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Research papers, University of Canterbury Library

The New Zealand city of Christchurch suffered a series of devastating earthquakes in 2010-11 that changed the urban landscape forever. A new rebuilt city is now underway, largely based on the expressed wishes of the populace to see Christchurch return to being a more people-oriented, cycle-friendly city that it was known for in decades past. Currently 7% of commuters cycle to work, supported by a 200km network of mostly conventional on-road painted cycle lanes and off-road shared paths. The new "Major Cycleways" plan aims to develop approximately 100km of high-quality cycling routes throughout the city in 5-7 years. The target audience is an unaccompanied 10-year-old cycling, which requires more separated cycleways and low-volume/speed "neighbourhood greenways" to meet this standard. This presentation summarises the steps undertaken to date to start delivering this network. Various pieces of research have helped to identify the types of infrastructure preferred by those currently not regularly cycling, as well as helping to assess the merits of different route choices. Conceptual cycleway guidelines have now been translated into detailed design principles for the different types of infrastructure being planned. While much of this work is based on successful designs from overseas, including professional advice from Dutch practitioners, an interesting challenge has been to adapt these designs as required to suit local road environments and road user expectations. The first parts of the new network are being rolled out now, with the hope that this will produce an attractive and resilient network for the future population that leads to cycling being a major part of the local way of life.

Research papers, University of Canterbury Library

A Transitional Imaginary: Space, Network and Memory in Christchurch is the outcome and the record of a particular event: the coming together of eight artists and writers in Ōtautahi Christchurch in November 2015, with the ambitious aim to write a book collaboratively over five days. The collaborative process followed the generative ‘book sprint’ method founded by our facilitator for the event, Adam Hyde, who has long been immersed in digital practices in Aotearoa. A book sprint prioritises the collective voice of the participants and reflects the ideas and understandings that are produced at the time in which the book was written, in a plurality of perspectives. Over one hundred books have been completed using the sprint methodology, covering subjects from software documentation to reflections on collaboration and fiction. We chose to approach writing about Ōtautahi Christchurch through this collaborative process in order to reflect the complexity of the post-quake city and the multiple paths to understanding it. The city has itself been a space of intensive collaboration in the post-disaster period. A Transitional Imaginary is a raw and immediate record, as much felt expression as argued thesis. In many ways the process of writing had the character of endurance performance art. The process worked by honouring the different backgrounds of the participants, allowing that dialogue and intensity could be generative of different forms of text, creating a knowledge that eschews a position of authority, working instead to activate whatever anecdotes, opinions, resources and experiences are brought into discussion. This method enables a dynamic of voices that merge here, separate there and interrupt elsewhere again. As in the contested process of rebuilding and reimagining Christchurch itself, the dissonance and counterpoint of writing reflects the form of conversation itself. This book incorporates conflict, agreement and the activation of new ideas through cross-fertilisation to produce a new reading of the city and its transition. The transitional has been given a specific meaning in Christchurch. It is a product of local theorising that encompasses the need for new modes of action in a city that has been substantially demolished (Bennett & Parker, 2012). Transitional projects, such as those created by Gap Filler, take advantage of the physical and social spaces created by the earthquake through activating these as propositions for new ways of being in the city. The transitional is in motion, looking towards the future. A Transitional Imaginary explores the transitional as a way of thinking and how we understand the city through art practices, including the digital and in writing.

Audio, UC QuakeStudies

Part three of the audio that makes up Gap Filler's 29th project, the Transitional City Audio Tour. This part of the tour begins on Madras Street and includes commentary on the clothing industry in Christchurch before reaching Tuam Street. On Tuam Street, the tour includes commentary on the C1 cafe in the former Post Office building. The tour then moves up High Street to Cashel Street and on to Re:Start Mall.

Audio, UC QuakeStudies

Part two of the audio that makes up Gap Filler's 29th project, the Transitional City Audio Tour. This part of the tour begins in Cathedral Square and includes commentary on the proposal for the Convention Centre. The tour then moves down Worcester Street, providing commentary on Hotel 115, the Old Government Building (now the Heritage Hotel), and the Trinity Church on the way. Once the tour reaches Latimer Square, it moves towards Hereford Street and there is commentary on the Green Frame, and the future of Les Mill and Calendar Girls. The tour then moves down Madras Street, passing the Transitional Cathedral and the artwork, 185 Empty Chairs. The tour ends with commentary on the Farmers' Trading Building, the first Farmers' building in Christchurch which was eventually replaced by the IRD Building on Madras Street.

