travel to several places in the city. Here they are in the quad at Canterbury University with the lunchtime queues".
A photograph of George Parker from Free Theatre Christchurch (left) and Lawrence Wallen of University of Technology, Sydney, sitting at a table at Black Betty cafe during the Canterbury Tales symposium. The symposium was part of FESTA 2013.
A photograph of a temporary installation titled Equilibrium. Equilibrium was created by architecture students from the University of Auckland for CityUps - a 'city of the future for one night only', and the main event of FESTA 2014.
A photograph of students from the University of Auckland working on a temporary installation titled Antigravity. Antigravity was part of CityUps - a 'city of the future for one night only', and the main event of FESTA 2014.
A photograph of a temporary installation, titled Antigravity, being created by students from the University of Auckland. Antigravity was part of CityUps - a 'city of the future for one night only', and the main event of FESTA 2014.
University of Canterbury staff members prepare to be escorted to their buildings by Civil Defence members in order to retrieve essential items from their offices. The photographer comments, "Susan Tull (E-learning), Leigh Davidson (MBA administrator), Bob Reed (Economics)".
A photograph of an architecture student from the University of Auckland constructing a temporary installation titled Upload. The installation was part of CityUps, a 'city of the future for one night only', and the main event of FESTA 2014.
A photograph of students from the University of Auckland working on a temporary installation titled CHCH2016. The installation was part of CityUps - a 'city of the future for one night only', and the main event of FESTA 2014.