We’re taking a short break between perfume posts this week and veering off in another direction entirely to present you with a photographic essay on one of the historic buildings we’ve recorded recently (but never fear, we’ll be back on … Continue reading →
One carved wooden lintel that decorated a doorway at Hadleigh House. Owner of Hadleigh House 1904-1921
One carved wooden lintel that decorated a doorway in Hadleigh House. Owner of Hadleigh House 1904-1921
One carved wooden lintel that decorated a doorway at Hadleigh House. Features a cross on shield motif. Owner of Hadleigh House 1904-1921
One carved wooden lintel that decorated a doorway in Hadleigh House. Owner of Hadleigh House 1904-1921
There are many swaths of land that are deemed unsuitable to build on and occupy. These places, however, are rarely within an established city. The Canterbury earthquakes of 2010 and 2011 left areas in central Christchurch with such significant land damage that it is unlikely to be re-inhabited for a considerable period of time. These areas are commonly known as the ‘Red Zone’.This thesis explores redevelop in on volatile land through innovative solutions found and adapted from the traditional Indonesian construction techniques. Currently, Indonesia’s vernacular architecture sits on the verge of extinction after a cultural shift towards the masonry bungalow forced a rapid decline in their occupation and construction. The 2004 Indian Ocean earthquake and tsunami illustrated the bungalows’ poor performance in the face of catastrophic seismic activity, being outperformed by the traditional structures. This has been particularly evident in the Rumah Aceh construction of the Aceh province in Northern Sumatra. Within a New Zealand context an adaptation and modernisation of the Rumah Aceh construction will generate an architectural response not currently accepted under the scope of NZS 3604:2011; the standards most recent revision following the Canterbury earthquake of 2010 concerning timber-based seismic performance. This architectural exploration will further address light timber structures, their components, sustainability and seismic resilience. Improving new builds’ durability as New Zealand moves away from the previously promoted bungalow model that extends beyond residential and into all aspects of New Zealand built environment.
Twelve carved elements from a fireplace carving at Hadleigh House. Owner of Hadleigh House 1904-1921
One carved wooden corner bracket from Hadleigh House. Owner of Hadleigh House 1904-1921
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.
New Zealand lies on the Pacific Ring of Fire – the belt of vulnerable, unpredictable fault lines which are the primary cause for earthquakes in this country. Most recently, as evident in the aftermath of the 2011 Christchurch earthquake -the destruction of the city centre led to the emergence of sub centres in different parts of the city each with different, desperate needs. The lack of preparedness in the wake of an earthquake hence, exacerbated this destitution. This research explores architecture’s role in the sub-centre. How can architecture facilitate resilience through this decentralised typology? The design-led approach critiques the implications of architecture as a tool for resilience whilst highlighting the desperate need for the engagement of architecture in planning before a disaster strikes. The resulting response explores resilience through an architectural lens that has a wider infrastructural, contextual and user-focussed need.
A video of a press conference with Mayor Bob Parker about an offer from the New Zealand Institute of Architecture to appoint an Architectural Ambassador for Christchurch. The proposed ambassador would head a team of architects and urban designers to prepare ideas for the Christchurch rebuild.
This project looks at how destroyed architecture, although physically lost, fundamentally continues to exist within human memories as a non-physical entity. The site chosen is Avonside Girls’ High School in Christchurch, New Zealand, a school heavily damaged during the February 22nd earthquake in 2011. The project focuses on the Main Block, a 1930s masonry building which had always been a symbol for the school and its alumni. The key theories relevant to this are studies on non-material architecture and memory as these subjects investigate the relationship between conceptual idea and the triggering of it. This research aims to study how to fortify a thought-based architecture against neglect, similar to the retrofitting of physical structures. In doing so, the importance of the emotive realm of architecture and the idea behind a building (as opposed to the built component itself) is further validated, promoting more broadminded stances regarding the significance of the idea over the object. A new method for disaster recovery and addressing trauma from lost architecture is also acquired. Factors regarding advanced structural systems and programmes are not covered within the scope of this research because the project instead explores issues regarding the boundaries between the immaterial and material. The project methodology involves communicating a narrative derived from the memories alumni and staff members have of the old school block. The approach for portraying the narrative is based on a list of strategies obtained from case studies. The final product of the research is a new design for the high school, conveyed through a set of atmospheric drawings that cross-examines the boundaries between the physical and non-physical realms by representing the version of the school that exists solely within memories.
A photograph of architecture students posing for a group photo beneath the LUXCITY installation Kloud.
A photograph of architecture students posing for a group photo beneath the LUXCITY installation Kloud.
A photograph of architecture students posing for a group photo beneath the LUXCITY installation Kloud.
A photograph of architecture students posing for a group photo beneath the LUXCITY installation Kloud.
A natural disaster will inevitably strike New Zealand in the coming years, damaging educational facilities. Delays in building quality replacement facilities will lead to short-term disruption of education, risking long-term inequalities for the affected students. The Christchurch earthquake demonstrated the issues arising from a lack of school planning and support. This research proposes a system that can effectively provide rapid, prefabricated, primary schools in post-disaster environments. The aim is to continue education for children in the short term, while using construction that is suitable until the total replacement of the given school is completed. The expandable prefabricated architecture meets the strength, time, and transport requirements to deliver a robust, rapid relief temporary construction. It is also adaptable to any area within New Zealand. This design solution supports personal well-being and mitigates the risk of educational gaps, PTSD linked with anxiety and depression, and many other mental health disorders that can impact students and teachers after a natural disaster.
A photograph of an architecture student making adjustments to the installation titled Halo at LUXCITY.
A photograph of an architecture student making adjustments to the installation titled Halo at LUXCITY.
A photograph of architecture students on a temporary platform at the site of the Kloud installation.
A photograph of architecture students on a temporary platform at the site of the Kloud installation.
A photograph of an architecture student making adjustments to the installation titled Halo at LUXCITY.
A photograph of architecture students on a temporary platform at the site of the Kloud installation.
A photograph of an architecture student making adjustments to the installation titled Halo at LUXCITY.
A photograph of architecture students setting up the In Your Face installation for LUXCITY.
A photograph of architecture students setting up the In Your Face installation for LUXCITY.
A photograph of architecture students working on part of the eLITE installation for LUXCITY.
A photograph of architecture students working on part of the eLITE installation for LUXCITY.
A photograph of architecture students setting up the In Your Face installation for LUXCITY.
A photograph of an architecture student setting up the Silhouette Carnival installation for LUXCITY.