Videos, UC QuakeStudies

A video montage of LUXCITY, a city of lights that existed for one night on Saturday 20 October 2012. LUXCITY was the main event of FESTA 2012 and included 16 interactive installations, designed and fabricated by architecture and design students from across New Zealand. The film depicts the construction and set up, through to the public event on Saturday night.

Images, UC QuakeStudies

A poster created by Empowered Christchurch to advertise their submission to the CERA Draft Transition Recovery Plan on social media.The poster reads, "Submission, CERA Draft Transition Recovery Plan. Future Insurability. In an article in the New Zealand Herald of 5 November 2014, the CEO of IAG refers to cooperation with the NZ Government on a strategic intent in 2011 to avoid depopulation of Christchurch. Now that the ICNZ has signalled its intention to withdraw from high-risk areas and the CCC also plans to redefine the boundaries of the city so as to exclude properties below the Mean High Water Springs. We ask whether a 'recovery' involves abandoning people once the insurance and bank sectors have managed a retreat? We need a city that is driven by the people that live in it, and enabled by a bureaucracy that accepts and mitigates risks, rather than transferring them to the most vulnerable of its residents".

Images, UC QuakeStudies

A poster created by Empowered Christchurch to advertise their submission to the CERA Draft Transition Recovery Plan on social media.The poster reads, "Submission. CERA Draft Transition Recovery Plan. 5. In your opinion, is there a better way to report on these recovery issues? We believe that, as regards residential recovery, monitoring should extend to code compliance certificates. According to figures published in 2014, only factions of repairs/rebuilds are completed with the issue of a code compliance certificate. To conclude the work to the required standard, someone must pay for the code compliance. Leaving things as they are could have serious negative consequences for the recovery and for the city as a whole. We suggest an investigation of number of outstanding code compliance certificates and that responsible parties are made to address this outstanding work. We need a city that is driven by the people that live in it, and enabled by a bureaucracy that accepts and mitigates risks, rather than transferring them to the most vulnerable residents."

Research papers, University of Canterbury Library

In recent work on commons and commoning, scholars have argued that we might delink the practice of commoning from property ownership, while paying attention to modes of governance that enable long-term commons to emerge and be sustained. Yet commoning can also occur as a temporary practice, in between and around other forms of use. In this article we reflect on the transitional commoning practices and projects enabled by the Christchurch post-earthquake organisation Life in Vacant Spaces, which emerged to connect and mediate between landowners of vacant inner city demolition sites and temporary creative or entrepreneurial users. While these commons are often framed as transitional or temporary, we argue they have ongoing reverberations changing how people and local government in Christchurch approach common use. Using the cases of the physical space of the Victoria Street site “The Commons” and the virtual space of the Life in Vacant Spaces website, we show how temporary commoning projects can create and sustain the conditions of possibility required for nurturing commoner subjectivities. Thus despite their impermanence, temporary commoning projects provide a useful counter to more dominant forms of urban development and planning premised on property ownership and “permanent” timeframes, in that just as the physical space of the city being opened to commoning possibilities, so too are the expectations and dispositions of the city’s inhabitants, planners, and developers.

Research papers, University of Canterbury Library

In recent work on commons and commoning, scholars have argued that we might delink the practice of commoning from property ownership, while paying attention to modes of governance that enable long-term commons to emerge and be sustained. Yet commoning can also occur as a temporary practice, in between and around other forms of use. In this article we reflect on the transitional commoning practices and projects enabled by the Christchurch post-earthquake organisation Life in Vacant Spaces, which emerged to connect and mediate between landowners of vacant inner city demolition sites and temporary creative or entrepreneurial users. While these commons are often framed as transitional or temporary, we argue they have ongoing reverberations changing how people and local government in Christchurch approach common use. Using the cases of the physical space of the Victoria Street site “The Commons” and the virtual space of the Life in Vacant Spaces website, we show how temporary commoning projects can create and sustain the conditions of possibility required for nurturing commoner subjectivities. Thus despite their impermanence, temporary commoning projects provide a useful counter to more dominant forms of urban development and planning premised on property ownership and “permanent” timeframes, in that just as the physical space of the city being opened to commoning possibilities, so too are the expectations and dispositions of the city’s inhabitants, planners, and developers.

Videos, UC QuakeStudies

A video montage of Canterbury Tales, a carnivalesque procession through the central city, led by Free Theatre Christchurch. The film depicts the construction and set up, through to the main public events. It also includes interviews with Peter Faulkenberg (Canterbury Tales and Free Theatre Christchurch Artistic Director) and George Parker (Canterbury Tales and Free Theatre Christchurch Producer).

Research Papers, Lincoln University

The study contributes to a better understanding of utilisation and interaction patterns in post-disaster temporary urban open spaces. A series of devastating earthquakes caused large scale damage to Christchurch’s central city and many suburbs in 2010 and 2011. Various temporary uses have emerged on vacant post-earthquake sites including community gardens, urban agriculture, art installations, event venues, eateries and cafés, and pocket parks. Drawing on empirical data obtained from a spatial qualities survey and a Public Life Study, the report analyses how people used and interacted with three exemplary transitional community-initiated open spaces (CIOS) in relation to particular physical spatial qualities in central Christchurch over a period of three weeks. The report provides evidence that users of post-disaster transitional community-initiated open spaces show similar utilisation and interaction patterns in relation to specific spatial qualities as observed in other urban environments. The temporary status of CIOS did apparently not influence ‘typical’ utilisation and interaction patterns.

Videos, UC QuakeStudies

A video of an interview with Julia Morison, a Christchurch-based artist, about her sculptures in a vacant site on the Christchurch central city. The artwork, titled 'Tree Houses for Swamp Dwellers', took over a year to make and will act as a centrepiece for the Scape Public Art festival, which begins on 27 September 2013. The sculpture was designed to provide a playground for children and a shady spot for workers on their lunch breaks. Morison also talks about how the sculpture was designed to be relocated and reconfigured so that it can be moved to a new location when construction begins on the vacant site.

Images, UC QuakeStudies

A poster created by Empowered Christchurch to advertise their submission to the CERA Draft Transition Recovery Plan on social media.The poster reads, "Submission. CERA Draft Transition Recovery Plan. After nearly five years of 'Emergency Response' where sustainability has been sacrificed in the interests of speed, we can assume that this phase is now behind us. We see no reason why this period should be extended until April 2016. Lessons must be learned from the past. It is time to move into the 'Restoration Phase'. Once seismic and building standards are corrected, and risks are notified, mapped and accepted, sustainability will be ensures. We need a city that is driven by the people that live in it, and enabled by a bureaucracy that accepts and mitigates risks, rather than transferring them to the most vulnerable residents. We support option 3+."

Images, UC QuakeStudies

A poster created by Empowered Christchurch to advertise their submission to the CERA Draft Transition Recovery Plan on social media.The poster reads, "Submission, CERA Draft Transition Recovery Plan. Prime Minister Assurance. Let us remember the much-quoted assurance from the Prime Minister in 2011: 'On behalf of the Government, let me be clear that no one will be left to walk this journey alone. New Zealand will walk this journey with you. We will be there every step of the way. Christchurch; this is not your test; this is New Zealand's test. I promise we will meet this test.' We call on the authorities to live up to this promise. We need a city that is driven by the people that live in it, and enabled by a bureaucracy that accepts and mitigates risks, rather than transferring them to the most vulnerable of its residents".

Audio, UC QuakeStudies

Part four of the audio that makes up Gap Filler's 29th project, the Transitional City Audio Tour. This part of the tour begins in the Re:Start Mall on Cashel Street and includes commentary on the performance Last Day of Mankind at the Bridge of Remembrance. The tour then moves up Oxford Terrace, along the banks of the Avon River, until it reaches Worcester Boulevard. Turning left, it travels down Worcester Boulevard, past the Christchurch Art Gallery, providing commentary on the new and old art in the area, and the Christchurch Arts Centre. Lastly, it moves up Montreal towards Cranmer Square.

Audio, UC QuakeStudies

Part one of the audio that makes up Gap Filler's 29th project, the Transitional City Audio Tour. This part of the tour begins at the Pallet Pavilion on the corner of Kilmore and Durham Streets. It includes commentary on the Crowne Plaza Hotel and the Town Hall, as well as the Captain Cook and Queen Victoria statues in Victoria Square. The tour then moves down Armagh Street to New Regent Street where there is a discussion of Trambiance, a series of sound performances in the Christchurch tram. The tour also includes commentary on the rebuild of New Regent Street and the Isaac Theatre Royal.